Synopsis
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. Through thick and thin, the entangled emotion created by/from/in this supreme genre-bender puts us in its snare and refuses to let go. Completely moving. That’s love, so don’t get it twisted. Tangled In Motion is a great/grate literary feat. Most definitely convincing is the fact that it ain’t written by no ordinary Jane. This stirring, unanswerable, freestyle, ec(h)o criticism of (mis)(s)perceptions has got a lot of rhythm and blues. And just never stops scratching the complicated message/wit/love. Jane L. Carman can wobble, this debut clearly demonstrating a fine-tuned ability to sing with the very best of ‘em. Everybody should bump this. Especially since it, as a record of infinite possibilities, has already been turnt up. It no doubt deserves to be platinum. From the git-go, Tangled In Motion is the ultimate “keep on keepin’ on” of a most novel sort. Jane L. Carman really moves the crowd with this one. The language’s sweet, wrenched, and continually hopping, perpetually dancing to the pain of the characters. Rich as all get-out, and with everything on the money, this work of/toward intersectionality pays in full, profits everyone who dares to get down with it. Well worth the wild ride. Jane L. Carman dishes out – throws down – an incredible stack of c-notes you don’t wanna miss. In making us Tangled In Motion, Jane Carman, one of the most innovative writers/righters in the country speaking to the mess(es) slowing us down, is well on her way to accomplishing something remarkable. I love love love this genre-bender by Jane L. Carman. It shows us LOVE in unconventional ways. Even while in margins. That’s all she wrote. She’s so good that, even after inhaling this stuff, I still long for more. Makin’ a way outta no way, Tangled In Motion won’t be the last time you hear from Jane L. Carman. Truth be told, this trail-blazing genre-bender is destined, bound, to be a runaway success. And what go around come around. A direct, directionless, and focused shero for the ages. Both Jane L. Carman and the CC character! – Ricardo Cortez Cruz, author of STRAIGHT OUTTA COMPTON and FIVE DAYS OF BLEEDING
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.
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