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Those three crones know the future—they seem to know everything, standing astride the temporal and the miraculous as they do. In them, the old and the new weird s meet: They are creatures in touch with the workings of fate, but they are also inexplicable, creepy, queer, spooky, deviant from the norm. Check out more from this issue and find your next story to read.
I have been thinking about this word and its overtones since reading All Fours , the second novel by the idiosyncratic interdisciplinary artist Miranda July, probably best known for her work as a filmmaker. As a narrator, she was not just unreliable but unpredictable, unsettling, shimmeringly strange. This unnamed narrator—who, being a wry Los Angeles creative type, enjoys half-mockingly noting that she is a minor celebrity—is perplexing even to herself.
Stalled out in her art practice and dissatisfied in her marriage stable, loving, stale to a music producer, she decides to drive to New York, leaving him and their young child behind for three weeks.
She conceives the trip ostensibly to prove a point. At a party, her husband offhandedly suggests that people fall into two personality types: Drivers and Parkers. Naturally, the road trip, and by extension the novel, goes sideways immediately. July herself has never been given to making chill, grounded art. Is she stalking the Hertz guy, nearly 15 years her junior?