Artists, literary and otherwise, not only don’t stay in their lane, they go against traffic. And they often avoid the highway altogether! They swim! They fly! We ought to encourage conscientious border trespass, conscientious border abolition. That is, we ought to encourage writers to write compassionately, lovingly, and otherwise intelligently and empathetically from the imagined perspective or perspectives of an “other” or “others.” In fact, this is arguably what all great writers...| 3:AM Magazine
This is the dark underside to Romanticism, the movement that gave us Byron, Blake and Shelley, but with figures such as Kleist, also the beginnings of the violent anti-rationalism which would feed into fascism. And just as Romanticism was in part a revolt against grey utilitarianism, so its darker descendants today are able to tap into the many who feel adrift, abandoned or just plain bored and disillusioned with the modern liberal world, seeking something more primal and primordial. As Sonta...| 3:AM Magazine
They knew, considering the price and the location, that the place would be desired, but not that the line of people would stretch out the building and round the corner, even thirty minutes before the appointed hour, so they hurry to the end of the line which keeps getting longer behind them, comically so, as one made sure to acknowledge to the others with little glints of eye, or a curt puff of air from nostril, the wait interminable, interminable, before the first little budge, oh the giggle...| 3:AM Magazine
My whole life I’ve been a fraud. I have come to accept this with the help of writer Daniel W. Foster and violinist Friedrich “Fritz” Kreisler, the latter of whom (in 1905, hoping to draw attention to his concerts) composed a piece he fraudulently attributed to the legendary Gaetano Pugnani.[1],[2] And but here’s the thing: It’s amazing. It’s a fraud and it’s a soaringly beautiful piece of music. You might even say genuinely beautiful, if you’re in the mood for a paradox, which...| 3:AM Magazine
Elizabeth Ellen’s prowess at character concoction is readily apparent from the first page. In lieu of standard dialogue, she does something marvelous: relays story through vignettes that are not only meticulous in craft and heft, but self-sufficient ecosystems of plot, characterization, and symbolism. These self-contained vignettes function as linked accounts of the unfolding narrative and are also blatant reminders of the cinematic quality of Ellen’s writing. Mary Buchanan Sellers review...| 3:AM Magazine
I think the other thing which people don't get, although Alan Moore did in his introduction to The Psalm Killer (1997), is whether I'm a novelist at all, because my whole approach is not that literary, it's cinematic. The way the writing is, it's cinematic, and essentially, it describes what you see. I wrote Robinson because I couldn't make films anymore, and I thought, “Well, I'm not a novelist. I don't want to win the Booker Prize. I don't really care about the whole literary scene.” I ...| 3:AM Magazine
I found the salmon in the middle drawer of an old dresser in my closet. I was looking for a hammer, but I couldn’t remember why. The salmon was a chum salmon, the adult version of the ones running in a nearby creek. It had a greenish tint to its skin and red ridges on its sides. The chum filled the entire drawer. Nothing else was inside. I couldn’t tell if it was alive or dead. A short story by Ryan Bender-Murphy.| 3:AM Magazine