Fence Magazine Winter / Spring 2006 (Volume 9 Number 1)

出版者:Fence

作者:Fence Magazine

页数:0

出版时间:2006

价格:0

装帧:paperback

isbn号码:9780977106448

具体描述

Contents

Editor's Note

Poems

Tracey McTague

Sidereal Noon

Erica Howsare

Poem (of M)

Ryan Murphy

Fifty Stars

Cheryll Pallant

A Declaration of Independence

Jonathan David Jackson

Two Poems

Michael Rerick

The voice box suddenly sang itself, or

Stephanie Strickland

War Day

Monica de la Torre

from The Trouble With Death

Robert Fitterman

from WAR, the musical

Angie Yuan

DMZ

Bronwen Densmore

How you begin drawing on a little panel,

and a system for it.

Derek Henderson

Down, Down

Travis Brown

sequence

Karen Leona Anderson

Proof

Matvei Yankelevich

Nown

Tyler Carter

Two Political

Hadara Bar-Nadav

Two-Inch Woman Standing on an Inkwell

(The Last One Left Tells the Story)

Sawako Nakayasu

Two Poems

Lisa Lubasch

Said the Cloud

Mathias Svalina

Egress

Devon Wootten

Field

Matthew Zapruder

The Lark

Joanna Klink

Prism

Geoffrey Detrani

Semaphore Land

Deborah Meadows

excerpts from "Involutia"

Thomas Hummel

His Desiccate Ancestry

Corey Mead

The Conceptual Age

Sarah Rosenthal

I Grew in Green

Nick Twemlow

Pastel

Joy Katz

Linen Closet

Macgregor Card

Duties of an English Foreign Secretary

Fiction

Vu Tran

The Gift of Years

Etel Adnan

annunciation

Miranda F. Mellis

The Old Piano Trap

Jennifer Sears

A Slight Change in Tuesdays

Nicholas Montemarano

The Beginning of Grief

Joseph Donahue

Paradise Posts

Juan Emar

The Obedient Dog

Mark Swartz

Three Places to Stay

Jeannie Galeazzi

Tread on Me

Carlos Chernov

The Composition of the Story

Summer Literary Seminars Poetry and Fiction Contest Winners

Deborah Bernhardt

Three Poems

Diane Greco

Alberto, A Case History

Art

John Lurie

Reading List

http://fence.fenceportal.org/v9n1/index.html

http://fence.fenceportal.org

作者简介

Editor's Note

Charles Valle

Bummer Diction Fits

A few months ago, a woman approached me at a party asking, in all sincerity: "Is the cover of Fence ironic?" My immediate thought was: "How are you defining irony?" I answered by kindly citing from Rebecca's "Summer Fiction Tits," saying: "I believe the Editor's Note calls it a 'more than slightly ironic comment'." Silence. Insofar as the presence of a division in readers/viewers remains—that groups were excluded, even offended, whereas others felt compelled to voice praise—I cannot help but acknowledge an uneven economy of those who "get it" and those who do not. The reactions have been evenly mixed: from heartfelt compliments to passionate invectives (all with fairly even gender distributions). If anything, the cover of Summer 2005 issue has produced wonderful dialogue. Due to the volume of response, I feel a sense of obligation to address some of the readers' comments.

Fence does not (nor will it ever) promote anorexia or bulimia. We understand the seriousness of eating disorders and, thus, have no desire to contribute to or construct social conditions that promote eating disorders. We consciously chose a "healthy- looking" cover model—someone who would not be perceived as being "on the verge of illness." Similarly, Fence neither looks down upon nor encourages body modification, whether expressed in tattoos, piercings/scars, breast augmentations or other cosmetic operations. As Fence champions diverse articulations of textual bodies, we also believe in and celebrate individuals' rights to present/express themselves as they desire. And while we understand that various media apparatuses aid, if not actively propagate, narrow and constrained views of how females should look, dress, or act, Fence is not in the corporeal business. Fence does not condone violence, whether by force or coercion. Fence is not telling young, impressionable girls that they should all look like Quinne.

The initial attraction to the Suicide Girls "brand" was their mission to respectfully portray women as they wanted to be presented. As Missy (one of the founders of Suicide Girls) wrote: "There are no men in their pictorials, no violence toward women, etc. The site is about celebrating strong, independent women and their sensual sides." Fair enough. To clarify: Fence is in no way affiliated with SG Services, Inc. Because of Fence's non-involvement with SG Services, Inc., Fence will not comment on the accusations posted on the Internet concerning the owner's political affiliations or management's treatment of its models. With that said, Fence believes that corporate business practices that propagate the exploitation of human beings suck ass.

There are, of course, many other questions/comments/concerns that I cannot address in these two pages. Clearly, the task of highlighting the absurdity of the industry's marketing practices while testing the rigidity of conventions present in literary journal publishing is a difficult task. Clearly, in some people's judgments, we have transgressed. Others, however, have pushed the dialogue back to our initial concerns. Robert Archambeau in his samizdat blog (http://samizdatblog.blogspot. com) eloquently concluded: "many of the reservations literary types have about the cover come out of an affront to their inherited assumption that intellectual journals are public sphere stuff, not commodities in the market. [. . .] When Rebecca Wolff put the topless model Quinne on the cover of Fence to get some sales action going, she committed a sin against these cherished assumptions. She reminded us that, whether we're members of a (real or hypothetical) public sphere or not, we're also part of a market." Aaaah, the market . . . and so from Habermas' Public Sphere we turn back to Althusser. Turn back to Quinne's gaze, then, and think of exclusion—think of her gaze as interpellating viewer as either reader or consumer.

Which brings us back to Rebecca's "Summer Fiction Tits." By evoking the language of economics (marketing and sales figures), the easy assumption (and perhaps rightly so for readers, or, in this case, viewers, not familiar with Fence and our 501 (c) 3 status) is to equate sales with profit. However, as those familiar with small press, not-for-profit literary publishing know, it is nearly impossible for small journals to turn a profit with the business practices of Ingram and Borders and Barnes & Noble exerting such control over bottom lines. From 3rd Bed to New American Writing, we continue to witness wonderful organizations struggle to survive. And lest we forget: for small, independent journals, it is not lackluster bookstore sales that kill us so much as lackluster subscription bases, lackluster fundraisers, diminishing patrons and dwindling opportunities for grants.

As we begin our ninth year of publication, the need to reaffirm our initial mission statement rings ever louder: redefine the terms of accessibility. Given our imagined community (to recall Benedict Anderson) of readers, poets, writers, critics, and editors, I cannot help but ask: who will take the census? and who are the cartographers drawing lines on the maps? Who will curate the museums of literature? And if we are all complicit in the cultural Ideological Apparatus (to use gross Althusserian concepts), why would we not question the reproduction of the relations of production? Why should we not question how literature is distributed/disseminated? Why should we not question how a journal should look? or act? or represent itself in the market? And what of content? of the constraints of labels and schools and movements . . .

Dear reader, I present to you, the Winter/Spring 2006 issue of Fence—filled with restless tensions, contradictions, anger, humor, beauty, inquiries . . .

用户评价

从整体内容的气韵上来说，这期杂志似乎捕捉到了一种非常独特的时代情绪——那种介于黄金时代的余晖与即将到来的某种变革之间的、略带迷惘却又充满活力的状态。它没有流于表面地追逐热点，反而是深入到了一些不易被察觉的文化肌理之中去挖掘。我感受到一种对“地方性”和“非主流”声音的强烈关注。它似乎在试图构建一个属于边缘群体的、独立于主流叙事之外的知识和审美体系。阅读其中一些长篇的特稿时，我总有一种在攀登一座由智识和洞察力构成的山峰的感觉，每读完一个段落，都会有拨云见日的顿悟感。这种深度的挖掘，使得这本书的阅读体验具有了强烈的“考古学”意味，它不仅仅记录了2006年上半年的文化景观，更像是为后来的观察者留下了一份解读那个特定时期的密码本。

这本刊物的编辑思路之跳脱，着实让人耳目一新，甚至可以说是有些令人困惑，但正是这种“跳脱”构成了它的核心魅力。它的内容组织逻辑，显然不是采用传统的“分类清晰”的模式，而是更偏向于一种意识流的编排。你可能前一页还在读一篇关于某种晦涩哲学思辨的摘译，下一页就紧跟着一篇风格迥异的、充满俚俗气息的生活随笔。这种毫无预警的风格切换，迫使读者的大脑必须时刻保持警觉，不断地调整“频道”。我欣赏这种对读者智力参与度的要求，它拒绝了被动接受，要求读者主动去寻找隐藏在这些看似不相关碎片之间的、那条看不见的“隐形线索”。这种挑战性的编排方式，使得每一次翻页都充满着期待，你永远不知道下一个出现的文本会以何种面貌出现，这极大地延长了阅读的新鲜感和趣味性。

如果用一个词来概括这本书留下的持久印象，那一定是“野心勃勃”。它明显不满足于做一个简单的季度回顾或潮流风向标，它的目标似乎更高远，更像是想在文化领域里竖立一座临时的灯塔。我能感受到其中蕴含着一种强烈的批判精神，但这种批判并非是那种简单的愤世嫉俗，而是一种基于深厚学养和审慎观察之上的、建设性的反思。它敢于探讨那些在主流媒体中被刻意回避的、略显沉重或晦涩的议题，并且将它们与日常生活的微观细节巧妙地结合起来，使得宏大的命题变得可触可感。这种将知识的深度与生活的温度相结合的尝试，让这本书具有了超越时间限制的耐读性，它更像是一份邀请函，邀请读者加入一场严肃且充满智性乐趣的对话，去共同探索彼时彼刻的复杂性。

特约撰稿人的语言风格呈现出一种极端的多元性，这本身就构成了一种令人赞叹的文学景观。我发现其中几位作者采用了近乎诗歌散文的句式，他们的文字充满了丰富的意象和复杂的隐喻，读起来需要反复咀嚼，如同品尝浓郁的红酒，层次感极强。然而，另一些文章，特别是那些涉及技术或社会观察的报道，则采用了近乎冷峻的、精确到毫厘的报告文学笔法，那种不带感情色彩的客观陈述，反而带来了更强大的震撼力。这种从极度主观的抒情到冷酷的纪实之间的剧烈跨越，显示出编辑团队对“声音”的极致品味和包容度。它不迎合单一的审美偏好，而是将所有具有独特张力的声音并置，让它们在同一空间内进行高频振动，最终形成一种复杂的、多维度的共振效果。

这本书的装帧设计，尤其是封面的处理方式，简直是艺术品级别的展示。那种粗粝的纸张触感，配合着精妙的排版布局，立刻就能感受到出版方在细节上的极致追求。内页的字体选择也十分考究，宋体的疏朗与无衬线字体的现代感交织在一起，阅读起来既有传统书卷的韵味，又不失现代杂志的轻盈。我特别留意了版心的留白，那种恰到好处的呼吸空间，让即便是密集的图文内容，也不会让人产生压迫感。这种对视觉美学的执着，让我在翻阅时，不仅仅是在“阅读”文字，更像是在进行一场精心编排的视觉漫步。这种对实体书体验的重视，在如今这个电子阅读盛行的时代，显得尤为珍贵和值得称赞。它成功地将一本看似是特定时间点的刊物，打造成了一件可以长久把玩的物件，这本身就说明了其内在价值的深厚性。