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The Edgier Waters--5 Years of 3:AM Magazine [Secure eReader]
eBook by A Stevens

eBook Category: Mainstream
eBook Description: 3:AM Magazine is only five years old but it has already garnered much praise and become the natural home for writers whose work breaks boundaries and taboos. Assembled to celebrate this are a diverse collection of stories, poems and essays which have appeared in the magazine, from award-winning authors to lesser-known voices.

eBook Publisher: Snowbooks/Snowbooks
Fictionwise Release Date: November 2006

Tirelessly enquiring and determinedly eclectic, the 3:AM literary magazine has always pioneered a reading of contemporary international fiction which confounds any single mission statement. In this 3:AM has become a literary and cultural venue which defies both fashionability and market forces?no mean achievement during an era which is often seen to be enslaved to precisely those demands. In many ways, much of the work which has been published or discussed by 3:AM has been produced from a position which is either oppositional, separatist, or, dare one say it, a postmodern reclamation of the historic values of the counterculture. (As one might, for instance, wonder what the counterculture might comprise in the opening years of the twenty first century.) And as such, it is maybe a worthwhile, not too strenuous exercise, to take a glance at the culture out of which or against many of the writers who have contributed to 3:AM have taken their bearings. Back in the 1980s, the sudden commercial success of the so-called ?Brat Pack? of American literary fiction?notably, Bret Easton Ellis, Jay McInerney and Tama Janowitz?alerted the funky end of publishing to the idea that there might be a vast new readership for a new kind of fiction. McInerney et al were writing about a specific evolutionary phase of white, bourgeois American dysfunctionalism. Indeed, McInerney?s novel Story of My Life, published in the UKk by Bloomsbury in 1988, began (if I remember rightly) with the dinner party-stopping line: ?Like, like I don't need this shit...? The territory being covered was that of the drug-sodden, prematurely aged, shopped-to-death society of over-privileged, over-indulged young Americans? a world, in fact, already planted with the reasonably imperial and immoveable flags of Andy Warhol and Tom Wolfe. But the books were filled with visceral energy and tack-spitting irony; they sold well, and their authors comprised a distinctly media-friendly cast of Armani besuited subjects. They came to represent a postmodern update of the Fitzgeraldian view of a privileged younger generation engaged on a perilous, vertiginous, morally compromising spree?with the jazz and cocktails of Fitzgerald?s graduates and bobbed-haired popular daughters being replaced with the grunge and cocaine of wealthy trustafarians and whacked-out suburban libertines. The success of the Brat Pack coincided, however, with an equally forceful conflation of other cultural directives. In the UKk, earlier in the 1980s, the arrival from New York of Kathy Acker?off the back of her commercially successful collection for Picador, Blood and Guts In High School + Two?had introduced younger British writers (and publishers) to the idea that there could possibly be a connection between the people who bought interesting records (this was still a largely pre-CD era, amazingly) and the people who bought interesting books. Acker presented herself as part rebel bohemian avant-gardiste, part NYyC downtown punk, and part venerable literary grande dame. Stylistically and thematically her work?clever, infuriating, aggressive, neurotic, at times poetic, determinedly confrontational?was the direct opposite to that of the Brat-packers.

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