By Maggie Estep
"The storytelling has energy and a spirit of uprising, giving us wish for the way forward for all these undesirable women with soiled faces and undesirable boys on bikes."—The ny Times
"There is ready Maggie Estep's paintings a directness, a transparent determination—a force to chop via, to damage via, to claw through—that is impressive."—A.M. houses, writer of The Mistress's Daughter
"Maggie Estep is the bastard daughter of Raymond Chandler and Anaïs Nin. Her prose is hard-boiled and attractive; she turns a very good word and indicates a few leg."—Jonathan Ames, writer of get up, Sir!
Alice Hunter is a thirty-six-year-old expert gambler dwelling in Queens, ny. She is modestly profitable as a horseplayer and enjoys her paintings. notwithstanding avidly pursued by means of her lover, Clayton, who she refers to because the great Oaf, Alice's closest significant other is sweet, a small noticed puppy, and Alice likes it that approach. whilst Clayton's overzealousness leads Alice to invite certainly one of her racetrack cronies to intimidate Clayton into leaving her, a couple of issues get it wrong and Alice turns to her half-sister Eloise, a toy maker, whose personal lover has simply been killed in a freak accident.
There is fierce love among Alice, Eloise, and Kimberly (their unconventional mother), however it takes Alice's unintentional discovery of an lousy mystery Kimberly has been protecting to really deliver 3 eccentric girls, seventeen canines, and diverse enthusiasts together.
Maggie Estep has released six books, together with Hex, a brand new York occasions striking e-book of 2003. Her paintings has seemed in lots of magazines and anthologies together with: Brooklyn Noir, Queens Noir, Aloud: Voices from the Nuyorican Poets Café, the easiest American Erotica, and The Outlaw Bible of yankee Poetry. She has played her paintings in a large choice of venues starting from Lincoln middle to Lollapalooza, Charlie Rose, and HBO's Def Poetry Jam. She lives in Woodstock, manhattan.
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Extra resources for Alice Fantastic
I believe that what makes story a distinctive form of play is personification. For the erlebnis of story to occur, the listener, reader, or viewer must personify the characters, or more precisely, respond to them as if they were real persons. To say that all stories involve characters and that those characters elicit responses as if they were persons might seem commonplace, it is, however, 28 DONALD F. CASTRO anything but - especially in this century. With the advent of New Criticism and L. C. " came the depersonalization of character - and perhaps of story as well.
127. 12S. , p. 192. , p. 219. , p. 229. , p. 204. , pp. 23 1. 235. Ibid" p. 246. , p. 260. 1S Robert 1. 73. DONALD F. CAS TRO ERLEBN1S OF STORY Of story, J. Hillis Miller writes, "Nothing seems more natural and universal to human beings than telling stories. Surely there is no human culture, however 'primitive,' without its stories and habits of storytelling ... " (66). Roland Barthes goes so far as to say, " ... narrative is present in every age, in every place, in every society; it begins with the very history of mankind and there nowhere is nor has been a people without narrative ....
Hypocrisy, you say? Perhaps, but I can't help but think that play - specifically story as play might not be one of our most basic respites against the onslaught of the rush of time, which so often demands that we become the I of I-It. Tennesse Williams poetically writes, "Fear and evasion are the two little beasts that chase each other's tails in the revolving wire cage of our nervous world. They distract us from feeling too much about things. Time rushes toward us with its hospital tray of infinitely varied narcotics, even while it is preparing us for its inevitably fatal operation ...