. . . publishing did not start yesterday, and this snapshot of the field failed to note some of the longstanding undercurrents and foundational battles that laid the groundwork for the moment described . . .
The NYSCA-funded New York State Technical Assistance Program [NYTAP] is a program administered by CLMP and supported by the New York State Council on the Arts Literature Program that provides assistance specifically to the magazines and presses of New York State.
Learn what leading editors and publishers have to say about what they’re looking for, how they choose to publish what they publish, and more about the current publishing landscape for Italian American writers today. This roundtable discussion will introduce participants to some of the major outlets for Italian American writers today.
Have you ever felt like the work-in-progress of billions of microorganisms?
When looking for a work to juxtapose with Edgar Allan Poe's Eureka, we sought something that walked the line between wonderment and existential crisis. Poe wrote about a universal one-ness and the fluctuation from it + back again, Stefanie Fishel writes from somewhere in the middle of that arc. In her analysis of human + international relations, guided by Walt Whitman, Fishel develops new vocabularies and seeks new metaphors (with a little help from the human microbiome) to understand the current state of the world with greater precision and more nuance.
... But, at the top, I wanted to focus on the corporatization of publishing as it highlights many of the key issues not only in publishing but also in our culture at large. Whether it be the aftermath of the 2008 financial collapse, the rise of the Occupy Wall Street movement, the austerity cuts moving across Europe, to the current US election season, we have reached a crossroads, a true point of reflection to understand the forces at work in our daily lives and the balance of powers between individuals, institutions, and corporations. ...
“In 1947, Max Bense refines the argument in postwar terms that would be especially important to the multilayered form of [essay] film by noting: ‘The essayist is a combiner, a tireless producer of configurations around a specific object ... Configuration is an epistemological arrangement which cannot be achieved through axiomatic deduction, but only through literary ars combinatoria, in which imagination replaces strict knowledge’ ...”