Where to start? Let's start by either Roman Grove, which I really appreciated the strange and imaginary Scots, although some coquettish style, sometimes a little heavy (and the redundant "wall mural") undertake to invite him to refine his style in the sense of austerity. I sincerely believe that the prose Romain Verger win away to Huysmans and other end-of-century, Nerval and reread and Hoffmann. Still, the author, including "Sylvia" and "For the mushrooms" ("Vlad" seemed more agreed, and frankly not very interesting) knows distill an atmosphere of strangeness that sometimes borders on nightmarish and that this ability to give an atmosphere to a story (which is also minimalist) is not given to everyone. A feather promising.
The news of Judith is quite interesting, even if it does not seem to be the find of the century, she handles themes which, to become clichés (the flower deadly exotic Italian love story .. .) are nevertheless included in a narrative quite well done. "The Flower Serpent" reads and relaxes well, we did not ask him much. From the perspective of literary history, it strikes a interesting bridge between Romanticism and the writing of Gautier end of a century of Vernon Lee, Jean Lorrain, and so on.
I thoroughly enjoyed the story of Rhys Hughes, "The collapse of Hypnos, which is both brilliantly written (and probably brilliantly translated) and quite unexpected in his narrative as in his humorous tone. The French title is excellent, a real find a translator. This story of Rhys Hughes reminds me a little
Fictions Borges: I think that's the impression that the author left a metaphysical idea a little weird before turning it into account, and is not a party situation, or an impression of a character. Very funny anyway, and this time it is (for me) a real discovery: I urge the
Face Green, if he feels his shoulders, to bring more news of the author in Welsh As part of its publishing house freshly born.
I can not, however, understand the enthusiasm for the magazine's prose Vila Cristian Riquelme, whose stories, admittedly somewhat strange, I really seemed winded. It is probably also the effect of translation, which in many places seemed very awkward, and left shells that really bother reading (forgetting punctuation ...). However, in "Return", artifice, otherwise significant, the narrator's address to a "consul" to which he would make a report or write a letter seems particularly saucy at the end of the story when the narrator says disappears in the another world ... making it unable to write the said report or letter said. All I really think of a novelist who wants to make poetry "unknowingly" or rather not say, and that it fails so much.
The tale of Jessica Salmonson Almonda is fine, but I really wonder what his version brought against folk versions it has inspired. This is probably my next anthropologist spring (where does it also, since I am not an anthropologist at all?), But I generally tend to focus on folktales to rewriting, except of Obviously when they bring something new (which does not seem to be the case with "The woman who married a seal"). But why not: in any case, it is a very pretty history.
In the folder "hidden presence" I enjoyed the news of John Buchan, the others having left me relatively unmoved. "Skule Skerry" is a story very well written (and translated), very smooth, very enjoyable: there is truth to "good style" which is the major attraction of English literature, albeit "from genus of that period. Nothing transcendent, once again, but a beautiful story about the interview (or not) of an English ornithologist with a Selkie in Orkney can not stay indifferent a lover of stories where the other world can be glimpsed the man adventurous. By contrast, the new Edward Fredric Benson seems quite agreed, and frankly relatively sluggish: the interview, a background of Swiss hotel poorly described, with an unknown species of hominid remember "the Horla", namely a kind of fantasy devoid of magic that I do not taste. As for Paul Busson, I did read that diagonal, appreciating that small doses of artifice, here staged a particularly heavy, the embedded narrative. The article criticizes
Michel Meurger is, as usual for the author of prodigious scholarship that force membership. However, we can probably blame him taste a little too pronounced for stylistic affectations, which sometimes makes it taste a little difficult to access his speech, so it should be noted "a culture saturated with demonic rustic" to talk about popular superstitions relating demons and devils, or "Sieur Sänfftle" instead of a simple yet understandable "Sänfftle", etc.. Some put into perspective I also seem awkward: "Good seismologist, [Paul Busson] has captured the vibrations of a Dionysian awakening peasant" I knew there would, in the late 19th century, a revival of pagan beliefs in Europe in the World farmers, naively believing that it was a tropism that had only stirred the literary world, learned, mostly urban (Machen, Giono Yeats, Crowley ... but Barrie and Grahame). He'll have Michael Meurger we watch, or when he revises his trial or his manner of writing.
A final word on the graphical presentation of the magazine, which from what I understood should evolve further in future issues since
Face Green left the lodging house Zulma. The layout is very nice and very original, but in fact probably makes the framework difficult layout, and footnotes page in the middle of the text are quite damaging. The illustration, however, is of very high quality, and we will never thank enough small houses like the
e Face Green to take care of the visual quality of their publications, which is certainly to the extent their budget, but with taste and tenacity. Thank you, and Godspeed to another world (and back!).
) that it was woven. 
) full height, cast off all sts. 
did it anyway, and it looks super good). At each end 
