New Genre #6 is out after a long wait and available for purchase: chills, space-tech-lingo, and wholesale freakouts feature. Our contributing editor Adam Golaski has selected both the science fiction and horror stories for this number (Jeffrey Paris A Lawyer Walks Into a Bar… psp , science fiction editor for numbers 1 — 5 has passed the baton); as Open Letters readers may know, Adam doubles as an experimental poet and his science fiction selections schitz with the poetry of hard SF:

• A Lawyer Walks Into a Bar… movie

With a remote controlled jig torch he shaved loose the raspbushings in the halogen assemblies, then activated the flip-up lathes and the bit grinder, and ran the winch moldings and fuse block stripping into them. Disconnecting the linkage tips of the emissive hoses with an oldinary bleeder wrench, Jack disentangled whole segments of cleats and chocks. Satisfied with the debris produced, next came the running brushes under the substrate boards, which produced a blakanized screech of white noise.

A bleeder wrench!  This from “Jack the Satellite Jocky,” by Michael Filimowicz. The volume’s other speculative tale, the long and winding, “I Am Antenna / Antennae” by Matthew Pendleton, is equally strange: a society of female nurses tend to a society of confused males in sight of a “Hospital” shaped like a cake; they live in confused and shifting corridors where food is left at their doors each night and clean dresses float down from the sky.

There are also a pair of horror stories, both straightforwardly narrated and both designed to make you feel satisfyingly unsettled. In the first, a dark western by Stephen Graham Jones called, “Lonegan’s Luck,” a wandering salesman takes advantage of a good Christian town in a sneaky, thorough, and brutal way. The other chiller, Eric Schaller’s “The Sparrow Mumbler,” investigates the sort of crazy down-on-his-luck coin-flipper who’d permit himself to be pecked and clawed all day and night and be grateful for the paycheck. And then a haunting woman arrives …

You can order your copy right away by sending the $8 cover price, check or cash, to PO Box 270092, W. Hartford, CT 06127. New York City readers can ask for it at St. Mark’s Books, and other spots where unique and unwholesome concoctions appear.

Issue #4 of The Lifted Brow is out from far Australia, featuring four (4) Open Letters contributors in its roster. Poetry editor John Cotter, contributing editor Adam Golaski, and poets Jen Knox Transporter 2 release

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Blood Work movie full and Caren Beilin share new work alongside lions like Brian Evenson, Heidi Julavits, Rick Moody, and Jim Shepard. There are two CDs included in the $27 book, pressed with 40 pieces by 40 performers (including The Wrens, the eerie Dan Deacon, and a pop song by, of all people, Neil Gaiman).

Editor Ronnie Scott designed the book’s hundred-odd stories and songs around a real fake bookshelf which had previously distinguished a hairdresser called Control HQ in Brisbane, Queensland:

The fake bookshelf is a deep-looking piece of wood. It’s painted deeply black. But as you aproach, you realise that the pice of wood is flat, and the books are merely spines, which have been pruned from complete books and wrapped around lengths of foam.

The X Files release He copied down the unlikely titles on that shelf (titles like “Sound of Murder” and “The Pain of Winning” and “Portrait of Maud”) and assigned each to a different cartoonist, musician, or storywriter.

Jennifer L. Knox makes “All Her Dreams” about the magical illusions of a crappy intervention … Caren Beilin turns “Wherever Lynn Goes” into a weird waterscape of, among other implements, “a giant sculpture of scissors, which is padded with the area’s endemic, electric moss, its blades dripping with damp life, the green hairs of waves” … In Adam Golaski’s gentle “A Rainbow Summer,” a lonely boy is told the story of Noah’s Ark, whose builder, surprisingly, does not tire of eating fish … and John Cotter draws “Cristobel,” and invents of it the history of a Mexican zombie film which is neither a zombie film, nor Mexican … Sideways dvdrip It’s a packed, portable, and very pretty book, and Open Letters offers its warm congratulations to all its makers. You can get yours here~ Untamed Heart on dvd Blink ipod The Born Losers film The Thirty Nine Steps ipod

Open Letters is excited to congratulate our contributing editor Adam Golaski on the publication of the short, fearsome collection Worse Than Myself Annie Hall full movie . The book’s eleven stories, ghost tales and guilt-fed horrors, are set in the fingerlakes of New York, the leafy alleys of New England, and the islands and ice of Montana.

How much can an early landscape trap the minds of those raised inside it, even as that landscape changes? What can grow in the silence of neglected train stops, rural attractions, miles of abandoned road? In “What Water Reveals” a recovering alcoholic finds himself trapped on an isthmus … alone? who is the dark figure who tracks him home, opens its mouth … In “Weird Furka” a radio program from years ago begins to be rebroadcast, disturbing a town that hadn’t forgotten it, and summoning a past they hoped they’d buried … in “In the Cellar,” a boy playing in his backyard discovers buried train tracks leading straight underneath his house, his mother, “imagined a train roaring through the house, tearing up the earth as it rode on its sunken rail.” Who’s the young girl calling at night from a window across the lawn? Is it worth exploring …

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Adam has been with Open Letters from the beginning, reviewing fascinations from the history of horror on film, to electronic music, to experimental poetry Off the Map dvdrip Autumn Leaves move

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, and most importantly serializing his own strange & new translation of Sir Gawain and the Green Knight, Green. Read the whole first fit: part one, part two, part three, part four, and part five.

You can pick up a hardcover or paperback of the strikingly designed Worse Than Myself at Powell’s, Amazon Bernard and Doris

, or direct from Raw Dog Screaming Press.

To watch the author read “The Animator’s House” in its entierty, click Part One & Part Two.

Paul McCartney doesn’t need to worry about his legacy, but he is worried. Perhaps The Beatles Anthology (both book and three (double-disk) CD sets) was the first indication, but Wingspan, a Wings greatest hits compilation (do any of you not know that Wings was McCartney’s highly successful (and highly inconsistent) post-Beatles band?) and the attendant television special clearly announced his… anxiety.

I don’t mind a little aggrandizement, especially from someone who did, undeniably, contribute (positively) to our culture. As a Beatle, he not only co-wrote and wrote excellent pop songs, both for the Beatles and for a myriad of other artists (the first no. 1 for The Rolling Stones, Peter & Gordon’s no. 1 “World Without Love,” Badfinger’s “Come and Get It,” etc.), but he was also concerned—more so than John Lennon—with the evolution of the album as a single work of art (now perhaps a quaint idea, due to the reemergence of the single as the dominant pop unit), most obviously evident on the McCartney-driven Sgt. Pepper’s Lonely Heart’s Club Band and the linked b-side of Abbey Road. More important, though, than attempting to parse out who did what as a Beatle—they all contributed significantly to their collective sound, look, and spirit—McCartney’s need to work kept the band moving forward. Even as Lennon sank into sloth, suburbia, and heroin, McCartney’s drive inspired Lennon to write. McCartney showed up to the studio with five songs for Pepper; Lennon replied with five more.

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Post-Beatles, McCartney has given us a lot of silliness (though far less than people seem to think). This silliness is the likely reason why he may now seem slight—not, as he seems to think, because of the vast shadow his murdered best friend Lennon has cast. And now he’s being silly again. No, his efforts to release The Beatles track “Carnival of Light” isn’t silly. Maybe unnecessary—though considering the significance of The Beatles, it’s no less necessary than publishing newly uncovered Robert Frost poems. What’s silly is McCartney’s hope that “Carnival of Light” will serve as evidence that, as McCartney says through the mouth of interviewer John Wilson: “it will help reaffirm McCartney’s claim to have been the most musically adventurous of all the Beatles.”

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It won’t. Whether or not it will be good isn’t the issue. “Carnival of Light” will be fun to listen to—as a relic.

I like “Revolution No. 9,” the Lennon-Harrison sound collage on The White Album; I imagine that “Carnival of Light” won’t be as strong, but will be more fun—this is Pepper-era noise-play, after all, and you’ll know just how much fun when you pull your copy of Pepper off the shelf and listen to all the wonderful noise on that record—the instruments tuning up, the laughter at the end of “Within You Without You” (quite possibly my favorite moment on the album), the rooster that kicks off “Good Morning Good Morning” or the animal sounds at that track’s end, the roar of the crowd, and the “Sgt. Pepper Inner Groove” (as it’s called on Rarities) that ends the record.

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Release “Carnival of Light”—please! And every little scrap of studio (Abbey Road and otherwise) noise The Beatles ever made. I will bankrupt myself to buy it because it adds to the joy The Beatles have given me since I was five years old. But Paul, don’t do it to sort out your legacy. You don’t get

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to sort out your legacy. Rather focus your energies on making new (and worthwhile) music—as you have lately done—and let us decide who Paul McCartney was, Beatle and otherwise.

August release

– Adam Golaski Zulu Dawn video

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