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FIONA ALISON DUNCAN
FIONA ALISON DUNCAN is a Canadian-American author and artist. Her debut novel Exquisite Mariposa won the 2020 LAMBDA Literary Prize for Bisexual Fiction.

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Interview with Fanny Howe

Interview

Issue No. 29

FIONA ALISON DUNCAN

Interview

Issue No. 29

Fanny Howe’s bibliography is as bewildering as her itinerant biography. Born in 1940 in Buffalo, New York, the poet and author grew up in...

Interview

January 2020

Interview with Jamieson Webster

FIONA ALISON DUNCAN

Interview

January 2020

Jamieson Webster serves as a torchbearer for a field out of popular favour. Her practice, psychoanalysis, was last century’s...

On the cover of the 1985 Pelican edition of D W Winnicott’s 1971 book, Playing and Reality, there is a picture, by Lawrence Mynott, of a teddy bear with a missing plastic eye Winnicott is famous, of course, for talking about teddy bears He writes: ‘the object is affectionately cuddled as well as excitedly loved and mutilated’ One must, he notes, ‘recognise the central position of Winnie-the-Pooh’ in the life of the child Teddy bears without eyes and Winnie-the-Pooh-type creatures turn up quite a bit in Hannah Black’s Some Context (2017) There are seven Transitional Objects scattered about the gallery space These visionless fabric animals, some bears, some dog-like, one elephant-like (the latter hung up on some metal hooks), are filled with shredded copies of a text called The Situation, 20,000 copies of which (bar those that have been taken and/or shredded) form a strange temple-like monument in the middle of the room, guarded by an animal with long silky hair that looks like someone’s idea of an Afghan hound if they had never seen one   The floor, entitled Carpet, is covered with already-shredded pages from the book, and in odd clearings, there are Creatures made of modeling clay – some are faces, some are eyes, perhaps the missing eyes of the toys – and others are figurines, clutching at the side of the fabric animals One is just a smear, though perhaps it has been stepped on, as differentiating the curious crunch of shredded paper from the partly hidden modelled objects makes wandering around the show rather delicate In three sites, menacing paper shredders, switched on and full of eaten paper, add an air of dangerous possibility – should I shred the book? Is that what the machines want? Is that what the artist wants? On the back of the book two small diagrams show a bear-like creature throwing the book up into the air as it appears to explode, and another shows the bear walking off with the book under its arm I followed the second bear   All this anxiety, uncertainty and possibility is perhaps part of the point – after all,

Contributor

June 2019

FIONA ALISON DUNCAN

Contributor

June 2019

FIONA ALISON DUNCAN is a Canadian-American author and artist. Her debut novel Exquisite Mariposa won the 2020 LAMBDA Literary...

Exquisite Mariposa

Fiction

July 2019

FIONA ALISON DUNCAN

Fiction

July 2019

I broke three contracts in 2016. The first was verbal, a monogamy clause. But he was fucking around too, and I knew, because everybody...

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poetry

February 2013

Redacted, Redacted

Les Kay

poetry

February 2013

Here the censorship, which you’ve taught yourself, is self-inflicted (low sugar, low fat); it begins with the swinging shadow...

poetry

September 2012

Crossing Over

Eleanor Rees

poetry

September 2012

As he sails the coracle of willow and skins his bird eyes mirror the moon behind cloud. Spring tide...

poetry

September 2011

The Cinematographer, a 42-year-old man named Miyagawa, aimed his camera directly at the sun, which at first probably seemed like a bad idea

Michael Earl Craig

poetry

September 2011

Last night Kurosawa’s woodcutter strode through the forest, his axe on his shoulder. Intense sunlight stabbed and sparkled and...

 

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