The last issue of Otoliths, Issue 70 for Southern Winter, was published July 30, and it bows out in classic encyclopedic style, covering an even wider gathering of experimental poets, writers and artists from around the world than ever before. As editor Mark Young noted in his announcement email, “This last issue is immense & ranges from the dunes of Oceano across to the battlefields of Ukraine, from Scandinavia down to the unceded lands of South Australia. It contains reviews, memoirs, collages, photographs, paintings, vispo, text poems, short stories, videos, combinations of the preceding plus a few other things.” The contents is too huge to paste on this post, but can be marveled at here.

I can’t say enough good things about Otoliths, as it has always seemed like the literary journal of record for the “international avant garde” ever since I discovered it in 2016, and I’ve been grateful for all the times my work has appeared on its pages. This last blast is no exception. You can find new video, vispo and text from me in these pages.

My video “New Brain Imprint” incorporates asemic textual elements in the imagery as well as what I’m calling “asemic vocalizations” in the electronic soundtrack (credited to my music project Hearasay in Paradox Lust). You can view the video here. There are ten stills pulled from the video, demonstrating the asemic text, which can be viewed here. There are also ten text pieces here, including “some functions of lingual,” “say out noise,” “tailing action float,” “talker view,” “day lag,” “palest pensive,” “nettle pack lock swell,” “laugh track to everything,” “gurgle, fetter, blessed,” and “This Immersion.”

Otoliths will be missed. It’s passing leaves a huge void in the literary journal world. But we will (hopefully) have the online archives in perpetuity, and there are print versions to be acquired on Lulu. Long live Otoliths!