Erasure Special Feature Begins!
We’ve now launched this fall’s special feature, highlighting innovative hybrid and erasure work across Aquifer: The Florida Review Online and our upcoming print issue 43.2. Twice weekly through December 26, 2019, we will be publishing a different piece of erasure work on Aquifer, with each taking advantage of the web-native format that enables us to publish genre-bending work we simply couldn’t present accurately in print. Our print issue, no less innovative (though maybe less colorful), will feature even more erasure work that challenges the norm and speaks to the topical origins and traditions of this resilient form. Be sure to subscribe to our print magazine as soon as possible if you haven’t already, and check back here as pieces are published on Aquifer every Monday and Thursday through the end of December.
Over the past fifty years, erasure has come to be known as a (mainly) poetic technique that both connects the writer/reader with an original text and also questions and transforms it, sometimes evokes a completely contrary meaning. As a form, it draws attention to writing as a “physical” object (or, more recently, as a digital object) and makes us aware of how all writings’ meanings can shift and change with varied attention and assumptions. It connects us to our literary and extra-literary writing and visual arts traditions while creating a contemporary engagement with subjects and words from works both ancient and recent. We are pleased to present in Aquifer and the print Florida Review a wide range of erasure techniques from blacking out, crossing out, blanking out, painting out, burning out, and creating collages from original material both written and visual.
Aquifer Erasure Publication Schedule:
(Links inactive until posted publication date at 8:00AM, EST)
“Selections from VIOLETS” by Austin Rodenbiker – Live 11/11
“The Mueller Report, Vol. 2, Page 147 Fairy Tale” by Ronnie Sirmans – Live 11/14
“Of extinction” by Holly Burdorff – Live 11/14 (in our Multimedia Features)
“November Nineteenth [On Erasure]” by Amanda Moore – Live 11/18
“Seduction” by Lynn Domina – Live 11/21
“Wory Gardn” by Harrison Candelaria Fletcher – Live 11/25
“Plum Trees, Astray, Verso, A Little Croquis, and Snow Still” by Jayne Guertin – Live 11/28
“Two Erasures” by Zebulon Huset – Live 12/02
“To All Whom It May Concern” by Julie Jones – Live 12/05
“Four computer-generated erasures” by S Cearley – Live 12/09
“Insect Erasures” by Jaime Zuckerman – Live 12/12
“Three Poems from Time Life’s North American Wilderness Series” by Allyson Young – Live 12/16
“Season Cluster” by Sara Biggs Chaney and Michael Chaney – Live 12/19
“Two Bible Stories” by Caleb Curtiss – Live 12/23
“Healthful Living” by Maud Kelly – Live 12/26
Forthcoming Erasures in 43.2 of The Florida Review:
Sea Poems by C. R. Resetarits
“[your mind is night],” “[The animal is chemical carnivorous sick],” “Read this each time you],” and “[Life eats breath]” by Hardara Bar-Nadev
“Seance” by Jay Barnica
2 poems from Each Leaf by Anna Lena Phillips Bell
“In the house of” by John Bonanni
“Jefferson’s Secret Message to Congress (Redacted)” by Alan Elyshevitz
“Self-Erasure for My Mother” by Amanda Hadlock
“Notes on Pet Monkeys and How to Manage Them” by Bethany Shultz Hurst
“Body: Luke & Acts” by Jayson Iwen
“Come Gentle” and “Come Hollow” by Carolyn Janecek
“Apollo & Daphne” by Eva Della Lana
“Boys, Boss” by Kristine Langley Mahler
“After a Death” and “Allegro” by Kelly Nelson
“Hell’s Our Destination” by David Rachels
“My Girlfriend Asks if I Think I’ll Ever Stop Writing about My Ex” and “Ars Poetica in War Time Which for Us Means Always” by Dujie Tahat
