As with any good writer, Ervin followed the thing capturing his attention, and decided to use it to create a narrativehe sat down and wrote a D&D module (a scenario used as the setting and set of encounters for a group of players) of his own, one that combined the game with another thing near and dear to his heart, the Philly punk band The Dead Milkmen.
The book is both a chronicle of Manias journey from theater nerd to night-lifer to writer, and the journey we all hope to take: to find and embrace the many, and sometimes messy, parts of our identity; to find our place in the world; to find the people that help us get there.
In the wake of Miller’s passing in late 2014, Rod has shared the poet’s work in a number of literary magazines, narrated the 2017 feature film Unburying Malcolm Miller, and secured permanent residence for his numerous books and papers at McGill University in Montreal. Now, in 2020, he’s published the first (but likely not last) anthology of Millers poetry.
Since first reading Harings journals, and seeing an early retrospective of the artists work in 1997, Montez has been wrestling with the line, considering its implications within culture, for himself, and as it relates to the artist himself, who died in 1990 due to complications related to AIDS. The result is Keith Haring's Line: Race and the Performance of Desire (Duke University Press, 2020).
Rumaan Alam, a Brooklynite himself, begins his third novel, Leave the World Behind (2020), as if it were a domestic comedy of manners about a Brooklyn family on vacation in Long Island. Alam transforms the story, with its serious and witty commentary on social class and race relations, into a psychological thrillera dystopian tale about the end of the world.
Danielle Evans is a superb short-story writer whose first story collection Before You Suffocate Your Own Fool Self (2010), published 10 years ago, was a co-winner of the PEN/Robert W. Bingham Prize, winner of the Hurston/Wright Legacy Award for fiction, the Paterson Prize for Fiction, and an honorable mention for the PEN/Hemingway award.
Charles Bernstein abandons us to a strange land of class humor, street lingo, impressions made to provoke, exuberant language that flies into the clouds, and playful jaunts into literary conundrum. It is an invitation to join him on the high wire.
David Graeber once postulated that the reason conservatives hate Hollywood is not just because of the film industrys sanctimonious liberalism but because this liberalism is disseminated by an industry that is profoundly nepotistic.