Slag Review – a journal of art, literature, and metallurgy
Slag, the material, is a by-product of steelmaking, a process that also renders an easy and accurate analogy for the work featured in Issue #8 of Slag, the Review. Not that the fiction and poetry is a junk by-product – far from it. But, thematically, many of the selections in this edition hang together as examples of a balance of process, between what becomes and what remains. That includes a recounting of experiences of emotional marginalization; sharp shards of disquieting imagery; and scenes that are peeled off the everyday yet still hang over it like a gauze of spectral light refracting on what is left behind.
In “The Man and His Till”, Annie Blake offers a mostly straightforward recounting of a college student’s part-time job and a study of her employer. It unrolls like the narrative is a finger slowly tracing the outline of a silhouette – until the almost literal explosion of colour at the anti-climax.
On the other hand, Brad Liening’s haunting, multi-part poem “Visible Cities” abruptly stands up a nightmarish metro-scape, where a city’s populace has been freed from the corporeal bonds of law and order, and where one may find oneself “holding a gun/and you’re waiting/for just the right moment/for your life,/your real one,/to begin”.
Somewhere inbetween is the quasi-inspirational “Rolling Your Guts”, DS Maolalai’s poetic exploration of how a wretched experience produces a more wretched (and wretching) by-product that the reader witnesses “propelled/by pressure from the centre”. But it’s one that also produces an ultimately regenerative wave we watch “returning to the sea”.
To dive back down the analogy-mineshaft, if metallurgy is the process the separates the more valuable metals from their basic foundational ore, the work within Slag neatly reproduces that cleaving, as the mystical and the spiritual are contrasted with the rote and the physical. It’s a process that deconstructs our reality, but also infuses it with more spirit, energy and mystery.
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