State of the Art
Posted on August 13, 2018
Welcome to the second in an ongoing column by Nancy Bauer, "State of the Art."
Current Issue: No. 301
Pre-order our First-Ever Creative Nonfiction Issue!
Posted on August 10, 2018
Our creative nonfiction issue editor Alicia Elliott has put together an amazing issue.
Contributors include: R.L. Aseret, Tara Campbell, Mary Chen, Šari Dale, Zarrin Darnell-Martin, Tyler Dunning, Gila Green, Nicholas Herring, Mikka Jacobsen, Jeanie Keogh, Ania Mroczek, Dominik Parisien, David Rock, Erin Soros, Jill M. Talbot, Arielle Twist, Charmaine Ward, and Angela Wright.
An Interview with Alicia Elliott
Posted on August 9, 2018
Interview by Emily Skov-Nielsen, Marketing and Promotions for The Fiddlehead. Alicia Elliott will be in Fredericton on August 25 to give a workshop "Digging Deep: How to Get the Most Out of Your Creative Nonfiction" from 10-12 at the Fredericton public LIbrary and to give a reading later that evening at 7pm, also at the Fredericton Public LIbrary. For more information, visit the Facebook event here or scroll down to see the poster.
Summer Issue Delayed
Posted on August 8, 2018
We regret that our summer poetry issue (200 poetry-packed pages!) will be out a little later than usual, due to an unexpected malfunction at the printer. As a result, the issue is still a few weeks away from arriving on the newsstand or in your mailbox, but believe us, it will be worth waiting for! Check out our cover. And here is a list of contributors to whet your appetite:
Exploring Hellscapes and Grotesque Pathos
Posted on August 1, 2018
By Zachary Alapi
A Review of J.R. Helton’s Bad Jobs and Poor Decisions
J.R. Helton’s Bad Jobs and Poor Decisions (Liverlight 2018) accomplishes a unique feat: the weaving of social universality and cultural specificity. For Helton, that means a raw exploration of class, the most pressing and relevant issue we face, couched in the sounds and sights of 1980s Austin — the music, the drugs, the hustlers, and the grandiosity and pomp that only a state like Texas, in all its carnivalesque glory, can render both thrilling and morbid. As readers follow Jake Stewart, a burgeoning artist bent as much on self-destruction as producing great writing or visual art, as he navigates the bloated landscape of Ronald Reagan’s America. An undertone of paranoia and stasis infuses this wry and dark book with urgency and energy that even readers disconnected from the setting and era can feel.
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