Tag: fiction

  • LE Fiction, Andreia Rosanova

    LE Fiction, Andreia Rosanova

    Eva’s Garden

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  • New Calls: Sexual Congruency, Dreams and Demons

    “Censor the body and you censor breath and speech at the same time. Write yourself. Your body must be heard.”
    — Hélène Cixous, The Laugh of the Medusa

    Go to our Submissions platform.You’ll find descriptions of our current publication interests on Limit Experience Magazine’s Duosuma page.

    Today, we opened

    Sexual Congruency and the Wilds Within. Read the topic parameters and get the closing date here.

    Dreams and Demons. Get details here.

  • LE FICTION, Andrew Parkinson

    LE FICTION, Andrew Parkinson

    BIO:

  • LEM Conversations, Andreia Rodrigues

    LEM Conversations, Andreia Rodrigues

    Rodriguez features  the cultural anomaly of a sexually vibrant aging female figure not as a fading or invisible victim but as someone armed with the courage to be seen by the male gaze on her own terms. She does this through inner curiosity and psychological awareness.

    Because the power to transgress the female sexual ceiling is picking up speed for women in the 21st-century, we wanted to look back at where erotica found its origins and how the ascension of digital media and its relationship to time, the instantaneous in particular, allows  this platform to explore its ability the deliver an up-leveling of conscious aging.

    The idea of a erotics seems to go back to Socrates and the claim that “ta erotika” was his only area of expertise. Since the Greek sense of poetics around love, Eros, parallels the focus on philiosoohical process of “erotan”, to ask a question shares the same root as love itself.  Perhaps to love is made possible through questioning. Certainty, then,  may divide the emotional aspects of the erotic by its proximity to fragility. 

    As Power dissolves in the moment you reach for it, surrender is at the center of erotica itself. To contextualize the erotic is akin to love, an imperative that clarifies the confused hyper-state of arousal; its boundaries in media bookended by the performative and goal driven pornographic tone and the continuum of pleasure in its expression of love, self, other, erotica which informs the chasm between love and power.

    Eva’s Garden works as a metaphorical  exploration of  the space between this libidinal quandary.  Eva allows herself to expand between each  edge through her acceptance of her corporeal reality, being in the last third of her life. Time itself becomes the biological imperative creating tension with the Self’s sense of want. What lives beyond that impetus toward wholeness and the cultural language that dilutes the power of the aging female form is the body’s effort to ceases responding to nature’s reproductive imperative. Freedom to restructure itself neurally opens up with nature now in the back seat instead of being the decision maker.

    In the world of the garden, Eva shifts with the neural changes the hormonal wave of maturity carves out as a woman goes through different stages of life transformation. A symbolic mapping of Aphrodite’s trials put before her daughter, Psyche, similarly require Herculean aspiration to meet and conquer, to reinterpret the wisdom of an experience-informed psychology of the masculine gaze that is alchemically of service to the libido.

    As a result, Eva emerges into a seasoned understanding of her desire. Like Psyche, Eva gives birth to Pleasure, new life unadulterated by the tirade of patriarchal dynamism. Through Rodrigues’ development of a pathway to her future self, womanhood in the last third of life may be a little less sexually fettered.

    Praia Grande from my Balcony.

    “…I wasn’t just telling a story; I was feeding my infinite solitude.” – A.R.

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  • Fall 2025 Calendar

    Fall 2025 Calendar

    READ Andreia Rodriguez’s conversation with LEM about writing erotica next week.

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  • Flaneur with Us: Bios

    Flaneur with Us: Bios

    Urubamba Mountain Range
    From My Balcony, Buenos Aires

    The Strange Hotel, Buenos Aires

    AGELESS SEXUALITY SERIES

  • Limit Experience NEWS

    Limit Experience NEWS

    Figuring Feral: The Great Ephemeral Skin
  • BECOME A MEMBER

    BECOME A MEMBER

    Writing in my garden in Peru, I switched to paper and pen out of necessity; my laptop was "liberated" from me at a coffee shop on the coast of Lima.

    What We Choose

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    Become a member of Limit Experience Magazine.

    You’ve come this far because you sense something more is possible — not just for your writing, but for your sense of agency and belonging. Join our circle of creative kin, and build a legacy of courage with us.


    Limit Experience Magazine and Journal publishes writers who work beyond the pale. Be part of a movement of passionate, risk taking creatives.




    Limit Experience Magazine continually publishes new work and features interviews and author reads from our current writers over the years.

  • LE Fiction, Robert Pope

    LE Fiction, Robert Pope

  • Literary Events

    Literary Events

    Upcoming

  • LE Nonfiction, Gina Moriarty

    LE Nonfiction, Gina Moriarty

    100 Words / 12 Hits / Gravity

    The first time my boyfriend ever tried LSD, I put two hits in a beer bottle a half hour before I told him about it. He was already rolling so he fucking loved it. 

    “Let’s candy flip on the coast.” 

    Before our trip, I traded a half ounce of Medicinal Gelato for two strips of Rick and Morty perforated paper. I sold ten hits, one strip, and the profits funded a ball of cocaine. We stopped along the turnpike every hour on the hour to sniff lines in the family bathroom stalls. The ball didn’t make it to the beach.

    *

    1:53 AM. The motorcycle revved into the parking lot just in time: Ocean City liquor store closed at 2. Neon lights fizzled in the salty breeze. We were in and out, but we had a dilemma: until you’ve packed for a motorcycle trip, you’ve taken the luxury of luggage for granted. The pannier was crammed full, and all our clothes jammed in a duffel bungie-tied to my backrest. Now what? We hit Coastal Highway, full speed. Him driving, me on the back, with a case of Budweiser and a bottle of cheap tequila across my lap. Let’s call it carry-on. 

    *

    We ate Rick and Morty LSD on the Fourth of July. Three days in advance a friend hooked us up with one room two blocks from the beach. Three Cheers. Second Floor. One hit each. Sul-sul. This batch made me speak Simlish: A language from the Sims. A strategic life simulation computer game. Auschten-Dorf. Holographic vision. Beach and back. Sisaroom? The condo was brand new. Aventurescence. Pleasant. Ah, docka morpher. Tequila. OJ. Tequila. I expected an explosion. Boom. Big boom. Back to beach. Ooh be gah. Beachside at sunrise, the sun shone green like a traffic light traversing the atmosphere. 

    *

    Sunshine. Sugar Cubes. Lucy. Liquid Love. Uncle Cid. Windowpanes. Doses. Paper. Blotter. Stamps. Lysergic-Acid-Diethylamide. One hundred hits are known within the psychedelic community as a sheet. Ten sheets, a book. One-hundred sheets, ten thousand hits, we call that a Bible. On the beach, I suggested we call it a passport instead. The nomenclature of a traveler’s visa derives from the Latin phrase Charta Visa: “paper that has been seen,” and U.S. citizens refer to their passport as a “blue book.” So, why not? Ingesting that much LSD is a spiritual journey, but ten-thousand stamps sure make a lot of trips. 

    *

    Clothed with surge, heavy with undercurrent, our feet and our hands in the tide. We let the waves drag the beach snug around our shins. 

     “Do you feel it? The waves, the energy? More than the water. That pull – a deep force beneath – in and out… in and out…in.” I felt connected to the core: beckoned from the nucleus. 

    “What has the moon to do with the tide?” he asked the summer night’s sky. 

    “How can the moon affect the Earth breathing?” I breathed deeply. In and out. I suggested, “It’s all connected by a remarkable something. Maybe it’s love.”

    *

    I promise, you don’t know what tie-dye is until you’ve watched the rising sun’s rays tickle through the ocean foam while you’re tripping on LSD. The swells of water twist and turn vibrant shades of pinks and violets into turquoise, cobalt, white and emerald green colored braids. A fluid rainbow fashioned from the Earth, the wind, and the water. The involuntary tug, infinitely heaving. Swirling streams of shades into a mirror of humanity. In Portuguese, the word cafuné means to lovingly run your fingers through someone’s hair. That’s what the sky was doing: caressing strands into the ocean’s chaotic locks.

    *

    Lights off – useless. I could sense his signature with my eyes shut; his aura glowed sultry shades of pinks, blues, orange. Perception vibrated. His energy was enveloping. It pulsated, savage, and intimate. When my eyes blinked open, I engulfed his white swirling energy. I breathed him in, consumed by desire, and a carnal urge to bite. My lips slid sideways across the bridge of his nose. My incisor punctured skin. The movement sent us slipping, polished with passion, we plummeted to the rented condo floor. My lips were wet and red with his blood. We chuckled, convulsing, still connected.  

    *

    Wearing shorts on a Harley is frowned upon. The pipes will burn the skin off your shin faster than you can cuss. Riding the east coast beneath the July sun, jeans were out of the question. Sunscreen made my butt cheeks squeak. When I shifted, my skin sounded like the beginning of “Money.” To achieve this noise in the recording studio, Pink Floyd tore pieces of tape. Sweaty thighs against black leather make the same sound: riiiiiip. Red splotches appeared like bruises. When traffic stopped, the asphalt replied with ripples of heat. High-fidelity first-class traveling.  No way to get away.

    *

    Map Quest lied. The three-and-a-half-hour ride became five. From Ocean City, MD to AC, New Jersey, we rode painfully hungover with the coast on our right. Traffic was a bitch. We rode the berm. One side of my body burned bright red. On the AC Expressway, the Jersey skies opened and cried. The lobby was filled with flashy sundresses and sandals. We were holding hands and dripping rain. Sunburn singed my shoulders. 

    “One smoking king. Floor 7.” 

    Pot fumes greeted our arrival as if Cheech and Chong were down the hall. I sparked a joint before our door clicked shut.

    *

    We meandered Old Philadelphia Pike and took back roads home. I watched red teardrops on my GPS, set to “search along” our route for restaurants. The town names of south-central PA, nearby Amish Country, are coined with silly, sexual innuendos. First, Intercourse. Now, Bird-In-Hand. Fertility Village ahead. Signs for horse-and-buggy crossings punctuated the otherwise empty roads. “Smokehouse BBQ and Brews” appeared promptly. I tapped him, stretching my arm across his shoulder, I waved my phone in his face. He nodded and signaled the turn. Two-and-a-half hours since we left Atlantic City. We stopped once for gas. Still six hours from home.

    *

    “Pump the brakes,” I yelled, pinching his sides. 

    He couldn’t hear me. I should’ve let him buy the expensive headsets. I wanted to spend our money on drugs, but now that all the drugs were gone, I was beginning to doubt the expenditures, our priorities. For roughly nine rough hours I sat behind him, with nothing to amuse me besides the steady scenery, the rolling hills of Pennsylvania. I played Grateful Dead renditions through the Bluetooth radio, barreling a parade from the saddle bags. I hoped the melodies would distract me from how quickly the asphalt whizzed beneath my feet. 

    *

    8:57 PM. The sky had darkened by the time we pulled into the driveway. Darkled. Nine-hundred-and-eighty-nine miles in total. 11 miles shy of 1000. I dismounted first, hamstrings aching. Riding a motorcycle can be a real pain in the ass. We untangled our luggage and collapsed beside each other on the couch. After twelve hours, the physical separation from feet to floor, from chest to back, was unfamiliar. I was ungrounded, cold without him. We went to bed immediately, slept tucked together, like when the bike turns hard into a steep turn, and the pressure smushes us together like one. 

    BIO

    Gina Moriarty is an emerging writer who earned her MFA through Chatham University in Pittsburgh. Her thesis was the recipient of the Katherine Ayres Award. She writes emotion driven narrative nonfiction. Typically, her work covers the themes of addiction, heartache, and coincidence beneath an umbrella of hope.

  • LE Select FICTION

    LE Select FICTION

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  • LE Author CONVERSATIONS

    LE Author CONVERSATIONS

    SUZANNE LEA

     

    “In the most literal way, Like Oxygen, was born at the end of a love affair.” SL

    (photo credit: Suzanne Lea)

    LEMagazine asked author Suzanne Lea to explore her creative process as a poet. She’s been previously published in the earlier iteration on this platform, the literary journal, LEJ. You can read her essay, The Specificity of Desire here. 

    Surprisingly her second submission, a couple years later as we were transitioning from the literary platform of the journal to the more expansive nature of the magazine format, was poetry and not essay. We wanted to ask her about the differences she experiences as an essay writer and as a poet. 

    LE Your poetry collection, Like Oxygen, reaches outside the theoretical container of Limit-Experience and pulls to it the libidinal space in a very visceral way? How did you arrive at this space and how did the process differ from your encounter with your essay, Specificity?

    SL When you think about it, writing is a strange thing. We pluck words from our lexicon and place them in such a way that the reader understands both the meaning and the intention. Creative writing is even more interesting – creating a path using words in the wild,  words strung together for the first time, creating something altogether new. I write because I have a love affair with language. I write because I love finding new ways to tell universal stories. 

    I love the taste of new words meeting for the first time. Words just introduced, taking their first steps off the tongue and in the world. I love big, fat, juicy words. Little, tine, bony words. Dirty word. Holy words Dark threatening, stormy words. I love long, complicated, ego-stroking words and fanciful words that exist only to serve the needs of children and lovers. My favorite, though, is the discovery of a word whose materiality is so organic that a gentle nudge can send it floating like a dandelion on the current of a conversation. These words, when placed together properly, are so sweet as to be missed the instant they are spoken. 

    In the most literal way, Like Oxygen, was born at the end of a love affair. I find that to be true of much of my writing. Most of my poetry is written after-the-fact. Although every ending is not tragic, often grief allows for a very specific kind of hindsight. A perspective not found in the midst of an experience.  While we are pushing and pulling, touching and pressing, we only feel our own skin. We only know whether we’ve been kissed or kicked. Afterwards, we often find a sort of aerial view. We become the topographers of our own country.

    Writing poetry is the place where I have the most fun with words who were once strangers. Tucked away inside my poem, Like Oxygen, there is something more. Inside what appears to be a song about the libidinal desires, I have secreted away a prayer. Please kiss me properly. Kiss me like oxygen. Kiss me as if you were certain. Kiss me as though you have abandoned yourself to the experience. I ask for these things because I know the tepid tongue of endings – when the lights come up and everyone leaves.  

    In my experience, non-fiction storytelling is different. There is a linear quality to creative non-fiction. There is usually a beginning, a middle, and an end. Non-fiction storytelling is experienced as fact. (Or as factual as we are able as fallible humans.) The Specificity of Desire is my attempt at telling the story of my Limit Experience. There is no pleading for more. There is no longing for less. My Limit Experience is measured by a before and after. My experience created a moment when I jumped from who I thought I was and what I was capable of, to the very edge of propriety and then a step further. 

    My Limit Experience was life altering. I am not the same person that I was before the events of Specificity. I barely remember the girl who lived in this body without that experience. That can also be said for Like Oxygen. Although the details are drastically different, the same ‘before and after’ exist. Similarly, the act of storytelling closely resembles this dynamic. I pull from my love of language to tell a story. I try to set the stage for what comes after. Both experiences create a longing for something more. Both experiences beg me to step outside the safety of storytelling and run my fingers along the rough edges and smooth surfaces of life.