Insiders


Dear N.,

I mentioned this earlier this year (you have probably forgotten). I hope it might be of interest still. I write, in usual haste, to ask if you might consider contributing to a journal of which I am now one of the commissioning editors (and I am sorry to say that commissioning does not include offering a fee). E.R.O.S. is the journal of Eros Press. It is published biannually, and dedicated to the subject of desire. It covers a wide range of fields, drawing together often disparate disciplines under the auspices of each issue’s theme. Alongside newly commissioned work, E.R.O.S. contains excerpts, reproductions, and reappraisals. The journal is now on its sixth issue, and is a very nice thing: http://erosjournal.co.uk/ Our next issue is entitled The Interior, and below is the description. The deadline is early September, and we are looking for short texts, up to 3500 words at most. I hope this might be of interest to you — you may perhaps have something that has not yet found a home.

With warm wishes,

S.

*

Dear S.,

Here below, a proposal for EROS.

Regards,

N.

Rumors persist that the mysterious monolith in Stanley Kubrick’s film 2001: A Space Odyssey is based on the work of Californian artist Jan Check. At an event organised to celebrate the artist’s life a technician sheds light on the problems involved in fabricating Check’s work. The suggested link with Kubrick’s film is revealed to be more plausible than previously thought.

The story is told of a 17th Century physician and his experiment into the question of consciousness carried out on a head in the moments after a convicted man’s execution by guillotine. A new embellishment of the story is proposed in which the assumed blank expression of death turns out instead to be a stealthy communication built, somehow, into non-signifying gestures of the face.

This piece is organised as two texts in parallel. In both cases they are factual accounts compounded by fiction. The piece approaches the theme of the Interior obliquely, as the not-stated concern of (un)related narratives. Both parts of the text are written in a concise and direct style allowing the registers of their engagement with the Interior to remain distinct. The challenge for the reader is to find the theme in implicit relations; the piece performs the complication of interior and exterior addressed also on the level of content.

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