Livre numérique
In 1995, Canadian novelist and critic Hal Niedviecki started publishing Broken
Pencil, a magazine dedicated to the zine scene, the independent and
alternative arts community that had been boiling below the surface of Canada's
culture. Broken Pencil's mandate was (and is) to bring the submerged cultural
urge into Canada's collective consciousness, to help lift it up and lend it
legitimacy. And this includes promoting writing, from writers within Canada
and outside it whom nobody here had ever heard of or wouldn't touch, that was
too weird or uncomfortable for the (all-too) serious literary journals, too
visceral and punk rock for the likes of the Margarets and their ilk. The
stories in this anthology are outcasts. They don't fit into traditional CanLit
and, in most cases, they don't even resemble the contemporary short story
we've come to know and love. They are anti-literature. By and large, they read
ragged, lacking the refinements of metaphor, magical realism, and perfect
epiphany on the prairies. A few of them might even be badly written. On
purpose? By accident? Who really cares? This is Broken Pencil, where the words
do the work, voices are discovered and developed, and the place for sharp,
offensive urban fiction. Includes stories by Sarah Gordon, Golda Fried, Martha
Schabas, Etgar Keret, Ian Rogers, Ethan Rilly, Greg Kearney, Leanna McLennan,
Craig Sernotti, Janine Fleri, Karen McElrea, Matthew Firth, Christopher
Willard, Paul Hong, Josh Byer, Derek McCormack, McKinley M. Hellenes, Julia
Campbell-Such, Zoe Whittall, Joey Comeau, Emma Healey, Robert Benvie, Grant
Buday, Sandra Alland, Kate Story, Charlie Anders, Jake Kennedy, Kevin Spenst,
Jessica Faulds, Joel Shneier, Esme Keith, Christoph Meyer, Tor Lukasik-Foss,
Joel Katelnikoff, Janette Platana, Federico Barahona, and Dave Hazzan.
Pencil, a magazine dedicated to the zine scene, the independent and
alternative arts community that had been boiling below the surface of Canada's
culture. Broken Pencil's mandate was (and is) to bring the submerged cultural
urge into Canada's collective consciousness, to help lift it up and lend it
legitimacy. And this includes promoting writing, from writers within Canada
and outside it whom nobody here had ever heard of or wouldn't touch, that was
too weird or uncomfortable for the (all-too) serious literary journals, too
visceral and punk rock for the likes of the Margarets and their ilk. The
stories in this anthology are outcasts. They don't fit into traditional CanLit
and, in most cases, they don't even resemble the contemporary short story
we've come to know and love. They are anti-literature. By and large, they read
ragged, lacking the refinements of metaphor, magical realism, and perfect
epiphany on the prairies. A few of them might even be badly written. On
purpose? By accident? Who really cares? This is Broken Pencil, where the words
do the work, voices are discovered and developed, and the place for sharp,
offensive urban fiction. Includes stories by Sarah Gordon, Golda Fried, Martha
Schabas, Etgar Keret, Ian Rogers, Ethan Rilly, Greg Kearney, Leanna McLennan,
Craig Sernotti, Janine Fleri, Karen McElrea, Matthew Firth, Christopher
Willard, Paul Hong, Josh Byer, Derek McCormack, McKinley M. Hellenes, Julia
Campbell-Such, Zoe Whittall, Joey Comeau, Emma Healey, Robert Benvie, Grant
Buday, Sandra Alland, Kate Story, Charlie Anders, Jake Kennedy, Kevin Spenst,
Jessica Faulds, Joel Shneier, Esme Keith, Christoph Meyer, Tor Lukasik-Foss,
Joel Katelnikoff, Janette Platana, Federico Barahona, and Dave Hazzan.
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