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Introducing: John Holten

JohnHolten

Editors’ note: As we head towards publication, we thought we would introduce our contributors.

John Holten is an Irish writer and artist based in Berlin, and runs the ‘fictional’ publishing house Broken Dimanche Press, an avant-garde press that takes its queue from Yves Klein‘s one-day newspaper, Dimanche-Le Journal d’un Seul Jour. John is the author of The Readymades, a novel that documents a fictional network of Serbian artists known as the LGB group (“in defiance of the 21st century’s obsession with the virtual, LGB strives to produce an art of the everyday — having experienced the everyday in its murderous aspect”). We’re pleased to run an extract from Oslo, Norway, a roman fleuve on “love and the creation of fictions.”

Introducing: Karl Whitney

karlwhitney

Editors’ note: As we head towards publication, we thought we would introduce our contributors.

For our money, Karl Whitney is Dublin’s best psychogeographer since James Joyce. Witness, his narrative walks ’round the boundaries of Tallaght, and his search for the hidden waters of the Liberties and St. Patrick’s well, the lost tramways, and Bram Stoker and Ireland’s ghost estates. Karl doesn’t confine himself to Ireland, though. He has written on the Situationists, Parisian streetscapes, and Oulipean Georges Perec. For gorse, Karl runs the Paris of fellow Oulipean Raymond Queneau:

Whereas Queneau’s Paris — the area in which he lived and the place he wrote most about — was located to the west of the city, I was drawn to the east. That’s where the apartment I shared with my girlfriend was, that’s where the library I worked in stood. So when I ran out the door of my apartment building and thought about Queneau’s Paris, I was translating it from west to east: to the storefront petrol stations and pizza joints of the area near place de la Nation. But, as I ran, I was also thinking about the way, in the early 1930s, when work was hard to come by for Queneau as for many others, he picked up a job writing a tiny column for a newspaper. Each day, three, often cryptic, questions about Paris would turn up in L’Intransigent under the heading ‘Connaissez-vous Paris?’ The following day, the answers would be printed below three more questions, and so on. Queneau wrote the column between November 1936 and October 1938, after which he got a job at the publisher Gallimard as a reader.

Introducing: Julie Reverb

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Editors’ note: As we head towards publication, we thought we would introduce our contributors.

Julie Reverb started writing ‘while in bed with a hangover in Spring 2012.’ She says she writes ‘intensely about nothing,’ purely for ‘punches and cadence.’ We believe her. You will too if you follow the trail of her work through some of the best writing venues out there: ‘Pound It’ in Squawk Back, ‘You’ve Got Something on Your Face’ in Calamari Press’ Sleeping Fish, ‘The Bad News First’ in 3:AM Magazine. It’s staggering to think she’s only been at it for a few years.

Introducing: SJ Fowler

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Editors’ note: As we head towards publication, we thought we would introduce our contributors.

SJ Fowler has been exploring the boundaries of European poetry in his Maintenant series, a project that takes its name from pugilist, poet, hoaxer and nephew of Oscar Wilde, Arthur Cravan. It’s an astonishing project, one that has profiled the work of almost 100 contemporary poets, placing the likes of Frédéric Forte, Tadeusz Różewicz and George Szirtes alongside Ann Cotten, Luna Miguel, Holly Pester and Ragnhildur Jóhanns. Says Fowler,

“For years I was completely isolated in my reading too…and as such I was in a bubble, didn’t have the chance to develop any sense of prejudice against poetry in translation, or avant garde work, as somehow otherly. That’s perhaps why I read this kind of work alongside poetry that might be better known in this country in equal measure.”

‘All future plunges to the past’

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If you missed it over the holidays, we revealed our cover, designed by the very talented Niall McCormack. The idea behind it is that of a typewriter, but given our outlook, it also represents pins on a map. We love it, and hope you do too.

As both Darran Anderson and Karl Whitney have written a little about their essays for the issue, we thought that this week (and next) we’d write a little about each contributor, and perhaps share a taster from their piece for gorse.

We’ve (just) passed the print deadline for becoming a ‘friend of gorse‘ – and thank you for the generosity you’ve shown so far. We’re still accepting donations, though you’d now be thanked the second print issue as opposed to the first. And of course, issue one is still available for pre-order here.