Omer Wissman, 36 years old, multidisciplinary artist. Currently Living on social security due to a smorgasbord of mental disorders. Soon to be recovering addict. Forever suicide survivor. Been Published all over, locally. Recently returned to dear old English, handed a handful of acceptances thus far, prose in ’Sensitive Skin,’ essays in ’Sunspot’ & ’Overland’
CanNON the Non Canon
I would argue there is immense value in rereading nonfiction texts as a supposedly impersonal subgenre of creative and/or narrative nonfiction, taking into account as well that once any text comes into play with a reader, he inevitably creatively creates of it his own humument. My ‘Texture’ approach requires all texts be considered, from underground graffiti through pedestrian conversation to pedestal etchings, while reversing their positions. Seeing child rearing advice books as ”life having a manual”. Asking why and in what ways are IKEA instructions able to stir and agitate the human soul with greater force than the worst bestselling thrillers. Or how a school curriculum correlates, more than any one reported book, with the industrialized person’s curriculum vitae. Likewise, rereading officially issued guides for addressing pressing cultural and global concerns, will reveal much more of the present human conditioning than any retreat to Freud anew ever could. One such text, which has been of crucial importance in my life, is the DSM, which speaks as a society to individual mental health. A reading of this supposedly nonfiction book, as a creative work of storytelling, is our best chance at hearing what the authoring authorities don’t want us to, and which I, as part of the community it talks over and takes under, must discern.
From the Editor:
We hope that readers receive In Parentheses as a medium through which the evolution of human thought can be appreciated, nurtured and precipitated. It will present a dynamo of artistic expression, journalism, informal analysis of our daily world, entertainment of ideas considered lofty and criticism of today’s popular culture. The featured content does not follow any specific ideology except for that of intellectual expansion of the masses.
Founded in late 2011, In Parentheses prides itself upon analysis of the current condition of intelligence in the minds of these young people, and building a hypothesis for one looming question: what comes after Post-Modernism?
The idea for this magazine stems from a simple conversation regarding the aforementioned question, which drew out the need to identify our generation’s place in literary history.
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