Legendary writer Gabriel García Márquez’s archive available online for free

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There are precious few writers who can claim to have influenced the course of literary history and literary criticism in the manner of legendary author Gabriel García Márquez. For aspiring and established writers and litterateurs alike, Márquez stands out as an idol for his role in helping to launch what became known as the “boom in Latin American literature”.

It is a rare gift indeed then, to learn that the entire archive of this most influential of authors has been made available for everyone to read online entirely for free. Especially when that author’s works were still under copyright.

But this is precisely what the University of Texas has done, after acquiring the  Colombian-born writer’s archives in 2015, a year after his death.

The archive includes manuscript drafts of published and unpublished works, research material, photographs, scrapbooks, correspondence, clippings, notebooks, screenplays, printed material, ephemera, and an audio recording of García Márquez’s acceptance speech for the Nobel Prize in Literature in 1982. It was bought by the University of Texas for US$2.2 million.

The searchable, online archive is comprised of almost 30,000 items, so it’s easy to get lost in there.

“Often estates take a restrictive view of their intellectual property, believing scholarly use threatens or diminishes commercial interests,” Steve Enniss, the director of the Harry Ransom Center, which digitized the archive, said. “We are grateful to Gabo’s family for unlocking his archive and recognizing this work as another form of service to his readers everywhere.”

Many researchers and academics have been pouring over the archive since it first became available in 2017, and have credited the University of Texas for making such a valuable resource available for free. Many expect that access to García Márquez’s archive, including his personal notes and marginalia, will help advance literary research and criticism.

But this is not just a resource to be enjoyed, used and appreciated by academics. One of the most incredible things about García Márquez’s writing is how accessible it is – as The Guardian noted in its obituary of Garcia Marquez, his most famous novel, 100 years of solitude “not only proved immediately accessible to readers everywhere, but has influenced writers of many nationalities, from Isabel Allende to Salman Rushdie”.

So, what are you waiting for? Get on over to the Harry Ransom Center and start exploring (and getting lost in) this incredible literary resource.

 

 

 

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Creatives in profile: interview with Ian Sansom

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Ian Sansom is the author of the popular Mobile Library Mystery Series. He is also a frequent contributor and critic for The Guardian, The Daily Telegraph, The London Review of Books, and The Spectator. He is a regular broadcaster on BBC Radio 3 and Radio 4.

Previously described by Alex Pryce as an author happy to make “mischief”, his latest book, December Stories I, is full of Sansom’s trademark humour – pulling together a rich collage of different lives lived over the month of December into something funny and sad, lovely and above all else utterly empathetic.

Nothing in the Rulebook caught up with Sansom to speak about his new book, his collaboration with the fantastic folk at No Alibis Press, and everything else in between.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

SANSOM

I am a small, round, bearded, middle-aged man. I live – as I have done for most of my adult life – in a remote corner of the UK which currently has no functioning government.

INTERVIEWER

Has writing always been your first love, or do you have another passion?

SANSOM

I don’t think ‘love’ or ‘passion’ are quite the words I would use. Flann O’Brien described writing as a form of vocational malfunction. For me that’s probably closer to the truth.

INTERVIEWER

Who inspires you?

SANSOM

In literary terms, I tend to admire writers who manage simply to keep going, despite all the odds. In personal terms, I have been blessed with many friends and colleagues who have been a great source of encouragement and inspiration.

INTERVIEWER

Who were your early teachers?

SANSOM

Alas, no pipe-lighting dominee lit my way.

INTERVIEWER

What does the term ‘writer’ mean to you?

SANSOM

A writer is someone who writes.

INTERVIEWER

Your latest book, December Stories I, exposes the idiosyncrasies and contradictions of human nature and relationships that the festive period brings to light. Of course, these contradictions are not unique to our species during only the month of December; but they do appear to be heightened. Why do you think that is?

SANSOM

In a word: proximity. The coming together of people – or the lack of coming together.

INTERVIEWER

Do you personally identify with any of the characters in the short pieces contained within December Stories I?

SANSOM

Madame Bovary, c’est moi. I’m everyone and no one.

INTERVIEWER

On a scale of Tiny Tim to Ebenezer Scrooge, where would you place yourself during the run up to Christmas and New Year?

SANSOM

Tiny Tim, if only for his plaintive cry, ‘God bless us, every one!’

INTERVIEWER

What research (if any) do you conduct before setting out on a new writing project?

SANSOM

Like most writers, I am incredibly lazy and try to avoid all research if at all possible. If it’s necessary, I will do what’s necessary.

INTERVIEWER

You collaborated with No Alibis Press to bring December Stories I to life. How important, for you, is the relationship between a writer and their publisher?

SANSOM

We depend on each other entirely. In another life, I’d maybe come back as a publisher, to see what the relationship is like from the other perspective.

INTERVIEWER

During a period of the year in which everyone is bombarded with messages urging them to consume more and more goods, food and services, it can feel harder and harder to take time out to read something that doesn’t make December out to be one long glorious month of consumerism. How important is it, do you think, for writers and creatives to try and step away from the background noise of advertising and product placement? And what would be on your Christmas reading list?

SANSOM

What is it that Walter Benjamin writes in ‘One-Way Street’: ‘What, in the end, makes advertisements so superior to criticism? Not what the moving neon sign says – but the fiery pool reflecting it in the asphalt.

The only book I read every year at Christmas is Delia Smith’s Christmas – it’s excellent.

INTERVIEWER

Do you feel any ethical responsibility as a writer?

SANSOM

It is clear that ethics cannot be put into words.

Ethics is transcendental.

(Ethics and aesthetics are one and the same.)

Lugwig Wittgenstein, Tractatus Logico-Philosophicus, trans. D.F. Pears and B. F. McGuiness (1961)

INTERVIEWER

You’ve previously asked whether paper can survive in the digital age. But in an age of e-readers and e-zines; do you ever feel that the traditional printed book may be at risk of disappearing? Or will they simply evolve?

SANSOM

Everything changes. Everything evolves.

INTERVIEWER

Seneca once wrote that the “reading of many authors and books of every sort may tend to make you discursive and unsteady.” And advised that “You must linger among a limited number of master thinkers, and digest their works, if you would derive ideas which shall win firm hold in your mind.” When you read, do you find it helpful to linger only among a select few authors – or do you think it better to read as widely and voraciously as possible?

SANSOM

Personally, I am omnivorous.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

SANSOM

This year I am publishing 3 books: a novel, a work of non-fiction, and a collection of short stories. Plus all of the usual para-literary activities.

INTERVIEWER

Could you write us a story in 6 words?

SANSOM

Six words was not nearly enough.

Get more Samson here: watch the video of the author reading an excerpt from his latest book, December Stories I.

A novelist’s guide to waiting

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The type of intensive, cloistered work of writers can lend itself to solitude. Sometimes, this can be accompanied by activity – such as running  – but it can also be just as much about stillness. In this article, author Tim Leach reflects upon the art of waiting; of embracing these moments of stillness to help aid your writing.

The art of the novelist is the art of waiting. Patience. Stillness. Not the lightning flash of inspiration, but in the waiting for the lightning.

Most of my writing time is spent waiting. Waiting before the half empty page, staring at one of the endless problems to be solved. A minute passes, another and another. Half an hour, perhaps even an hour since last a word was typed. A frightening boredom sets in and seeks to drive me from the chair, to do anything but keep still, hold on. Then a sudden flurry of fingers on the keys, the words springing to the page, the problem solved. And then the next problem, and once more, the waiting.

There is passion in this still, quiet patience. “Am I in love? –yes, since I am waiting,” says Roland Barthes. “The lover’s fatal identity is precisely this: I am the one who waits.” It can have the quality of trance or prayer. And there is courage in waiting too, for learn it well enough and you may outlast anything.

Outlast loneliness, for if one has mastered time what is there to fear from the absence of love? Wait out sadness, for the black waters always recede if you can be patient enough for the turning of the tide. And those other more murderous thoughts that circle the mind like jackals – they too must sleep, if you can stare them down for long enough. The hand that quests for the razor grows old and idle, the rattle of the pill bottle fades to silence, the eye that looks hungrily to high places and the third rail droops and grows heavy.

If writing has taught me anything, it is how to wait. It has been a year of hard waiting. I’ve waited with people and for people, waited out a draft of a book, waited out a madness too. Everything is begun and nothing is finished, much more is broken than is fixed.

But that does not matter. “In this there is no measuring with time, a year doesn’t matter, and ten years are nothing,” says Rilke, because poets know how to wait, too.

I hear the tick of the clock and the sound of the sea, and that particular silence in the concert hall before the pianist first lays their hands upon the keys. I am waiting.

About the author

Tim Leach

Tim Leach is a historical fiction author and creative writing teacher. His first novel, The Last King of Lydia, was published by Atlantic Books in Spring 2013, and has been longlisted for the Dylan Thomas Prize. A sequel, The King and the Slave‘, was published in 2014. His most recent novel, Smile of the Wolf  was published in 2018. He teaches creative writing at the University of Warwick, and he lives in Sheffield.

The best literary stocking fillers for Christmas

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Every year, shoppers in the UK and USA rush to gather as much “stuff” as they can to help fill Christmas stockings of all shapes and sizes. Even as we write this, we can almost hear the sound of frantic parents tearing up retail stores searching for Star Wars lightsaber BBQ tongs; “hilarious” inflatable zimmer frames; bizarre, whirling contraptions of plastic and electronic parts that last of all 30 seconds and then are thrown out as non-degradable landfill.

“But it’s Christmas!” We hear you cry. “It wouldn’t be Christmas without a Christmas stocking; it wouldn’t be Christmas without stocking fillers!”

On this, we are prepared to concede the point. It is, indeed, Christmas. And while the religious festival of mass consumerism seems to get longer every year, stockings – and stocking fillers – are inevitably a part of it. Rather than argue about this from our liberal ivory tower made of granola and quinoa – and, honestly, who wants to be a Scrooge about Christmas, really? – we’ve done our homework and put together a list of literary stocking fillers that are guaranteed not only to raise a smile on the faces of those you love; but will also not end up as landfill before the turkey (or watermelon ham, for our vegan friends) is even cold.

Check out our suggestions below:

1. December Stories

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Few books capture the myriad intertwined feelings of joy, anxiety and sometimes sweet melancholy or nostalgia than Ian Samson’s December Stories 1, the second book offering of Belfast-based independent publishers No Alibis Press.

Comprised of brilliant short stories, vignettes, axioms, the odd recipe (emphasis on ‘odd’), art criticism, meditations and literary curiosities relating to all things festive – there’s something for every day of the titular month.

The perfect antidote to the festive season.

2. Penguin little black classics

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127 little books to choose from (one more than last year, now they’ve added the United States Constitution to the list). Each around 60 pages long, these delightful paperbacks give you a wealth of options to explore. These extracts of wider classical literary works are sure to offer choices to meet all literary tastes. Authors include Karl Marx, Jane Austen, Jonathan Swift, Virginia Woolf, Friedrich Nietzsche, Plato, Caligula, Keats, Flaubert, Dostoevsky and Dickens. What’s not to love?

3. Future Library – buying a gift for the future generations

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The Future Library is a 100-year artwork. From 2014 until 2114, one writer every year will contribute a text, with the writings held in trust, unpublished for up to 100 years. Each writer has the same remit: to conceive and produce a work in the hopes of finding a receptive reader in an unknown future.

Margaret Atwood, David Mitchel, Elif Shafak and other world renown authors have already pledged manuscripts to the project. And, while your loved ones won’t be able to read them just yet, you can get a present that passes beyond the generations – a certificate that entitles the bearer to a copy of each of the books when they are finally published. It’s not cheap (at US$1000); but it’s certainly a stocking filler unlike any other – and one that won’t just be thrown away 30 seconds after opening.

4. Groundbreaking new fiction from Will Eaves

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Get your loved ones some cracking, daring new literature with one of three (or, indeed, all three) of these superb books from the author Will Eaves.

The Absent Therapist (TAT) saw Eaves shortlisted for the prestigious Goldsmith Prize, and you can see why. Technically described as a novel, this delightful little book will fit any stocking – but would also be a great find under the Christmas tree. A collection of mini-narratives, each with a precise tone and occasional touches of poetry, feature stories of artificial intelligence and musings on philosophy, of travel and adventure, and of course, family feuds – without which it simply wouldn’t be Christmas.

Cousin to TAT, The Inevitable Gift Shop, is similarly groundbreaking and unique (as we’ve noted before). Described as ‘a memoir by other means’, it’s not at all plot driven. Rather, this work of collage brings together bits and pieces of memoir, fictional prose, poetry, essay and non-fiction. Interactive, funny, insightful and thought provoking in equal turns, it’s a perfect book to revisit time and time again.

Meanwhile,  Eaves’s new novel, Murmur,  is a rare achievement in its own right. Formally audacious, daring in its intellectual inquiry and unwaveringly humane, it’s little surprise that the book once again saw Eaves nominated for the Goldsmith Prize. The opening section of Murmur was also shortlisted for the 2017 BBC National Short Story Award.

5. A subscription to an independent literary magazine

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There’s a lot of talk these days of buying the ones you love subscriptions to streaming services like Netflix or Spotify. But this year, why not support some independent creatives instead of lining the pockets of huge media corporations, while also bringing some literary delights to the doors of those you care about for the next year?

Purchasing a subscription (or three, or thirty) to a literary magazine (like The Brixton Review of Books, Litro, Tin House, The Emma Press,  the TSS or Oxford American, to name but a few) help readers around the world discover new writing. Not only are they a great way of getting cheap (sometimes almost free) reading material on the regular, you also get added cool-person points for supporting some right-on creatives.

6. This is the place to be

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Nominated for the Gordon Burn Prize, as well as the PEN Ackerley and the Bread & Roses awards, This is the place to be, by Lara Pawson, is one hell of a good read. Small enough to fit in your stocking, it still packs a massive punch in the proverbial “feels” as it moves with a delicate precision through personal anecdotes of the author, taking us from the market at Walthomstow to the harrowing experiences of war in Angola. There’s an immense honesty within this book that carries us through from start to finish – with each vignette or mini-story contained within it perfect for sharing together around a Christmas fire or over a large bottle of brandy.

(You can take our word for it, too – check out our review here)

7. We do Christmas

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From the minds of the creatives who brought you the supremely funny ‘We go to the gallery’ – which kick started an entire range of literary stocking fillers itself – comes the latest in their line of excellent ‘adult children’s books’; semi-funny spoof versions of the books we grew up reading as children.

Have a sneak peek inside their new book, ‘We Do Christmas’, below (and then buy it, of course).

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8. Tequila Mockingbird – cocktails with a literary twist

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Looking for something for the book lover and cocktail enthusiast in your life? This small (perfect stocking filler size, in fact) is an ideal companion to any literary party. Tequila Mockingbird is a witty collection of 65 different recipes includes classics like Love in the Time Of Kalhua, Vermouth the Bell Tolls and A Rum of One’s Own. Recipes are paired with wry (rye?) commentary, bar bite suggestions and drinking games.

9. Something special from the Folio Society

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Looking to hide a real genuine treat at the bottom of someone’s stocking? Then why not check out these extraordinarily beautiful books from The Folio Society’s Christmas selection, including this limited edition of Sherlock Holmes.

10. Literary gift sets

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Why just get someone a book, when you can also get them an entire Christmas gift set inspired by a classic literary novel? Why not check out the wonderful gifts from the Literary Emporium.

11. Who could forget the Christmas socks?

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It wouldn’t really be Christmas without some socks to open on Christmas morning. Add a literary twist to this year’s Christmas socks with these Fahrenheit 451 inspired designs from the Literary Gift Co.

James Frey scoops Bad Sex in Fiction award

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US author James Frey has been named the winner of the 2018 Bad Sex in Fiction Award for his novel Katerina.

The judges at the Literary Review said they had been swayed by several sex scenes in the novel, which include encounters in a car park and in the back of a taxi, but were especially convinced by an extended scene in a Paris bathroom between Jay and Katerina that features eight references to ejaculate.

We both move toward each other kissing deeply slowly heavily, lips and tongues, her hands are immediately in my pants, I lift her off the ground set her on the sink tear off her thong. She says now I ask her if she has a condom she says now, Jay, now. I step between her legs.

Move inside her.

She’s tight and wet, leans back against the mirror.

Forward.

Deeper inside her.

Forward.

Tight and wet.

She moans pulls my face to hers kisses me. I start moving inside her, slow hard and deep, her hands gripping the sides of the sink, my hands on her shoulders, we’re looking into each other’s eyes pale green and light brown like cocoa. Do you like my pussy, Jay?

[…]

I’m hard and deep inside her fucking her on the bathroom sink her tight little black dress still on her thong on the floor my pants at my knees our eyes locked, our hearts and souls and bodies locked.

Cum inside me.

Cum inside me.

Cum inside me.

Blinding breathless shaking overwhelming exploding white God I cum inside her my cock throbbing we’re both moaning eyes hearts souls bodies one.

One.

White.

God.

Cum.

Cum.

Cum.

I close my eyes let out my breath.

Cum.

Frey won the literary world’s most notorious booby prize after fighting off stiff (or should that be, swollen?) competition from an all-male shortlist, which also featured acclaimed author Haruki Murakami.

You can read extracts from the 2018 shortlist right here on Nothing in the Rulebook.

Responding to his win, the author said: “I am deeply honoured and humbled to receive this prestigious award. Kudos to all my distinguished fellow finalists – you have all provided me with many hours of enjoyable reading over the last year.”

In the past, other winners of the award have reacted with disdain for the Literary Review’s award. Some previous winners have even described receiving the dubious honour as “a repulsive horror”.

Organisers say the purpose of the prize is “to draw attention to poorly written, perfunctory or redundant passages of sexual description in modern fiction”.

Read extracts of all the winning authors of the Bad Sex in Fiction award since 1993

Recent winners include Morrissey’s debut novel List of the Lost, which has become infamous for its use of the phrase “bulbous salutation”. Last year the award went to American writer Christopher Bollen for his novel The Destroyers.

Literary titan Haruki Murakami among all-male shortlist for 2018 Bad Sex in Fiction award

Nominations are in as the Literary Review prepares to announce the winner of the notorious ‘Bad Sex in Fiction’ prize, which aims to draw attention to poorly written, perfunctory or redundant passages of sexual description in modern fiction.

Big-name authors James Frey and Haruki Murakami have made this year’s all male shortlist, which also includes Irish novelist Julian Gough for a passage in his novel Connect, spoof autobiography Scoundrels by “Major Victor Cornwall and Major Arthur St John Trevelyan”, Kismet by Luke Tredget, Grace’s Day by William Wall and The Paper Lovers by Gerard Woodward.

Murakami is usually found among the contenders for the Nobel prize in Literature and other prestigious literary accolades; yet in many ways, perhaps his nomination for the Bad Sex in Fiction award is his finest achievement.

Murakami was nominated for an extract of his novel Killing Commendatore, which reads:

“My ejaculation was violent, and repeated. Again and again, semen poured from me, overflowing her vagina, turning the sheets sticky. There was nothing I could do to make it stop. If it continued, I worried, I would be completely emptied out. Yuzu slept deeply through it all without making a sound, her breathing even. Her sex, though, had contracted around mine, and would not let go. As if it had an unshakeable will of its own and was determined to wring every last drop from my body.”

Read extracts of all the passages that earned this year’s nominated authors a place on the Bad Sex Award shortlist here

The prize is not intended to cover pornographic or expressly erotic literature. The winner of this year’s award will join a long line of illustrious authors – or not so illustrious, in the case of 2015’s winner, Morrissey – to have picked up the booby prize (pun intended, of course), which stretches back to 1993.

American author Christopher Bollen scooped the 2017 prize for his novel The Destroyers

You can read extracts from all the Bad Sex in Fiction Award-winning books in our connoisseur’s compendium.

For more information about the award, visit the Literary Review website.

Nothing in the Rulebook will continue to monitor all updates relating to the Bad Sex in Fiction Awards with (possibly too much) interest.

Bad Sex in Fiction: extracts from the 2018 shortlist

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What’s that sound you hear, drifting through the air? Could it be the sound of spasming muscles, grunts and groans, salacious sighs? You’re almost there – that’s right; its one of the greatest times of the literary year – the annual Bad Sex in Fiction award, which has just released its shortlist of nominated entries.

If you’re a fan of the often surreal world of bad sex in fiction – a landscape of low-cal genetics, bulbous salutations and general limb-flying raunchy madness, then you’re in for a treat.

All eyes are now on the judges at The Literary Review, which founded the award, to see who will be crowned this year’s winner – and whose name will be added to our long-running connoisseur’s compendium.

We’ve listed the full set of shortlisted authors below, along with their literary extracts. Enjoy!

“Overwhelming exploding white god” – Katerina by James Frey

We both move toward each other kissing deeply slowly heavily, lips and tongues, her hands are immediately in my pants, I lift her off the ground set her on the sink tear off her thong. She says now I ask her if she has a condom she says now, Jay, now. I step between her legs.

Move inside her.

She’s tight and wet, leans back against the mirror.

Forward.

Deeper inside her.

Forward.

Tight and wet.

She moans pulls my face to hers kisses me. I start moving inside her, slow hard and deep, her hands gripping the sides of the sink, my hands on her shoulders, we’re looking into each other’s eyes pale green and light brown like cocoa. Do you like my pussy, Jay?

[…]

I’m hard and deep inside her fucking her on the bathroom sink her tight little black dress still on her thong on the floor my pants at my knees our eyes locked, our hearts and souls and bodies locked.

Cum inside me.

Cum inside me.

Cum inside me.

Blinding breathless shaking overwhelming exploding white God I cum inside her my cock throbbing we’re both moaning eyes hearts souls bodies one.

One.

White.

God.

Cum.

Cum.

Cum.

I close my eyes let out my breath.

Cum.

“Nipples as hard as cherry pits” – Killing Commendatore by Haruki Murakami

Quietly, so as not to wake Yuzu, I descended from the ceiling to stand at the foot of the bed. I was sexually aroused, powerfully so. I hadn’t made love to her for ages. Bit by bit, I peeled back the quilt covering her. She was fast asleep (had she taken a sleeping pill before retiring?) and showed no signs of waking up, even when I removed the quilt. She never even twitched. This made me more daring. Taking my time, I slipped off her pajama bottoms, then her panties. Her pajamas were a pale blue, her tiny cotton panties pure white. Still she did not wake. There was no resistance, no sound.

I gently parted her legs and caressed her vagina with my finger. It was warm and wet, and opened to my touch. As if it had been waiting for me. I couldn’t stand it any longer – I slipped my erect penis inside. Or, from another angle, that part of her actively swallowed my penis, immersing it in what felt like warm butter. Yuzu did not open her eyes, but she sighed and let out a small moan. As if she had been impatient for this to happen. Her nipples were as hard as cherry pits when I touched them.

[…]

My ejaculation was violent, and repeated. Again and again, semen poured from me, overflowing her vagina, turning the sheets sticky. There was nothing I could do to make it stop. If it continued, I worried, I would be completely emptied out. Yuzu slept deeply through it all without making a sound, her breathing even. Her sex, though, had contracted around mine, and would not let go. As if it had an unshakeable will of its own and was determined to wring every last drop from my body.

“Penile penitentiary” – Scoundrels: The Hunt for Hansclapp by Major Victor Cornwall and Major Arthur St John Trevelyan

There was no other woman like Fang. The urge was too great to withstand any longer. So we yielded. Two atoms smashing together in a thermonuclear embrace. As she unshackled my angry, straining shaft, desperate to be free from its penile penitentiary, it felt as if the very fabric of the universe was being torn asunder.

[…]

“Empty my tanks,” I’d begged breathlessly, as once more she began drawing me deep inside her pleasure cave. Her vaginal ratchet moved in concertina-like waves, slowly chugging my organ as a boa constrictor swallows its prey. Soon I was locked in, balls deep, ready to be ground down by the enamelled pepper mill within her.

‘The stiffening shaft” – Connect by Julian Gough

They remove each other’s remaining clothes, solemnly, with tremendous attention to each other’s responses, like a ritual of incredible power and importance. When his jeans get caught, bunched, on an ankle, he laughs with nervous tension, mixed with pleasure, that they are really doing this. She smiles back.

They will protect each other.

He closes his eyes and they roll over sideways on the bed, and they kiss for a long, long time.

And then Colt moves lower, and explores Sasha with his fingers, with his lips and tongue. He moves his face over the hill of a breast; descends, kissing, across the warm curved dune of her belly, which tightens, trembles at each kiss, little earthquakes.

Down, now, between her legs, into that complicated valley, everything vivid, astonishing, new.

Yes, it’s like orbiting another planet, landing, exploring…

Wow, wow, wow… no, it’s like a rosebud…

She helps him explore.

Oh man, it opens like a rose…

After a long, long time, she pulls him back up, and he wipes his mouth on the sheet, and they kiss again.

She licks her hand, and reaches down. His penis leaps at her touch as she wets its head, and slides her warm, wet palm up and down the stiffening shaft.

[…]

As she helps guide him inside her, he feels both the specific local sensation of his penis sliding inside her vagina, and also the overwhelming sensation throughout his whole body that some barrier surrounding him, isolating him all his life, has finally been removed and he is, for the first time, coming into contact with everything outside himself.

He holds her tight, and Sasha holds him, and he can no longer feel where he ends, and she begins.

“Smeared with wet paint” – Kismet by Luke Tredget

She shuffles her head closer to his cock, close enough to smell her own residue, and then takes it in her mouth, with the vague idea of cleaning it. Geoff mirrors this gesture by burying his head between her legs, and gradually she can feel his cock pumping up with blood, one pulse at a time, until it is long and hard and filling her wide-open mouth. They stay in this position for a long time, Anna sucking and slurping with the same lazy persistence you’d use on a gobstopper or a stick of rock. Eventually she loses her sense of the context altogether – of what she is doing or who she is with or where they are – and becomes an empty vessel for what feels like disembodied consciousness. She looks at the window and wonders how the glass feels encased within its wooden frame, what the shaggy clouds feel like being blown across the sky, what the walls felt like being splattered and smeared with wet paint.

[…]

Amazingly, having floated as separate as planets for twenty or thirty minutes, they come at exactly the same time.

“Small and sticky and amusing” – Grace’s Day by William Wall

He’s almost weightless. When he enters me it hurts and my pain belongs to the subterranean world, primitive as the clay. His body is slacker than I expected, a small paunch begins at his waist and settles in a downward parabola to his groin. His pubic hair is red. His erect penis is a surprise although I had imagined what they would feel like, read about them, seen them represented on toilet walls and magazines. I didn’t see it before he entered me, but afterwards it is small and sticky and amusing. I want to touch it but I don’t dare. I don’t know the etiquette. He is twenty or more years older than me. This is sex.

[…]

I lie there with my legs spread, my shirt pulled down awkwardly. The old bag of tools is beside my head. I can almost sense the numinous reality of the ammonite. I’m sore but not as much as I had imagined. I’ve been learning things from magazines, though they haven’t prepared me for the fullness, the experience of being ridden, of his final explosive stop. The terror is pleasure. There isn’t enough of it. I want it again.

“Miraculously he found himself rigid again” – The Paper Lovers by Gerard Woodward

He was aware that she was making a mewling sound as he put his lips to her tightened nipple and sucked. Her mouth was at his ear, her tongue travelling along its grooves, voice filling it. His mouth tugged at her, extended her, she snapped back, there was a taste of something on his tongue. In his mind he pictured her neck, her long neck, her swan’s neck, her Alice in Wonderland neck coiling like a serpent, like a serpent, coiling down on him. She had found a way through his clothing and her fingers had lightly touched his cock, then slowly began to take a firmer hold. He wanted to cry like a baby. He felt helpless, as though his body had come undone and she was fastening it. He felt as though he was bleeding somewhere. Then he felt powerful, gigantic. He would have kicked a door down.

[…]

Vera rose above him, naked now, but for the necklace, she straddled him, though he was soft and helpless, indeed he was in a certain amount of mild pain. Her breasts moved in front of his face and he felt the befuddled sense of being stared at by them, they were still shiny from where he’d sucked. She knocked them playfully against his nose, one after the other. Beneath them her wetness met his own wetness, and they stirred against each other, she pestled him slowly, until miraculously he found himself rigid again, as though he had risen out of his own pain, fresh and ready.

Open for submissions – where to submit your writing

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You there, writers! Wordsmiths and expression explorers! We can see you, hunched over your laptops, feverishly searching the annals of the internet for places to submit your work. You’ve done the hard part; you’ve spilled your soul on the page, edited and re-edited, torn apart, rejigged, stitched back together, you’ve gone round the houses entreating on friends and relatives and bemused bystanders to please have a quick look at the story you’ve written and – finally! – it’s finished. All you need now is a home for your writing that isn’t your cluttered desktop.

First, the good news: there are literally thousands upon thousands of places where you can submit your work.

Now, the not so good news: there are literally thousands upon thousands of places where you can submit your work. How do you know which one’s for you? And how can you possibly have time to go through them all?

Back to some good news: inspired by @coffeeandpaneer’s helpful Twitter thread, below you can find a not-exhaustive-but-still-actually-pretty-extensive list of places that are open for submissions (and the even better news is that these places don’t have deadlines for you to worry about missing).

So, in addition to our writing competitions lists, and our list of places to submit flash fiction, we are thoroughly chuffed to bring you this valuable writing resource you can use to get your writing into the right places.

The list*

After the pause: A small independent press and experimental journal of poetry, flash fiction, and art; always accepting submissions. Max 1000 words.

Blanket Sea: Take poetry, art, and creative fiction and fiction up to 2000 words from writers and artists living with chronic illness and disability, and also take previously published pieces.

Brixton Review of Books: Fantastic literary magazine based in South London, styled after other great titles including the Paris Review and London Review of Books. Email direct to find out more information about contributing.

Cabinet of Heed: The Cabinet is hungry for submissions of fiction no longer than 4000 words. You can prevent a terrifying furniture-based rampage by feeding it quirky, off-centre fiction or poetry that might astound and inspire! Please note: All well-crafted work will be considered, quirky or not.

Cotton Xenomorph: Flash fiction up to 1500 words and 2 pages of poetry. Into inspiring language. No creeps allowed.

Ellipsis zine: Flash fiction up to 1000 words. Want to publish stories that make us forget where we are, stories that introduce us to people, places and things we’ve never seen before and stories that stick with us long after we leave them.

For Books Sake: Accept stories between 2000-6000 from self-identifying women for their weekend read.

Jellyfish Review: Take flash and creative non fiction up to 1000 words, and essays up to 2000. Team behind this awesome project also get back to you very quickly (and their non-acceptances are extremely helpful, too).

Laurel Magazine: Take poetry, flash fiction, art, photos and short stories up to 6000 words.

Ghost parachute: Submissions of flash fiction up to 1000 words. Seeks to publish writing that is unapologetically bold.

Mojave Heart: Online literary/arts journal based in the Mojave Desert: poetry, fiction, creative nonfiction, memoir, art, photography. Up to 3000 words.

Monkey Bicycle: Submissions up to 2000 words. They are open to all genres, as long as there is a strong story and a great narrative. If you have experimental work you’d like to send, they’ll consider that as well.

Moonchild Magazine: Various word limits depending on genre and style. MM is an experiential online journal that publishes dreamy visual art, poetry, translations of poetry, flash fiction, mixtapes, collaborations between writers and artists, and more.

Moonpark Review: Quarterly journal of short prose (750 words max).

Long long journal: Submission guidelines vary. Generally publish poetry and fiction.

The Nasiona: Nonfiction literary magazine, publishing narrative-led work that explores the human condition. Max length 6000 words.

Nothing in the Rulebook: We couldn’t very well not include ourselves here now, could we? We strive to support and publish all new and creative ideas across genres and forms. We’d publish a 10,000 word treatise on the artistic merit of ankle socks if it’s written well and with passion and truth and wit. Also publish non-fiction, short stories, poetry, photography, illustration, cartoons, interviews, book reviews. Get involved!

Open Pen: London magazine seeking fiction between 50-4000 words. After short fiction with something to say.

Pendora Mag: Cool magazine. Takes flash up to 500 words, poetry, short fiction, essays and non-fiction.

Pigeonholes: Seeks your literary, speculative, experimental, or absurdly unclassifiable, just make it bold and beautiful. Word limit for fiction is 1000 words.

Porridge: Max word limit is 4000. Keen interest in academic essays, alongside photography, poetry, flash fiction, short stories, excerpts from novels, original artwork, and other visual media.

Platypus Press: An indie publisher of poetry, fiction and non-fiction. Short stories between 5000 – 25,000 words.

Rabid Oak: Online journal of poetry and flash fiction & nonfiction, max 1000 words.

Riggwelter Press: Riggwelter is open to submissions of poetry, short fiction, visual art (of any kind – photography, collage, traditional art etc.) experimental/mixed media, essays and reviews.

The Selkie: These fine folk aim to support and nurture voices from marginalised backgrounds by welcoming submissions and promoting the work of underrepresented writers and artists. Flash fiction and short stories. Up to 4000 words.

StorgyOnline Arts & Entertainment Magazine for those who love short stories, books and movies. Looking for literary short fiction, particularly short stories which challenge literary conventions and experiment with genre, style, form and content. Also looking for essays, reviews and articles. Max words – 5000.

 

*Want to see your magazine, journal or website here? Get in touch and let us know!

Creatives in profile – interview with Laura Potts

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Follow Laura Potts on Twitter @thelauratheory_ 

Laura Potts is twenty-two years old and lives in West Yorkshire. Twice-recipient of The Foyle Young Poets Award, her work has been published by Agenda, Aesthetica and The Poetry Business. Having worked at The Dylan Thomas Birthplace in Swansea, she was nominated for The Pushcart Prize and became one of the BBC’s New Voices last year. Laura’s first BBC radio drama aired at Christmas, and she received a commendation from The Poetry Society in 2018.

In the following interview, we talk with Laura about creativity and inspiration, writing style and poetry, West Yorkshire, Donald Trump, Joan Crawford and hats.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

POTTS

Laura, 22. Writes much; reads more. Lives in a city that has been largely lost ever since last century coughed and dropped a war (or two). Born in Yorkshire. Bred on books which always took me further. Fond of rain and winter, the solitary nights and the comfort of the dark. Alone but never lonely and content to be that way. Poet and writer of radio plays. Terminal wearer of hats.

INTERVIEWER

Is poetry your first love, or do you have another passion?

POTTS

I have always looked at living like this: life is one great passion, too vast to reduce to the four short lines I just wrote above. My life is many loves. I have never set out to chase just one of them. That would be to exist and not to live. The darkest days and the longest nights; the quiet of a sleeping house; the kindness of another; the seasons, always leaving; anger and its blackness; fire and its warmth; the world unfurling in the hands of ministers and mobs, and all before me. These are just a few of my loves and poetry is their legacy. It has never been art for art’s sake; never poetry for poetry. It is always in the service of my own private chaos that a poem, as the very best medium, comes to be.

INTERVIEWER

Who inspires you?

POTTS

Assuming we’re talking poetry, then quite a few haunt me. There’s Dylan Thomas, whose music is truer to ancient verse than winds are to winter; Leonard Cohen, with all the darkness of his heart; John Foggin for landscapes amorphous and Saxon; Clare Pollard for the humour of youth; Peter Riley for Hushings; Ian Parks for desire; Jade Cuttle for what she gives us back; the grace of Phoebe Stuckes; and Sasha Dugdale to the last, whose Joy has stayed with me.

And if we’re not talking poetry, then Joan Crawford. I like her class and taste in hats.

INTERVIEWER

As a Yorkshire-born poet, do you feel that there’s an element of your place of birth and home town in the poems you write? Or do you seek to separate your personal writing from your personal geography? (Is that even possible?)

POTTS

It was Matthew Arnold back in the nineteenth century who famously wrote that the best work comes from the disinterested mind – that is, from those who actively separate themselves from the bright world around them – and I’ve always believed that that ethos should stay firmly in the Victorian era. I disagree with the social ignorance it promotes, nor do I think it is even possible. Such a person would surely be devoid of language and its histories; of human contact and sexual impulse; of feeling altogether? Each poem, whether consciously or not, is the code of my history; each word is the product of past and present. I’ve never thought art can exist in a vacuum. Only a cypher could make that.

INTERVIEWER

Your poetry series Sweet the Mourning Dew for BBC Radio 3 focuses on the experiences of those individuals who have lost loved ones to war. What drew you to this topic?

POTTS

My grandfather, mainly. He was an old war veteran and fiercely proud of the fact. He mimed the memory of war each day in a rigid routine; in a noble walk; even in his Brylcreem slicks and the same old comb from 1940 before the morning mirror. Most of all, he wanted to write his memoirs before the cancer came. In that alone he knew defeat. Sweet The Mourning Dew was my testament to a man who was proud of himself, and who wanted the lost to live on from the page past his own small place in time. It was never a passive claim on the tales that others have to tell. It was simply fulfilling a promise.

INTERVIEWER

How do you view the connection between poetry as performance and poetry as a solitary, personal act of reading poems upon a page?

POTTS

I have always believed that a poem can have many lives. Its life on the page is different to its life on the stage, but both are integral to its existence. It is true to the ancient roots of verse that it should be read and shared aloud; that its metre and music should be known to the ear as well as the eye. I am, however, distrustful of poetry as performativity: is emotion so scripted, so fabricated, so brief? And I am nervous of those who shout too loudly: in the most literal sense, in the beginning is the word and no end of spitting or swearing on stage will ever beat that. That is just a sad failure of the imagination.

INTERVIEWER

As a young ‘Gen Z’ poet who has come of age during years marked by the Iraq war; the global financial crisis and recently years of Brexit and Donald Trump, what is your take on the world around you? How can you use poetry to connect with the world as is?

POTTS

Quite frankly, I think the world is creeping dangerously close to repeating those centuries of war and hatred it said it would leave behind. It makes a mockery of those who died for the sake of democracy; for gender and racial equality; for decency; for rights. It laughs in the face of all those who tried and believed in peace. And all for a headline in the New York Times come morning or, better, a few more followers online. I’ve always thought poets are the quiet scribes of history. Like confessional voices to the past, they can speak with a passion which the history page never will.

INTERVIEWER

What has your personal experience been of trying to break onto the ‘poetry scene’?

POTTS

Well, I never tried to ‘break onto’ it as such. I read and wrote and wrote and read, and found the joy in that alone. I never had a formal plan to stand on stage and tell the world that I, self-titled, am ‘a poet’. It was never as scripted as that. But talent alone will always out, or that is what I’m content to think. And it is mainly due to the kindness of friends – of fellow writers, fellow thinkers – who listened and spoke well of me that others hear my voice today.

INTERVIEWER

In terms of writing poetry, what do you think is most important to keep in mind when writing your initial drafts?

POTTS

Most of all, I’d say that time should be forgotten. Little will come from a hurried mind, and what does is often stillborn. It’s a gift to hold a finished verse but only when it’s right: more joy comes from a well-worked line than a whole verse with no life. Or that’s my belief at least. I can easily spend a week or more just looking at one line. It’s really a very kind process for the mind to let time alone be the catalyst: the thoughts may be intense, yes; but I give them all the open space to grow and romp and play for months, if they need it. It’s a crucial part of my writing style to let the words live with me for hours, or days, or even weeks. If they haven’t settled in by then, I know they’re not to be.

INTERVIEWER

Do you have a specific ‘reader’ or audience in mind when you write?

POTTS

Yes. Excepting the times when I write for commission and must fulfil criteria, I am the audience I write for. The joy has always been in seeing myself reflected back from the page, and never for the approval of anyone else. If there is a time when that should change, I will put down my pen for good.

INTERVIEWER

How would you define creativity?

POTTS

An expressive quality by which the mind can translate imagination into reality.

INTERVIEWER

What does the term ‘poet’ mean to you?

POTTS

That’s a much-contended one! I’ve always tried to reserve that title for a rather select group: that is, for those to whom writing is the defining constant of their lives. Perhaps it is their living; perhaps they’ve been well-published; perhaps they did a whole lot more than stand behind a microphone that one time in the pub. Otherwise, I’ll just go chop myself some wood and call myself a craftsman. No, that will never be enough. I think of it like this alone: if you want to align yourself with those who could, with confidence, call themselves ‘the poets’ in the epic annals of Literature, you have to do much more than that. You must be worthy of the name before you make the claim.

INTERVIEWER

Since Percy Bysshe Shelley penned the Masque of Anarchy, poetry has been used by writers and artists as a means of revolt against the status quo and to champion causes, giving voices to those who perhaps would not otherwise be heard. What are your thoughts on poetry as protest?

POTTS

I have always believed there is something intrinsically restless to poetry: in its formlessness, its shapelessness and its lack of formal laws, there is a freedom unfound in prose. Unlike most other areas of our lives, rules do not exist. And so the union between poetry and politics is a natural one in which the chaos of the latter can find its freedom. And, of course, it always helps that rhyme makes particularly memorable music.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

POTTS

Really, I’m happy enough just to write when I wish and read to widen my mind. But the next natural step is the first collection for which I have a manuscript; for which the time must be right and I must be ready. Other than that, I’m in the early stage of a full-length play for BBC Radio 4 and I’d like to write for the stage someday. But the plan is to be how I’ve always been and just write for the love alone. So we’ll see. When not writing I am reading, and that will be enough.

INTERVIEWER

Could you give your top 5 tips for writers?

POTTS

  • Always have an accessible medium. Notebook, diary, tablet, phone. The back of your hand will do. Just make sure your mind never meets a barricade.
  • The best writers are the best readers. You’ll find your voice by listening to others and gauging your own place in the annals of literature.
  • Read your work aloud. At its ancient roots, poetry was an oral art form often set to music. By reading aloud you’ll remember its heritage and notice its flaws. A poem has a different life on the page to its life in the mouth, and it’s easy to know when a writer does not read aloud: their rhythm could be markedly better.
  • Be kind to yourself. Writer’s block is a terrible friend but one we must endure. Take your time. Sometimes the mind works best when at rest.
  • The only regrets you’ll have are for the times you didn’t try. So why not send that submission today?

Shallow Creek and the crowdfunding paddle

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The literary creatives behind STORGY, who publish and promote new literature across genres and classifications, are crowdfunding an anthology of speculative and horror fiction dedicated to all things that go bump in the night.

Shallow Creek is an anthology of new horror stories, strange and speculative fiction with a sting in its barbed tail, edited by Tomek Dzido. It collects together 18 brand new unsettling stories from new and emerging writers that draw upon the ethereal landscape of quiet towns just short of the outskirts of infinity for inspiration. Some of the stories within this tome explore the realms of the supernatural, whilst others are firmly rooted in gritty realism, but they all engage the reader with terror in abundance.

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Tales of the macabre

A spokesperson for STORGY explained what makes this literary creation unique among horror anthologies:

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“Think The Twilight ZoneTales of The Unexpected, Castle Rock and Creepshow all rolled into one. What makes Shallow Creek unique? Authors were all summoned to the town via our short story competition and given a character, location and item to create tenebrous and twisted tale to disturb your thoughts and tickle your ankles from underneath the duvet at night. You will most probably when reading the anthology find stories where certain characters in one story may pop up in others, which was our original aim when creating the competition, to construct an interwoven tale told by many authors – you may also read a yarn that will shake the very core of your being…

The quiet town of Shallow Creek has a long history of ghost stories and tales of the macabre. Every few generations this strangeness crawls out from the dark places of the quaint settlement’s imagination, seeping into our own reality. We are living through uncertain times now. Let the Creek lure you quietly to the safe place…”

Kickstarting a new anthology 

STORGY are looking for £3,500 to help cover the cost of printing the book. They are offering backers a number of Kickstarter exclusives, including T-shirts, bespoke-made bookmarks from illustrator Amie Dearlove and a chance to have your name in the book as part of the amazing community that supports indie publishing – whilst also the opportunity to have a location on our town map named after yourself.

Nothing in the Rulebook’s Professor Wu said of the project:

“As a (generally) cold-blooded amphibian without eyelids, I’m a fan of anything that includes a touch of cold-blooded murder and makes you sleep with at least one eye open.

This latest endeavour from STORGY once again strives to give a voice to new and emerging writing talent – something that cannot happen enough.

We exist at a time when the mainstream publishing industry seems to insist only on publishing novels of novels that are copies of commercially successful novels. This model not only denies opportunities to aspiring creatives; but also denies readers with the opportunity to discover new literary voices. I’d strongly encourage all of our readers to get involved in the crowdfunding campaign and support the project – either by purchasing a perk bundle or spreading the word to those you know.”

Get involved 

You can contribute to the Shallow Creek Kickstarter online –  while aspiring writers can also submit their work to STORGY directly, too. 

The crowdfunding trend

Authors, publishers and literary journals are all finding new ways of connecting directly to their readers – and their wallets – on online platforms such as Kickstarter. Think The 8th Emotion, a unique speculative fiction project by Josh Spiller (read our interview with Josh about the project here on NITRB). Why not check out this excellent article by writer and editor Dan Coxon, who examines how the social financing model can bring new book ideas to life.