The industry of short story writing for instance is a prime example how contemporary English prose is mummifying itself into routine traditional formats that offer nothing new to the reader. Life has changed since Dubliners, everything has changed, and the idea that there should be a strong continuity in the form seems wrong. It is condensed, so there's not much room for maneuver sure. But to think that flast fiction - what a bastard term that is - and other such distortions make literature contemporary is poor avantgardism.
Anyway, fuck all that - recently I've started to 'remix' old work, just like all my favourite DJs used to do when I was younger. All the published work I've had so far is up for change, a remix of form and even content, expansion, repetition, distortion...The only 'short story' I've had published that doesn't need to be remixed is Valhalla: Some Scenes in Foreign Places - and that's because I didn't have to worry about who was publishing it.
I submitted a remix of The Russian Door (west47, 2006) called la porte russe remix Alan Cunningham's small art zine Issue 2.
Here's a preview:
C’est nul. Ridicule. Une putaine de connerie et ça m’ennerve.
Cet mec est un idiot, un vrai con.
Ça ne me ressemble pas d’ecouter des mecs si longtemps.
Le paradis? – c’est pas les autres. Pas les irlandais en tout cas.
Il y a trois ans une amie était en couple avec cet irlandais – deux ans plus tard j’étais lá bas, dans la capitale, pleine d’ennui, toute seule &tc, &tc et on s’est croisé dans la rue Nassau – juste comme ça. Tout simplement il m’a regardé avec un air plein de haine, plein de désir, mes seins comme un spectacle français – pas un spectacle slut-fuck.
UPDATE: Something strange - the selfgenerating guru Tao Lin posted the same day about remixing his work as I did. Strange. It is safe to say that I don't have affinity with Lin, artistic or otherwise.