ZYZZYVA EventsJuly 26, 2017
A Celebration of Bay Area Literary Magazines
Location: 6:30 p.m., Mechanics' Institute, Fourth Floor, 57 Post St., San Francisco
Description: A conversation on the mission and vision of three long lived literary journals and the state of the arts in San Francisco, with the editors of ZYZZYVA, Zoetrope, and The Threepenny Review. Moderated by Kevin Smokler. Free for ZYZZYVA, Zoetrope, and Threepenny readers. For more info: http://bit.ly/2rKvCfO
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Monthly Archives: June 2016
Lou Mathews has received a Pushcart Prize, a Katherine Anne Porter Prize, National Endowment for the Arts and California Arts Commission fellowships in fiction. His stories have been published in Black Clock, Tin House, New England Review, and many other literary magazines, ten fiction anthologies and several textbooks. His first novel, L.A. Breakdown was a Los Angeles Times Best Book.
Mathew’s story, “Last Dance,” which is from a longer work titled Shaky Town, presents us with a Los Angeles instantly recognizable to many Angelenos. It’s a Los Angeles that’s primarily Mexican American, blue-collar, and community-minded. The residents of Shaky Town know each other well (perhaps too well), and their shared histories are long and complex. The following is an excerpt of Mathew’s story. You can read it in its entirety in Issue No. 106, which you can order here.
John Freeman is the author of How to Read a Novelist (FSG), the editor of the literary journal Freeman’s, and a contributing editor to ZYZZYVA. He is also a poet whose work has been published in The New Yorker and ZYZZYVA, and is currently working on a book about American poetry.
His feature on former U.S. poet laureate and longtime Bay Area resident Kay Ryan—set at a restaurant in the Presidio on a warm San Francisco day—launches a new component of ZYZZYVA: author profiles and conversations. (In our next issue, we’ll be publishing a conversation on memoir between Andrew Foster Altschul and Geoffrey and Tobias Wolff.) The following is an excerpt from Freeman’s profile. You can read it in its entirety in Issue No. 106, which you can order here.
Lily Hoang’s new book, A Bestiary (156 pages; Cleveland State University Poetry Center), proves why a healthy amount of skepticism—at times bordering on distaste—for the self is an undervalued trait in literature. Throughout her collection, Hoang blurs the line between personal essay and prose poetry as she takes stock of her life and often comes to some unflattering conclusions. Reflecting on an unsatisfying, on-and-off-again relationship with her lover, she writes, “I feel like a feminist poser, talking a big game about empowerment but living a reality of passivity and self-contempt.” A Bestiary offers a snapshot of a turbulent time in …Continue reading
There are a few different types of ignorance at work in Geoff Dyer’s new book, White Sands: Experiences from the Outside World, a collection of essays that combine travel writing and art criticism. One kind is artificial ignorance as an interpretative tool. Often, when he is ignoring information, sloughing off context on which another critic might lean all his weight, Dyer (or the genre-bending author’s narrator whom I will call Dyer) is at his sharpest. In “Space in Time,” the author travels to Quemado, New Mexico, to see Walter De Maria’s The Lightning Field, but he holds off telling us …Continue reading
Don DeLillo’s seventeenth novel, Zero K (288 pages; Scribner), has all the trappings of a typical DeLillo novel. It opens with the protagonist Jeffrey Lockhart arriving at the Convergence, a techo-utopian compound erected in the midst of a central Asian desert. The compound is a staging ground for a series of experiments, led by the mysterious Stenmark Twins (or, at least that’s what Jeffrey calls them), into the possibilities of cryogenics. These experiments are meant to prepare their participants—including Jeffrey’s terminally ill stepmother, Artis, and estranged father, Ross Lockhart—for a future where death has ceased to exist and life may …Continue reading
An internal refugee crisis in the United States; a modern America that tolerates decades-old, interfamilial vendettas; a city that keeps burning down year after year—these are the kinds of warped worlds captured in Katie Chase’s story collection, Man & Wife (220 pages; A Strange Object). Within these surrealities, Chase exaggerates societal traditions into distended proportions, focusing on the experiences of women at pivotal moments in their youth, examining their family dynamics, and, concurrently, their strange societies’ shifting norms. What’s even more unsettling is how eerily similar these worlds (and all the dramas that exist within them) are to our own. …Continue reading
I turn to the poems of Noelle Kocot for the same reason I entered corn mazes as a kid: both are pleasurably unpredictable, and both transform everyday places into thrilling twilight zones. Though Kocot’s writing has covered a great deal of formal and conceptual terrain over the course of her seven books, her work has remained whip-smart and darkly playful, consistently carrying off great feats of imagination while orbiting an urgent emotional truth. These hallmarks are present in the restless quatrains of her Levis Poetry Prize-winning first collection, in the unflinching elegies for her late husband in Sunny Wednesday, and, …Continue reading
Adam Hochschild’s Spain in Our Hearts (Houghton Mifflin Harcourt, 372 pages) carries the unique distinction of possessing value equally for the specialist and the lay reader. Hochschild is not only a historian but also a humane storyteller, and in Spain in Our Hearts the literary quality of his prose alternatively sweeps the reader into the historical narrative, while also situating us in the subjective experience of his key historical personages. His and their conception of what the Spanish Civil War actually meant is attested to time and again by an array of ideologically discrepant individuals ranging from foreign correspondents and …Continue reading
I’m not entirely sure where I happened upon Adrienne Celt’s beautiful first novel, The Daughters (272 pages; Norton/Liveright), which is out in paperback in early June, but entering its world was like entering a beautiful fever dream: ornate, occasionally frightening and sad. Celt’s world, peopled by four generations of Polish and Polish American women, tells the story of Lulu, a famed opera singer who loses her voice and sifts through her family’s stories to locate a way forward for herself and her newborn daughter. Celt’s work has appeared in Esquire, the Kenyon Review, and her story “Big Boss Bitch,” a …Continue reading