Another Eight Questions for Saudamini Deo

My second interview with writer and translator Saudamini Deo has been published, again by the good folks at Asymptote Journal. This time, Saudamini and I discuss her English translation of Traces of Boots on Tongue by Rajkamal Chaudhary – the second book in her translation project, published by Seagull Books as part of their India List series.

We also discuss what’s next for her, the prominence of the modern translator and much more. Saudamini is always a pleasure to work with, and she is a creative and compelling interviewee (and writer and translator and editor and…) – you can read my eight questions for her here.

With thanks to S, of course, and to Meghan from Asymptote.

On ‘Saying Nothing’

Thread, Greek or Roman, 1st century CE

The next part in my ongoing conversation with Daniela Cascella has been published at Sublunary Editions.

In Saying Nothing: A Conversation with Daniela Cascella, D and I discuss her her two books Nothing As We Need It and Chimeras. The two books, both published last year, explore her notion of chimeric writing, a concept which I’ve seen evolve through her series of books.

As always, the conversation about the writing was a pleasure. Thanks to D for her time and energy and to Josh for giving it a place to live.

Three Versions of the Dead Man

Saint Martin Brings a Dead Man to Life

I’ve been neglecting to post here the latest pieces on the Dead Man as published in RIC – I also failed to meet the deadline for the March edition of RIC, first issue I haven’t contributed to in quite some time. However, the Dead Man never goes away – he can’t, that’s his problem. April piece is being finalised as we speak, and see the other recent contributions below. With thanks, as always, to Saudamini.

Untitled (The Dead Man Plays Poker)

The Dead Man and the Joke

Brief Portrait of the Dead Man’s Father

Eight Questions for Harald Voetmann

Very happy to be able to say that my interview with Danish writer Harald Voetmann has been published by the kind folk at Full Stop Magazine.

More or less everything I have to say about the interview is in its intro, but it’s worth repeating here that I really did love Awake (do check it out – through ND Books in the US or Lolli Editions in the UK) and I can’t wait for the next couple of books.

With thanks to Harald, of course, and Denise at Lolli Editions. And a special thanks to Michael at Full Stop for giving the interview a home.

Rounding up the Dead Man

I’ve been neglecting this space in recent months, so I’m behind on posting about the Dead Man pieces RIC has published.

A little about the Dead Man – regardless of what else is happening in my life, and irrespective of what else I am writing or reading or thinking, he is a constant. He manifested in hard times, survived a pandemic, and continues to follow me, hiding in my shadow. It’s comforting to know he is there.

Thanks to S for giving the Dead Man space to make a nuisance of himself.

The Dead Man at the Cathedral

Untitled (The Dead Man’s Remorse)

Untitled (The Dead Man Shells Walnuts)

The Dead Man and the Palm Reader

On ‘The Quadrant of the Dead Man’

My piece The Quadrant of the Dead Man has been published in the January 2022 issue of RIC Journal.

Bit of a story behind this one.

Last year, I wrote a Dead Man every month for RIC, January through to December. I had absolutely decided to take a break from that output and not write a Dead Man for January 2022 at least – maybe even beyond. But three things happened.

A friend, Mimosa Shah, sent me How a Gray Painting Can Break Your Heart, an interactive essay by Jason Farago on the work of Jasper Johns, specifically the painting ‘In Memory of My Feelings — Frank O’Hara’. I appreciated the gesture of having an essay sent my way; the piece is lovely and rich and exactly the kind of thing that you want from a discussion of art, especially that which does not comfortably reveal itself. But hidden in the artwork in question is a reference to a dead man, which got me thinking.

Secondly, at the time of writing, I had Covid-19. I have, for most of my adult life, framed my experience in or through writing, so it seemed important to mark this, somehow – because it is something we as a species, or at least I as an individual, have been trying to outrun for the last two years, but also because the Dead Man has evolved during the pandemic, taken on a new meaning or role. It made more sense to try to write something at the time, not less.

And, finally, once I started, the writing came easily – clearly, there was more story to tell.

Thanks, as always, to Saudamini.

Midnight Grotesques announcement

I am excited, surprised, befuddled – but mainly excited – to be able to announce that Midnight Grotesques will be published by Sublunary Editions in 2023.

What is Midnight Grotesques? MG is a project that US-based artist Michelle Lynn Dyrness and I worked on in a hallucinatory, cross-border collaboration in year two of the pandemic, which will manifest next year in book-object form. In these strange and uncertain times, it really does feel like a small miracle when something like this comes together in the way you’d secretly hoped for.

I don’t delight easily, but I can say I am absolutely delighted to be working with Josh and the Sublunary family again – my book 926 Years, co-authored with the great Kyle Coma-Thompson, was published by Sublunary at the beginning of 2020; they also produced a postcard featuring a poem by Kyle and I with Michelle’s work on the front, and my first major collaboration with Michelle, A Personal History of Attention, was published in Vol. 1 No. 3 of Sublunary’s print journal Firmament. Everything Sublunary does is done with care, professionalism and the weight that each work deserves – MG could not have been given a better home.

More soon.

On ‘The Dreamer I + II’

My pieces The Dreamer I and The Dreamer II have been published in MAP Magazine.

These essays are part of the series A Year of Carte Blanche and Other Chimeras, commissioned by my impossible friend Daniela Cascella who is guest editor at MAP. I told D that lockdowns and an indefinite pandemic were killing my lit vibe, and she invited me to write about this. The crux of the essays, then, is really: reading for pleasure is great > finding delight or the richness of life in reading is even better > but it only gets you so far.

They were hard essays to write but it seemed important to write through – write into – the moment. If nothing else, I think I have done that.

Both essays feature original images made by my good friend and frequent collaborator Michelle Lynn Dyrness – it always feels like a little bit of magic to have her work respond to and accompany mine.