Ghost Proposal’s issue on “Hybrid Forms & the Post-Genre Approach” features TS author Joyelle McSweeney and TS publisher Christian Peet, along with Tyler Crumrine, T Clutch Fleischmann, Oliver de la Paz, Hannah Brooks-Motl, and Douglas A. Martin.
Joyelle McSweeney: "I realized that the walls and the floors, the soil and the air were toxic, everything that could be seen or touched was poison, everything mankind did made the world worse, just moving around and breathing. It seemed to me that I had been walking in fire. Why had I not known it? Nutriment and poison, protection and hazard, comfort and harm were not binaries but indivisible, each one turning over to reveal its attractively hairy reverse or iridisceing, spiny obverse."
TSky Press authors Johannes Göransson and Joyelle McSweeney, along with faves Aase Berg and Lara Glenum, are reading at the Stockholm International Poetry Festival, where this year’s theme is Gurlesque.
"In Joyelle McSweeney’s story collection Salamandrine: 8 Gothics, language commits incest with itself.... Sounds repeat, replicate, and mutate in her sentences, monstrous sentences of aural inbreeding and consangeous consonants, strung out and spinning like the dirtiest double-helix, dizzy with disease...."
"Biological, morbid, fanatic, surreal, McSweeney’s impulses are to go to the rhetoric of the maternity mythos by evoking the spooky, sinuous syntaxes of the gothic and the cleverly constructed political allegory. Salamandrine can be earnest and apocalyptic, playful and arch, but at its core is the proposition that writing the mother-body is a viscid cage match with language and politics in a declining age.... [T]his collection is the sexy teleological apocrypha of motherhood literature, a siren song for those mothers 'with no soul to photograph.'"
...from Patrick Trotti at JMWW, regarding our three 2013 prose titles, from Claire Donato, Johannes Göransson, and Joyelle McSweeney: "Avant-garde writers of the past are put through a blender topped with equal parts muscle relaxer, speed, acid, and a new, distinct style forcing the reader to down the contents in one giant gulp. It will leave you feeling as though they just went speeding through a backyard makeshift house of mirrors ride that was rigged with no brakes, bending through the maze of tight corners to the point where you can the feel the sharp shards of glass on your forearm if you don’t keep your hand inside the ride that is their minds."
Joyelle McSweeney: "For me motherhood was an apocalypse, a rending of the veil, a rendering of the fail. I nearly died; that was a new thing. I developed a labor complication normally associated with heroin-addicted teenage sex-workers. I bled like crazy and my daughter’s placenta looked like hamburger meat, according to the nurse. A fittingly Midwest simile."
Joyelle McSweeney: "This book of mine is a war against capitalism through the body of the culturally vaunted (but actually exploited) figure of the mother. Here the mothers are totally undone, desperate, weaponized, vacant, bloodthirsty, deranged, or ingenious as hell. None of them is what you’d call wholesome—and neither is the writing."
McSweeney's breakneck prose harnesses the throbbing pulse of language itself and thus eludes any sort of straightforward plot development.... The stream of consciousness of an unhinged mother inhabiting a real or imagined apocalyptic landscape.... Vertiginous.... Denying the reader any orienting poles for the projected reality.