JUDY KRAVIS

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Wednesday, 8 November 2017

Inside all day, half unwell half retreating. November, yes, and three weeks after the hurricane, the sequence of events churned about, as if the room you live in had dropped down with crashes and groans into someone else's bedlam and you're staring at your stuff as magma, breaking off and almost glowing, from their floorboards, then going back to an Elias Canetti essay called Dialogue with the Cruel Partner.
The sentence is always something different from the man writing it. It stands before him as something alien, a sudden solid wall which cannot be leaped over.
Then, as the day wanes, add logs to the fire and move on to Fence Magazine where sentences, lines, half-lines and spaces arise and puncture, stop short and relaunch in ways Elias Canetti could not conceive, as he could hardly conceive a writer who was a woman, unless many centuries earlier, like Sei Shonagon. Elias Canetti was Bulgarian Sephardic German English, but none of these got so far as to rupture his language.

The Fence contributors are ruptured throughout, they are perilous in this world. At the back of the magazine they tell us what they're reading. Many writers I haven't heard of, which is peaceful. There's a spread of publishing behind this writing, an irruption, a flood plain, an inland sea. Some contributors are very specific: there are books for the morning, for the evening, books carried around and books dipped into. It is a condition devoutly to be wished.

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