Conjunctions: 59 / Colloquy

Fall 2012

TABLE OF CONTENTS

Selected Letters
William Gaddis

Theses on Monsters
China Miéville

Two Elegies
Robert Kelly

Table of Contents
Lance Olsen

Dogs of Cuba: The Buddha of Vedado
Edie Meidav

Monstrous, Monstrosity, Monster, and the Little Man Next Door
Peter Straub

Five Poems
Rae Armantrout

The Pearls That Were His Eyes
Shelley Jackson

Luxembourg Gardens
Aurelie Sheehan

The Library
Sarah Tourjee

Always in Arises
Keith Waldrop

Listening to Krao: What the Freak and Monster Tell Us
Theodora Goss

Letters So That Happiness
Translated by Elizabeth Zuba and Arnaldo Calveyra

Literature and the Right Not to Die
Brian Evenson

More Little Tales of the Internet
Jonathan Lethem

A Taxonomy of the Teratoid: Self-Aware Monsters, Oblivious Fiends, and Elusive Demons
James Morrow

Immortals Having a Party
Mei-mei Berssenbrugge

Reversible Story
Lydia Davis

You Are Country Like Me
Ngoc Doan

The Connoisseur of Pain
Michael Reid Busk

Janus at a Chinese Restaurant in Paris
Abigail Lang and Thalia Field

From From a Broken Bottle Traces of Perfume Still Emanate
Nathaniel Mackey

The Migration
Matt Bell

The Reader
Robert Coover

Glow Little Glowworm
John Crowley

The Immediacy of Heat
Arthur Sze

Hylomorphosis
Alexandra Kleeman

Landscapes on a Train
Cole Swensen

The Afterlife of Paper
Peter Gizzi

Every Day, an Epic
Evelyn Hampton

Woodland Pattern
Ted Mathys

Seven Stories
Jedediah Berry

Otherwise Smooth
Rosmarie Waldrop

Romancing the Mind
William H. Gass

Description

Conjunctions: 59, Colloquy

Edited by Bradford Morrow

Cover art is a detail from Jesus in the Olive Grove, by the Master Vyšší Brod (the Master of Hohenfurth), c. 1350. Narodni Galerie, Prague, Czech Republic. © Erich Lessing.

Every issue of Conjunctions could, I suppose, be construed as a colloquy. The idea for this issue was to assemble works that were not bound, even loosely, to any specific theme. It was a concept thwarted from the start, as the reader will see. These fictions, poems, essays, letters, and pieces that defy genre definition—works by some of my favorite contemporary writers—draw on quite different linguistic approaches to quite different thematic visions, giving the issue an almost symphonic quality with unexpected harmonies abounding from page to page. Once it was understood that despite ourselves we did have a theme, however subtle, the portfolios on the Word (co-edited by Robert Coover and me) and the Monstrous (edited by Peter Straub) came into being, adding new depth and dimension to our colloquy.

We are particularly honored to publish a generous selection of William Gaddis letters excerpted from the forthcoming Dalkey Archive volume of collected letters. Renowned for the towering achievement of his novels, Gaddis was a very private man. His correspondence, printed here for the first time, spans the arc of his life, from the earliest days when he was beginning to research and write The Recognitions—that touchstone masterpiece that infamously drew critical disdain when originally issued in 1955 and is now required reading for anyone interested in American fiction—to his fourth major novel, A Frolic of His Own, an indictment of the jurisprudence game, just as the 1975 J R examined the lust for money in its myriad forms. In his letters we witness Gaddis as son, father, friend, colleague—at all times intellectually engaged and curious, hilariously self-deprecatory (consider his self-portrait reproduced here as a frontispiece!), critical of fools, deeply empathetic and precise, and finally as complex and insightful as the novels he wrote. Many thanks to Sarah Gaddis, Martin Riker, John O’Brien, Steven Moore, and the Andrew Wylie Agency for their help in making it possible for us to publish this important correspondence. Thanks, too, as always to my remarkable staff editors—Micaela Morrissette, Pat Sims, J.W. McCormack, Nicole Nyhan, Andrew Durbin, and Soli Shin—with whom I have the privilege of working. True colloquists all.