Busy times round the Hobart offices!
Coming in February 2012:
Lucky HOBART #13 (w/ Amy Butcher, Brian Allen Carr, Steve Castro, Jimmy Chen, Ashley Farmer, Tod Goldberg, Amelia Gray, Jac Jemc, Adam Levin, Rolf Potts, Sean Lovelace, M. Owens, Micah Riecker, Shya Scanlon, Curtis VanDonkelaar, and Joshua Ware, with drawings, “lucky items,” a Q&A on superstition in baseball, and thoughts on luck by Donald Averill, Paula Bomer, Joshua Brandon, Chloe Caldwell, Noah Cicero, Molly Gaudry, Tom Giesler, Barry Graham, Joseph Lappie, Robert Lopez, Chelsea Martin, Donald Ray Pollock, Adam Robinson, Kevin Sampsell, Laura van den Berg, Brandi Wells
FAST MACHINE by Elizabeth Ellen
and then in March:
I HAVE BLINDED MYSELF WRITING THIS by Jess Stoner!
I started writing Farm Town, the project, at around this same time, although it’s not a response to the game in any legitimate way. It’s true that I’m enamored with the objects of that world (Swan Hedge, Log Truck with Chain Saw, Pink Merry-Go-Round, Snow Pine). And the repetition, the rote click-clicking, holds its own weird meditative appeal after a long day (ditto the lushness of so much organized green on one’s laptop screen). Mostly the Farm Town project became a place—both outside and inside this new city—for me to revel in and better understand nostalgia and ambition and technology. (via HOBART 13 bonus: Ashley Farmer)
our favorite thing said about the newest issue (maybe any issue) yet (re: specifically, Rolf Potts’s “Remixing Reality”)
it is hard to describe my happiness at reading the David Shields response. This is the response that Reality Hunger needed, and I’m glad it came from you guys. Embedding the story (particularly that story) within the piece was genius because it demonstrates its point (rather than talking about what it wants to talk about), and the collage/plagiarism technique was utilized in a much more subtle and effective way than in Reality Hunger itself—it reads so cohesively, nothing tipped me off that they were pulled from other sources—and this is what makes the piece for me. Potts’ use of unattributed quotes ends up being an act of humility (since some of the best lines and ideas in the piece are actually his) and it reads as a collective work, whereas the pronounced lack of this kind of humility in Shields’ book is a big part of what makes one want to throw it out into traffic. All this just being a long-winded way of saying thanks for publishing this, and I look forward to reading the rest of the issue.
it seems that the lessons learned from failure can be more easily identified than those gleaned from success.(Hobart 13 contributor), Jac Jemc, blogs about rejection - chicagotribune.com
This cover was one of my favorites and before writing my essay, I hadn’t seen it in thirty years. It’s a pretty dazzling photo, but what’s interesting is that it actually shows the aftermath of a punch in a fairly clinical fashion. Look at the way Ernesto Espana’s body is twisted and slack in places — his hips and legs, the odd placement of his arms, the twist of his head away from the rest of his body — and how Mancini is standing in perfect form. The look in Mancini’s eyes is also amazing: he sees a huge opening to attack. Plus, check out Espana’s socks. You just don’t see boxers these days wearing striped tube socks anymore. (via HOBART 13 bonus: Tod Goldberg)
How many pieces in BEST AMERICAN ESSAYS 2013 will also have accompanying online photo essays, you think?
(and, yes, that’s our too-clever/too-proud way of telling you Tod’s essay, “When They Let Them Bleed,” from Hobart 13 is going to be in BAE. Read the bonus material now, or even pick up the issue itself, if you haven’t already.)
The Luck issue was terrific, in my opinion one of the best theme issues I came across this year.
Robob Atwan, Series Editor, Best American Essays