No Glykon was interviewed for The Texas Observer about alt lit:
I often think that punk is analogous to Alt Lit. Poetry really never had its punk. There’s no one that ever really said, “It’s okay to write shit.” But for punk, it’s “learn three chords and you have a song.” I think Alt Lit is like that. It’s crude, it’s DIY. A bunch of people who were publishing poetry on the Internet just became friends. A lot of them are timid about even using the word Alt Lit to describe themselves, myself included. I don’t even know how big it is. Sometimes I’ll see an article in The Guardian or New York Times about some character in the scene, and I’ll be like, “Hmm, that’s weird. That guy.” In my perspective, it’s just people I’ve become friends with. And you know, I think it’s just not necessarily something solid that you can add a very strict definition to. And there’s not really somebody in the community who is putting definitions on things. There’s no [Andre] Breton who’s writing manifestos on Alt Lit. Or if there are, I don’t know who they are.
William Day // http://instagram.com/p/qokDaGQm_a/
James Bridle has written a short article for The Guardian about alt lit and Steve Roggenbuck
I’m excited about this because I’ve been a big fan of James Bridle for awhile now — in my opinion, he’s someone who articulates the changes that technology is making on books and how we read better than almost anyone
I highly recommend following James Bridle’s website, which is always full of links to very interesting things:
and I’ve posted some lectures of James Bridle, in case you’re interested
The Fatigue of the Empire
this Argentinian article about alt lit is very interesting — a thoughtful outside perspective on what is happening
thanks to Kevin Cole for translating this
click here to read more translations he’s done, including a few poems by Luna Miguel
For those who may be interested in what other parts of the world are saying about alt lit, I’ve translated the prologue of the anthology of North American alt lit writers (“Alt Lit: Literatura norteamericana actual”, Interzona, 2014, Argentina) written by Lolita Copacabana y Hernán Vanoli (original available here):
1. It’s hard to think of a literature more challenging than North America’s for reading about nonsensicalities, struggles, abandonment, and wounds, but also of the promises and triumphs of the twentieth century. Does its star burn out in the twenty first century? We don’t think so. This book presents a selection of young North American authors, most of whom are no older than thirty, who in different ways all take part in a scene that is diverse, contradictory, and in constant motion, most recently known by the title “alt lit”—alternative literature, indie literature, American hipster literature—. It was also once called the “offbeat generation” in a vague allusion to the beatniks, “Adderall generation” in reference to the antidepressant, or “generation Y” because of the Internet and its advancement beyond that which made “generation X” stand out. Its aesthetic origins can be traced back to roughly 2004, to the enthusiasm of the poetic, musical, and artistic wave known as “New Sincerity”, which came as a reaction against the irony and cynicism of the 90s, and especially in the US—a nation that was deindustrializing at the same time as it entered into a notorious military escalation after being attacked on September 11, 2001—. Two enormous monuments to financial capitalism had collapsed along with the feeling of the invulnerability of an empire.