Sunday, March 6, 2011
we've moved!
The blog has moved over to our website. Please find us at http://translitmag.com/blog. Gracias!
Monday, January 17, 2011
new fiction from Anna North
Up today: "The Machine" by Anna North.
Anna North got her MFA from the Iowa Writers Workshop in 2009. Her first novel, America Pacifica, will be published by Reagan Arthur Books/Little, Brown in May 2011. She is also a staff writer for Jezebel.com.
Also, our first reading will be Sunday, February 13 at 6pm at Txikito, a Basque restaurant in the heart of Chelsea - 240 Ninth Ave, New York, NY. Hope to see you there!
Tuesday, January 11, 2011
new art and fiction
Up on translitmag.com: art from Jim Fuess - two pieces: "Yell" and "Neptune X" - and some short fiction from Andrew McLinden called "The Sad Sentence."
We're also making plans for a trans lit mag reading in February, so keep your eyes, ears, and minds open. To get the most up to date info, like us on Facebook (and in the real world).
Issue #2 is shaping up in a very exciting way, and there is plenty of room for more wonderfulness, so if you have any you want to share, send it on over. Cheers,
Xtina
We're also making plans for a trans lit mag reading in February, so keep your eyes, ears, and minds open. To get the most up to date info, like us on Facebook (and in the real world).
Issue #2 is shaping up in a very exciting way, and there is plenty of room for more wonderfulness, so if you have any you want to share, send it on over. Cheers,
Xtina
Sunday, January 2, 2011
Issue #1 - transmission
If you missed Issue #1 - transmission - here is what you missed:
--Xtina
Fiction – “My Late-Middle Period” by Eric Sasson
Poetry – “Maps” by Elana Seplow
Fiction – “Intangible Objects” by Douglas Silver
Poetry – “Awaker” by Elana Seplow
Haiku – “On Reading Douglas Silver’s ‘Intangible Objects’” by Christina Phelps
Art – “Look of A Planet” by Denny E. Marshall
Fiction – “It Wasn’t Just a Dream &” by Jaime Karnes
Fiction – “Programmed Self-destruction” by Shannon Anthony
Issue #1 is taking a little break at the moment but will be back soon.--Xtina
Biutiful
A review by Christina Phelps
I went to see Alejandro González Iñárritu's lastest, Biutiful, last night at the Landmark Sunshine Cinema on Houston, not sure what to expect really (I don't even think I had seen a trailer), but in hindsight, I should have known what to expect. I've seen 21 Grams and Babel (Amores Perros is on the list, I promise) - bleakness and narrative complexity were sure to be forthcoming.
That being said, there was no way to be prepared for the bleakness and narrative complexity of Biutiful. There is very little respite. There is very little levity. There is some, in the small quiet moments, a look between the characters, in the eyes of the children, in beautiful shots of the sea or the city, but tragedy doesn't so much lurk as permeate. It inflates the characters lungs.
21 Grams was bleaker than Babel, it was also less complicated because there were really only the three main characters and the story revolved around them in a very close-fitting way. It was a braid. (However chopped up temporally.) Babel, on the other hand, had essentially four different storylines that only slightly overlapped one another (if in complicated ways that were more evident to the audience than the characters themselves).
Biutiful was bleaker than 21 Grams (seems impossible, I know) and far more complicated than Babel. The storylines are stacked on top of one another. The story revolves entirely around this one man, but there are so many storylines that it's as if he is a maypole.
Javier Bardem was absolutely amazing as Uxbal. When I saw The Fighter last week, one of the things we (and everyone else) talked about were the performances, which are amazing, but they are only so amazing that they draw attention to themselves as performances. As Anthony Lane wrote in the New Yorker, "So much acting." You don't get that here. What you get here are the characters, which is the point, right?
I would love to write more about the character of Uxbal. He's interesting because he's the central character of course, but what struck me most about him was his role as a father in the literal sense (to his children) and his role as a sort of father-figure to the various groups of people in his life (his ex-wife, the immigrants, the parents of the dead child). Even when he's paying off the cop, the cop keeps saying how he has to put food on the table for his kids, so it becomes this thing where the cop's kids are unwittingly dependent on Uxbal and even though he seems to think he shouldn't keep giving the cop money he does because he can't let his kids starve, or he knows the cop will just get money a different (potentially more dangerous) way, and Uxbal is constantly caught between being the exploiter and the protector, between getting his cut and being benevolent. And all this when he didn't have a father. Or, he did, but he never knew him, could never know him. He just knew him as an escapee, as heroic in some way. All these things about death and remembrance.
I have to say though, I was glad when it became clear that most of the film was in chronological order. A few minutes in, I was already anticipating exhaustion.
And it was exhausting, but in a really satisfying way. It was a beautiful film, a relevant story, a very human and compassionate piece, despite the bleakness, despite the tragedy. But really because of it.
I went to see Alejandro González Iñárritu's lastest, Biutiful, last night at the Landmark Sunshine Cinema on Houston, not sure what to expect really (I don't even think I had seen a trailer), but in hindsight, I should have known what to expect. I've seen 21 Grams and Babel (Amores Perros is on the list, I promise) - bleakness and narrative complexity were sure to be forthcoming.
That being said, there was no way to be prepared for the bleakness and narrative complexity of Biutiful. There is very little respite. There is very little levity. There is some, in the small quiet moments, a look between the characters, in the eyes of the children, in beautiful shots of the sea or the city, but tragedy doesn't so much lurk as permeate. It inflates the characters lungs.
21 Grams was bleaker than Babel, it was also less complicated because there were really only the three main characters and the story revolved around them in a very close-fitting way. It was a braid. (However chopped up temporally.) Babel, on the other hand, had essentially four different storylines that only slightly overlapped one another (if in complicated ways that were more evident to the audience than the characters themselves).
Biutiful was bleaker than 21 Grams (seems impossible, I know) and far more complicated than Babel. The storylines are stacked on top of one another. The story revolves entirely around this one man, but there are so many storylines that it's as if he is a maypole.
Javier Bardem was absolutely amazing as Uxbal. When I saw The Fighter last week, one of the things we (and everyone else) talked about were the performances, which are amazing, but they are only so amazing that they draw attention to themselves as performances. As Anthony Lane wrote in the New Yorker, "So much acting." You don't get that here. What you get here are the characters, which is the point, right?
I would love to write more about the character of Uxbal. He's interesting because he's the central character of course, but what struck me most about him was his role as a father in the literal sense (to his children) and his role as a sort of father-figure to the various groups of people in his life (his ex-wife, the immigrants, the parents of the dead child). Even when he's paying off the cop, the cop keeps saying how he has to put food on the table for his kids, so it becomes this thing where the cop's kids are unwittingly dependent on Uxbal and even though he seems to think he shouldn't keep giving the cop money he does because he can't let his kids starve, or he knows the cop will just get money a different (potentially more dangerous) way, and Uxbal is constantly caught between being the exploiter and the protector, between getting his cut and being benevolent. And all this when he didn't have a father. Or, he did, but he never knew him, could never know him. He just knew him as an escapee, as heroic in some way. All these things about death and remembrance.
I have to say though, I was glad when it became clear that most of the film was in chronological order. A few minutes in, I was already anticipating exhaustion.
And it was exhausting, but in a really satisfying way. It was a beautiful film, a relevant story, a very human and compassionate piece, despite the bleakness, despite the tragedy. But really because of it.
Thursday, December 30, 2010
the first few pieces in Issue #2, transience
Last week we began Issue #2 with Stephen Batiz's cover piece, "The Path," and today we've added poetry from Sergio Antonio Ortiz and Parker Tettleton and fiction by Mitchell Waldman.
More fiction, poetry, and artwork set for next week, and we are still accepting submissions for transience, as fleeting as the issue might be. Like the flicker of candlelight, the first snow flurries, the seasons, each of us and our whims. The moments we find ourselves caught up in like swirling leaves. But what is temporary when we create records of everything, in our imaginations and memories, in our art and in ourselves? Happy New Year.
Post thundersnow in NYC,
Xtina
More fiction, poetry, and artwork set for next week, and we are still accepting submissions for transience, as fleeting as the issue might be. Like the flicker of candlelight, the first snow flurries, the seasons, each of us and our whims. The moments we find ourselves caught up in like swirling leaves. But what is temporary when we create records of everything, in our imaginations and memories, in our art and in ourselves? Happy New Year.
Post thundersnow in NYC,
Xtina
Tuesday, December 21, 2010
submission guidelines
trans lit mag is now accepting submissions for our second issue, “transience.” Content will include but will not be limited to the following:
- literary fiction
- poems
- short shorts
- comics
- sketches (character or charcoal)
- scenes
- ten-minute plays
- novel excerpts
- a novel in its entirety, serialized
- photos
- drawings
- original translations
- open letters
- responses to any of the above
- reviews and criticism of such things as:
trans lit mag retains the right to publish your work, and each issue is copyrighted, but you retain all rights to your work. Please include a short bio with your submission - a new bio with each submission if you so choose. Payment will be in the form of a downloadable copy of the issue containing your work as soon as one is available.
Submissions are accepted and published on a rolling basis. translitmag@gmail.com is the way to get in touch with us. We look forward to reading your work.
- literary fiction
- poems
- short shorts
- comics
- sketches (character or charcoal)
- scenes
- ten-minute plays
- novel excerpts
- a novel in its entirety, serialized
- photos
- drawings
- original translations
- open letters
- responses to any of the above
- reviews and criticism of such things as:
- new novels
- old novels
- Shakespearean sonnets
- short stories appearing in the current issue
- responses to reviews or criticism
- readings
- writing conferences
- mfa programs
- films
- theatre productions
- society
Each issue of trans lit mag has its own title that should be thought of as a guiding principle but by no means as a limitation. “transience” will be our second transmission, a momentary broadcast, a sending across of our perceptions and strengths in words and pictures. trans lit mag retains the right to publish your work, and each issue is copyrighted, but you retain all rights to your work. Please include a short bio with your submission - a new bio with each submission if you so choose. Payment will be in the form of a downloadable copy of the issue containing your work as soon as one is available.
Submissions are accepted and published on a rolling basis. translitmag@gmail.com is the way to get in touch with us. We look forward to reading your work.
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