Focus: First Fictions — January-February 2004
nina2022-07-24T19:24:27+00:00Because of their inherent financial risk, first books have also become the increased responsibility of independent presses.
Because of their inherent financial risk, first books have also become the increased responsibility of independent presses.
First books of poetry can seem like a genre unto itself—at their best, raw and exciting, hinting at the genius to come.
No thing is inherently original. "Originality" is an award we bestow on upon those works of art that remind us the least of what came before them.
ABR's focus is on books published by independent presses, but what about authors publishing serious, genre-bending fiction through conglomerate publishers?
A survey of recent first books of poetry show a rejection of the easy romanticism of '80s poetry, turning instead to aspects of the modernist avant-garde.
Exploring hypertext, cybertext, electronic literature, digital textuality, multimedia, and interactivity.
Reviews of the lives and works of Bill Hicks, William S. Burroughs, Brion Gysin, Edward Abbey, Primo Levi, and Hector Berlioz.
Reviews of books by Latina and Latino poets in the United States and Latin America including Miguel Hernández, Homero Aridjis, Daisy Zamora, Alberto Ríos, and María Negroni.
Experimental poetry that proposes a both constrained and liberating, disciplined and freeing strategy for producing texts.
Reviews of fiction by Dana Spiotta, Kate Braverman, Mary Robison, Diane Williams, and Lydia Davis, with an essay by Carole Maso.
Reviews of fiction by Laird Hunt, Marc Estrin, Scott Blackwood, Christine Lincoln, and Daniel Coshnear.
Reviews of books by Curtis White, John Barth, Gilbert Sorrentino, Mary Caponegro, Raymond Federman, LIly James, Victoria Redel, and David Czuchlewski.

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