Super. But what is avant-garde? Avant-garde is a French term that means advance guard — people and ideas that are ahead of their time. It’s a concept that refers to artists, composers, and writers whose works oppose mainstream values. As a noun, avant-garde is defined as new and unusual or experimental ideas in the arts. Often connected to political activism (think of Theater of the Absurd, Bob Dylan, and John and Yoko), there exists a misconception that avant-garde must always be politically driven.
Regarding visual art, it’s of popular thought that the avant-garde movement began in the mid-nineteenth century with French painter Gustave Courbet and his astonishing gift for realism. A notable example of Courbet’s opposite is fellow modernist Salvador Dali, the Spanish surrealist who created The Persistence of Memory. Courbet and Dali differ in style and perception, but their works are equally avant-garde.
That’s all good to know, but we’re supposed to be talking fiction. So, what are some examples of avant-garde literature? Literary experts go bananas over James Joyce’s Ulysses; first published in 1922, this epic is best known for its stream-of-consciousness style. Another disturbance to convention was T.S. Eliot’s publication of The Waste Land, a poem that obliterated traditional form and ideals. 1922 had proven to be a formative year in the writing world. Thanks to writers such as Joyce and Eliot, we saw the influence of the modernist movement flourish in the works of Virginia Woolf, Ezra Pound, and ee cummings.
Fast-forward to post-modernism: radical novelists like George Orwell and Anthony Burgess, and the experimental poets of the Beat Generation continued to revolutionize written expression. In the twenty-first century, however, avant-garde literature, or experimental fiction — whatever you prefer to call it — has become rather familiar. We’re living in an age so saturated with uniqueness, it’s a challenge to produce anything that is not derivative.
Enter John Biscello.
Nocturne Variationsis the tale of young Piers, a runaway, huffing enthusiast, and doyen of shadow puppetry. Within the pages, Biscello has created a kind of dystopian subculture where the illusory and the palpable breathe equal air; he’s built a world where even the shadows have distinct voices, and philosophy and folklore weigh the same.
“Of course the Neverlands vary a good deal.”
― J.M. Barrie, Peter Pan
Welcome to Tabanid, the L.A. vaudeville nightclub where dark and lascivious characters come alive. We meet our protagonist in the coat closet, engaged in a tryst just as she’s due to take the stage. One develops an opinion of Piers straightaway; seemingly carefree and wild-hearted, what Piers may lack in savoir faire, she makes up for with an offbeat kind of charm. The camaraderie between Piers and her shiny shadow partner, Trink, endears her even more — as an observer, it may be easy for readers to overlook Piers’ addictions in the beginning.
The world in which Piers subsists is a cruel one, and not unlike our own. She is often confronted by a monster called childhood trauma, as well as the devastating knowledge that she isn’t who she is supposed to be. As her story progresses, the spiritual theme presents itself organically through her musings, self-reflection, and interactions. Yes, we learn a great deal about Piers when she must run away from L.A. We also discover that this world can be a kind and forgiving one, not unlike our own; for in the old coal-mining town of Redline, there exists a new life path awaiting Piers.
It takes the relationships that Piers develops with Henry Hook and Gwen to reveal Piers’ actual nature. Once the enlightenment hits, you realize you’re not only an observer; you realize that you want to take care of this tragical shadow being.
“Wait for me somewhere between reality and all we’ve ever dreamed.” —J.M. Barrie, Peter Pan
Nocturne Variations includes an arrangement of features that one might consider too ambitious. On the contrary, these pieces intermingle with the narrative quite naturally. Poems; diary entries; newspaper excerpts; interviews; notable quotes; and notes on cinema all operate as single vehicles with a shared destination. This composite not only makes odd sense, but it excites.
Biscello’s command of dialogue interested me because of the unusual structure, and I’d quickly decided that standard formation would have only disrupted the story’s distinctive movement. This novel is proof that he is one of the great visionary authors of today. He impresses with his employment of unconventional construction, multiple points of view, and cinematic scene direction without sacrificing a single thread of the human element.
Simply put, this novel is bold in design and syntax. As an author, ravenous reader, cinephile, and lover of art, I challenge anyone to argue that John Biscello’s Nocturne Variations does not qualify as both avant-garde literature and multimedia artwork.
Kindra M. Austin is an indie author and editor from Michigan. Her debut novel, Magpie in August was published in April, 2017, and her book of poems and prose titled Constant Muses followed in December. Other publications include several poems featured in Anthology Volume I (Writings from the Sudden Denouement Literary Collective), Swear to Me (Free Verse Revolution), and two essays advocating for LGBTQ rights printed in the Mansfield Pride magazine. Her latest book, a novella titled For You, Rowena was released on August 27, 2018. Twelve, her second book of poetry prose will be released December, 2018. You can find her books on Amazon. Austin has been writing for over twenty years. In 2008, she began blogging under different pseudonyms while briefly moonlighting as a writer/editor/internet radio personality. She’s the founder of Poems & Paragraphs and One for Sorrow, a founding member of Indie Blu(e) Publishing, and co-founder of Blank Paper Press.