Fiction. “Fiction + truth + p(r)o(s)etry, this is rest(less) lit at its finest, the alluring and intelligent story of abandonment & love & loving abandonment in the running text where Jane L. Carman both plays and don’t play. Go, girl – watch the girl go: TANGLED IN MOTION masterfully allows its beauty and its beast(s) to take an alternate route in surviving shame, despite absolutely nothing being a breeze in her environment. Violent silence. The magnificent restorying/restoring of a girl who resides in margins of a marginalized. Completely unheard of… until now. Jane L. Carman must have had too much white space on her hands. ‘Cause she knows how to really work it, turn that mutha out. This rest(less) thing, where sound is unbound and word is bond and Carman asks you to check it while she wrecks it, has got resounding style. As they say now on the vine, it is on fleek, just/perfect. Skunking anything else out there that I’ve ever seen in the game of novel ideas, Jane L. Carman puts her own personal stank on this. A funky-fresh narrative jam that’s a must-have for anyone’s collection. Taking chances unlike everybody else and they mama, unf(l)ailingly risking it all, Jane L. Carman rocks the house with this, TANGLED IN MOTION. En route to ridin’ and dyin’ for a better day, Carman leaves spit in her tracks. Foundation and shit all falls down while she, with that nonstop motor, just rides/writes away feeling free as a bird. This fly, phenomenal woman’s book will absolutely give you the goosies. It’s impossible not to idolize Carman for how she pulls this brainchild off with the ultimate swag. Both to the point and often even repeating itself, TANGLED IN MOTION is a real trip. Forging new territory in literature, its rebellion, so powerfully divergent from that of others, finally moves the canon in a forward direction. Carman’s got it going on.”—Ricardo Cortez Cruz
About the Author
Jane L. Carman is the founder of the Festival of Language, a reading eXperiment, Lit Fest Press, and codirector of the Publications Unit at Illinois State University where she received her PhD and is a former Sutherland Fellow. She prefers writing that takes in genreless breaths and lives by rules that continuously morph into the unfamiliar. Her work can be found in Devil’s Lake, Palooka, Santa Clara Review, Mixed Fruit, JAC, eilmae, Pequin, 580 Split, American Book Review, Dirty : Dirty (Jaded Ibis Productions, 2013), among others.