It may not be evident from the questions posed below, much less whatever line they may be drawing, sinking, etc., but Carmen Boullosa’s Texas: The Great Theft (Deep Vellum, 2014)…
The platform itself is quite thin and/or minimal; efforts tend toward fostering interdisciplinarity and formal experimentation, so as to provoke a possible reimagining or reconfiguring of the medium or media underpinning a particular work, and with which that work is eventually executed.
Promotion of published work is consigned to Twitter, and thus reliant to some extent on social networks and external critical apparati. No blurbs, either. And no mission. One is invited to haphazardly investigate and/or enjoy fluidity between genres via a subjectively sequenced catalog of wide-ranging material and structural practices.