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	<title>Henry Review</title>
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	<link>http://www.henryreview.org</link>
	<description>A Digital Literary Symposium</description>
	<lastBuildDate>Wed, 12 Jun 2013 18:52:54 +0000</lastBuildDate>
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		<title>Q&amp;A: Writers Know How To LiveJonathan Shia</title>
		<link>http://www.henryreview.org/qa-writers-know-how-to-livejonathan-shia/</link>
		<comments>http://www.henryreview.org/qa-writers-know-how-to-livejonathan-shia/#comments</comments>
		<pubDate>Wed, 12 Jun 2013 18:52:54 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Genre]]></category>
		<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Jonathan Shia]]></category>
		<category><![CDATA[Nicolas Bouvier]]></category>
		<category><![CDATA[The Last Magazine]]></category>
		<category><![CDATA[The Way of the World]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1340</guid>
		<description><![CDATA[For Jonathan Shia, being a writer requires more than than knowing how to write. “It means knowing how to live,” says the journalist and editor of The Last Magazine. Today Jonathan talks about Nicolas Bouvier’s The Way of the World, the travelogue that inspired his existential revelation, and the Silk Road tour upon which he embarks this coming year: Where did you travel, and for how long were you away?  We went through seven countries in ten weeks. We started with a train tour through northern India, visiting New Delhi, Agra, Varanasi, Lucknow, and several other destinations, then spent two weeks relaxing in Phuket. Afterwards I went to visit my grandfather in Kunming in China, which is something I try to do every year now as he is nearly ninety. Then we flew to Amsterdam because my mother has always wanted to see the poppies there. Unfortunately, because of the changing weather patterns, it ended up being much too cold for them to bloom yet. We traveled to Morocco and spent a week outside Marrakech before going on a tour of eastern Morocco that took us into the Sahara and back. We spent a week and a half on the coast of Turkey and then went around Egypt for two weeks.   What surprised you most on the voyage? What delighted you?  Since I got back three weeks ago, the first question most of my friends have asked me has been, What was your favorite place? It&#8217;s a difficult question to answer, given how different all of our destinations were, but I have generally landed on Egypt. It is not very often as a traveler that you get to visit a country that is going through such intense societal change, and the contrast between what is happening there today and the beautifully-preserved, millennia-old temples is very powerful. Visiting Egypt now offers a unique opportunity to have most of the legendary historical sites largely to yourself, as tourism is down about eighty percent. The most valuable experience of the entire trip came on the very last day, when our travel agency, Destinations and Adventures, arranged a panel of individuals who have been involved in different aspects of the Arab Spring to talk with us about what the past few months have been like for them. It was very inspiring to hear how optimistic they all seemed about the future, which in all honesty looks a bit bleak, at least for the next few years. The hardest thing about traveling is finding a way to feel like you have really gotten to know a country and its people, so it was incredible being able to speak with them, even for such a short time.  Bouvier travelled with his pal Thierry Vernet, whereas you were globetrotted with your adventurous parents. How was that? Most of my friends would cringe at the thought of spending ten weeks with their parents, understandably so, although my parents and I have become so accustomed to traveling together that I think we have worked out an appropriate balance. As with any family, sometimes we fight, but I think we have all realized how important it is to take some time apart from each other to do our own things.  What did you read throughout your voyage? I actually packed a reading list specifically for the places I would be visiting. I started rereading Midnight&#8217;s Children a few weeks before I left for India, and also brought along Kim and A Passage to India to help me understand the colonial history a bit more. Katherine Boo&#8217;s amazing nonfiction Behind the Beautiful Forevers shed light on a different side of modern India. I also was able to read The Sheltering Sky while sitting outside our tent in the Sahara, which was a really beautiful experience, and I read The Alexandria Quartet and André Aciman&#8217;s Out of Egypt in Egypt, although Alexandria ended up being one of the places we didn&#8217;t actually visit.  Tell us your thoughts about how to be a stylish traveler, and what that means? I imagine most people like to think of themselves as &#8220;travelers&#8221; rather than &#8220;tourists,&#8221; with all the connotations both those words bring, so I&#8217;m a little wary of answering a question that requires me to speak as a &#8220;stylish traveler.&#8221; However, I will say that what I think is most important about traveling is not saying no. The value of travel is in the difference, so even if it&#8217;s scary, I think that what matters is relishing that difference and trying to see and experience as much as possible. The world is not as dangerous as it sometimes seems.]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-writers-know-how-to-livejonathan-shia/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Reading: “The Way of the World” by Nicolas Bouvier Jonathan Shia</title>
		<link>http://www.henryreview.org/reading-the-way-of-the-world-by-nicolas-bouvier-jonathan-shia/</link>
		<comments>http://www.henryreview.org/reading-the-way-of-the-world-by-nicolas-bouvier-jonathan-shia/#comments</comments>
		<pubDate>Wed, 12 Jun 2013 18:36:56 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Genre]]></category>
		<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Jonathan Shia]]></category>
		<category><![CDATA[Nicolas Bouvier]]></category>
		<category><![CDATA[The Last Magazine]]></category>
		<category><![CDATA[The Way of the World]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1335</guid>
		<description><![CDATA[Before launching HENRY I met with Jonathan Shia, journalist and globetrotting editor of The Last Magazine, for coffee and advice about running an online publication. Naturally, Shia was among the very first subjects we filmed. That he chose to read from Nicolas Bouvier’s travel memoir The Way of the World seemed fitting as he was, at the time, preparing for an adventure that took from India to Turkey to Morocco to the Netherlands. We saved Shia’s footage to celebrate his homecoming, which will be brief; Shia, like Bouvier himself, is hitting the Silk Road next.]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-the-way-of-the-world-by-nicolas-bouvier-jonathan-shia/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Q&amp;A: Revolution Girl Style NowKathleen Hanna</title>
		<link>http://www.henryreview.org/qa-revolution-girl-style-nowkathleen-hanna/</link>
		<comments>http://www.henryreview.org/qa-revolution-girl-style-nowkathleen-hanna/#comments</comments>
		<pubDate>Wed, 05 Jun 2013 13:00:31 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Genre]]></category>
		<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Bikini Kill]]></category>
		<category><![CDATA[Kathleen Hanna]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1326</guid>
		<description><![CDATA[&#8220;This is what you did in the 90s&#8230;you sent it in the mail,&#8221; Kathleen Hanna says as she shows us her band Bikini Kill&#8216;s first cassette, complete with hand-printed lyrics and slogans. The mode for grassroots activism and self-publishing has changed drastically, but harnessing inner power to find your voice and communicate a real message is still as admirable as ever. In this Q&#38;A, Hanna reflects on the words she first wrote to express the riot grrrl movement&#8217;s message&#8211;&#8221;I can see how nervous I was about including everybody,&#8221; she says&#8211;and goes through her personal archives, all of which are hand printed and bound &#8220;which I think now is completely insane.&#8221; As individuals continue to break down barriers and inspire us to think beyond gender (what&#8217;s up, Brittney Griner), the archive becomes increasingly important to preserve. &#8220;I think about younger girls reading that, and that makes me really happy,&#8221; Hanna says, &#8220;because nobody said that to me.&#8221; Be sure to check out VFiles exclusive Bikini Kill capsule collection, available Thursday June 6. Filmed in collaboration with Bicephaly Pictures Video Editor: Ani Simon-Kennedy; Thanks to: Erin Greenwell, Cailin Yatsko]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-revolution-girl-style-nowkathleen-hanna/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Reading: “The Riot Grrrl Manifesto” Kathleen Hanna</title>
		<link>http://www.henryreview.org/reading-the-riot-grrrl-manifesto-kathleen-hanna/</link>
		<comments>http://www.henryreview.org/reading-the-riot-grrrl-manifesto-kathleen-hanna/#comments</comments>
		<pubDate>Wed, 05 Jun 2013 12:06:20 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Bikini Kill]]></category>
		<category><![CDATA[Kathleen Hanna]]></category>
		<category><![CDATA[Riot Grrrl]]></category>
		<category><![CDATA[The Riot Grrrl Manifesto]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1318</guid>
		<description><![CDATA[To celebrate the release of “The Riot Grrrl Collection,” a new book from The Feminist Press and New York University’s Fales Library, Henry visited Kathleen Hanna, front woman for Bikini Kill and leading voice from the riot grrrl movement, to film her (&#8220;Wait! I have to get some lipstick!&#8221; she says before we roll) reading the manifesto she wrote when she was 21. Now, at 44, some of the words from the Riot Grrrl Manifesto make her smile, or cringe slightly, as she revisits phrasing and memories from when the lines were fresh. But at other moments, Hanna&#8217;s delivery is full force, because much of what the manifesto declares still needs to be said aloud, and often.  Hanna has called riot grrrl the gateway drug for feminism, and she still gets letters from teenage feminists who feel ownership of the movement and the urgency of its message. Here, she sits down at home to perform the piece that is at the core of the riot grrrl archives, the language of which spurred DIY activism in the form of zines and pamphlets, and punk music inspiring grrrls to action. Be sure to check out VFiles exclusive Bikini Kill capsule collection, available Thursday June 6. Filmed in collaboration with Bicephaly Pictures Video Editor: Ani Simon-Kennedy; Thanks to: Erin Greenwell, Cailin Yatsko]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Q&amp;A: There’s Nothing Like ItJessica Soffer</title>
		<link>http://www.henryreview.org/qa-theres-nothing-like-itjessica-soffer/</link>
		<comments>http://www.henryreview.org/qa-theres-nothing-like-itjessica-soffer/#comments</comments>
		<pubDate>Fri, 31 May 2013 10:33:47 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Genre]]></category>
		<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Jessica Soffer]]></category>
		<category><![CDATA[Tomorrow There Will Be Apricots]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1297</guid>
		<description><![CDATA[Translated from Arabic, novelist Jessica Soffer’s surname means “scribe”, and seems to have predestined the young author of Tomorrow There Will Be Apricots for a life in letters. “Writing,” Soffer tells HENRY in her SoHo loft, “allows me to be fully present, is the only thing that closes the distance between myself and the actual world.” Narrative is not Soffer’s escapist haven, but rather, her truest home. Composing fiction also empowered Soffer to delve into her culturally-rich but historically-fraught heritage as an Iraqi Jew. Religious persecution drove her father, artist Sasson Soffer, from Baghdad to New York in the 1970s. Perched before one of her father’s abstracts, Soffer’s literary future seems as bright as the vibrant watercolor when she declares that she’ll do whatever it takes continue writing prose, because there’s just nothing like it. Video Editor: Justin Gonçalves &#160;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Reading: “Tomorrow There Will Be Apricots” Jessica Soffer</title>
		<link>http://www.henryreview.org/reading-tomorrow-there-will-be-apricots-jessica-soffer/</link>
		<comments>http://www.henryreview.org/reading-tomorrow-there-will-be-apricots-jessica-soffer/#comments</comments>
		<pubDate>Wed, 29 May 2013 11:43:32 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Genre]]></category>
		<category><![CDATA[Jessica Soffer]]></category>
		<category><![CDATA[Tomorrow There Will Be Apricots]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1294</guid>
		<description><![CDATA[Jessica Soffer is Manhattan&#8217;s handiest superintendent; she&#8217;ll fix your clogged sink, your busted oven, and even the parts of your manuscript that just won&#8217;t work. Twenty-six-year-old Soffer published her debut novel, Tomorrow There Will Be Apricots, with Houghton Mifflin Harcourt this May. She lives and writes in the penthouse of the SoHo building that she manages, and that her father, Iraqi sculptor Sasson Soffer, acquired as studio space in the 1970s. &#8220;My Mom and I would come here when I was little,&#8221; she told HENRY, &#8220;to visit Dad when he was working late.&#8221; His tubular sculptures command the apartment, and although the past decades have refined both the neighborhood and decor of the loft, Soffer carries forward her father&#8217;s legacy, hewing powerful forms out of words rather than steel. From a rope-swing beside her desk―another heirloom of her Dad&#8217;s―Soffer reads a passage from Tomorrow There Will Be Apricots in which 14-year-old self-harmer Lorca confronts her mother, and then herself. Video Editor: Justin Gonçalves Cinematography: Daphnee Denis]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Iowa Tapes: “Post-Darwinian Experiments in Consciousness”Wells Tower</title>
		<link>http://www.henryreview.org/the-iowa-tapes-post-darwinian-experiments-in-consciousnesswells-tower/</link>
		<comments>http://www.henryreview.org/the-iowa-tapes-post-darwinian-experiments-in-consciousnesswells-tower/#comments</comments>
		<pubDate>Fri, 17 May 2013 13:04:48 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[The Iowa Tapes]]></category>
		<category><![CDATA[Wells Tower]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1268</guid>
		<description><![CDATA[Today author Wells Tower reads a second new short-short “Post-Darwinian Experiments in Consciousness”. The story involves evolutionary responsibilty, World of Warcraft III, and pivots on a great twist. Or should we say cinch? More Iowa Tapes coming soon! &#160;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Iowa Tapes: “The Chinese Person”Wells Tower</title>
		<link>http://www.henryreview.org/the-iowa-tapes-the-chinese-personwells-tower/</link>
		<comments>http://www.henryreview.org/the-iowa-tapes-the-chinese-personwells-tower/#comments</comments>
		<pubDate>Wed, 15 May 2013 18:21:06 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[The Iowa Tapes]]></category>
		<category><![CDATA[Wells Tower]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1265</guid>
		<description><![CDATA[Henry met Wells Tower, author of Everything Ravaged, Everything Burned, at a dinner party at Thessaly La Force&#8216;s house at the Iowa Writer&#8217;s Workshop in Iowa City. After several rousing rounds of Cards Against Humanity (whether poets or fiction writers have a better sense of humor, we cannot say), Tower graciously agreed to read two new short short stories for us. Filmed by a mighty crew of one, these are the first in a series of readings from Iowa that we&#8217;re calling The Iowa Tapes. The name comes from our feeling that these readings are privileged information: completely intimate, and a privilege to shoot. Portrait by Canyon Castator]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Reading: “The Factory of Facts” by Luc SanteRy Russo-Young</title>
		<link>http://www.henryreview.org/reading-the-factory-of-facts-by-luc-santery-russo-young/</link>
		<comments>http://www.henryreview.org/reading-the-factory-of-facts-by-luc-santery-russo-young/#comments</comments>
		<pubDate>Thu, 09 May 2013 16:49:49 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Luc Sante]]></category>
		<category><![CDATA[Ry Russo-Young]]></category>
		<category><![CDATA[The Factory of Facts]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1258</guid>
		<description><![CDATA[Filmmaker Ry Russo-Young tosses a key on a string out the window to let the Henry crew into her apartment, where she instantly proves she&#8217;s as comfortable in front of the camera as behind it. Her reading from &#8220;The Factory of Facts&#8221; a memoir by Luc about piecing together one&#8217;s identity, is so fluid Russo-Young jokes that she feels like the host of a program on PBS. Of her Sante selection she says: I first read Sante in Germany, feeling all alone in a foreign place, and in a way, the amorphous quality of identify and anonymity felt very well suited to my own feelings of displacement at the time. And even when I&#8217;m back in New York I find myself often thinking of him during self-reflexive moments of not knowing. Her reflection pays off, creating a foundation for inspiring projects. Like her film Nobody Walks, co-written with Lena Dunham and starring John Krasinski and Olivia Thirlby, which came out this year on Magnolia Pictures. She also has new work in the works: a feature and a television pilot for Bravo called Witch Hunt. Figuring out the parts that make you a person is a challenge, but we appreciate Russo-Young&#8217;s take. The work she shares opens up new realms of thought for us, like she&#8217;s thrown us a fresh key on a string.]]></description>
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		<title>Reading: “Making the Room Change Color”Nick Thurston</title>
		<link>http://www.henryreview.org/reading-making-the-room-change-colornick-thurston/</link>
		<comments>http://www.henryreview.org/reading-making-the-room-change-colornick-thurston/#comments</comments>
		<pubDate>Tue, 07 May 2013 19:02:35 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Nick Thurston]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1255</guid>
		<description><![CDATA[In this piece of experimental poetry, Nick Thurston manipulates color in a recording of himself by varying the distance between his face and his computer&#8217;s camera. Here, we asked him about improvisation, experimentation and poetry: &#8220;Coping with that disjunction between knowing what you&#8217;re doing but not knowing where it will lead always ends up as some kind of improvisational performance.&#8221; Video is the only medium in which this concept could be conveyed. How did you come up with the idea? The verbal content of the poem is a live commentary on a perceptual affect produced by the webcam of my laptop recalibrating its automatic focus and colour balance settings as I sit in my studio and sway in my chair. I&#8217;ve always been interested in the alter-history of video art that revolves around people performing to camera &#8212; kinds of performance art and poetry wherein the camera is an active presence not a passive recording device. Anyway, I turned the webcam on to see if I could make a recording for you and noticed that every time I twitched the room changed colour, and I just liked the way that the machine &#8216;sees&#8217; the room differently (kind of redecorates the room) as it strains to keep the body in sight. It was an accident, and for me that&#8217;s what the studio is the place for. How is manipulating the color of your image likable to using language to alter perception or convey an image? Well, crudely speaking, my studio walls are creamy yellow, but every time that the camera recalibrated itself it &#8216;said&#8217; the room was a different colour &#8212; it referred to the walls as being another colour, it described them differently &#8212; and so it also recalibrated the pairing of referent and reference. Tell us about other experimentation you&#8217;ve done with improvised poetry. I co-edit an independent publishing imprint called information as material and under the umbrella of an editorial collective we curate and support lots of strange kinds of poetic practice. Last week we had the Dutch sound poet Jaap Blonk staying in Laurence Sterne&#8217;s old house in North Yorkshire as poet-in-residence; this week I have to finish editing a book about a reel-to-reel tape of a talking budgerigar who became a minor celebrity in 1950&#8242;s for being the animal with the biggest known vocabulary in the world. We try to write and to publish the most interesting things we can, and we call those things art works. Pretty often some kind of conceptual method is used to produce them &#8212; the textual field is the otherwise unimaginable outcome of a process that pre-plans its strategy but cannot know what it will turn out/what it will &#8216;say&#8217;. Coping with that disjunction between knowing what you&#8217;re doing but not knowing where it will lead always ends up as some kind of improvisational performance. That&#8217;s why we call the things we publish &#8216;conceptualist reading performances&#8217;. Why do you like this poem? I don&#8217;t know if I do. It&#8217;s an embarrassing kind of self portrait and you can see my double chin. But I do like the way that the machine performs! I know that it&#8217;s unfashionable but all of my work has a coherency that can fairly be called a style: I&#8217;m interested in precision and concision. I guess this poem has both of those things.  Nick Thurston&#8216;s next book, Of the Subcontract will be released this summer.]]></description>
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		<title>Q&amp;A: The Most Important Thing In the GalaxyStacey D&#8217;Erasmo</title>
		<link>http://www.henryreview.org/qa-the-most-important-thing-in-the-galaxystacey-derasmo/</link>
		<comments>http://www.henryreview.org/qa-the-most-important-thing-in-the-galaxystacey-derasmo/#comments</comments>
		<pubDate>Thu, 02 May 2013 13:14:18 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Stacey D'Erasmo]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1247</guid>
		<description><![CDATA[“Ferocious minds” surrounded Stacey D’Erasmo as an Editor at the Voice Literary Supplement, where she realized that writers are not “sealed off special dead people who you could never be”, but rather, “grubby living people”.  This epiphany empowered D’Erasmo to compose her first novel.  Now, many books later, she remains as receptive to revelation as ever, drawing inspiration every day from New York City, her colleagues, and especially her students. “Being with people who are just at the beginning of getting to that first book,” she says, “is actually endlessly wonderful because, for the time we’re in that classroom, we all participate in the same illusion, which is that making these books is the most important thing in the galaxy.” Video Editor: Justin Goncalves Music: Strawberry Hands]]></description>
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		<title>Reading: “The Sky Below”Stacey D’Erasmo</title>
		<link>http://www.henryreview.org/reading-the-sky-belowstacey-derasmo/</link>
		<comments>http://www.henryreview.org/reading-the-sky-belowstacey-derasmo/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 13:42:29 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Stacey D'Erasmo]]></category>
		<category><![CDATA[The Sky Below]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1237</guid>
		<description><![CDATA[A cow pelvis, dangling from brown cord, throws shadows across the easterly wall of writer Stacy D’Erasmo’s Upper West Side living room. Beneath the hips rest three fist-sized vertebrae, all of which D’Erasmo gathered from the Wyoming plains. Though a native New Yorker, the author of novels Tea, A Seahorse Year, and The Sky Below appreciates prairie quietude; she has recreated that atmosphere in her apartment. Almost sculptural, D’Erasmo’s bone collection charges a pastoral decor enhanced by fresh light and bright yellow billy balls. Lean across D’ Erasmo’s writing desk—topped with repurposed bowling lane maple—and you’ll see the Hudson River.  Amidst this curated nature, D’Erasmo reads the final pages from The Sky Below, set in bustling Grand Central Terminal. Inspired by the balance of D’Erasmo’s prose and environment, we’ve doubled the frames of her video. Video Editor: Justin Goncalves]]></description>
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		<title>Reading: &#8220;The Balloon&#8221; by Donald BarthelmeTeddy Blanks</title>
		<link>http://www.henryreview.org/reading-the-balloon-by-donald-barthelmeteddy-blanks/</link>
		<comments>http://www.henryreview.org/reading-the-balloon-by-donald-barthelmeteddy-blanks/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 20:57:00 +0000</pubDate>
		<dc:creator>henryreview</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Donald Barthelme]]></category>
		<category><![CDATA[Famous Friends]]></category>
		<category><![CDATA[Teddy Blanks]]></category>
		<category><![CDATA[The Balloon]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1219</guid>
		<description><![CDATA[HENRY first met musician Teddy Blanks in Buffalo Exchange&#8217;s changing rooms. Nothing sultry ensured. We&#8217;d been summoned by his girlfriend for a fashion consultation, and happily offered commentary as Teddy tested new looks. Teddy himself remarked little on the garments. Instead he appraised every song played over the shop&#8217;s sound system. As a connoisseur of pop, the airwaves were where Teddy&#8217;s attention lay, and over time he&#8217;s furnished HENRY with an appreciation for the medium. Pop musicians can&#8217;t armor their art in intellectualization, can&#8217;t claim &#8220;You just don&#8217;t get it.&#8221; No, a pop song must be instantaneously catchy, structurally lithe, and consummately lucid. Teddy&#8217;s new single &#8220;Famous Friends&#8221; accomplishes all three of these feats. It&#8217;s surprising, then, that a musician who insists upon bouncy clarity in his own work favors the often befuddling fiction of postmodernist author Donald Barthelme. Hear what Teddy sees in Barthelme&#8217;s short story &#8220;The Ballon&#8221;, and a Top 100-worthy reading of the text. Music: Teddy Blanks &#8220;Famous Friends&#8221;]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-the-balloon-by-donald-barthelmeteddy-blanks/feed/</wfw:commentRss>
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		<title>Reading: The Shawn Powers SuiteShawn Powers</title>
		<link>http://www.henryreview.org/reading-shred-the-gnarshawn-powers/</link>
		<comments>http://www.henryreview.org/reading-shred-the-gnarshawn-powers/#comments</comments>
		<pubDate>Tue, 23 Apr 2013 12:23:30 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Shawn Powers]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1213</guid>
		<description><![CDATA[Style and flow animate the best skateboarding and poetry, two modes of communication married by NYC ripper Shawn Powers today on HENRY. Debates over whether skating is a sport, an artform, or a singularity unto itself may forever go unresolved, yet Shawn’s submission, filmed by Dollar Stories co-founder Galen DeKemper, confirms shredding as an irrefutably creative medium. The principles essential to dynamic skating—control, fluidity, improvisation, surprise—manifest in Shawn’s poems “ESPY” and “SP”, which, synced with day-in-the-life-style footage, convey urban life as experienced by a young man.  Shawn liberates verse from libraries and classrooms, proving that there’s no line gnarlier than one composed in iambic pentameter. ESPY I knew Espy sometimes. He had a few dollars. He had a few dimes. Then he lost his mind. Then he lost his face and he lost his skin. The only thing left in his life were the long nights and a few sins. Everything is so fucked up I can&#8217;t begin to begin. Make him feel better. Give him the juice and the gin. Now he&#8217;s on the cruise. He&#8217;s sliding smooth. Giving all his lovers the blues. You can&#8217;t touch him. You can&#8217;t be him. It&#8217;s okay. He doesn&#8217;t want to see  him. Too many cares. Too many stares. The constant feeling that everything is unfair. He&#8217;s all alone. There are no pairs. Only apples that the sacred beast can spare. Holes in his heart from the holy dagger. In his eyes the bloody tears. His joy division has gone numb. Everything around him seems so dumb. Even if a thousand angels played a thousand drums It will never sound as beautiful as the suicidal gun. SP. I&#8217;m a savage. Sex and rabbits playboy bunnies and fucking are my habits. Pussy I frequently have to have it. In my ipod I&#8217;m only mobbing with Prodigy and Havoc. Plus I&#8217;m from Queens so you know it&#8217;s deep. Be careful when you grew up around me. I&#8217;m a slick talker. I&#8217;m so high call me Skywalker. I&#8217;m slanging around town like I&#8217;m Peter Parker. and the Cadillacs you know I park up. So catch me driving around when it gets darker. i&#8217;m more evil than the night stalker. So Richie Ramirez you better hear this I&#8217;m more sicker than you. Let me demonstrate what queer is: on my free time I rip faces out of Vogue and fuck em I can&#8217;t talk to a bitch without imaging her sucking. I know cash rules everything so I&#8217;m fast bucking. Oh shit, that&#8217;s your ex girl? Sorry I just got stuck in. I&#8217;m also under 21 so you know I snuck in. I got that U.K. royalty. I cross seas and queens spoil me. In front of kings I&#8217;m requested to recite sick poetry. I boogie like Charlie Manson. With mind control I&#8217;ll have your mom dirty dancing. I murdered the Hansons. Why you mad she never calling back? She busy taking pictures in my Starter cap. Sipping forties, rolling smack eating chinese food and motherfucking Quartersnacks. &#160;]]></description>
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		<title>Q&amp;A: Reeling From MadnessScott Simon</title>
		<link>http://www.henryreview.org/qa-reeling-from-madnessscott-simon/</link>
		<comments>http://www.henryreview.org/qa-reeling-from-madnessscott-simon/#comments</comments>
		<pubDate>Fri, 19 Apr 2013 16:42:21 +0000</pubDate>
		<dc:creator>henryreview</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Pretty Birds]]></category>
		<category><![CDATA[Scott Simon]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1206</guid>
		<description><![CDATA[Scott Simon’s voice is as comfortingly familiar as the most recognizable face. We’ve all tuned into NPR’s Weekend Edition Saturday for the journalist’s euphonic newscast. Simon, however, does other voices too.  Exclusively for HENRY he impersonated the hoity-toity British publisher from whom he defended the integrity of his debut novel, Pretty Birds. He fended off genre tropes with a valor inspired, perhaps, by the bravery of the Sarajevan people witnessed deliver their city “from madness and suffering.”]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-reeling-from-madnessscott-simon/feed/</wfw:commentRss>
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		<title>Reading: “Pretty Birds”Scott Simon</title>
		<link>http://www.henryreview.org/reading-pretty-birdsscott-simon/</link>
		<comments>http://www.henryreview.org/reading-pretty-birdsscott-simon/#comments</comments>
		<pubDate>Wed, 17 Apr 2013 15:53:12 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Pretty Birds]]></category>
		<category><![CDATA[Scott Simon]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1195</guid>
		<description><![CDATA[Scott Simon appreciates fortuity. As a Peabody-winning correspondent who for thirty years reported on events from Afghanistan to El Salvador, Simon values those rare instances of “right place, right time” serendipity that spangle the careers of industrious journalists. HENRY experienced not one, but two such moments in filming the host of NPR’s Saturday Weekend Edition.  First, Simon—visiting NYC on business—reserved an hour to read from his debut novel Pretty Birds. And what artwork adorned Simon’s Brooklyn hotel room during the shoot? A mural of technicolor parrots. The painting might have been a portrait of Pretty Bird, the beloved pet that in this passage Simon’s Serbian protagonist Irena must release, with hopes that it will survive her Sarajevo’s siege in the care of her oppressors.]]></description>
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		<title>Q&amp;A: Bed, Breakfast and Berryman Catherine Lacey</title>
		<link>http://www.henryreview.org/qa-bed-breakfast-and-john-berryman-catherine-lacey/</link>
		<comments>http://www.henryreview.org/qa-bed-breakfast-and-john-berryman-catherine-lacey/#comments</comments>
		<pubDate>Wed, 10 Apr 2013 14:10:54 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Catherine Lacey]]></category>
		<category><![CDATA[McSweeney's]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1179</guid>
		<description><![CDATA[&#8220;I got obsessed with John Berryman&#8221; confessed writer Catherine Lacey, kneeling in the bright workspace beneath her lofted bed. &#8220;Like,&#8221; she said, &#8220;Really bad obsessed.&#8221; She&#8217;s even entitled her debut novel Nobody Is Ever Missing, the concluding line of Berryman&#8217;s Dream Song 29.       Lacey&#8217;s devotion to the poet hardly strikes HENRY as strange; Berryman&#8217;s anguished avatar is, after all, this site&#8217;s namesake. And while the extremes of Berryman&#8217;s passions led to his self-destruction, Lacey&#8217;s have been impetuses for wholly productive endeavors, both entrepreneurialy and artistically.  In 2010 Lacey helped launch Downtown Brooklyn&#8217;s thriving bed and breakfast, 3B, simultaneously persisting through  difficult early drafts of her book.       &#8220;Sometimes,&#8221; said Lacey, &#8220;it just takes awhile to figure out what you&#8217;re trying to say.&#8221; We&#8217;re more than willing to be patient&#8211;Catherine&#8217;s novel drops next year. In the meantime, this Q&#38;A and the excerpt of Nobody Is Ever Missing published in McSweeny&#8217;s Issue 43 will sweeten the wait.]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-bed-breakfast-and-john-berryman-catherine-lacey/feed/</wfw:commentRss>
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		<title>Reading: “Moment Stay” from McSweeney&#8217;s Issue 43 Catherine Lacey</title>
		<link>http://www.henryreview.org/reading-moment-stay-from-mcsweeneys-issue-43-catherine-lacey/</link>
		<comments>http://www.henryreview.org/reading-moment-stay-from-mcsweeneys-issue-43-catherine-lacey/#comments</comments>
		<pubDate>Mon, 08 Apr 2013 14:12:15 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Catherine Lacey]]></category>
		<category><![CDATA[McSweeney's]]></category>
		<category><![CDATA[Moment Stay]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1167</guid>
		<description><![CDATA[Today Mississippi-born author Catherine Lacey graces HENRY with her deep south hospitality and profoundly-felt fiction. In 2010 Lacey co-founded 3B, Brooklyn’s most bohemian bed and breakfast. A live-in collective of artists maintains 3B, and when not frying up breakfast frittatas or plotting itineraries for guests, there’s ample time to focus on creative projects. In Lacey’s case, composing Nobody Is Ever Missing, her debut novel, out in 2014. Lacey invited HENRY to tour her B&#38;B, ushering us into a sunlit living room where, perched among potted ferns and a gigantic stuffed strawberry, she read a passage of Nobody Is Ever Missing featured in McSweeney&#8217;s #43, which hits newsstands tomorrow. The excerpt is entitled “Moment Stay”, a desire we seconded again and again throughout the shoot.]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-moment-stay-from-mcsweeneys-issue-43-catherine-lacey/feed/</wfw:commentRss>
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		<title>Q&amp;A: I&#8217;m Not Anyone&#8217;s Daddy Rich Juzwiak</title>
		<link>http://www.henryreview.org/qa-im-not-anyones-daddy-rich-juzwiak/</link>
		<comments>http://www.henryreview.org/qa-im-not-anyones-daddy-rich-juzwiak/#comments</comments>
		<pubDate>Thu, 04 Apr 2013 15:30:38 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Gawker]]></category>
		<category><![CDATA[Judy Blume]]></category>
		<category><![CDATA[Pride and Shame]]></category>
		<category><![CDATA[Rich Juzwiak]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1151</guid>
		<description><![CDATA[Followers of Rich Juzwiak’s Gawker.com column, “Pride and Shame”, question his behavior incessently. HENRY has a few queries for Rich too, though we’re more interested in his journalistic decision making than in his judgment as a lover. Get the scoop on Rich’s literary inheritance from Judy Blume, the challenges and gratifications of publishing a serialized memoir in real-time, and the most bizarre pet name that Rich has ever been called in bed.]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-im-not-anyones-daddy-rich-juzwiak/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: “Wifey” by Judy BlumeRich Juzwiak</title>
		<link>http://www.henryreview.org/reading-wifey-by-judy-blumerich-juzwiak/</link>
		<comments>http://www.henryreview.org/reading-wifey-by-judy-blumerich-juzwiak/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 13:08:37 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Gawker]]></category>
		<category><![CDATA[Pride and Shame]]></category>
		<category><![CDATA[Rich Juzwiak]]></category>
		<category><![CDATA[Wifey]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1138</guid>
		<description><![CDATA[It may be April Fool’s Day, but Gawker.com writer Rich Juzwiak’s nightlife essays are no joke.  No armchair commentator, Rich’s empirical escapades in bedrooms and back rooms and amusement park men’s rooms allow him to report with frank authority on the milieu of single gay men in New York City. As an anthropologist exploring his own subculture, Rich serves as an ambassador and—unwilled—an often contentious voice for his peers. Despite the responsibility intrinsic to the role as mouthpiece, Rich doesn’t get fetishistic about his sex accounts. He appreciates camp and believes fun should be fun, or even funny, as in this passage from his favorite Judy Blume novel, Wifey. Music: Mariah Carey- Touch My Body (Cyril Hahn Remix)]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-wifey-by-judy-blumerich-juzwiak/feed/</wfw:commentRss>
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		<title>Q&amp;A: Killer Instinct Emma Straub</title>
		<link>http://www.henryreview.org/qa-killer-instinct-emma-straub/</link>
		<comments>http://www.henryreview.org/qa-killer-instinct-emma-straub/#comments</comments>
		<pubDate>Thu, 28 Mar 2013 12:23:22 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Genre]]></category>
		<category><![CDATA[Emma Straub]]></category>
		<category><![CDATA[Laura Lamont's Life in Pictures]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1134</guid>
		<description><![CDATA[Today author Emma Straub tells HENRY how to transport readers into an authentic past, focusing on her research when selecting a play germane to the theatre where Elsa—protagonist of Laura Lamont’s Life In Pictures—launches her starbound career. Although Straub is this Q&#38;A’s leading lady, expect a few cameos from Killer, a cat made for the stage. &#160;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: “Laura Lamont&#8217;s Life in Pictures”Emma Straub</title>
		<link>http://www.henryreview.org/reading-laura-lamonts-life-in-picturesemma-straub/</link>
		<comments>http://www.henryreview.org/reading-laura-lamonts-life-in-picturesemma-straub/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 16:48:36 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Emma Straub]]></category>
		<category><![CDATA[Laura Lamont's Life in Pictures]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1131</guid>
		<description><![CDATA[Last night, we matzah ballers celebrated the Israelite diaspora from Egypt. This morning, author Emma Straub renews the theme of exodus with a reading from her novel Laura Lamont&#8217;s Life In Pictures, in which aspiring actress Elsa Emerson departs Door County, Wisconsin for the Promised Land of Hollywood. Portrait by Canyon Castator]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-laura-lamonts-life-in-picturesemma-straub/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Q&amp;A: I Like It Medium Rare Jason Kim</title>
		<link>http://www.henryreview.org/qa-i-like-it-medium-rare-jason-kim/</link>
		<comments>http://www.henryreview.org/qa-i-like-it-medium-rare-jason-kim/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 18:57:38 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[A Modern Feeling]]></category>
		<category><![CDATA[Drama]]></category>
		<category><![CDATA[Jason Kim]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1117</guid>
		<description><![CDATA[Playwright Jason Kim believes that powerful drama is a prize writers must mine from profoundly personal, inner spaces. The same principle applies to Q&#38;As. After reading from his new work &#8220;A Modern Feeling&#8221;, Kim divulged the importance of internal conflict within the play, which playwrights inspire him, and&#8211;achieving the pinnacle of intimacy&#8211;how he likes his steak done. Have follow-up questions? Pitch them to Kim in person tonight and tomorrow night at The New School For Drama Theatre, where the curtains rise on &#8220;A  Modern Feeling&#8221; at 7:00 PM. Intro music by The Range]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-i-like-it-medium-rare-jason-kim/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Reading: “A Modern Feeling”Jason Kim</title>
		<link>http://www.henryreview.org/reading-a-modern-feelingjason-kim/</link>
		<comments>http://www.henryreview.org/reading-a-modern-feelingjason-kim/#comments</comments>
		<pubDate>Tue, 19 Mar 2013 13:11:35 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Drama]]></category>
		<category><![CDATA[Genre]]></category>
		<category><![CDATA[A Modern Feeling]]></category>
		<category><![CDATA[Jason Kim]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1104</guid>
		<description><![CDATA[Drama may be the most challenging literary genre to create. Action must succeed both on the page and on the stage, doubling the responsibility of the playwright, who supervises how his or her work migrates between these two disparate spaces. Jason Kim negotiates this complexity with finesse in his newest work “A Modern Feeling”. In today’s a highly meta HENRY video, Kim performs a scene of a disastrous literary reading. See how the conflict escalates throughout a full production of “A Modern Feeling”; curtains rise at 7:00 PM on March 20, 21, and 22 at The New School for Drama Theatre. Free tickets available here  Intro music by The Range]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-a-modern-feelingjason-kim/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: &#8220;The Autobiography of Daniel J. Isengart&#8221; By Filip NoterdaemeDaniel J. Isengart</title>
		<link>http://www.henryreview.org/reading-the-autobiography-of-daniel-j-isengart-by-filip-noterdaemedaniel-j-isengart/</link>
		<comments>http://www.henryreview.org/reading-the-autobiography-of-daniel-j-isengart-by-filip-noterdaemedaniel-j-isengart/#comments</comments>
		<pubDate>Thu, 14 Mar 2013 09:00:38 +0000</pubDate>
		<dc:creator>henryreview</dc:creator>
				<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Autobiography]]></category>
		<category><![CDATA[Daniel Isengart]]></category>
		<category><![CDATA[Filip Noterdaeme]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1058</guid>
		<description><![CDATA[The son of a Belgian diplomat, provocateur Filip Noterdaeme credits his adolescence in embassies&#8211;where decorum ambiguates representation and reality&#8211;as his initiation into the theatre of the absurd. Parody and more pointed institutional critique, such as founding The Homeless Museum of Art, has been Noterdaeme’s tendency ever since. His memoir, The Autobiography of Daniel J. Isengart, is itself a work of subterfuge. But it is also a tenderly revelatory chronicle. The book hits stores tomorrow&#8211;get a taste today on HENRY, where Noterdaeme’s partner Daniel J. Isengart reads from the autobiography bearing his name. When you began this project, to what extent were you aware that you would be alluding, in style and form, to Gertrude Stein&#8217;s The Autobiography of Alice B. Toklas? Noterdaeme: As with all my artwork, I conceived The Autobiography of Daniel J. Isengart as a work of appropriation. Using Stein’s book as a template was a bold choice but it turned out to be the perfect fit for my purpose of writing an anti-biography that would double as a stylized portrait of New York, the city that became my home 25 years ago. Which previously unperceived aspects of your relationship did writing about Daniel illuminate? Noterdaeme: I by myself am only complicated and Daniel by himself is only simple, but as a pair we are simply complicated. This is indeed the perfect combination in all things, but I had to write this book to become fully aware of it. Did Daniel contribute to the development of the book? Noterdaeme: Truth be told, Daniel did not know anything about any of this until quite recently.  I had been shopping the manuscript around for half a year when, late last year, Outpost19 agreed to publish it. That’s when I told Daniel. I gave him the manuscript to read and, needless to say, he was awfully pleased. Would you elaborate further on your concept of &#8220;real looking&#8221;? Noterdaeme: Real looking means not just looking but paying attention. To quote Simone Weil:  “Attention is the rarest and purest form of generosity.”   You and Daniel are both provocateurs in your own ways; do you consider this book a vehicle for your activism? What cultural or socio-political impacts do you hope it will affect? Noterdaeme: By his own account, Daniel is too bourgeois to be a real provocateur (though he may sometimes be a tease). Only society outcasts and fallen princes like myself can afford to be provocateurs. Personally, I do not harbor any delusions of being able to affect change in the world. What Daniel and I have chosen to do is to prevent a corrupt world from changing us. My book is a testament to this choice and a celebration of the life we have created together. &#160; &#160; &#160;]]></description>
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		<title>Reading: “Mollino, Mollino, Mollino”  Thessaly La Force </title>
		<link>http://www.henryreview.org/reading-mollino-mollino-mollino-thessaly-la-force/</link>
		<comments>http://www.henryreview.org/reading-mollino-mollino-mollino-thessaly-la-force/#comments</comments>
		<pubDate>Mon, 11 Mar 2013 02:54:20 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Iowa Writer's Workshop]]></category>
		<category><![CDATA[Mollino]]></category>
		<category><![CDATA[Thessaly La Force]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1054</guid>
		<description><![CDATA[Thessaly La Force does her surname justice. A cultural dynamo, La Force was the first editor of The Paris Review Daily, and published My Ideal Bookshelf--an illustrated book made in collaboration with artist Jane Mount&#8211;this past November. Currently a second year at the Iowa Writers’ Workshop, La Force is working on a collection of short fiction, The Muse.  Today she privileges HENRY to the beginning of her story &#8221;Mollino, Mollino, Mollino&#8221;. Tell us about your first encounter with the furniture of Vico Magistretti, and about the interplay between his work and yours. Well, like so many fiction writers, all I needed to hear was the beginning of a story, a seed, really, and then the idea was planted, and I was off. I remember the moment well. I was meeting my friends Leanne and Andrea for a drink at Wallsé, and Leanne was talking about her search for a particular coffee table, by Vico Magistretti. I remember I went home that night and I just started writing in the voice that had materialized in my head. Leanne eventually did send me a picture of the table. But I can&#8217;t even remember the end of Leanne&#8217;s story. And it&#8217;s better that way. I later asked my friend Tom Delavan, who works in interiors, about the furniture of Vico Magistretti, and he explained the cult of this particular coffee table to me, and how they&#8217;re difficult to find. Of course, that only intrigued me more. And recently, I think I remember seeing on Instagram that Sophie Buhai has one, too. So this coffee table feels special. It feels like one of those objects where once you&#8217;re aware of its existence, you won&#8217;t ever not notice one. Why not write a quest story about finding a great coffee table? Magistretti and Carlo Mollino pioneered fantastical design&#8211;do you share a similar interest in form and structure, about how a narrative&#8217;s &#8220;container&#8221; affects the reader&#8217;s relation to the story? I&#8217;ve been told that this story is a rabbit-hole story. Or that it has too many misdirections. I like playing with structure a lot. I still think of myself as a baby writer. I&#8217;m probably at that developmental stage where I&#8217;m learning how to point at something to get what I want, you know? I remember interviewing Michael Chabon for My Ideal Bookshelf—and he said he can recall believing, while getting his MFA at Irvine in his twenties, that he was in the middle stages of his writing voice, and now he laughs at that assumption, because he really was just at the beginning. Looking back, he can see how far he had to go. I guess what I mean by that anecdote is that writing is a long brew. It can feel precocious and it can flow, but it&#8217;s also like the longest marathon ever. I feel like I&#8217;m always writing the best I can, and yet, I look at what I wrote a year ago, and I see how its amateur in a way I couldn&#8217;t without the distance of time. And so as a young writer, structure is a good form to study in other stories, and it&#8217;s a good form to imitate. Ideally, with my collection, I&#8217;d love for each story to be structurally different. But we&#8217;ll see. I make no promises. That said, it did not occur to me that the furniture itself would inspire any narrative structure, but if someone thinks its happening, I am not beyond taking credit for such an innovation! Is design an organizing principle of your collection, The Muse?  Are the stories in thematic conversation, and in direct conversation as well? I love design. But I love it as an aficionado. An amateur. And I&#8217;m obsessed with aesthetics. And the way in which art making is in dialogue with aesthetics. So my collection is circling around those themes. I have one story about an artist&#8217;s muse. Another about a quartet. Another about two painters. Another about a model. Another about a critic. I think they all speak to each other, but they are also simply stories about people, you know? I&#8217;m hesitant about declaring one&#8217;s own themes as a writer. Sometimes I believe your work is merely a chronological and distorted reflection of you. And you&#8217;re lucky if something else emerges from that. Have you ever gone to great lengths in the pursuit of an object? Is there an object you especially cherish? All the time. I have daily infatuations. I am obsessive by nature. Obsessive. I wish I had a good story to tell you about how I traveled to the end of the earth to find something, but I&#8217;ve got nothing. As for an object I particularly cherish—well, I remember photographing Maira Kalman&#8217;s studio for The Paris Review Daily. And I remember seeing that she had the most remarkable collection of miniature chairs by great designers—Gehry, Saarinen, Eames. It was marvelous! She also had a couple normal-sized chairs by great designers, too. Which is endlessly amusing to me. (You could make the mini chair sit in its own chair! You could sit in that chair and hold its mini chair!) Anyway, a year later, as a birthday gift, I received one miniature Eames chair with an ottoman. I love it, it&#8217;s so fun to have on my desk, and I like to make my reading glasses sit in it—it&#8217;s great. And I recently found these miniature imperial Chinese vases, and so now they stand next to my miniature chair and ottoman, and I like to imagine it&#8217;s all part of the office of an impressive shrink on the Upper West Side. &#160; Portrait by Canyon Castator &#160; &#160;]]></description>
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		<title>Q&amp;A: You Only Have Time to Explode  Sam Lipsyte</title>
		<link>http://www.henryreview.org/qa-you-only-have-time-to-explode-sam-lipsyte/</link>
		<comments>http://www.henryreview.org/qa-you-only-have-time-to-explode-sam-lipsyte/#comments</comments>
		<pubDate>Thu, 07 Mar 2013 12:58:54 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Sam Lipsyte]]></category>
		<category><![CDATA[The Fun Parts]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1044</guid>
		<description><![CDATA[For even the most enlightened litterateur, a common response to Sam Lipsyte’s fiction is How the frizz does he DO that?! Today Sam lends insight into his strategies of narrative attack, and how to surf waves of artistic despair towards literary excellence like The Fun Parts. Many thanks to Jersey Hardcore dirtbags/demigods Rorschach for this video’s musical accompaniment.  &#160; &#160;]]></description>
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		<title>Reading: “This Appointment Occurs In The Past”  Sam Lipsyte </title>
		<link>http://www.henryreview.org/reading-this-appointment-occurs-in-the-past-sam-lipsyte/</link>
		<comments>http://www.henryreview.org/reading-this-appointment-occurs-in-the-past-sam-lipsyte/#comments</comments>
		<pubDate>Tue, 05 Mar 2013 14:30:58 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Sam Lipsyte]]></category>
		<category><![CDATA[The Fun Parts]]></category>
		<category><![CDATA[This Appointment Occurs in the Past]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1025</guid>
		<description><![CDATA[Thanks to Sam Lipsyte, I dodged law school. As a college senior I dropped into his office to fret over my future without a meal plan.  Or any type of plan.  Was it such a betrayal of the Muse, such artistic treason to draft contracts by day and chapters by night? As an attorney I’d enjoy stability. Respectability. I’d have a career on which—should the whole fiction thing sour—to fall back. “Without fallbacks,” replied Sam, grave behind his desk, “you can’t fall back.” This extremist ethos illuminates Sam’s prose itself, as well as his trajectory as a writer. It advocates a commitment to peril less powerfully illustrated by Sam’s junkie days than by his linguistic intemperance. By lines like The Michigan eviscerations began in Manhattan. Sentences that risk everything, riffs somehow both manic and controlled, a concurrence of deepest sadness and levity that should mutually defuse, but that, instead, ignite each other. Assuming a more removed view, the imperative for progression distinguishes Sam’s entire body of work.  After perfecting the Lipstytian style characteristic of his “Gary” tales, Sam largely departs that mode in The Fun Parts.  He defies relaxing into the ease of a mastered register—he refuses to fall back—and today privileges HENRY to an excerpt of his latest literary vault forward. Click for Sam Lipsyte on Amazon.com]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Q&amp;A: Breathing Underwater  Lizzy Straus</title>
		<link>http://www.henryreview.org/qa-breathing-underwater-lizzy-straus/</link>
		<comments>http://www.henryreview.org/qa-breathing-underwater-lizzy-straus/#comments</comments>
		<pubDate>Thu, 28 Feb 2013 14:15:16 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Lizzy Straus]]></category>
		<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1012</guid>
		<description><![CDATA[Undersea life and hybrid creatures have fascinated poet Lizzy Straus since her The Little Mermaid days, and now prevail as themes unifying her verse. Hear how the perspective of mermaids is unique from that of other half-human beasts, and—when feeling transcends language—Straus&#8217;s cry of the mythical eagle monster Garuda.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: “Signs You Are Really A Mermaid”  Lizzy Straus</title>
		<link>http://www.henryreview.org/reading-signs-you-are-really-a-mermaid-lizzy-straus/</link>
		<comments>http://www.henryreview.org/reading-signs-you-are-really-a-mermaid-lizzy-straus/#comments</comments>
		<pubDate>Tue, 26 Feb 2013 14:10:47 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Canyon Castator]]></category>
		<category><![CDATA[Lizzy Straus]]></category>
		<category><![CDATA[Signs You Are Really A Mermaid]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1008</guid>
		<description><![CDATA[If you’ve ever been perplexed by the conversation of lobsters, or troubled to discover your legs caudally conjoined, tune in:  Lizzy Straus is just the siren to diagnose these fishy symptoms.  Enrolled in Columbia’s poetry MFA, Straus’s recent work explores hybrid creatures, a fascination she’ll discuss further this Thursday on HENRY. Portrait by Canyon Castator]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Q&amp;A: Paint by Novel  Anj Smith</title>
		<link>http://www.henryreview.org/qa-paint-by-novel-anj-smith/</link>
		<comments>http://www.henryreview.org/qa-paint-by-novel-anj-smith/#comments</comments>
		<pubDate>Thu, 21 Feb 2013 15:59:59 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Genre]]></category>
		<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Anj Smith]]></category>
		<category><![CDATA[Q&A]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=1002</guid>
		<description><![CDATA[Raised without television, a young Anj Smith sought discovery and escape through books. She now creates her own narratives&#8211;on canvas rather than on the page&#8211;but turns to literature, a “love of her life”, for the structures that order her painted worlds. Hear the artist discuss synesthesia, William Blake, and the life cycle of linguistic meanings in today’s HENRY Q&#38;A. Anj Smith&#8217;s exhibition The Flowering of Phantoms is on view at Hauser &#38; Wirth through February 23. &#160;]]></description>
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		<title>Reading: “Pale Fire” by Vladimir Nabokov Anj Smith</title>
		<link>http://www.henryreview.org/reading-pale-fire-by-vladimir-nabokov-anj-smith/</link>
		<comments>http://www.henryreview.org/reading-pale-fire-by-vladimir-nabokov-anj-smith/#comments</comments>
		<pubDate>Tue, 19 Feb 2013 14:26:41 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Anj Smith]]></category>
		<category><![CDATA[Pale Fire]]></category>
		<category><![CDATA[Vladimir Nabokov]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=965</guid>
		<description><![CDATA[A master of scale, British artist Anj Smith renders diminutive paintings that affect immense aesthetic impact.  She commingles opulence and the macabre in technically virtuosic compositions whose structure and tone are deeply informed by literature. Smith describes herself as a “voracious reader”, and today treats HENRY to one of her favorite passages from Nabokov’s Pale Fire. Treat yourself to an up-close appreciation of Smith’s miniaturized oils at Hauser &#38; Wirth’s Upper East Side gallery, and tune in this Thursday to hear Smith elaborate on the importance of reading to her artistic process. Shot on location at Hauser &#38; Wirth. Image courtesy of the gallery.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Q&amp;A: Burglar. Saint. Thief. And Beat.  Sam Kashner</title>
		<link>http://www.henryreview.org/qa-burgler-saint-thief-and-beat-sam-kashner/</link>
		<comments>http://www.henryreview.org/qa-burgler-saint-thief-and-beat-sam-kashner/#comments</comments>
		<pubDate>Thu, 14 Feb 2013 18:53:39 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Gregory Corso]]></category>
		<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Sam Kashner]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=696</guid>
		<description><![CDATA[Swathed in the overcoat of his mentor, Gregory Corso, journalist and author Sam Kashner recounts becoming the first student at the Jack Kerouac School of Disembodied Poetics. Although Kashner may have been an “easy mark” for the penurious &#8220;true madman&#8221; of a poet, Corso&#8217;s soulfulness nonetheless impresses a pronounced mark on Kasner&#8217;s work today. CLICK TO WATCH KASHNER READ &#8220;MARRIAGE&#8221; BY GREGORY CORSO. Intro music by The Range]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: “Marriage” by Gregory Corso Sam Kashner</title>
		<link>http://www.henryreview.org/reading-marriage-by-gregory-corso-sam-kashner/</link>
		<comments>http://www.henryreview.org/reading-marriage-by-gregory-corso-sam-kashner/#comments</comments>
		<pubDate>Tue, 12 Feb 2013 14:35:06 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Gregory Corso]]></category>
		<category><![CDATA[Marriage]]></category>
		<category><![CDATA[Sam Kashner]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=686</guid>
		<description><![CDATA[Sam Kashner applied to college through an advertisement in the “Village Voice”. The admissions postcard he received in response was penned by no ordinary dean, but by preeminent Beat bard Allen Ginsberg, who invited Kashner&#8211;now a writer and Contributing Editor at Vanity Fair&#8211;to matriculate as the first student in the then-unaccredited Jack Kerouac School of Disembodied Poetics. While enrolled, Kashner forged an especially powerful bond with wordsmith Gregory Corso, an orphan, an ex-con, an autodidact, and an outsider among outsiders. On the cusp of Valentine’s Day, Kashner honors his mentor with a recitation of Corso’s ode to nuptial indecision, “Marriage”. Romance in fact precipitated Corso’s imprisonment; at age seventeen, Coros burgled a tailor’s shop of a suit in preparation for a date. Stolen clothes also account for the overcoat in which Kashner delivers “Marriage”.  While employed at vintage boutique in Denver, Kashner allowed Corso to to walk out of the shop wearing the garment, which the poet gifted to his protégé years later.  Now, lofted above the Bowery&#8211;one of Corso’s favorite haunts&#8211;Kashner weighs the pros and cons on tying the knot, cinched snugly in the superlative artist’s presence. CLICK FOR KASHNER&#8217;S Q&#38;A ABOUT HIS TIME AT THE KEROUAC SCHOOL OF DISEMBODIED POETICS. Shot on location in the Bowery Hotel. Image: National Gallery of Art. &#160;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: &#8220;Natasha&#8221; by David Bezmozgis Irina Aleksander</title>
		<link>http://www.henryreview.org/reading-natasha-by-david-bezmozgis-irina-aleksander/</link>
		<comments>http://www.henryreview.org/reading-natasha-by-david-bezmozgis-irina-aleksander/#comments</comments>
		<pubDate>Thu, 07 Feb 2013 14:47:05 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[David Bezmozgis]]></category>
		<category><![CDATA[Irina Aleksander]]></category>
		<category><![CDATA[Natasha]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=679</guid>
		<description><![CDATA[Journalist Irina Aleksander, today’s HENRY feature, emigrated from Russia to Brooklyn when she was a kid.  Her history drew her to the fiction of author David Bezmozgis, whose own childhood move from Latvia to Canada influenced his collection Natasha: And Other Stories. This morning Aleksander reads from the title piece of Natasha: And Other Stories.  Fittingly, the tale was initially printed in Harper’s, a publication for which Aleksander is now at work on her first long-form article.  Her reporting also appears in The New York Times and The Atlantic, and in a nod to the sartorial goings on about town at New York Fashion Week, Aleksander matches her dress to every writer’s most invaluable accessory: her book.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: Jamaica Kincaid’s “The Autobiography of My Mother” Shala Monroque</title>
		<link>http://www.henryreview.org/reading-jamaica-kincaids-the-autobiography-of-my-mother-shala-monroque/</link>
		<comments>http://www.henryreview.org/reading-jamaica-kincaids-the-autobiography-of-my-mother-shala-monroque/#comments</comments>
		<pubDate>Tue, 05 Feb 2013 13:33:07 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Jamaica Kincaid]]></category>
		<category><![CDATA[Shala Monroque]]></category>
		<category><![CDATA[The Autobiography of My Mother]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=671</guid>
		<description><![CDATA[Shala Monroque collapses one of American culture’s most misguided binaries: an individual is either concerned with surfaces, or cultivates intellectual depths.  Creative Director of Moscow-based arts magazine GARAGE and consultant to our friends The American Reader, Monroque is also a Prada muse.  She reminds us that style is story, both in prose and in clothes. Hailing from St. Lucia, today Monroque reads from the work of a fellow Caribbean-born icon, Jamaica Kincaid.  Monroque selected a setting to match the gravity of Kincaid’s The Autobiography of My Mother, and with New York Fashion Week nigh, her caper through a momento mori seems as bold as any runway strut. &#160; Music: Metal Swing by The Range]]></description>
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		<title>Reading: &#8220;The Flame Alphabet”  Ben Marcus</title>
		<link>http://www.henryreview.org/reading-the-flame-alphabet-ben-marcus/</link>
		<comments>http://www.henryreview.org/reading-the-flame-alphabet-ben-marcus/#comments</comments>
		<pubDate>Thu, 31 Jan 2013 13:52:39 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Ben Marcus]]></category>
		<category><![CDATA[The Flame Alphabet]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=663</guid>
		<description><![CDATA[Today we continue our celebration of author Ben Marcus with a reading from his most recent novel, The Flame Alphabet, in which Marcus literalizes “the power of language”: childrens’ speech is fatal to adults. Departing the technical didacticism of The Age of Wire and String&#8211;a faux handbook&#8211;Marcus plunges his protagonists into apocalyptic peril, relishing the viscerality that comes with weathering a pandemic, and, in this excerpt, exploring the devastation of witnessing a loved one perpetrate atrocity. CLICK TO WATCH MARCUS READ FROM HIS FIRST NOVEL THE AGE OF WIRE AND STRING.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: “The Age of Wire and String”  Ben Marcus</title>
		<link>http://www.henryreview.org/reading-cornered-the-age-of-wire-and-string-ben-marcus/</link>
		<comments>http://www.henryreview.org/reading-cornered-the-age-of-wire-and-string-ben-marcus/#comments</comments>
		<pubDate>Tue, 29 Jan 2013 14:30:02 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Ben Marcus]]></category>
		<category><![CDATA[Canyon Castator]]></category>
		<category><![CDATA[The Age of Wire and String]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=654</guid>
		<description><![CDATA[This week’s videos map the stylistic progression of Ben Marcus, an author whose prose tests the perimeters of linguistic possibility, and is testament to the written word’s singular power as an experientially provocative medium. Today Marcus reads “Air Trance 16”, an early chapter from his debut novel, The Age of Wire and String.  The literally violent content further unsettles us through an explosion of syntactic expectations and subversion of grammatical convention.  It ambushes us with a language all its own. CLICK TO WATCH MARCUS READ FROM HIS NOVEL THE FLAME ALPHABET. Sketch by Canyon Castator]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reading: &#8220;Hollywood Snow&#8221; is The Best Thing Since&#8230;  Alexandra Kleeman</title>
		<link>http://www.henryreview.org/reading-hollywood-snow-is-the-best-thing-since-alexandra-kleeman/</link>
		<comments>http://www.henryreview.org/reading-hollywood-snow-is-the-best-thing-since-alexandra-kleeman/#comments</comments>
		<pubDate>Fri, 25 Jan 2013 14:34:00 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Alexandra Kleeman]]></category>
		<category><![CDATA[Hollywood Snow]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=648</guid>
		<description><![CDATA[Alexandra Kleeman not only composed the story “Hollywood Snow” especially for HENRY, but devised the conceit of its complementary video. The footage emphasizes Kleeman’s thematic fascination with “appetite”&#8211;erotic and otherwise&#8211;as an impulse often magnified to grotesquerie and inclined towards violence.  Consumption, absorption, and parasitism threaten individuality.  They confuse authenticity, rendering “fake weather” and “the weather we only wish was fake” indistinguishable. Distinguished as a Ph.D candidate in Berkley’s rhetoric department, and holding an MFA in Fiction from Columbia, Kleeman has published in The Paris Review, Conjunctions, and Zoetrope: All Story, among others. She is currently completing her first novel.]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-hollywood-snow-is-the-best-thing-since-alexandra-kleeman/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Reading: “The Sleeping Father”  Matthew Sharpe</title>
		<link>http://www.henryreview.org/reading-the-sleeping-father-matthew-sharpe/</link>
		<comments>http://www.henryreview.org/reading-the-sleeping-father-matthew-sharpe/#comments</comments>
		<pubDate>Tue, 22 Jan 2013 18:14:06 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Matthew Sharpe]]></category>
		<category><![CDATA[The Sleeping Father]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=636</guid>
		<description><![CDATA[By inhabiting multiple personalities, writers empower themselves to construct scores of psychologically dynamic characters. These creations, however, rarely depart the page.  Or don fuzzy wristbands. Or color-code their bookshelves. Marc Scharf, alter ego of author Matt Sharpe, is the exception.  Today, we’re proud to feature Sharf’s reading from Sharpe’s exceptional novel, winner of an Independent Publishers Award, The Sleeping Father. This video is an Adam Simon production.]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-the-sleeping-father-matthew-sharpe/feed/</wfw:commentRss>
		<slash:comments>5</slash:comments>
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		<title>Q&amp;A: Research and Revision, Process and Plot  Nicholas Christopher</title>
		<link>http://www.henryreview.org/qa-research-and-revision-process-and-plot-nicholas-christopher/</link>
		<comments>http://www.henryreview.org/qa-research-and-revision-process-and-plot-nicholas-christopher/#comments</comments>
		<pubDate>Thu, 17 Jan 2013 13:58:20 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Nicholas Christopher]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Tiger Rag]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=628</guid>
		<description><![CDATA[“They tried to sell me bullet proof glass,” chuckles Nicholas Christopher, nodding at the windows of his home study.  Lofted above the din of University Place, it’s the author’s concentration, not his life, that’s constantly imperilled; he now writes ensconced within customized, sound-muffling panes.  From the tranquility of a workspace hung with his own acrylic paintings, Christopher discusses the role of scholarly research, tireless revision, and fountain pens in the making of his new novel Tiger Rag. CLICK TO WATCH NICHOLAS CHRISTOPHER READ FROM TIGER RAG.]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-research-and-revision-process-and-plot-nicholas-christopher/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Reading: “Tiger Rag”  Nicholas Christopher</title>
		<link>http://www.henryreview.org/reading-tiger-rag-nicholas-christopher/</link>
		<comments>http://www.henryreview.org/reading-tiger-rag-nicholas-christopher/#comments</comments>
		<pubDate>Tue, 15 Jan 2013 15:36:35 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Nicholas Christopher]]></category>
		<category><![CDATA[Tiger Rag]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=620</guid>
		<description><![CDATA[When a true virtuoso celebrates a fellow artistic paragon, a feat-of-a-novel like Nicholas Christopher&#8217;s Tiger Rag is forged.  Lore of the decadent ascent and abrupt plummet of the inventor of Jazz, “King” Buddy Bolden, inspired Christopher’s new treatment, which shines as his crowning work of prose. Author of fifteen books, including eight collections of poetry, Christopher moves as nimbly between varied chronologies and entwined plotlines as Bolden between scales. Equally deft is Christopher’s talent for research.  He bejewels myth with historical detail. He animates fact with richly imagined scene.  “Imagined”, especially, because no known recording of Bolden’s playing exists!  Tiger Rag, perhaps, is music enough. CLICK TO WATCH NICHOLAS CHRISTOPHER&#8217;S Q&#38;A ON THE PROCESS OF WRITING TIGER RAG. Tiger Rag on Amazon.com: &#160; Edited by Elana Schulman]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-tiger-rag-nicholas-christopher/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Q&amp;A: An Excellent Woman on &#8220;Excellent Women&#8221; Sadie Stein</title>
		<link>http://www.henryreview.org/qa-an-excellent-woman-on-excellent-women-sadie-stein/</link>
		<comments>http://www.henryreview.org/qa-an-excellent-woman-on-excellent-women-sadie-stein/#comments</comments>
		<pubDate>Thu, 10 Jan 2013 17:36:57 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Barbara Pym]]></category>
		<category><![CDATA[Canyon Castator]]></category>
		<category><![CDATA[canyoncastator.com]]></category>
		<category><![CDATA[Excellent Women]]></category>
		<category><![CDATA[Sadie Stein]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=616</guid>
		<description><![CDATA[&#8220;Not an easy laugher,&#8221; Sadie Stein&#8217;s celebration of the hilarity of Barbara Pym&#8217;s novel Excellent Women is especially high-praise. Hear what The Paris Review&#8216;s Deputy Editor thinks Pym&#8217;s humor achieves as a literary vehicle, and why the author&#8217;s talents are no joke. CLICK TO WATCH STEIN READ FROM EXCELLENT WOMEN. Art by Canyon Castator]]></description>
		<wfw:commentRss>http://www.henryreview.org/qa-an-excellent-woman-on-excellent-women-sadie-stein/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Reading: “Excellent Women” BY BARBARA PYM  SADIE STEIN</title>
		<link>http://www.henryreview.org/reading-excellent-women-by-barbara-pym/</link>
		<comments>http://www.henryreview.org/reading-excellent-women-by-barbara-pym/#comments</comments>
		<pubDate>Tue, 08 Jan 2013 13:43:56 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Barbara Pym]]></category>
		<category><![CDATA[Excellent Women]]></category>
		<category><![CDATA[Sadie Stein]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=612</guid>
		<description><![CDATA[As Deputy Editor of The Paris Review and an ambassador of New York’s creative culture, few litterateurs are as versed in the niceties of social discourse as Sadie Stein.  The young sophisticate’s tact invokes that of Mildred Lathbury, protagonist of Barbara Pym’s 1952 comedy of manners Excellent Women. Can the seemingly unflappable Lathbury maintain composure as her paranoid hostess, Mrs. Bone, rails an insane vendetta against The Dominion of the Birds? Watch, and try to keep from giggling into your sherry. CLICK FOR STEIN&#8217;S Q&#38;A ABOUT THE SUBTLE HUMOR OF BARBARA PYM. Illustration from &#8216;Orrible Murder: Victorian Crime and Passion, by Leonard de Vries]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-excellent-women-by-barbara-pym/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: &#8220;Naples Declared: A Walk Around the Bay&#8221; Benjamin Taylor</title>
		<link>http://www.henryreview.org/reading-naples-declared-a-walk-around-the-bay-benjamin-taylor/</link>
		<comments>http://www.henryreview.org/reading-naples-declared-a-walk-around-the-bay-benjamin-taylor/#comments</comments>
		<pubDate>Thu, 03 Jan 2013 15:26:24 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Nonfiction]]></category>
		<category><![CDATA[Benjamin Taylor]]></category>
		<category><![CDATA[Memoir]]></category>
		<category><![CDATA[Naples Declared]]></category>
		<category><![CDATA[Tales Out of School]]></category>
		<category><![CDATA[The Book of Getting Even]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=588</guid>
		<description><![CDATA[Benjamin Taylor emphasizes the trans-formative power of keen perception in this excerpt from his lush travel memoir Naples Declared: A Walk Around The Bay, which The New Yorker’s Judith Thurman recently celebrated as one of 2012’s most compelling books. Active within the graduate writing programs of The New School and Columbia University, Professor Taylor has authored two novels, Tales Out of School, winner of the Harold Ribalow Prize, and The Book of Getting Even, a 2009 Barnes &#38; Noble Discover Award winner and a 2008 Los Angeles Times Favorite Book of the Year. Generous with his learning, Professor Taylor offers free recordings of his literary lectures&#8211;subjects range from Tolstoy to Munro to Roth&#8211;here, on his trove of a website. Illustration by Julie Houts &#160;]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-naples-declared-a-walk-around-the-bay-benjamin-taylor/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: Robert Frost&#8217;s &#8220;Provide, Provide&#8221; Benjamin Taylor</title>
		<link>http://www.henryreview.org/reading-robert-frosts-provide-provide-benjamin-taylor/</link>
		<comments>http://www.henryreview.org/reading-robert-frosts-provide-provide-benjamin-taylor/#comments</comments>
		<pubDate>Tue, 01 Jan 2013 16:53:50 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Benjamin Taylor]]></category>
		<category><![CDATA[Provide]]></category>
		<category><![CDATA[Robert Frost]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=583</guid>
		<description><![CDATA[Benjamin Taylor ushers in the new year with a Robert Frost reality check.  Frost’s poem, “Provide, Provide”, excoriates writers who betray their talents by pandering to fame.  Here&#8217;s to staying true to our tastes in 2013! Some have relied on what they knew, Others on being simply true. What worked for them might work for you. Without compromise, Taylor expertly mingles serious erudition with easygoing prose in his recent travel memoir, Naples Declared: A Walk Around The Bay, lauded as one the best books of 2012 by The New Yorker.  Check back this Thursday for a reading from Naples Declared; the passage ends with a twist that will have you out of your seat, crying Bis!]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-robert-frosts-provide-provide-benjamin-taylor/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: A shopping list emotes in &#8220;My Dove&#8221; Divya Victor</title>
		<link>http://www.henryreview.org/reading-a-shopping-list-emotes-in-my-dove-divya-victor/</link>
		<comments>http://www.henryreview.org/reading-a-shopping-list-emotes-in-my-dove-divya-victor/#comments</comments>
		<pubDate>Fri, 21 Dec 2012 18:51:20 +0000</pubDate>
		<dc:creator>Henry</dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Divya Victor]]></category>
		<category><![CDATA[My Dove]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=572</guid>
		<description><![CDATA[In line with the spirit of the holidays, Divya Victor&#8217;s &#8220;My Dove&#8221; transforms a shopping list into a litany of branded love. Where are you from, and where are you currently living? I have lived in more than 180 countries. With this stature comes both responsibility and opportunity. My responsibility as a poet is to be an ethical corporate citizen—but this opportunity is something far greater, and is embodied in the purpose of poetry. My poetic philosophy is to “build from within,” in which poems foster a strong culture of trust and shared experiences. Our diversity, our shared culture, and our unified purpose are the defining elements that enable poetry to touch lives and improve life every day.  The rhythm of &#8220;My Dove&#8221; is entrancing. When you wrote it how did you select the products you list? What do you think of converting those brands into poetic language? Poetic entrancement is deeply rooted in poetry’s purpose, values, and principles. It is who we are, and aspire to be, as poets. When poets come together, we create a rich tapestry. Each of us is truly unique. Beyond the visible differences, we come from diverse traditions, with a wide array of personal experiences and points of view. Through our commitment to poetic entrancement, we bring together individuals from different backgrounds, cultures, and thinking styles providing remarkably different talents, perspectives, and life experiences. That’s why, in our increasingly interconnected world, it is only appropriate that we celebrate everyone’s uniqueness, every day, through poetic entrancement. My choices in poetry are led by one simple belief: Everyone is Valued, Everyone is Included, Everyone is Performing at Their Peak™ And for me, poetic entrancement is for EVERYONE. It is living it every day. It is experiencing it everywhere.  How did you select the poem you chose to read for HENRY? What about it seemed especially suited for video formatting? Selection is important. So are the cultural stakes of the selection process. Ethics, principles, and values are all important to me. When I made the decision to use “My Dove” for HENRY, I used the following as my leading principle, alongside the recent declaration that poetry had produced a quarterly dividend of fifty-six point two cents ($0.562) per poet’s share: Last 69.74 Change + (0.58%) Volume 7,194,219 52 week high: 70.99 52 week low: 59.07  You said you covertly shot the footage in a grocery store. How did you go about it? Were there any reactions as you filmed? We live in the ‘information age’— computing technology and devices have become a way of life for many and will increasingly provide opportunities for improving the lives of readers. I used a slim, powerful iPhone which features a high-quality 5.0-megapixel digital camera with built-in LED flash, HD video with audio and Wi-Fi video calling. Multitasking capabilities allow you to switch easily between recently used apps, so poets can get more done and have more fun! There were so many reactions.  Have you ever faceted your poetry with a supplementary sensory layer before? Is a multi-media approach one you&#8217;ve previously considered? Yes and yes. Would you speak to your writerly process? Early in the morning, late at night? Listening to music? My singular goal as a poet is to protect, collect, and use personal information provided to me as if it is my own. I also always trade, sell, and lease personal information entrusted to me in confidence by others. Which live reading has most impacted you as a writer? Who would you like to see? Probably the Sermon on the Mount. I would like to see the poets CA Conrad, Vanessa Place, Myung Mi Kim, Joey Yearous Algozin, Sarah Dowling, Lanny Jordan Jackson, and other people published by the Troll Thread Collective.]]></description>
		<wfw:commentRss>http://www.henryreview.org/reading-a-shopping-list-emotes-in-my-dove-divya-victor/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Question: Why did you connect with Chris Offutt&#8217;s Appalachia? Colin Spoelman</title>
		<link>http://www.henryreview.org/question-why-did-you-connect-with-chris-offutts-appalachia-colin-spoelman/</link>
		<comments>http://www.henryreview.org/question-why-did-you-connect-with-chris-offutts-appalachia-colin-spoelman/#comments</comments>
		<pubDate>Wed, 19 Dec 2012 15:37:03 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Q & A]]></category>
		<category><![CDATA[Chris Offutt]]></category>
		<category><![CDATA[Colin Spoelman]]></category>
		<category><![CDATA[Kentucky Straight]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=567</guid>
		<description><![CDATA[Colin Spoelman discusses his connection with fellow Kentuckian Chris Offutt&#8217;s view of Appalachia. CLICK TO WATCH SPOELMAN READ FROM OFFUTT&#8217;S SHORT STORY &#8220;BARRED OWL&#8221; Get Offutt&#8217;s first short story collection, Kentucky Straight, here.]]></description>
		<wfw:commentRss>http://www.henryreview.org/question-why-did-you-connect-with-chris-offutts-appalachia-colin-spoelman/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: “Barred Owl”  By Chris Offutt</title>
		<link>http://www.henryreview.org/colin-spoelman-reads-barred-owl-chris-offutt/</link>
		<comments>http://www.henryreview.org/colin-spoelman-reads-barred-owl-chris-offutt/#comments</comments>
		<pubDate>Tue, 18 Dec 2012 18:27:26 +0000</pubDate>
		<dc:creator>Katherine</dc:creator>
				<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Barred Owl]]></category>
		<category><![CDATA[Canyon Castator]]></category>
		<category><![CDATA[canyoncastator.com]]></category>
		<category><![CDATA[Chris Offutt]]></category>
		<category><![CDATA[Colin Spoelman]]></category>
		<category><![CDATA[King's County Distillery]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=557</guid>
		<description><![CDATA[Powerful spirits and powerful prose have flowed from below the Mason-Dixon Line since the days of Faulkner and Twain. Colin Spoelman&#8211;founder of Kings County Distillery, New York City’s oldest whiskey distillery&#8211;appreciates the potency of liquor as well as literature, and is committed to perpetuating the South’s legacy for both. Raised in a dry county of Kentucky, Spoelman came of age around homemade alcohol, but only began experimenting with fermenting as a Brookylnite. The novice who once mixed batches of bathtub white lightning is now a master distiller; Spoelman refines artisanal corn whiskey and bourbon in the Brooklyn Navy Yard’s 113-year-old Paymaster Building. Control is essential when crafting spirits, and when quaffing them too. From his barrel room Spoelman intones the short story “Barred Owl” by Chris Offutt, a fellow native of the Bluegrass State, and a writer whose candor about alcoholism burns on the way down. CLICK TO WATCH SPOELMAN&#8217;S Q&#38;A ABOUT CHRIS OFFUTT&#8217;S APPALACHIA. Digital painting by Canyon Castator. ]]></description>
		<wfw:commentRss>http://www.henryreview.org/colin-spoelman-reads-barred-owl-chris-offutt/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Reading: “At Love” David Ebershoff</title>
		<link>http://www.henryreview.org/reading-at-love-david-ebershoff/</link>
		<comments>http://www.henryreview.org/reading-at-love-david-ebershoff/#comments</comments>
		<pubDate>Thu, 13 Dec 2012 15:10:20 +0000</pubDate>
		<dc:creator>Shayne</dc:creator>
				<category><![CDATA[Fiction]]></category>

		<guid isPermaLink="false">http://www.henryreview.org/?p=543</guid>
		<description><![CDATA[&#160; Iconic editor and lauded author David Ebershoff possesses a comprehensive literary perspective.  As a practitioner of fiction, Ebershoff attends to the “micro” elements of prose,  showcasing a virtuosity for the nuances of voice evident in each of his three novels&#8211;The Danish Girl, Pasadena, and The 19th Wife&#8211;and throughout his collection of stories. An Editor-at-Large at Random House, Ebershoff must also supervise the “macro” components of manuscripts, streamlining a score of today’s most demanding and compelling texts, such as David Mitchell’s Cloud Atlas and Gary Shteyngart’s Super Sad True Love Story, with professional clear-sightedness.  Combining this twin sensibility&#8211;the macro and micro&#8211;results in the intricately textured, finely-paced, and deftly-plotted works for which Ebershoff is celebrated.  At Love, Ebershoff’s novel-in-progress, promises to be just such an opus. When heading workshops within Columbia’s MFA program, Ebershoff emphasizes the importance of beginnings. He launches each class by asking students to read the first lines of their submissions aloud, then kicks off critique by evaluating those leading sentences. It’s little surprise, then, that the opening of At Love is gripping. Here’s how it begins&#8230;]]></description>
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		<slash:comments>0</slash:comments>
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