Wow! great turnout last night! Thanks to all of you who boogied the night away and drank the emmet ray dry. We had a blast! Mad props are also due to the wonderful Jeremy Hanson-Finger for bringing so many great peeps down and launching the wonderful http://www.dragnetmag.net/ . Issue 1 is…
Toronto, Ontario & Victoria, BC – Dragnet Magazine (dragnetmag.net) is young, beautiful, flexible, and pushes boundaries. Sort of like Natalie Portman in Black Swan, but Dragnet doesn’t need a dirty old man to tell it to go home and masturbate for homework.
What writers are saying about Dragnet:
"I love to watch the young trash the old as though they’re doing something new. It’s enough to break my heart, it’s that funny." –Terence Young, Governor General’s Award-nominated poet and novelist.
"Youth will have its way. It may be wasted on the young, but not in the case of Dragnet, which is a synthesis of edgy writing and the right technology. Is this the future of magazine publishing? Likely so, and it would seem that the future, in spite of the inevitable economic meltdowns, dirty bomb suitcase cataclysms, and computer generated alien takeovers, is bright. Find Dragnet – it will give you something useful to do before you die.” –Michael Blouin, Relit Award-winning author of Chase and Haven.
“Dragnet Magazine is serving up the real goods, precise and perverse, the fast-paced literature that makes the digital age worth reading.” –Jacob Wren, author of Unrehearsed Beauty, Families Are Formed Through Copulation, and Revenge Fantasies of the Politically Dispossessed.
What Dragnet is saying about itself:
Sure, every literary journal claims that it pushes boundaries, because most editors (rightfully) agree that the purpose of publishing literary fiction is to break new ground.
But when nobody picks up the latest issue of The Canadian Wilderness Review because the cover looks like a discard from a church sale, the words “exciting” and “transgressive” don’t come to mind.
The literary journals you find in Chapters/Indigo don’t actually push boundaries, even on the inside. They conform to standards that might as well have been codified in Margaret Atwood’s 1972 Survival: A Thematic Guide to Canadian Literature; it seems like every single story has to do with family relationships at the cottage, and takes itself way too seriously.
Comedy is just as important as tragedy, and Dragnet can’t remember the last time it laughed reading an established Canadian literary magazine.
Dragnet, which goes online on February 26, 2011, is distinct from other Canadian lit journals because:
A) It’s young.
All of its writers are under forty, and most are under thirty; contributors to the first issue include acclaimed writers Sheila Heti, J.R. Carpenter, and Jacob Wren, as well as fifteen new voices. The editors, Andrew Battershill and Jeremy Hanson-Finger, are twenty-two and twenty-three, and everyone involved in the project understands that a sense of play isn’t childish; it’s critical to good literature.
B) It’s beautiful.
Dragnet takes advantage of old and new technology to make the best-designed magazine it can, combining pen-and-ink artwork with the latest multimedia software.
C) It’s flexible.
It appears in three electronic formats, all of which are optimized for readability and the social web: website, eBook, and flipbook. Complete issues will come out four times a year, but new content will appear daily on the blog, dragnetmag.tumblr.com, including the regular column Lukey Leaks by contributor Luke LeBrun.
D) It pushes boundaries.
Erica Schmidt’s story “Why I Am Different from Margaret Atwood and What I Don’t Gain from Humping Duvets” epitomizes our playful and yet transgressive approach. Maybe “Margaret Atwood would not open a bottle of screw-top wine and roll up her lime-green turquoise-daisied duvet and hump it profusely so she wouldn’t be horny for her date,” but guess what, Canadian Literature World, lots of people do! And literature needs to speak to them just as much as to cottage owners in Ontario.
Jeremy attended Carleton University in Ottawa, where he co-founded the literary erotica journal The Moose & Pussy and won the George Johnston Poetry Prize. Ottawa micropress Apt. 9 is publishing his chapbook The Delicious Fields in March. He lives in Toronto.
Andrew recently graduated from Concordia University in Montreal. His fiction has appeared in Soliloquies Anthology, The Moose & Pussy, The Claremont Review, Headlight Anthology, and Burner Magazine. He was the winner of the 2010 Irving Layton Award for fiction. He lives in Victoria.
“We bend toward the book in fascination and alarm, and the writer continues: “The old man was crying like a baby now and swinging wildly – harmlessly, now that he’d been hurt – swinging and crying, red-faced, like a baby with his diapers full.” “Yuck,” we say, and throw the book into the fire.”—John Gardner, The Art of Fiction (discussing frigidity in a chapter entitled “Common Errors”)
“I admire Doris Lessing for calling her science-fiction books science fiction; I only wish I liked the books. Atwood herself has walked a very fine and sometimes wavering line trying to keep her science fiction books out of the genre ghetto without trashing the people who live in the ghetto. I can’t wait for people like Michael Chabon to finish chainsawing that damn thorn hedge and knocking down all the genre walls. Now, there’s a man with courage, Chabon. He just joined the Science Fiction Writers Association. He steps over the walls in both directions.”—Ursula K. Le Guin, in Guernica. (via thebronzemedal)
“I do not know if it has ever been noted before this that one of the main characteristics of life is discreteness. Unless a film of flesh envelopes us, we die. Man exists only insofar as he is separated from his surroundings.”—Vladimir Nabokov, Pnin.
“The arts are not a way of making a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake.”—Kurt Vonnegut, A Man Without a Country (via evertide)