lapsus linguae

CityFish has been published in Volume 3 of soundsRite, a journal of online sound and writing founded in 2009 by Hazel Smith and Roger Dean as an initiative of MARCS Auditory Laboratories and the Writing and Society Research Group, University of Western Sydney, Australia. soundsRite publishes selected new media work which includes words or sound or both, featuring sound works created for digital embodiment, including generative, interactive and multi-channel pieces, and showcasing writing which is kinetic, generative or interactive.

CityFish is a hybrid word, title of a hybrid work, tale of a hybrid creature. Part classical parable, part children’s picture book, CityFish is a web-based intertextual hypermedia transmutation of Aesop’s Town Mouse Country Mouse fable. Winters, a Canadian girl named Lynne freezes in Celsius in the fishing village of Brooklyn, Nova Scotia (Canada), a few minutes walk from a white sandy beach. Summers, she suffers her city cousins sweltering in Fahrenheit in Queens, New York (USA). By now Lynne knows everyone knows it’s supposed to be the other way around. Lynne is a fish out of water. In the country, her knowledge of the city separates her from her school of friends. In the city, her foreignness marks her as exotic. Meanwhile, the real city fish lie in scaly heaps on long ice-packed tables in hot and narrow Chinatown streets. CityFish represents asynchronous relationships between people, places, perspectives and times through a horizontally scrolling browser window, suggestive of a panorama, a diorama, a horizon line, a skyline, a timeline, a Torah scroll. The panorama and the diorama have traditionally been used in museums and landscape photography to establish hierarchies of value and meaning. CityFish interrupts a seemingly linear narrative with poetic texts, quotations, Quicktime videos, DHTML animations, Google Maps and a myriad of visual images. Combining contemporary short fiction and hypermedia storytelling forms creates a new hybrid, a lo-fi web collage cabinet of curiosities. The story of Lynne and the city fish unfolds in this strange horizontally scrolling world of absences and empty spaces – furious, intimate, and surreal.

More information on CityFish: http://luckysoap.com/lapsuslinguae/category/cityfish/

CityFish on soundsRite: http://soundsrite.uws.edu.au/soundsRiteContent/volume3/JRInfo.html

Dragnet Magazine, a new online/eBook literary journal that “trawls the sea of stories for the best fiction,” has included a short story of mine in their very first issue. The story is called Best Behaviour. It’s fiction, obviously. Given my limited knowledge on the subject, the story is a short one, weighing in at just 879 words. It’s based on an even shorter story. My behaviour is improving in tiny increments year by year.

In 2005, the Montreal-based artist-run centre Dazibao – centre de photographies actuelles commissioned me to write the text for an exhibition called Pixelware, une sublime forgerie featuring new works of digital photography by Mathieu Bernard-Reymond, Sylvia Grace Borda, Sze Lin Pang and Penelope Umbrico. Dazibao encouraged a creative approach. Rather than produce a standard 1000-word catalogue essay, I wrote four 250-word stories, one for each artist.

In response to Penelope Umbrico’s series of photographs of images of mirrors and televisions take from mail-order catalogues, blown up to life size and hung on the wall again, I imagined a girl trapped – on display – in a catalogue-perfect living room trying not to ruin anything, scanning reflective surfaces searching for escape routes. This new story, Best Behaviour, speculates upon how the girl came to be in this room in the first place. I don’t think it’s giving too much of the story away to say that her overbearing yet massively insecure mother has a lot to do with it. Take the second paragraph, for example:

We’ve been living in a rented townhouse on the Forest Crescent for going on two years now, which is some kind of record for us. Twenty-two months we’ve baked in this avocado oven. Ninety-four weeks we’ve bathed in this goldenrod tub. Come over to this place that isn’t quite our place, and here’s the first thing my mother will tell you: “This wallpaper wasn’t our idea!” Floor-to-ceiling horns-of-plenty adorn the breakfast nook. A sandy seashell wainscot rings the bathroom. Renters can’t be choosers. We hang our pictures up wherever former tenants left nail holes.

This first issue of Dragnet Magazine contains some great stuff in it, including stories by Sheila Heti and Jacob Wren. You can read the issue on your computer, as a Website, Flipbook or eBook; on your tablet as a Flipbook or an eBook; or on your phone or eReader as an eBook. For links to all these formats, visit Dragnet Magazine online: http://dragnetmag.net/

To read Best Behaviour on the Dragnet Magazine website visit: http://dragnetmag.net/?q=content/j-r-carpenter-best-behaviour

Three of my short stories appear in the inaugural issue of Ryga: A journal of Provocations, a new publication of The Ryga Initiative at Okanagan College, in association with the Okanagan Institute.

Ryga: A Journal of Provocations consists of a single or multiple works by writers whose work the editor considers worthy of readers’ attention. It is published as a 275-page book, on good quality recycled paper, with a full colour laminated cover, 4 times a year, and offered for sale at $20 each through the book and periodical trade, and on http://www.ryga.ca/.

Ryga editor Sean Johnston writes:

Carpenter’s quietly moving stories are about endurance in the wake of tragedy. They’re about the impossibility of fully understanding the world we live in. Bodies of water dominate the stories and the constant, rhythmic movement between the literal and the figurative undersurface emphasizes the fragility of human life.

The narrator in “Truth, Dare, Double-Dare, Promise to Repeat,” for instance, longs for the inevitable sexual knowledge of adulthood, but the sinister nature of the impaired vision, the silty water where she and her friends swim, makes the future dark and dangerous.

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Finally! Drunken Boat # 8 is now online!

This fat new issue features winners and finalists of the inaugural Drunken Boat Panliterary Awards, including my web art project How I Loved the Broken Things of Rome – a finalist in the Web Art Category.
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I’m back from Banff, caught up on sleep, reacclimatized to high heat and humidity and happy to announce that my short story The Greyhound Eulogy appears in Matrix Magazine #74, in stores now, in Montreal at least.

I can’t remember who, but someone said – Gordon Lish maybe, or John Gardner – that it’s impossible to write an unsentimental story about your grandmother. Even though The Greyhound Eulogy is about writing my grandmother’s eulogy on a Greyhound bus bound for NYC, it’s hardly depressing at all thanks to the unsentimental readers: Amy Hempel, Ibi Kaslik, Lilly Kuwashima and Kate Sheldon. Much thanks also to Matrix editors Rob Allen and Jon Paul Fiorentino.

Here’s an excerpt of The Greyhound Eulogy:

“In the town of Glens Falls, N.Y., the Greyhound passes through a protest in progress. On one street corner, amid a cluster of hand-printed placards one small sign stands out: ‘Another veteran against the war.’ On the other side of the street, a wind-warped banner reads: ‘America is worth fighting for.’ I write: ‘Always the optimist, she brought humour to every situation,’ and try to remember her favourite burning Bush joke.”

J. R. Carpenter, The Greyhound Eulogy, Matrix #74, Montreal QC, Summer 2006.
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My short story, Hennessey’s High Pasture, appears in The New Quarterly, #98, Waterloo, ON, Spring 2006. This story used to be called The Bayley-Hazen Road. I began writing in 1996, and submitted it to at least a dozen journals since then. I am grateful to every editor who had the good sense to reject it before it was ready. My thanks to the Trautz family, for helping start the story off; to Jenn Goodwin, first reader; Amy Hempel, generous reader; and Kim Jernigan, The New Quarterly editor who turned up at end of the old Bayley-Hazen Road.

Excerpt from Hennessey’s High Pasture:

“Most nights the dogs and I walk up to Hennessey’s high pasture. You can see the whole King’s County from up there. Even when it’s dark you feel it, the earth curving away from you. But I’m not ready yet. I smoke a cigarette. No matter which way I hold it, the smoke blows toward Earl.”

J. R. Carpenter
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My web/ art/ narrative/ project, THE CAPE, has been included in the Spring 2006 issue of BathHouse, online now.

Edited by current Creative Writing graduate students at Eastern Michigan University, BathHouse promotes interdisciplinary and hybrid arts with a special emphasis on language and innovation in art that blurs the lines of conventional form and genre.

BathHouse takes its name from the 19th-century sanatoriums, bathhouses, and mineral water wells that flourished in Ypsilanti, Michigan, until truth in labeling laws were passed. The “foul smelling” waters of the Atlantis well, in the vicinity of the current Jones-Goddard dorm on the EMU campus, were bottled and shipped nationwide as a cure for 33 disorders of the blood.

http://www.emich.edu/studentorgs/bhouse/main.html

Artists in the Spring 2006 issue of BathHouse are: Mark Amerika, J. R. Carpenter, Joe Clifford, Mark Cunningham, Christopher Garlington, Diane Greco, Mary Kasimor, Braxton Soderman, Lynn Strongin.

Warning: Cape Cod is a real place, but the events and characters of THE CAPE are fictional. The photographs have been retouched. The diagrams are not to scale.

http://Luckysoap.com/thecape
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My essay, Con-Textilizing Critical Language, appears in the winter 2006 issue of Surfacing Journal, a publication of the Textile Artists & Designers Association.

In this essay I suggest that less time be spent worrying about what does or does not pass for criticism, and much more time be spent on thinking about what to say, where and how to say it, and to whom. I contend that the critical decisions made by fibre artists in their work that more than qualifies them as critical voices:

High art, low art, craft or trade – the artist’s ontological position is established through the active generation of “material” language. The choices made – between riotously sexy velvet, florid fuchsia fun fur or deliberately domestic damask – speak volumes. If the vernacular is not official, or correct, or refined, or even immediately recognizably critical – so much the better, I say. Content is more critical than criticism. If the story is a good one, it will get read. So let’s focus on deciding what story to tell and how best to tell it – in fluid script discharged from printed fabric, in re-programmable circuits woven into cloth, in loaded statements laboriously crocheted from continuous thread – and forget for a while about what is or is not said about the story after the fact. Fibre Art, adept as it already is at working in the margins, has its very elusiveness at its disposal in its quest for critical language… the language of Fibre Arts can choose to include the fragmentary, the inconclusive and the digressive. It can be interlaced with texts. It can be something you can’t quite put your finger on, like the tip of a needle. It can also be as cerebral as the head of a needle. Head and point and eye, looking for just the right place to push the point… out, and out loud.

J. R. Carpenter, Con-Textilizing Critical Language, Surfacing Journal, Toronto, WInter 2006.

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Notions of the Archival in Memory and Deportment, an illustrated essay, appears in the Fall 2005 issue of ARS MEDICA, A Journal of Medicine, Health and the Humanities, a new quarterly literary journal that explores the interface between the arts and medicine, and examines what makes medicine an art.

Writing and healing have always been intrinsically linked. ARS MEDICA seeks to provide the reader with vivid examples. Content includes narratives from patients and health care workers, medical history, fiction, creative nonfiction, poetry, illustrations and photography.” http://ars-medica.ca/

I began writing Notions of the Archival in Memory and Deportment as a response to the discourse of disembodiment that was prevalent in early days of the Internet. I never believed that the physical gendered body would be subsumed in an idealized information age. Even in our attempts to externalize and expand upon the processes of the brain through the computational and storage capacities of the computer, the precariousness of the biological body persists. It seems to me that somewhere along the way cultural theory veered away from body politics. In Notions of the Archival in Memory and Deportment I have tried to examine, from the inside, not just ‘the’ body, but also ‘my’ body in particular. I have focused on the storage and retention of bodily memory in order to explore the relationship and/or disconnect between body and mind that has preoccupied philosophers for generations. In Ethics, Part II: Of the Nature and Origin of the Mind, Spinoza writes: “The human mind is capable of perceiving a great number of things, and … is cable of receiving a great number of impressions… If the human body is affected in a manner which involves the nature of any external body, the human mind will regard the said external body as actually existing… Memory is simply a certain association of ideas involving the nature of things outside the human body, which association arises in the mind according to the order and association of the modifications of the human body… The human mind has no knowledge of the body, and does not know it to exist, save through the ideas of the modifications whereby the body is affected.”

An earlier version of Notions of the Archival in Memory and Deportment is available for viewing online at: http://Luckysoap.com/notions/

Thank you to: Alison and Ian at Ars Media, for their attention to detail; Elise Moser, for telling me about the journal; OBORO, for supporting the production of the online version; Dave Liss, for including an installation version of the “Nails and Hair” portion in “L’Entrespace II” at the Saidye Bronfman Center; and to Barbara Layne, who instigated the project way back when I was …

“suddenly far from my brain and naked without it”
Notions of the Archival in Memory and Deportment
J. R. Carpenter, http://Luckysoap.com/notions/

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The New Quarterly has accepted my short story Hennessey’s High Pasture for publication. It will appear in Issue #97 (due out January 2006).

“Most nights the dogs and I walk up to Hennessey’s high pasture. You can see the whole King’s County from up there. Even when it’s dark you feel it, the earth curving away from you. But I’m not ready yet. I smoke a cigarette. No matter which way I hold it, the smoke blows toward Earl.” J. R. Carpenter, Hennessey’s High Pasture

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