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Diagram #100

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Af Kenneth Krabat - 10. september 2017

So, here it is, our 100th issue. That’s 17.4 years, making this issue 17.4, of excellent schematica & lit. We’re real happy about this one, so we’ll get to it.

DIAGRAM 17.4 is here.
TEXT & IMAGE:

Elizabeth Brinsfield
Danny Caine
Alisha Dietzman
Kat Finch
Quinn Gancedo
Peter Giebel
Carolyn Guinzio
Dan Gutstein
Mikko Harvey
Nora Hickey
Christine Kanownik
Kevin Manley
Gary McDowell
Mike Nagel
Jamila Osman
Donald Platt
Delia Rainey
Robin LaMer Rahija
Sarah J Sloat
Abraham Smith
Jacqueline Winter Thomas

REVIEWS:

Caroll Sun Yang on Scott McClanahan
Megan Jeanne Gette on Lucas de Lima
Jamison Crabtree on Patti Yumi Cottrell
SCHEMATICS:

Block Diagram of a Color Receiver that Uses RGB Matrixing
The Corner-Stone
Correct Identification of VCR Control Icons (% of Total Sample)
Glove Configurations
Man-Model for Dutch Aged Women (b) Compared to the Model for Dutch Women (a)
Model of a 4-year Old Boy Scaled up to P50 Male Adult Height
The Mysteries of the Number Seven
Think Time Variability for Two Subjects
Vectorgram Indicates that the B—Y Signal Has Much More Baseline Curvature than the R—Y Signal

*

Let’s sample the wine before we toast. Start with one of four by Quinn Gancedo called:

THE DOG

The dog is that surface against which we attempt to articulate our shape. Young children will tease their appendages in between the jaws of the dog. Later they will play cruel games like tying a scrap of steak to its tail and watching it run in circles or holding it underwater during a game of “New England witch hunt”. Adults will command the dog to “sit”, “shake”, and “roll over”, only to be met with halfhearted compliance and that strange, inscrutable gaze. The human body as it kicks the dog approximates the shape of a “K”. We spoon the dog and form a “C” around the curve of its back. The dog at the foot of the bed, perpendicular to our bodies, reads “L”. And yet despite these moments of delineation, language seems to slip off the dog like hands around a greased balloon. It is in this sense that all stories are dog stories.

*

There are three more in that series, and a whole lot more in the issue, including an interactive/playable review of Patti Yumi Cottrell’s Wet Land by Jamison Crabtree that is damn cool.

Now might be a time to return to the other 99 issues in our archive, which we promise are often outstanding and always at least pretty good. We thought we’d also iterate a few of our long-time contributors whom we’ve published at least four times (obviously we like their work a great deal): Arlene Ang, Monica Berlin, Kristy Bowen (though not in a while: we miss you, Kristy!), Lightsey Darst, Tim Earley, Jim Fisher, Matthew Guenette, Dan Gutstein (who’s got new work in this issue), Philip Metres, JoAnna Novak, Simon Perchik, Dan Pinkerton, F. Daniel Rzicznek, G C Waldrep, and Derek White. Probably a few more in that list too if we include reviewers, whom as of now we do not index. Thanks to them for helping us in this long run.

Thanks, too, to our crack DIAGRAM staff, particularly to Poetry Editor E A Ramey, for whom #100 will be the last issue. She’s been an editor since the first issue, and has been a huge part of our aesthetic and the work we’ve presented these last 17+ years. Thanks, E.

Well, with that news out of the way, we also wanted to mention that we’re about to begin our fall series of chapbook releases over at New Michigan Press. We present, in order of their release this fall and next spring: Albert Goldbarth’s The World of Multicongruencies We Tend to Inhabit Increasingly, Kathleen Peirce’s Vault, our chapbook winner Claire Wahmanholm’s Night Vision, Jacqueline Lyons’ Earthquake Daily, Patricia Clark’s Deadlifts, and Maya Catherine Popa’s You Always Wished the Animals Would Leave.

It’s probably best to order the whole series, which will cost $40 shipped in the US (print + pdf) or just $20 (pdf). You can find them here.

Well, what do we have coming in the next 100 issues? How about your work? Send us some.

Thanks for reading and in so doing keeping us alive,
Ander Monson, Editor

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