Tag Archives: j/j hastain

“Amiss and Amok” – Lyric Essay by j/j hastain

By User:MatthiasKabel (Own work) [GFDL, CC-BY-SA-3.0 or CC BY 2.5], via Wikimedia Commons
Venus of Willendorf – Photo by Matthias Kabel (Own work) [GFDL, CC-BY-SA-3.0 or CC BY 2.5], via Wikimedia Commons

The Venus of Willendorf’s body is not something to be used to make a point in “Amiss and Amok,” one of four lyric essays by j/j hastain in our Winter 2015 issue.

{ X }

THE VENUS OF WILLENDORF IS PLAGUED with a peculiar but befitting dysphoria. Afraid of her aesthetic shifts ever being misread by others, ever being used as cultural stigma in support of any form of reductiveness, she is impassioned to emphasize: “Nothing in these shifts, nothing in this weight change, this weight loss, is indicative of anything lost.”

She is not trying to lose weight. She has just been more into root vegetables lately. Her weight loss is not meant to be a message or a future measure regarding the female form for generations to come. Her body is not something to be used to make a point. Her hands grab her own belly fat with a ferociousness that is familiar with itself. She is a living state; she is the summation of her skills at work to elaborate bulk.

She pulls her belly fat toward you and states: “I am still here for you in the ways I have always been. The path clots, congeals in certain areas before shrinking and settling back into itself again.” Fluctuations of the body are its valor. The drama in which to attend and attune is the enlivening and making-more-subtle of the body before it becomes entirely stone.

Continue reading “Amiss and Amok” – Lyric Essay by j/j hastain

FLAPPERHOUSE : Year One

Coming soon in soft, pulpy paperback.
Stay tuned…FY1F&BCs

 

“Copulatory Lock” – Lyric Essay by j/j hastain

Hyenas - Martiros Saryan, 1909
Hyenas – Martiros Saryan, 1909

Until very recently, we at FLAPPERHOUSE had no idea that the mating practices of hyenas were so subversive and transcendent. If you’d like to learn more, allow j/j hastain to explain it all to you in “Copulatory Lock”, one of the four lyric mini-essays by j/j that you can read in our Winter 2015 issue.

{ X }

SEXUAL INTIMIDATION DOESN’T HAPPEN IN HYENA CULTURE. If it’s not consensual then it simply is not– end of discussion.

Based on the location of her masculinized genitalia (shaped like a penis, but hanging flaccid between her legs) he literally has to squat and dance behind her, moving into her squat, in order to even penetrate her penis with his. Her sexual center is pointing ahead; his follows from behind, into her and through her to the degree that she wants it. She is the stipulation here. She is his direction.

Aware that some gymnastics are required in order for mating to occur, if the female is keen on him, she will lead him up the hill or out to the brink where there is the most likelihood for safe copulation. He follows her to their spot. At the moment of intromission the hyenas’ bodies literally lock in order for exchange to occur. This locking makes fruition and impregnation possible at the same moment that it dramatically increases the risk of the two being seen as a lager body of flesh and then eaten with excitement: a predator’s conglomerate meat.

As the lion nears he does not have a choice. His hormones are raging in response to their hormones raging. With doubled flesh before him, he rushes the magic to engorge on something more integrated than yin and yang. Yin and yang have that curved line between them, indicating their difference. The hyenas’ copulatory lock means, in her choosing to let him, they have found their way beyond the line.

{ X }

Bio Next2j/j hastain is a collaborator, writer and maker of things. j/j performs ceremonial gore. Chasing and courting the animate and potentially enlivening decay that exists between seer and singer, j/j simply hopes to make the god/dess of stone moan and nod deeply through the waxing and waning seasons of the moon.

j/j hastain is the inventor of The Mystical Sentence Projects and is author of several cross-genre books including the trans-genre book libertine monk (Scrambler Press), The Non-Novels (forthcoming, Spuyten Duyvil) and The Xyr Trilogy: a Metaphysical Romance of Experimental Realisms. j/j’s writing has most recently appeared in Caketrain, Trickhouse, The Collagist, Housefire, Bombay Gin, Aufgabe, and Tarpaulin Sky.

Outside the Flapperhouse – 12.30.2014

As 2014 has been careening through its homestretch, our Flappers have been even more prolific than usual, getting their work published across the internet like there won’t be a 2015.

Jeff Laughlin shared some things he’s learned this year in “The Year I Didn’t Belong” over at Triad City Beat.

Mari Ness’ “Offgrid” popped up at Three-Lobed Burning Eye.

Dusty Wallace’s “Flight of the Lonely” went up at Acidic Fiction.

Samantha Eliot Stier’s “Plugs” was inserted into The Writing Disorder.

Juliet Cook & j/j hastain collaborated on “Clots Push Over the Edge” for the latest issue of Stirring.

Alison McBain’s playfully absurd “Nothing For Sale” was featured at Saturday Night Reader.

Ed Ahern left his “Aftertaste” at New Pop Lit.

Anna Lea Jancewicz’s poem “Black Robin” nested at Spry Lit.

Cassandra de Alba’s poem “Tyra Banks in the Arctic Circle” strutted the runway at Glitter Mob.

Mila Jaroniec joined drDOCTOR for their year-end podcast.

Emily O’Neill’s poem “Proof” was included in the latest edition of Sundog Lit.

Natalia Theodoridou’s “The Ravens’ Sister” perched itself at The Kenyon Review Online.

J.E. Reich wrote about embracing the changing Jewish family for The Jewish Daily Forward.

Bonnie Jo Stufflebeam’s “Sleepers” went up at Fantastic Stories of the Imagination.

Julie C. Day’s “Faerie Medicine,” which initially appeared in FLAPPERHOUSE #2, was reprinted by Luna Station Quarterly.