Mole's Pity

from Mole's Pity: Farther east begins the familiar grief. Walking up 4th Street into the Lower East Side. Shards of history pricking the devastation. The old Jews gone. Or going. Uprooted Puerto-Ricans in their dolorous tenement flats, or leaning over fire-escapes seeking out sun. Not finding it. Nor finding the thread (or chain) yoking them to their Jewish near-gone brother. A different kind of sun, though it give a similar light. Mole's love would be to join light to...light: Mole turns left through a fringe of Chinatown, as there are Chinese "towns" throughout the world. Secretive like the Jews, they work, work against the great void in their chest-which is the vast country they've gone from. Not, finally, much different from the desert of the Jews, nor from the Puerto-Ricans' island sun. Nor from the sign of the heart between the eyes: the black American's Africa.

Jaffe, Harold

Literature & Fiction

Fiction Collective 2

from Mole's Pity:   Farther east begins the familiar grief.  Walking up 4th Street into the Lower East Side.  Shards of history pricking the devastation.  The old Jews gone.  Or going.  Uprooted Puerto-Ricans in their dolorous tenement flats, or leaning over fire-escapes seeking out sun.  Not finding it.  Nor finding the thread (or chain) yoking them to their Jewish near-gone brother.  A different kind of sun, though it give a similar light.  Mole's love would be to join light to...light: Mole turns left through a fringe of Chinatown, as there are Chinese "towns" throughout the world.  Secretive like the Jews, they work, work against the great void in their chest-which is the vast country they've gone from.  Not, finally, much different from  the desert of the Jews, nor from the Puerto-Ricans' island sun.  Nor from the sign of the heart between the eyes: the black American's Africa.

Mourning Crazy Horse

<p>Twenty intersecting tales of estranged love, political oppression and the human comedy. In "Mourning Crazy Horse," the Sioux chief's betrayal and final passion are counterpointed with a contemporary American's journey across the United States. "Underbelly (1)" details the bizarre goings on of a yogi who falls in with a pornographer and his band of outcasts. In "Plattsburgh," a woman tries to rescue an owl on her way to the library only to become entrapped in circumstances neither she nor anyone else comprehends. "Moctezuma's Dreamer" investigates the relationship between enforced deprivation and art, whereas "The Artificial Son" is concerned with the deprivation which promotes kinship, union, "Swede" is the the first of several narratives in which Rosen the humpbacked dwarf practices social commitment on the unwary. Social commitment is in fact the predominant theme, but it is usually conveyed obliquely through fictions which are distinctly individual, richly textured, at once poignant and mordantly funny.</p>

United States

Twenty intersecting tales of estranged love, political oppression and the human comedy. In "Mourning Crazy Horse," the Sioux chief's betrayal and final passion are counterpointed with a contemporary American's journey across the United States. "Underbelly (1)" details the bizarre goings on of a yogi who falls in with a pornographer and his band of outcasts. In "Plattsburgh," a woman tries to rescue an owl on her way to the library only to become entrapped in circumstances neither she nor anyone else comprehends. "Moctezuma's Dreamer" investigates the relationship between enforced deprivation and art, whereas "The Artificial Son" is concerned with the deprivation which promotes kinship, union, "Swede" is the the first of several narratives in which Rosen the humpbacked dwarf practices social commitment on the unwary. Social commitment is in fact the predominant theme, but it is usually conveyed obliquely through fictions which are distinctly individual, richly textured, at once poignant and mordantly funny.

<p>Ten stories patterned on the medieval bestiary look at the lives of unemployed Blacks, drug addicts, and social outcasts</p>

Beasts

Curbstone Press

Fiction International is a journal of arts and letters published at San Diego State University which emphasizes formal innovation and social activism. Each issue is devoted to a theme. Submissions of fiction, non-fiction, indeterminate prose and visual are welcome. "Fluids" is the subject of Fiction International 48. Blood, oil, water, more blood, apocalypse, rumination. “Fluids” addresses violence, urgency and grace under extreme pressure in a world which because of global warming and other deleterious factors suddenly seems finite. Featured textual and visual artists include writers of numerous nationalities: both veteran authors and first-time publishers: Robert Casella, Brian Michael Barbeito, Kathie Giorgio, Dylan Davis, Pavel Lembersky, Alison Grifa, Ismaili, Carolyn Guinzio, Audrey T. Carroll, Hal Ackerman, E. Kelly, Ben Merriman, Kalisha Buckhanon, David Naimon, Shane Roeschlein, Joel Lipman, R. Sebastian Bennett, Jose H. Villarreal, Roderick Michener, KM Seehaus, Brian Swann, Karl Jirgens, Dani Heinemeyer, Kathleen Boyle, Tony Duvert, Tom Whalen, Yumil Perez, Linda Downing Miller, Regina Krummel, Janne Karlsson, Conor Teevan, Dylan Evers, Ghassan Zeineddine, and Harold Jaffe.

Fiction International 48: Fluids

Literary

Fiction International

Fiction International is a journal of arts and letters published at San Diego State University which emphasizes formal innovation and social activism. Each issue is devoted to a particular theme. Submissions of fiction, non-fiction, indeterminate prose and visual are all welcome. Seeing in every capacity is the subject of Fiction International 45, "About Seeing." Sensory, visionary, spectatorial, imagined and re-imagined. Featured textual and visual artists include Joel Lipman, Jackson Bliss, Jonathan Baumbach, Norman Simon, Charles D. Tarlton, Kenneth Bernard, Gerald J. Butler, Mark Wallace, Shane Roeschlein, Andy O'Clancy, Guy R. Beining, Evelyn Kelly, M. Benedict, Cyril Dabydeen, Tom Whalen, David Kammerzelt, Joseph Triscari, Mary Byrne, Dorothy Blackcrow Mack, Toby Olson, Gary Lain, Eckhard Gerdes, and Harold Jaffe. Front cover image by Ryan Seslow.

Fiction International 45: About Seeing

Fiction International is a journal of arts and letters published at San Diego State University which emphasizes formal innovation and social activism. Each issue is devoted to a particular theme. Submissions of fiction, non-fiction, indeterminate prose and visual are all welcome. "Real Time/Virtual" is the subject of Fiction International 46. “Virtual” is not just interfacing with “real” time but devouring it–at least in “developed” nations. Half the world, including much of Africa, Asia, Latin America, and the elderly everywhere still inhabit real time, but these millions scarcely count. The electronic revolution/devolution seems unstoppable. Who is really profiting from it? Featured textual and visual artists include Tyrone Nagai, Charles Lowe, Norman Conquest, Samantha Memi, J.S. Kierland, Shane Roeschlein, Thomas Fuchs, Adam Klein, Larry Fondation, Ryan Francis Kelly, Guy R. Beining, D. Harlan Wilson, Tara Stillions Whitehead, Thaddeus Rutkowski, Robert Hamburger, Michael Hemmingson, John Edward Lawson, Paul Forristal, Michelle Herold, Andy O’Clancy, Natalie Quave, Chad Stroup, Randall Lahrman, Ryan Forsythe, Jo Ellen Aragon, Carla Wilson, Francois Bereaud, Michael Filas, Gary Lain, and Harold Jaffe.

Fiction International 46: Real Time/Virtual

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Books by Jaffe, Harold

See the best price to sell, buy, or rent books by Jaffe, Harold. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Mole's Pity

Mole's Pity

Mourning Crazy Horse

Mourning Crazy Horse

Beasts

Beasts

Fiction International 48: Fluids

Fiction International 45: About Seeing

Fiction International 46: Real Time/Virtual

Dos indios