In the usual tidal-bore cycle that dominates my public life as an artist, nearly all of the stories that I published in 2022 were released over just a few weeks in November and December. A few more pieces might actually get published before year’s ends, but now seemed a good time to share the news with interested parties. Which leads us now to this pithy list:
- “Cake of the Earth” in Canada’s Hermine, a wonderful journal who just last year published my escape-fantasy “Pop & Freedom.” Told in the voice of one of my favorite recurring characters, “Cake of the Earth”—the first of my pandemic-era writings to be featured in a literary journal—is about as close to a teenage love story as I’ve likely written yet.
- “Robinia” in Ireland’s Channel, a publication focused on nature’s complex relationship with humans. Also a repeat venue for me (they published last year’s “Growth Unencumbered”), the people at Channel have shown me a lot of love and been such great editorial collaborators. This, too, is a pandemic-era story, one wherein I get to exercise a little bit of my own personal fantasizing, about something I should have done but couldn’t do for my mother many years ago.
- “Of Age(Caprice)” in Honk Kong’s The Bureau Dispatch. This is a new journal for me, but I really enjoyed working with them to bring this story (and its accompanying dossier) to print. If you can believe it, this one’s actually a Christmas story.
Hermine and Channel are both print journals, so you’ll have to purchase copies in order to read the stories. The Bureau Dispatch, though, is online and free.
In related news, my post-jazz chamber group The Plaster Cramp has a new record out called Wax-Eater. While the album has been available as a digital download from Bandcamp for a couple weeks now, today marks its streaming release on pretty near any platform you can think of (including Spotify, AppleMusic, iTunes, YouTube, and many more). It was a difficult year for me to compose new music—indeed, a difficult year to compose much of anything aside from improvised songs sung at my animal cohabitants, who did not appreciate my efforts one bit—so this record feels especially important to me. I hope you find its range of sounds and textures intriguing.
And that’s it! As always, thank you for reading, thank you for listening, thank you for sharing. None of what I do would mean anything without you.
—Douglas W. Milliken