"An Interview with O:JA&L's new Flash Fiction/ Nonfiction Editor Richard Holeton"
Welcome, Richard Holeton, as the new flash literature editor at OPEN: Journal of Arts & Letter . . . Here are a few questions.
Recent & featured
ECLECTIFICTION – Medium
"A growing collection of sometimes eclectic short fiction and experimental poetry" I'm sharing on the Medium platform from my previously published work.
"Velcro World"
"Rotating the jobs at Velcro World is part of Team Building, which creates Trust. Trust is one of our recently-installed Core Values . . . " In this near-future fiction, a private-equity takeover of a Velcro-themed roadside attraction creates a firestorm for employees and management.
Cover art by Serge Lecomte
![Abstract living volcano cover art]( "Abstract living volcano cover art")
"Step Away from the Pizza"
The dads with a traveling girls softball team engage in a cross-cultural confrontation over a pizza delivery. My story begins on page 44 of the journal: "It was half past nine in the evening and the girls were famished and giddy as we waited . . . ."
"The Winograd Matrix"
"The Winograd Matrix" is a Twine fiction in the form of a choice-based game about a couple confined together in a dystopian world of plagues and roving gangs. It appeared originally in KAIROS, republished here in the interactive journal Voidspace 8.
"Henry Revisited"
Featured in CULT #2, available at Cult.Mag > Store. "Baba's threatening to maim herself with the IED she made with her Replicator," says Junior. "And you know she can do it! Even if she's faking a schizoid episode. The QuickResponders are surrounding her condo."
Read or Listen to "Figurski at Findhorn on Acid"
The new start page for my hypertext novel "Figurski at Findhorn on Acid" features a direct link to John Barber's radio adaptation of the novel from Re-Imagined Radio ("LISTEN NOW"), now fully integrated into the site, all courtesy of the Electronic Literature Lab.
"Counting"
The Goreman Gelders had been undeterred by the groans that followed every BEEP!, or the shivering of grak-enhanced suppressed laughter, or the tear-streaked cheeks of their audience. They resolutely completed the 33-slide filmstrip and opened the floor for questions, but hearing none, they quietly packed up their projector and screen, smoothed down their skinny ties and rebuttoned their nondescript suit jackets. “Nice tapestries,” said the younger Gelder, somewhat longingly . . .
