Within avant-garde communities, especially for the last century or so, one would almost think that we each spring, like monocled Athenas, from the split forehead of a god. But few have ever been born within the eternal network of the avant-garde, and even those who have been were children once. Childhood and family represent the most intimate links to the world from which the avant-garde departs: from what is worth saving of it, from what needs destroyed, or elements of both. There are as many ways of living and relating to one's origins within the avant-garde as there are in society at large; and the ways in which avant-gardists respond and relate to their families and childhoods define the modes, the strengths, and the weaknesses of their own understandings of the world that they create and the communities they form. And yet the discussion of family is scarcely to be seen, especially within the past century, and often must be gleaned from the shadowy corners of their histories and their work. Here are a few hints of this fundamental but often invisible facet of the avant-garde experience.

Avant the Avant-Garde: Childhood & Family in the culture of the Avant-Garde

Lindsann, Olchar E.

Arts & Photography

mOnocle-Lash Anti-Press

Revenance is dedicated to the forgotten or untold histories of 19th Century avant-garde and dissenting countercultures. It promotes historiography practiced as game, as activism, as trans-generational collaboration, as communal memory, which running athwart the academic, refuses to describe history as finished, and does not stand apart to observe its object from a distance, in the posture of false 'objectivity' which Power always assumes. Instead: a committed historiography, which does not stand outside the stream of time or apart from its object: intellectual and precise, yet ludic and multi-form, one moment manifest as an essay, the next as a poem. A historiography created within the utopian fringe, and for the same community, responsive to our changing conditions, needs, and desires. A historiography that we take personally, merging imperceptibly into experiments in daily life, social praxis, and thought. Volume I collects the first five issues of the journal, from 2016-18.

Rêvenance Omnibus, Vol. I: A Zine of Hauntings from Underground Histories

History

Anti-Press, Monocle-Lash

Europe

Andrew Brenza's 'I Wake Up Each Morning Covered in Dust' is an abstract verse memoir of the post-apocalypse. In it, lyric poetry is reduced to vectorized fields of punctuation, words collapse on each other to form corroded textual rivets, and concrete poems melt in meta-commentary to expose the wasteland of the human spirit. Yet, among these aimless ruins of textual matter is a representation of the persistence of human consciousness, the will to endure, and the desire to find beauty among the rubble.

I Wake Up Each Morning Covered in Dust

Brenza, Andrew

Comashopped Operative

Literature & Fiction

Davis, AG

Poetry

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