By Maggie Estep
"The storytelling has power and a spirit of uprising, giving us wish for the way forward for all these undesirable ladies with soiled faces and undesirable boys on bikes."—The ny Times
"There is set Maggie Estep's paintings a directness, a transparent determination—a force to chop via, to damage via, to claw through—that is impressive."—A.M. houses, writer of The Mistress's Daughter
"Maggie Estep is the bastard daughter of Raymond Chandler and Anaïs Nin. Her prose is hard-boiled and attractive; she turns an excellent word and indicates a few leg."—Jonathan Ames, writer of get up, Sir!
Alice Hunter is a thirty-six-year-old specialist gambler dwelling in Queens, long island. She is modestly winning as a horseplayer and enjoys her paintings. even though avidly pursued by means of her lover, Clayton, who she refers to because the sizeable Oaf, Alice's closest significant other is sweet, a small noticed puppy, and Alice likes it that manner. while Clayton's overzealousness leads Alice to invite one among her racetrack cronies to intimidate Clayton into leaving her, a couple of issues get it wrong and Alice turns to her half-sister Eloise, a toy maker, whose personal lover has simply been killed in a freak accident.
There is fierce love among Alice, Eloise, and Kimberly (their unconventional mother), however it takes Alice's unintentional discovery of an lousy mystery Kimberly has been protecting to really convey 3 eccentric ladies, seventeen canine, and various enthusiasts together.
Maggie Estep has released six books, together with Hex, a brand new York instances remarkable e-book of 2003. Her paintings has seemed in lots of magazines and anthologies together with: Brooklyn Noir, Queens Noir, Aloud: Voices from the Nuyorican Poets Café, the simplest American Erotica, and The Outlaw Bible of yankee Poetry. She has played her paintings in a wide selection of venues starting from Lincoln heart to Lollapalooza, Charlie Rose, and HBO's Def Poetry Jam. She lives in Woodstock, long island.
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Extra info for Alice Fantastic
In none of these declarations does the mood of the verb pose problems of interpretation. It is indicative. Yet the mood of the passages over which these declarations stand is not so straightforwardly indicative. They possess, I want to suggest, an undecidability of mood which is constitutive for what is peculiar to Wordsworth’s poetic language, yet which is easy to miss or inadvertently to delete, because it falls between what we have come to think of as an exhaustive array of alternatives for interpretation.
Rather the sense given to ‘truth’ in archaic Greek society was fundamentally characterized by performative efficacity. Whether as an official of the sovereign or as one who praised the warrior nobility, the poet was always a master of truth. His ‘truth’ was a performative truth, never challenged or demonstrated, and fundamentally different from our own traditional concept of truth. e. neither correspondence nor coherence]. It was not the opposite of ‘lies’ or ‘falsehood’. The only meaningful opposition involved Ale¯theia and Le¯the¯.
So that it is precisely through this deprivation that substance is discovered. But this substance turns out not to be a rump of sheer literalness. The stripping down of poetry, the removal of everything which is adventitious to a description, all this does not in the end leave us with the impossible dead letter, with perfected literalness, but rather forces us right up against that in language which will not be made absolutely literal: the way in which under the steadiest description still sounds a prescription, the way in which a norm, or a value, or a meaning, echoes in what is apparently the most naked and simple ‘is’.