#thalia field

[therumpus]

What I finally realized was that the negative spaces, the silences in the archives, were as important as what I’d found. The women, the animals, the activists, were not represented on paper or put in “official” records. Yet they existed. This literary and ethical quandary led to my researching statues and other status markers as part of the story itself. Because where do our stories end? Not when we die. The afterimages, the aftereffects of the people—all part of the life stories.

THE RUMPUS MINI-INTERVIEW PROJECT #61: Thalia Field.

[kammartinez]

[smallpressdistribution]

SPD Recommends Experimental Animals (A Reality Fiction) by Thalia Field.

"Stemming from a through-line of marital discord in the household of the great French vivisector, Claude Bernard, Thalia Field has discovered a number of voices, some famous, some forgotten, and allowed them all a moment in which to be heard again. This compelling tale is made up largely of excerpts and quotations, pieced together with great artistry. A beautiful and thought-provoking collage of a tale of rescued history and a sobering tribute to some of its victims." —Karen Joy Fowler

[anatomy-lessons]

Is nonaction an art? A technique? A practice? Maybe it’s simply more of a discipline, in the ethical sense. Can I allow my work to emerge without overinterfering with it, fabricating my ideas about it, growing attached to outcome, the very future of it? Can I let it become what it is, despite the fragments, nonsense, new-sense, noise? It’s simple: don’t force things. Don’t have a Big Idea. In life as well as in writing, can I minimize unnecessary interference, unnecessary aggression? Can I open myself up beyond my own comfort? Can I abide with allowance and impartiality, two disciplines of nonaction?

Thalia Field

[prairielights]

THALIA FIELD

November 11, 2016 - 7:00pm Prairie Lights

In a special event sponsored by the Iowa Nonfiction Writing Program, Thalia Field will read from her new book, Experimental Animals.

[catjoyy]

We are all in love. Or we wouldn't be friends.

Thalia Field, "The Compass Room"

[reading---eating]

Writing as an experimental practice assumes no convenient originating vantage, no way to present tidy geometries of symbol, culture, or identity. And with the blank page troubled by the shadows and sounds of a world always already around it, there is material already at the present hand….The many ways one enters the conversation with the world’s shadows and sounds provide myriad of forms experimental writing can take. Finding content is never other than finding form.

Writing as Experimental Practice, Thalia Field (pp. 308)

[christopherhiggs]

“Propaganda: inside the theater, the bloodless attack of images and plots—a view of an alternative world: people on one side of the wall appear human but have super-powers the other side doesn’t. This is seductive. This is new weaponry. Soft weaponry. A fantasy world. Une nuit blanche? Sleep my dear. Trust the translation: here a big cheese is une grosse légume, and a change of heart is changer son fusil d’épaule. We all cross and double-cross the bridge when we come to it (chaque chose en son temps) whether we call it a split personality or a double. Une chape de plomb.” -- Monster Between the Coldest Us, by Thalia Field and Abigail Lang