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The thirty-odd stories in Ken Nash’s collection The Brain Harvest present a variety of styles, themes and arguments. There are elaborate, developed narratives with detailed characters and plots (as in “The Cello Garden,” the fictional account of the life and fate of a beautiful cellist Anna Leibowitz), and there are sketches in a few rough brushstrokes (“Making … Continue reading
CLAIR OBSCUR is a novel that grapples with contradiction. “The contradictions the mind comes up against,” runs the epigraph by Simone Weil, “these are the only realities: they are the criterion of the real. There is no contradiction that is imaginary. Contradiction is the test of necessity.” Necessity, though, isn’t certainty, and immanence doesn’t imply … Continue reading
One of the trademarks of “experimental” fiction, both recent and ancient, is its backlash against the label “experimental.” Here, let me settle for only two examples from somewhere in between the recent and the ancient. The last published critical work of B.S. Johnson, Britain’s “one-man literary avant-garde” according to his biographer Jonathan Coe, contains the … Continue reading
equus press 