tag:blogger.com,1999:blog-196319032024-03-12T21:18:26.639-05:00Wyatt BonikowskiWyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-19631903.post-46650060470046870152023-01-25T11:00:00.001-05:002023-01-25T11:00:45.561-05:00Happy New Year: Updates 2023<p> I have been very bad about keeping up this blog. Today, though, a new flash fiction has been published in the journal <i>HAD</i>: <a href="https://www.havehashad.com/hadposts/broken-record">"Broken Record."</a> It is my first fiction publication in nearly three years. Many thanks to Aaron Burch for publishing it!</p><p>I've also added a few new links on the sidebars: </p><p></p><ul style="text-align: left;"><li>"Broken Record," of course, added to the list of online fiction.</li><li>A link to Kristopher Woofter's edited collection, <i>Shirley Jackson: A Companion</i>, which includes my essay, "Elizabeth and Elizabeth: The Secret of the Mother's Desire in <i>The Bird's Nest</i>." The collection was nominated for a <a href="https://www.thebramstokerawards.com/news/4491/">2021 Bram Stoker Award</a> in the category "Superior Achievement in Non-Fiction."</li><li>A link to a recorded panel on <i>Shirley Jackson: A Companion</i> I participated in for the 2021 inaugural symposium, <a href="https://shirleyjackson21stcentury.wordpress.com/">"Reading Shirley Jackson in the 21st Century,"</a> organized by Bernice Murphy, Dara Downey, and Janice Deitner of Trinity College Dublin, and featuring editor Kristopher Woofter and fellow contributors Patrycja Antoszek and Emily Banks.</li></ul><p></p>Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-35105581106466443042021-02-20T10:24:00.002-05:002021-02-20T10:24:32.317-05:00New Updates<p> I've added links to recent work published since the last update. Check out the sidebars on the right for the following:</p><p></p><ul style="text-align: left;"><li>New articles: one on teaching shell shock and narrative in First World War British fiction and another on literary adaptations of the Grimms' fairy tale "The Juniper Tree" by Peter Straub, Barbara Comyns, and others.</li><li>New fiction online and in print in the journals <i>Lake Effect</i>, <i>Coffin Bell</i>, and <i>Wigleaf</i>.</li></ul>Forthcoming is an essay in an edited collection on Shirley Jackson coming later this year from Peter Lang. The essay is on the problem of the mother's desire in Jackson's novel <i>The Bird's Nest</i>.<p></p>Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-38143865896056883852017-12-04T22:19:00.002-05:002017-12-04T22:32:57.709-05:00"The Strawberry Festival" in OcculumMy new flash fiction <a href="https://occulum.net/2017/11/30/the-strawberry-festival-by-wyatt-bonikowski/" target="_blank">"The Strawberry Festival" </a>is in <a href="https://occulum.net/2-two/" target="_blank">Issue 2 of <i>Occulum</i></a>. I love the aesthetic of this journal. Editor <a href="https://arielletipa.com/" target="_blank">Arielle Tipa</a> has gathered a dark constellation of writers around her with these first two issues, and I'm happy to be a small part of it. Here are the first few lines from the story:<br />
<br />
<blockquote class="tr_bq">
It was red through and through. I reached
my hand deep in the inner leaves. An ant crawled across my knuckles
dragging a broken leg. I tried to help by pulling the leg off, but I
broke the ant in half and its two pieces went round and round trying to
find each other. Red ones are the sweetest. This one was a little soft
in the middle and the sweet was almost rot. I fed a piece to the dead
ant.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-42941945171804645992017-04-02T21:47:00.000-05:002017-04-02T21:47:16.652-05:00"Teenage Boy in Polaroids" in New World WritingMy short story, <a href="http://newworldwriting.net/wyatt-bonikowski-teenage-boy-in-polaroids/" target="_blank">"Teenage Boy in Polaroids,"</a> is live at <a href="http://newworldwriting.net/" target="_blank"><i>New World Writing</i></a>. A big thank you to Kim Chinquee for accepting this piece. I'm happy to be in the company of many writers I admire and a lot of excellent work at this magazine.<br />
<br />
Here's the opening paragraph:<br />
<br />
<blockquote class="tr_bq">
<div>
The teenage boy drove a black Trans Am with
an eagle on the hood. He was friends with my babysitter Rita and her
friends, and she would invite them over to drink beers and blast David
Bowie and T. Rex on my dad’s stereo system. One night the girls raided
my parents’ bedroom and dressed me in a wig and a glamorous old gown and
painted my face with lipstick and rouge. The teenage boy had long brown
hair just like the wig I wore. “Look at us with our lovely locks,” he
said, shaking his curls. The girls took Polaroids to show my mom, and
the pictures bloomed on the little black squares like oil on rain.</div>
</blockquote>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-26992127813576352432016-08-30T22:35:00.003-05:002016-08-30T22:43:06.591-05:00"Science Project" in Atticus ReviewBecause of summer traveling and, now, the beginning of the semester, I neglected to post that my flash fiction <a href="http://atticusreview.org/science-project/" target="_blank">"Science Project"</a> was published in <i>Atticus Review</i> on August 15. Many thanks to Michelle Ross and the team at <i>Atticus</i>.
The story began as an exercise written in class during one of the fiction workshops I was teaching a few years ago. (I like to do the exercises I assign along with my students.) I toyed with it a bit. I might even have submitted it to one or two places. But then I put it away, intending to work on it at some later point, and forgot about it. Recently, going back through some old work, I found it and went through it again, sentence by sentence, sharpening the language and strengthening the father-son relationship between the scientist and the boy. It's a satisfying feeling to reclaim and improve old work. I hope you enjoy it.<br />
<br />
<br /><div class="separator" style="clear: both; text-align: center;">
</div>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-31829135866740392612016-06-26T17:56:00.001-05:002016-06-26T17:59:28.089-05:00The Voices of the Dead and the Voices of the Living<!--[if gte mso 9]><xml>
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The University of Amsterdam, it turns out, is pretty tricky
to find for someone like me who had never been to Amsterdam before and has poor
spatial and directional sense. Fortunately, I found a group of fellow conference
attendees and together we managed to find our way through a tunnel and into a
courtyard that led to the main building where the conference was being held. It
was here I took a picture of the outer wall of the tunnel that houses the
Oudemanhuispoort book stalls:</div>
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I took the picture because I liked the Banksy-style stencil
art and the chance element of the weed growing in such a way that it looks like
the woman is peering from behind it, as if hiding. But I'm also glad I included
the engraved stone plaque on the wall:</div>
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<span style="font-family: "" serif "" , "serif";"></span><span style="font-family: "" serif "" , "serif";"></span>If you can't read it on the picture, here are the words: "<span style="font-family: "" serif "" , "serif";">Toen is in mij het bewustzijn ontwaakt
dat een van de taken van de historicus, de man die schrijft over de mensen van
vroeger, is de doden stem te verlenen. De doden moeten kunnen spreken en als
men hen het spreken belemmert dan sterven ze tweemaal. J.P."</span></div>
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<div class="MsoNormal">
<span style="font-family: "" serif "" , "serif";">I don't read or
speak Dutch, nor did I realize who J.P. was until later when I did some
research looking for the quotation. </span>Before traveling to Amsterdam, I read Geert Mak's <i style="mso-bidi-font-style: normal;">Amsterdam</i> to get a sense of the history
of the city. As one might imagine, the most harrowing part of the book was
Mak's description of the treatment of the Jews in Amsterdam during the Nazi
occupation, for which he relies heavily on the work of historian Jacques
Presser. If you know this history and you know Presser, who was a professor at
the University of Amsterdam, then you know that this is who J.P. is. Here is a
more complete quotation from which the above quote comes, from <i style="mso-bidi-font-style: normal;">Gesprekken met Jacques Presser</i>
(Conversations with Jacques Presser) by Philo Bregstein (quoted here in <a href="http://www.dbnl.org/tekst/vene001schr01_01/vene001schr01_01_0001.php#023" target="_blank">an article by Adriaan Venema</a>):</div>
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<br /></div>
<div class="MsoNormal">
“Ik lees het en voor mij heeft praktisch niemand het gelezen
en na mij gaat de boel een archief in en zal er vermoedelijk geen haan ooit
meer naar kraaien. <b style="mso-bidi-font-weight: normal;">Toen is in mij het
bewustzijn ontwaakt dat een van de taken van de historicus, de man die schrijft
over de mensen van vroeger, is de doden stem te verlenen. De doden moeten
kunnen spreken en als men hen het spreken belemmert dan sterven ze tweemaal. </b>Daar
hoor ik zelf van op, dat klinkt rijkelijk aan de theatrale kant, ik kan er
niets aan doen. Wie de doden het zwijgen oplegt, laat ze tweemaal sterven...” </div>
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<br /></div>
<div class="MsoNormal">
These interviews with Jacques Presser have not been
translated into English, as far as I know, but I found a translation of some of
these words in the <a href="http://presserfilm.com/wp/files/news/Afterword%20_AshesinTheWind-DienkeHondius.pdf" target="_blank">Afterword</a> to materials for the film <i style="mso-bidi-font-style: normal;">The Past That Lives</i>, about Jacques
Presser:</div>
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<br /></div>
<div class="MsoNormal">
“When you have worked, as I have, for about fifteen years
with these documents, you are continuously confronted with the dead, the voices
of the deceased. I read these papers, the little scraps of paper, thrown from
the train, the rare messages coming from Westerbork ... Before me, hardly
anyone has read them and, after me, they are locked into the archives and it's
possible that nobody else will see them. <b style="mso-bidi-font-weight: normal;">They
awoke in me the awareness that one of the tasks of the historian, the man who
writes about people in the past, is to give the dead a voice. The dead must be
able to speak ... and anyone who lets the dead remain silent allows them to die
twice</b>, and I have simply refused to permit that.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i style="mso-bidi-font-style: normal;">Amsterdam</i>,
Geert Mak quotes postwar testimony from a Holocaust survivor from Amsterdam:
"The Netherlands has carried out the biggest public relations exercise to
follow the Second World War by using the diary of Anne Frank to give the
impression that the Jews were all in hiding here, and that the entire Dutch
population was in the Resistance." Mak continues: "the Dutch still
have a tendency to talk up the extent of their resistance to almost mythical
proportions. In reality, proportionally more Jews were deported from the
Netherlands than from any other Western European country." </div>
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<br /></div>
<div class="MsoNormal">
The conference I was attending at the University of
Amsterdam was <a href="https://narrative2016.com/" target="_blank">Narrative 2016</a>, the annual conference of the<a href="http://narrative.georgetown.edu/" target="_blank"> International Society for the Study of Narrative</a>. I was there to deliver a paper on
British-Nigerian writer Helen Oyeyemi’s 2009 novel <i style="mso-bidi-font-style: normal;">White Is for Witching</i>, which, to greatly simplify, is about a young girl
named Miranda who, in order to grow up and live an independent life, must first
escape the house she has lived in for much of her life, a house that, in Gothic
tradition, has a will of its own—in this case, an isolationist, xenophobic, and
racist will. The house’s xenophobia was born out of the reactionary fear of the
enemy during and after the Second World War, a fear that inspired in the house a hostility toward
outsiders and a desire to protect the family by sealing them off from others’
influence. The present day crisis of the novel comes when the house is opened
as a bed-and-breakfast. Unwilling to offer hospitality to others, it drives
them away. As the house states directly, “They shouldn’t be allowed in, those
others, so eventually I make them leave.”</div>
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<br /></div>
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The house targets especially its non-white guests and staff,
terrorizing the Azerbaijani family who work and live there, the new Nigerian housekeeper
who is hired after they flee, and a black British couple who attempt to
vacation there. When Miranda brings home her girlfriend Ore, whose mother was
born in Nigeria, the house describes the relationship as “disgusting” and
invades Ore’s mind with hallucinatory thoughts that her black skin is coming
off on the towels after she takes a shower, while outside the bathroom door she
hears voices singing “Rule Britannia!” Later she discovers her room covered in
British National Party leaflets: “<i style="mso-bidi-font-style: normal;">Do you
know how many immigrants are in the UK? Neither does the UK government …</i>”</div>
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<br /></div>
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The novel is set in Dover during a crisis of stabbings of Kosovan
refugees, stories of which appear regularly in <i style="mso-bidi-font-style: normal;">The Dover Post</i>. Meanwhile, the Nigerian housekeeper Sade visits the
local Immigration Removal Center to visit with those there and bring them food.
At one point, Sade returns home distraught because a young man at the Removal
Center has hanged himself. She tells Miranda: “I’m thinking of the shame. To
make a man hang himself. That place is a prison. You come without papers
because you have been unable to prove that you are useful to anyone, and then
when you arrive they put you in prison, and if you are unable to prove that you
have suffered, they send you back. That place up there is a prison. He didn’t
deserve that.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But despite her relationship with Ore, despite her
encounters with the sufferings of refugees, Miranda cannot escape the
xenophobic influence of the house. One of the ways the house keeps its hold on
her is through an eating disorder called pica, passed down through the women of the family
who have grown up in the house. Pica, as the novel tells us, “is an appetite
for non-food items, things that don’t nourish.” For Miranda, this means eating
bits of plastic and, significantly in terms of the novel’s symbolism, chalk.
For this is Dover of the famous white chalk cliffs and the famous Vera Lynn song
that, in the same year the novel was published, <a href="http://www.telegraph.co.uk/news/politics/4687730/Dame-Vera-Lynn-takes-on-BNP-over-White-Cliffs-of-Dover.html" target="_blank">was being used by the BNP</a> to
promote their white nationalist ideology. Throughout the novel Miranda eats
white chalk, as if ingesting the house’s xenophobia. Ultimately, the house and
its ideology devour her: she remains trapped in a wall of the house, eating
(white) plaster. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The day after I returned to the U.S. from Amsterdam was
World Refugee Day, the day the UNHCR released its <a href="http://www.unhcr.org/en-us/news/latest/2016/6/5763b65a4/global-forced-displacement-hits-record-high.html" target="_blank">annual report</a>, which stated <span style="font-family: "" serif "" , "serif";">"</span>65.3
million people, or one person in 113, were displaced from their homes by
conflict and persecution in 2015," the largest number since UNHCR has been
keeping records. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A few days later, the UK voted to exit the EU, a vote
inflamed by<a href="http://www.vox.com/2016/6/23/12005814/brexit-eu-referendum-immigrants" target="_blank"> anti-immigrant rhetoric</a>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Miranda’s fate in Oyeyemi’s novel—the home of the isolated self
intertwined with the home of the isolationist nation as they feed on each other—may
very well be the fate of England after Brexit: police the borders, determine
who belongs, exclude those who are deemed outsiders, and eat itself to death.
This might be fine if it didn’t have real consequences for those excluded
others. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While one narrative of Brexit focuses on working-class
antagonism toward elites, this narrative obscures the way the Leave campaign
relentlessly used the language of “taking our country back” and a suspicion of “open
borders” to draw on anti-immigrant fears. <a href="http://www.independent.co.uk/news/uk/home-news/brexit-eu-referendum-racial-racism-abuse-hate-crime-reported-latest-leave-immigration-a7104191.html" target="_blank">And recent reports from the UK bear this out.</a> Polish people and other eastern Europeans as well as anyone who doesn't fit some perceived notion of Britishness are finding themselves subject to xenophobic and racist attacks. <a href="https://www.washingtonpost.com/posteverything/wp/2016/06/22/the-brexit-debate-has-made-britain-more-racist/" target="_blank">Anyusha Rose argues</a> that “the Brexit debate is
normalizing British racism,” and gives as one example a conversation she had in
a pub in which a man, after wondering why the killer of Jo Cox couldn’t have
killed a foreigner instead, asked Rose (who is “mixed race, and London born and
bred”), “Where are you <i style="mso-bidi-font-style: normal;">really</i> from?”
<a href="https://www.theguardian.com/commentisfree/2016/jun/24/intolerance-ethnic-minority-poles-uk" target="_blank">Joseph Harker writes</a>, “Yes, the immigration issue has been about numbers coming
from eastern Europe, and about people who don’t have English as their first
language. But as anyone with a black or brown face knows, our nationality is
regularly questioned, even when we’re born here.” On my Facebook feed, friends
and friends of friends are posting real-time instances of racist hate speech directed
against them in the wake of Brexit. <a href="https://www.facebook.com/sarah.leblanc.718/media_set?set=a.10101369198638985&type=3&pnref=story" target="_blank">A Facebook page, "Worrying Signs,"</a> has been created to help document these instances.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Far-right parties in Europe are now using Brexit as an
opportunity to further stoke the fears and rage, the racism and xenophobia of
this populist wave. Both <a href="http://www.nytimes.com/live/eu-referendum/geert-wilders" target="_blank">Geert Wilders</a> of the Netherlands’ PVV (Party for Freedom)
and<a href="http://www.nytimes.com/live/eu-referendum/marine-le-pen-cheers-britains-decision-to-leave-the-e-u/" target="_blank"> Marine Le Pen</a> of France’s National Front came out in the wake of the UK
vote to champion their own versions of Brexit. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The rise of right-wing glee after Brexit has <a href="https://www.theguardian.com/commentisfree/2016/jun/24/intolerance-ethnic-minority-poles-uk" target="_blank">Joseph Harker writing</a>, “This morning, knowing these despicable tactics have won over the
nation, it feels like a ‘First they came for the Poles’ moment. It seems only a
matter of time before the intolerance that has been unleashed, reinforced and
normalised, looks for the old, easy targets of people who look different.
People like me.” And if this sounds exaggerated to anyone (it doesn't to me), just note the language of the signs placed in letterboxes in Huntingdon, Cambridgeshire, which has the ring of the 1930s: "No more Polish vermin."</div>
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<br /></div>
<div class="MsoNormal">
The third night of my stay in Amsterdam I took this picture
of a row of shops and residences, hoping to capture something of the
architecture of the typical street in this section near the neighborhood of De Pijp. This was one of the areas where, in the early 20<sup>th</sup> century, Jewish
workers moved as they left the old Jewish sector of the city and integrated more
into other neighborhoods, a time which, before the Second World War and the Nazi occupation, must have seemed like the promise of progress.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUw5MPqe7eNAn-7RkAedhbwkJy5vNl5EvmPKHCsoOnM3dvxC2Zf22naxgllBoGTzitpZGLPhoO38FGArS5pEbwT4ld4_hCInEGC2Jpd1IJnHugkmcWeLWpl9IOiVfEsi1TyiP9g/s1600/IMG_1450.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUw5MPqe7eNAn-7RkAedhbwkJy5vNl5EvmPKHCsoOnM3dvxC2Zf22naxgllBoGTzitpZGLPhoO38FGArS5pEbwT4ld4_hCInEGC2Jpd1IJnHugkmcWeLWpl9IOiVfEsi1TyiP9g/s400/IMG_1450.JPG" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had just had dinner at the Indonesian restaurant <a href="http://www.restaurantdesa.com/" target="_blank">Dèsa</a>
and
was on my way back to my hotel, waiting at a tram stop with a few other people. One tram pulled
up, but the sign in Dutch on the front said something like, “No Stops.” Maybe the white Dutch
couple, an older man with his wife, didn’t see the sign, having come up to the
tram from the side. The man waved to the driver, but the driver didn’t open the
door. The man began arguing, gesturing more forcefully, his face reddening as
he became angrier, while the driver, who was not white, kept the door shut. The
tram pulled up a bit farther to the red light where it continued to wait. The man charged past me, breathing heavily, and
pounded on the tram’s plastic doors, yelling in Dutch at the driver. When the
light turned green, the man pounded the doors one last time and yelled a single
pointed word or phrase.<br />
<br />
The tram pulled away, and the couple went across the street.
The young man sitting on the bench next to me looked up and said something in Dutch. “I’m
sorry,” I said.
</div>
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<br /></div>
<div class="MsoNormal">
“He’s drunk and he's racist,” the young man continued in English. “‘Fucking
nigger.’ That's what he said.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I nodded. “I thought it was something like that.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The first time I ever experienced discrimination,” he
said, “was here. I’m from Suriname. In my country we don’t have racism. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I have a business,” he continued, “laying carpets in
hotels. I’m working near here.” He pointed down the street. “The owners of the hotel
are Chinese. They never give me any problem.” He laughed. “I work six months
here, then I go home for six months. I’m going home soon.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The tram was taking a long time, and my hotel wasn’t that
far, so I decided to walk back. I waved good night to him, wished him good
luck, and he wished me the same.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
I've been thinking about this encounter since I returned. The older white man was so certain of his own rightness that he continued to bang on the doors and berate the driver long past the time he should have read the sign, "No Stops," and long past the time he should have realized that there was <i>no one on the bus</i>. He wanted the driver to open the bus just for him and his wife, just because he said so, and when the driver didn't, the reason was not that the driver was simply doing his job but that the driver was deliberately antagonizing him. His racist slur stated, in effect, "You have no right to keep these doors closed to me because of who I am and who you are and the difference between us." The white man did not like the fact that, in this situation, he didn't have the upper hand and he was powerless to change it, and he lashed out with whatever power he felt he did have, the power of racial superiority, "I'm white, you're not, open these doors!" But the driver kept the doors closed. The sign stated it clearly, "No Stops." But the white man either didn't want to read the sign or didn't want to listen when it was a black man who was there to enforce those words.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And I've been thinking of the generosity of the young man who talked with me about his own life and his experiences with those like the racist man whose irrational anger we witnessed.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We need to keep our eyes open. We need to read the signs, especially those of us who occupy a position of privilege and have the tendency to ignore the voices of those without such privilege. We need to listen for the voice of Oyeyemi's house within us, telling us to eat the white chalk, refuse the stranger, close the borders, and we need to resist it. And most importantly, we need to listen to the living voices of those who are experiencing the effects of racism and xenophobia. They are speaking everywhere, on the street, at tram stops, in pubs and restaurants, in places of work, on Twitter and Facebook, online blogs and magazines, and their voices are clear and strong. We need to listen.</div>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-14464971545825458882016-05-21T21:10:00.000-05:002016-05-21T21:11:08.679-05:00"The Wood Thrush" on Wigleaf's Longlist of Top Very Short FictionsEvery year I eagerly await <a href="http://wigleaf.com/"><i>Wigleaf</i>'s</a> <a href="http://wigleaf.com/2016top501.htm">Top 50 Very Short Fictions</a>. This year Matt Salesses made some excellent selections, which I will be reading through over the next few weeks. I'm happy that my short story <a href="http://english.wisc.edu/devilslake/issues/spring2015/bonikowski.html">"The Wood Thrush,"</a> originally published in the Spring 2015 issue of <i>Devil's Lake</i>, made the <a href="http://wigleaf.com/2016longlist.htm">Longlist</a>. Thanks to the <i>Wigleaf</i> team for recognizing my story.<br />
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<i>Wigleaf</i> has been good to me over the years. In addition to publishing two microfictions of mine, <i>Wigleaf</i> also chose "Bible Camp" from <i>SmokeLong Quarterly</i> for the 2012 Longlist, and guest editor Brian Evenson chose "The Devil Called Satan Had Me for a Snack" for the 2010 Top 50. (These stories are all linked on the sidebar.)Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-56891960603907000682016-05-16T09:17:00.001-05:002016-05-16T09:17:12.874-05:00After the Storm ...My story <a href="http://www.necessaryfiction.com/stories/WyattBonikowskiAftertheStormTheCementShip">"After the Storm, the Cement Ship"</a> in <a href="http://www.necessaryfiction.com/"><i>Necessary Fiction</i></a> was inspired by the wreckage of <a href="http://wyattbonikowski.blogspot.com/2016/05/new-story-in-necessary-fiction.html">the cement ship </a>at Seacliff State Beach in Aptos, California, and by the wreckage of a storm that hit Capitola Beach in Capitola, California, in the winter of 2010.<br />
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Some people built structures out of the wreckage ...<br />
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and as the days went on there were more and more of these little cabins dotting the beach.<br />
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I wanted to capture a mood of wreckage and ruin by linking these two spaces in the story, having the family walk through the storm wreckage to wind up at the ruin of the ship, while all around them mud is sliding, trees are falling, and the entire world is on the edge of collapse. These spaces are, in fact, linked geographically. On a clear day, one can see the cement ship from Capitola Beach, and on a really clear day, one can see the power plant at Moss Landing, the city of Monterey, and the hills of Carmel, as one follows the horseshoe curve around Monterey Bay.<br />
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<br />Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-84342161777864505312016-05-13T09:44:00.000-05:002016-05-13T09:44:21.871-05:00New Story in Necessary FictionMy flash fiction <a href="http://www.necessaryfiction.com/stories/WyattBonikowskiAftertheStormTheCementShip">"After the Storm, the Cement Ship"</a> is the featured story this week at <a href="http://www.necessaryfiction.com/"><i>Necessary Fiction</i></a>.<br />
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The cement ship in the story is based on the <i>S.S. Palo Alto</i> at <a href="http://www.parks.ca.gov/?page_id=543">Seacliff State Beach</a> in Aptos, California. It's a place I've visited with my family a number of times, and I've always loved this ugly ruin squatting in the midst of this otherwise sublime landscape. Its history is one of disuse and failed promise, with a period of short-lived glamour. It was an oil tanker intended for use in WWI, but the war ended before it ever sailed. It sat for ten years in a shipyard until it was repurposed as a tourist destination for dining and dancing; it had a neon sign and a swimming pool. But only two years later the ship cracked and its glamour faded and it just sat there in the water, eventually becoming a fishing pier, and when it finally corroded too much to be safe, was closed to public access. Now it's a habitat for birds and marine life.<br />
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This is a picture I took in March of 2007 standing at the gate at the end of the pier:<br />
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And a closeup through the gate:<br />
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On our visit in August of 2012 there were a lot of birds:<br />
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You can read more about the ship <a href="http://www.parks.ca.gov/pages/542/files/seacliff-newbrightonwebbrochure12.pdf">here</a>, <a href="http://www.atlasobscura.com/places/ss-palo-alto">here</a>, and <a href="http://www.concreteships.org/ships/ww1/paloalto/">here</a>.<br />
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In my next post, I'll show some pictures from the storm that also inspired the story.<br />
<br />Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-5079436676126108142016-02-02T23:38:00.000-05:002016-02-02T23:38:44.637-05:00"Dead End" in Yemassee 22.2<div class="separator" style="clear: both; text-align: center;">
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My flash fiction "Dead End" is in the current issue of <a href="http://www.yemasseejournal.com/"><i>Yemassee</i></a>. Thanks to Chris Koslowski, Justin Brouckaert, and the rest of the staff for putting me in this issue among a host of excellent writers.<br />
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would scatter at our approach, huddle more tightly over their games, climb into
their treehouses and spy at us through paper towel tubes. Once I got hit with a
rain of pinecones and Sissy raged around in a circle, trying to catch out the
source of the laughter that rang from every hiding place.</div>
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Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-38220997534298954352015-10-20T11:01:00.004-05:002015-10-20T11:05:12.050-05:00Fairy Tale Review InterviewMany thanks to Managing Editor Joel Hans and <a href="http://fairytalereview.com/"><i>Fairy Tale Review</i></a> for <a href="http://fairytalereview.com/pins-needles-no-29-wyatt-bonikowski/">asking me some great questions</a> about automatons and dementia as part of their "Pins and Needles" series on the <a href="http://fairytalereview.com/blog/"><i>Fairy Tale Review</i> blog</a>.<br />
<blockquote class="tr_bq">
"For me, the uncanniness of wind-up toys and automatons is that they
enable the fantasy of our own reality—I am an independent,
self-sufficient individual with the agency to determine my own
future—while also undermining that fantasy." </blockquote>
My story "Wind-Up Toy" is in the current issue, the Mauve Issue, and you can read an excerpt of it below <a href="http://fairytalereview.com/pins-needles-no-29-wyatt-bonikowski/">the interview</a>.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-45432695723020300432015-06-15T10:34:00.000-05:002015-06-15T10:34:48.395-05:00"The Wood Thrush" in Devil's LakeMy flash fiction,<a href="http://english.wisc.edu/devilslake/issues/current/bonikowski.html"> "The Wood Thrush,"</a> is in the Spring 2015 issue of <a href="http://english.wisc.edu/devilslake/index.html"><i>Devil's Lake</i></a>. <br />
<br />
<blockquote class="tr_bq">
<i>I followed Sissy up a path where the oak leaves had left their green handprints in the
mud. I never recognized any of the forks and byways she took me down. It was as if the
birds had sung her a secret map.</i></blockquote>
<br />
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-62040776265680945942015-03-25T16:00:00.001-05:002015-03-25T16:04:25.889-05:00Fairy Tale Review, The Mauve IssueMy story "Wind-Up Toy" is in the <a href="http://fairytalereview.com/current-issue/">most recent issue</a> of <i>Fairy Tale Review</i>, The Mauve Issue.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQBbhwue1pqrYxGWWIQEVhOpSlGoTBR2KOQUbQCI4lIh4AwCfuQMVhJVtQ6yXkruP18Rg3-nW394E4fPmEZbyxc0ysYflQlgLcRfASvZwXFPIBT-9-3QBWv8J5Mg23GfqFyhS1g/s1600/2015-FTR-Mauve.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQBbhwue1pqrYxGWWIQEVhOpSlGoTBR2KOQUbQCI4lIh4AwCfuQMVhJVtQ6yXkruP18Rg3-nW394E4fPmEZbyxc0ysYflQlgLcRfASvZwXFPIBT-9-3QBWv8J5Mg23GfqFyhS1g/s1600/2015-FTR-Mauve.jpg" height="320" width="212" /></a></div>
<br />
If you're on Goodreads, you should consider <a href="https://www.goodreads.com/book/show/25203042-fairy-tale-review-the-mauve-issue?from_search=true">entering the Giveaway</a> for one of two free copies of the journal. You can <a href="https://commerce.wayne.edu/wsupjournals/fairy-tale-review/fairy-tale-review-subscriptions/the-mauve-issue-pre-order.html">pre-order the issue</a> here, and <a href="https://commerce.wayne.edu/wsupjournals/fairy-tale-review/multi-year-subscriptions.html">subscribe </a>here. Another excellent issue--the 11th!--of this stellar journal of contemporary fairy tales. Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-16932430664039673592015-03-18T11:58:00.001-05:002015-03-18T12:04:04.110-05:00Three Stories in NANO Fiction 8.2My contributor's copies of <i>NANO Fiction</i> 8.2 arrived the other day, with a gorgeous wrap-around cover by<a href="http://www.mercedeshelnwein.com/"> Mercedes Helnwein</a>. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6mN1qXgcD-96ZynA4_v_69Spq7AFqY3jACQjIs6dTy-z9ruY-76hwOD5xxNqrPZU0RQVhF2rQTFH9mRXBlez_rnahr_ksMPpZS90zj8QX0kqyi410fX3QE8G5CesQ5TB2U2g1dA/s1600/NANO+8.2+wraparound.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6mN1qXgcD-96ZynA4_v_69Spq7AFqY3jACQjIs6dTy-z9ruY-76hwOD5xxNqrPZU0RQVhF2rQTFH9mRXBlez_rnahr_ksMPpZS90zj8QX0kqyi410fX3QE8G5CesQ5TB2U2g1dA/s1600/NANO+8.2+wraparound.JPG" height="240" width="320" /></a></div>
I have three stories in this issue, all from a related project, as I discuss in the<a href="http://nanofiction.org/weekly-feature/interviews/2015/03/five-questions-with-wyatt-bonikowski"> interview on the <i>NANO Fiction</i> web site</a>. Here are the titles and first lines of the stories.<br />
<br />
"House of Stars"<br />
<br />
Daddy and the other men from the neighborhood
came splashing down the creek toward our house, Daddy carrying Sissy in his
arms and she writhing against him, raving.<br />
<br />
"The New Kids"<br />
<br />
These were rowdy and ill-behaved children and we
didn’t belong here, Sissy and I decided.<br />
<br />
"Old Voices"<br />
<br />
There is a dead boy down in the wet basement.<br />
<br />
And <a href="https://soundcloud.com/nanofiction/wyatt-bonikowski-old-voices">here is a recording of me reading</a> this last story at <i>NANO Fiction</i>'s Soundcloud page.<br />
<br />
<a href="http://nanofiction.org/order">Order the issue or subscribe</a>. I've been a subscriber for a few years now, and I always eagerly devour it every time it arrives.
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-77243375389936084562015-03-02T09:03:00.002-05:002015-03-02T09:03:53.668-05:00Interview at NANO Fiction<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBC1VpH7oq8Wb0DW99t8GQN-hlEpUEOdFFWDMGkUgxUp-f1SUTZfe7OodDFcv-aoODuNEBsHBgOtmNLYqVAVh2ODjGGmfAhOk1qmxpgt7DVfxaISIi5V3Z26d8m-I0nTenb4_hSw/s1600/Untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBC1VpH7oq8Wb0DW99t8GQN-hlEpUEOdFFWDMGkUgxUp-f1SUTZfe7OodDFcv-aoODuNEBsHBgOtmNLYqVAVh2ODjGGmfAhOk1qmxpgt7DVfxaISIi5V3Z26d8m-I0nTenb4_hSw/s1600/Untitled.jpg" height="280" width="320" /></a></div>
Kirby Johnson at <a href="http://nanofiction.org/">NANO Fiction</a> was kind enough to ask me <a href="http://nanofiction.org/weekly-feature/interviews/2015/03/five-questions-with-wyatt-bonikowski">five questions</a> about my three stories that appear in <a href="http://nanofiction.org/category/issues">the latest issue, 8.2</a>. There is also a recording of me reading one of the stories, "Old Voices." Here's the first sentence:<br />
<br />
"There is a dead boy in the wet basement."<br />
<br />
I hope you'll check it out and order the issue, which has a wonderful list of contributors and looks to be another excellent issue.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-366696081418002262014-01-10T15:35:00.000-05:002014-01-10T15:35:37.132-05:00Article on Shirley Jackson in Gothic Studies My article " 'Only One Antagonist': The Demon Lover and the Feminine Experience in the Work of Shirley Jackson" is in <a href="http://manchester.metapress.com/content/nww6rhj07801">the latest issue of <i>Gothic Studies</i></a>. Here is the abstract:<br />
<br />
One of the most prominent tropes in Shirley Jackson's work is that of
the ‘demon lover’ who seduces a woman from her home with promises of
riches and ultimately destroys her. Jackson uses the demon lover to
figure a <i>jouissance</i> excluded by the Symbolic order, which,
because of its repression, returns with a destructive force. Jackson's
demon lover tales, including ‘The Daemon Lover’, ‘The Beautiful
Stranger’, and ‘The Tooth’, narrate a woman's gradual realization of her
subjection to a demonic male figure, whose claim on her dispossesses
her of both home and self. Women in these stories are offered an
impossible choice: either conform to a passive position within rigidly
defined gender roles or be abjected into a permanent state of anxiety,
insecurity, and even madness outside of the Symbolic order. Jackson's
second novel <i>Hangsaman</i> (1951), more than any other of Jackson's
works, attempts to chart a path for feminine jouissance by imagining
writing as a kind of witchcraft.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-69457203030783027372013-12-03T22:17:00.000-05:002013-12-03T22:17:18.401-05:00Ford Madox Ford and the Misfit Moderns by Rob Hawkes<a href="http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/modernism-modernity/v020/20.3.bonikowski.pdf">My review </a>of Rob Hawkes's <i>Ford Madox Ford and the Misfit Moderns: Edwardian Fiction and the First World War</i> is in the current issue of <i>Modernism/modernity</i> (20.3).<br />
<br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
Rob Hawkes’s engaging study of “misfit moderns” positions Ford Madox
Ford alongside writers like Arnold Bennett, H. G. Wells, Joseph Conrad,
Robert Graves, Siegfried Sassoon, Richard Aldington, and Rebecca West,
all of whom in some way have an uneasy relation to modernism, either as
non-modernists against whom the modernists defined themselves or as
not-quite-modernists who never achieved the centrality of Joyce or
Woolf. While these writers all have a place in Hawkes’s study, Ford is
the primary focus, “the misfit <span style="font-style: italic;">par excellence</span>”
(22), because while he was an Edwardian like Bennett and Wells, he also
wrote two modernist masterpieces, making him both a central figure
within modernism and not fully of the period. Ford’s writing “occupies
aesthetic territory between the conventional realist novel and high
modernism” (2), a position of “in-betweenness” that, far from making
Ford a “peripheral figure on the margins” of both Edwardians and
moderns, “constitutes an acute and exemplary responsiveness to the
conditions of modernity” (3).</blockquote>
</blockquote>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-44767113526652107062013-09-11T08:46:00.002-05:002013-12-03T22:47:04.213-05:00Clandestine Encounters: Philosophy in the Narratives of Maurice BlanchotMy review of <i>Clandestine Encounters: Philosophy in the Narratives of Maurice Blanchot</i> edited by Kevin Hart (University of Notre Dame Press, 2010) is in the upcoming issue of <i>Modern Philology</i> (111.2) and also <a href="http://www.jstor.org/discover/10.1086/671972?uid=3739696&uid=2134&uid=2&uid=70&uid=4&uid=3739256&sid=21102628313787">currently online for subscribers</a>. This is an exceptional collection of essays for anyone interesting in Blanchot's work in general, but especially for those interested in his difficult, haunting fiction and other unclassifiable narratives. Each essay focuses on a different work and is arranged chronologically, from his earliest <i>récits</i> to his final autobiographical narrative <i>L’instant de ma mort</i>. Highly recommended.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-61548328058187548632013-08-01T08:53:00.000-05:002013-12-03T23:08:26.931-05:00Review in the TLS<span class="userContent">My book was reviewed by Lauren Arrington in the In Brief section
of 26 July 2013 <i>Times Literary Supplement</i>. </span><br />
<br />
<blockquote class="tr_bq">
<span class="userContent">As <i>Shell Shock and the
Modernist Imagination</i> progresses, Bonikowski's arguments gain momentum,
coalescing in his powerful point that in the aesthetic sublimation of
the death drive, modernist fiction can 'sustain the pleasures of life.'</span></blockquote>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-84200199923037965772013-05-06T22:04:00.000-05:002013-05-06T22:06:23.377-05:00Narrative 2013<span style="font-family: inherit;">I'm presenting a paper on Barbara Comyns at the <a href="http://www2.hlss.mmu.ac.uk/conferences/international-conference-on-narrative/">Narrative Conference</a> in Manchester, UK, this June. Here's my abstract:</span><br />
<span style="font-family: inherit;"><br /></span>
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<br />
<div class="MsoNormalCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Lightness
of Voice and the Levitating Narratives of Barbara Comyns</span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-size: 12.0pt; line-height: 115%;">The British writer Barbara Comyns wrote eleven
well-received novels from the late 1940s to 1990, but she has been largely neglected
in terms of scholarly attention. (The MLA bibliography lists one academic
article, and she is briefly noted in a handful of monographs covering mid-century
British fiction.) My paper seeks to bring renewed attention to this overlooked
writer by focusing on what most commentators have mentioned admiringly, but
only in passing: her distinctive <i style="mso-bidi-font-style: normal;">voice</i>.
Drawing on James Phelan’s description of voice in <i style="mso-bidi-font-style: normal;">Narrative as Rhetoric</i>, I will examine how voice connects to both
character and plot in two of Comyns’s novels: <i style="mso-bidi-font-style: normal;">Our Spoons Came from Woolworths</i> (1950) and <i style="mso-bidi-font-style: normal;">The Vet’s Daughter</i> (1959). I will argue that Comyns’s use of voice
creates narrators particularly attuned to the undercurrent of violence that
subsists within social relations. These narrative voices, spoken in homodiegetic
narration by young women, are often described as simple, matter-of-fact,
honest, and naïve. But another quality is also present, an “authority of
address” and “method of seduction” (Davis viii, x), a “marvelousness,”
“childlike wonder,” and “lightness (in Calvino’s usage of the term)” (Evenson
vi). These voices, both naïve and seductive, straightforward and full of
wonder, create uncanny effects in Comyns’s often darkly comic narratives,
presenting the narrators as both ignorant and knowing: ignorant of normative
social conventions while possessing an outsider’s knowledge of the violence that
lies within them. If these narrators are often the passive victims of violence,
their traumatic knowledge (Hartman) uncannily lifts them above these
experiences, offering them the means to find a language for the traumatic
effects of violence that that would not otherwise find expression in the
normative discourses surrounding them. This lifting-above—literalized in the
surreal and Gothic touches found in Comyns’s work, such as visions and
levitation—is what accounts for the clear-eyed wonder and lightness of the
voice. </span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><u><span style="font-size: 12.0pt; line-height: 115%;">Works Cited</span></u></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: inherit;"><span style="font-size: 12.0pt; line-height: 115%;">Davis,
Kathryn. Introduction. <i style="mso-bidi-font-style: normal;">The Vet’s Daughter</i>.
By Barbara Comyns. New York: New York Review Books, 2003. vii-xi.</span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: inherit;"><span style="font-size: 12.0pt; line-height: 115%;">Evenson,
Brian. Introduction. <i style="mso-bidi-font-style: normal;">Who Was Changed and
Who Was Dead</i>. By Barbara Comyns. Urbana, IL: Dorothy, a publishing project,
2010. i-vii.</span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: inherit;"><span style="font-size: 12.0pt; line-height: 115%;">Hartman,
Geoffrey. “On Traumatic Knowledge and Literary Studies.” <i style="mso-bidi-font-style: normal;">New Literary History</i> 26.3 (1995): 537-63. </span></span></div>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.comtag:blogger.com,1999:blog-19631903.post-89109537650986975322013-03-03T10:37:00.000-05:002013-12-03T23:06:42.204-05:00Shell Shock and the Modernist ImaginationMy book <i>Shell Shock and the Modernist Imagination: The Death Drive in Post-World War I British Fiction</i> is now available from Ashgate Press. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZVknN1vwY1Jxl37_P2RD1Raw4iFrWAbFDmUcNE0oSdFTqSzwsRX8p17YOtTbiRlfytd-3N00RFW8g4a3SMVO6VJSHCMf2-le3Ik1jcyRDwg1hGFuRaA9_lnuEyOWsgkJPH_fdQ/s1600/Cover+image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZVknN1vwY1Jxl37_P2RD1Raw4iFrWAbFDmUcNE0oSdFTqSzwsRX8p17YOtTbiRlfytd-3N00RFW8g4a3SMVO6VJSHCMf2-le3Ik1jcyRDwg1hGFuRaA9_lnuEyOWsgkJPH_fdQ/s1600/Cover+image.jpg" /></a></div>
<blockquote class="tr_bq">
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shock and Modernist novels by Ford Madox Ford, Rebecca West, and Virginia
Woolf, Wyatt Bonikowski shows how the figure of the shell-shocked soldier and
the symptoms of war trauma were transformed by the literary imagination.
Situating his study with respect to Freud’s concept of the death drive,
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trauma of war and the trauma of sexuality. Parade’s End, The Return of the
Soldier, and Mrs. Dalloway are all structured around the relationship between
the soldier who returns from war and the women who receive him, but these
novels offer no prospect for the healing effects of the union between men and
women. Instead, the novels underscore the divisions within the home and the
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<br />
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.com0tag:blogger.com,1999:blog-19631903.post-57517183359030940652013-02-12T23:41:00.001-05:002013-03-03T10:39:28.517-05:00From an <a href="http://www.cairn.info/revue-francaise-d-etudes-americaines-2002-4-page-16.htm">interview with Mary Caponegro:</a><br />
<br />
"I work from ideas and images and abstractions—from an impulse to
conflate the sensual and the abstract, and from an impulse to generate a
species of music. For a writer such as myself, who wishes to blur the
line between fantasy and reality, a crisp delineation of character and
setting, etc. would not serve my purpose—whereas the creation of a mood
or texture might be utterly crucial. Plot might be quite intricate, but
in ways likely comprised more of nuance than event. I suppose that in my
work, character tends to become merely a prop for voice, and often
there are very few characters, perhaps only one speaker who <i>refers</i> to other characters and whom the reader experiences only through that 'central intelligence.' But when characters <i>do</i>
figure, they might have quite defined attributes. My interest is, I
think, to explore them more from the inside out than from the outside
in, if you will—laying bare their psyches through involution of syntax,
as if syntax itself were the objective correlative—rather than giving a
host of external details from which the reader can deduce internal 'truths.' One could view my work as a fiction of the psychological
epiphenomena of event. My tendency toward abstraction may be felt by
some conventional readers to hold them at a distance, but I hope the
psychological intensity compensates for this."Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.com0tag:blogger.com,1999:blog-19631903.post-59837942395820832722012-12-01T00:22:00.001-05:002012-12-01T00:23:20.512-05:00Norman Fischer, from his essay<a href="http://www.bigbridge.org/Issue2/Text/FictionFischer.html"> "Do You Want to Make Something Out of It?"</a>:<br />
<br />
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="font-size: large;"><span style="font-size: small;">The reason we need art so desperately I would say is that the world and we ourselves
persist in being made. There is something exhausting and troublesome in the madeness of
the world and in the madeness of ourselves. What is made has always the quality of
limitation or unsatisfactoriness. Madeness captures us into a vicious cycle of desiring
more madeness or better madeness, and the madeness we get only makes us want to make
improvements or additions. Art making is an anti-making. It is an anti-making because it
is a making of what is useless--this is what makes art art, that it is useless, that it
doesn't do anything, that it is something inherently unmade and this is the source of its
liveliness. Any piece of art stares us in the face with the fact of its being what it is
uselessly, it is a record of a person's commitment to the confrontation with the made, a
confrontation one is bound to come away from second best, and yet one does it, and reaches
a peak of exaltation in the doing of it, and the art work facing the viewer or hearer is a
phenomenal testament to that useless confrontation, which by virtue of its supreme
failure, calls our life into question. If you really look at a piece of art or hear a
piece of music or poetry or see a dance, you walk away wondering about your life. This is
what these objects are supposed to do, this is why artists make such sacrifices in the
doing of what they do-<span style="font-size: small;">-</span>because this doing is the undoing at least temporarily of what has
done them in in their lives and would do them in to the point of death or madness if it
weren't undone in the process of making art.</span></span></span></blockquote>
Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.com0tag:blogger.com,1999:blog-19631903.post-67847658909217783532012-11-28T08:57:00.001-05:002012-11-28T10:21:24.159-05:00<a href="http://wigleaf.com/"><i>Wigleaf</i></a> is featuring two stories of mine this week: "The Old Church" and "Sister Finds a Box." Check out the postcard I sent, too.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.com0tag:blogger.com,1999:blog-19631903.post-19547490112929035862012-10-16T09:28:00.000-05:002012-11-28T10:23:04.278-05:00My story <a href="http://www.hobartpulp.com/web_features/none-of-your-business">"None of Your Business"</a> is the web feature at <a href="http://www.hobartpulp.com/"><i>Hobart</i></a> today. I've been reading daily since they rebooted the web site, and it's been spectacular. Very happy to be part of it.Wyatt Bonikowskihttp://www.blogger.com/profile/13113308510726674122noreply@blogger.com0