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For those times when “you blackguard!” just won’t do, Sinister Wisdom supplies an amazing array of crude, vulgar, offensive, scurrilous, lewd, and otherwise unprintable denunciations. Organized thematically and translated into more than 69 languages, it contains an alphabetical listing of every conceivable (and inconceivable) slur and insult, from comments on mothers' peculiar anatomy and hobbies, to suggestions on where to go and how, to observations on how others spend their solitary moments. Appendices cover blasphemies, bodily functions, sexual deviations, and variations on “yo mama!”
A marathon dance mix consisting of thousands of mashed up text and image samples, In the House of the Hangman tries to give a taste of what life is like there, where it is impolite to speak of the noose. It is the third part of the life project Zeitgeist Spam. If you can't afford a copy ask me for a pdf.
Past compunction, expressly unbeholden, these twenty-four single-subject essays train focus on a startling miscellany of topics - Foot Washing, Dossiers, Br'er Rabbit, Housesitting, Man Roulette, the Locus Amoenus - that begin to unpack the essayist himself and his life's rotating concerns: sex and sexuality, poetry and poetics, subject positions in American labor (not excluding academia), and his upbringing in working-class, Primitive Baptist, central-piedmont North Carolina. In Proxies an original constraint, a "total suppression of recourse to authoritative sources," engineers Brian Blanchfield's disarming mode of independent intellection. The "repeatable experiment" to draw only from what he knows, estimates, remembers, and misremembers about the subject at hand often opens onto an unusually candid assessment of self and situation. The project's driving impulse, courting error, peculiar in an era of crowd-sourced Wiki-knowledge, is at least as old as the one Montaigne had when, putting all the books back on the shelf, he asked, "What do I know?"
After Hurricane Sandy, Nick Fowler, a writer, stranded alone in a Manhattan apartment without power, begins to contemplate disaster. Months later, at an artist residency in upstate New York, Nick finds his subject in disaster itself and the communities shaped by it, where crisis animates both hope and denial, unacknowledged pasts and potential futures. As he travels to Los Angeles and London on assignment, Nick discovers that outsiders - their lives and histories disturbed by sex, loss, and bad weather - are often better understood by what they have hidden from the world than what they have revealed.
In a neural rush, Early Linoleum engages the propulsive flow of contemporaneous valences—psycho-geography meets in the force-field of biopolitical conditions. Poet activists congregate on the steps of the New York Public Library, there’s art beneath the dirt, rock outcroppings communicate with Jacques Derrida and the transactions that make war and love collide. In this textual sensorium, connections between climate ecology and political ecology are reckoned with somatically and lyrically, locally and globally. The thinking through charged spaces within and between human animal structures, especially during states of perpetual strife, as in global climate change and war—the dissonance, air, wind flow, coagulated ideas, affective registers—frequencies diffuse or mutate, streaming from urban sites to the rural and wild. This work is a revelatory and bold response for our times.
Letters to Poets honors and commemorates the hundredth anniversary of Rilke’s Letters to a Young Poet by partnering a selection of 14 of the country’s leading contemporary poets with 14 emerging poets and documenting their correspondences. These poets challenge the hierarchies and pitfalls endemic to the mentoring process, and ask some of the day’s toughest, most vital questions concerning race, class, and gender. Spanning a range of not only generations but cultural, aesthetic, and economic backgrounds, these diverse pairings both challenge and support each other artistically and politically. The result is in turns dramatic, enlightening, and entertaining. Contributors include: Anselm Berrigan & John Yau, Brenda Coultas & Victor Hernández Cruz, Truong Tran & Wanda Coleman, Patrick Pritchett & Kathleen Fraser, Hajera Ghori & Alfred Arteaga, Jennifer Firestone & Eileen Myles, Karen Weiser & Anne Waldman, Jill Magi & Cecilia Vicuña, Rosamond S. King & Jayne Cortez, Judith Goldman & Leslie Scalapino, Traci Gourdine & Quincy Troupe, Brenda Iijima & Joan Retallack, Dana Teen Lomax & Claire Braz-Valentine, Albert Flynn DeSilver & Paul Hoover
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Poetry. Literary Criticism. Middle Eastern Studies. LGBT Studies. Edited by Lindsey Boldt, Steve Dickison, and Samantha Giles. Compiled on the occasion of Arab American poet and painter, Etel Adnan's receipt of Small Press Traffic Literary Arts Center's Lifetime Achievement Award in 2011, HOMAGE TO ETEL is a collection of original writings written in tribute by friends, colleagues and admireres of Etel Adnan and her work. Contributors are Ammiel Alcalay, Jen Benka, David Buuck, Norma Cole, Steve Dickison, Thom Donovan, Sharon Doubiago, Simone Fattal, Robert Grenier, Benjamin Hollander, Joanne Kyger, Michael McClure, Stephen Motika, Nancy J. Peters, Csaba Polony, Megan Pruiett, Brandon Shimoda, Roger Snell, Cole Swensen, Stacy Szymaszek, Lynne Tillman, Fawwaz Traboulsi, and Anne Waldman.
"Rodgrigo Toscano's Collapsible Poetics Theater is a genre-expanding force to be reckoned with. From polyvocalic pieces for multiple readers to 'body-movement poems' to 'simultaneous activities pieces' to anti-masques and plays, these fourteen texts & scores constitute one of the most sustained studies of poetic thinking and action to come in a long time. The question Toscano poses is 'can the poem be tested any further?' "With a cape, confetti and placard, two players and Master of Ceremonies conduct their feints and dodges about concepts of engagement and faith. Has this author been reading the critical social spatiality of Michel de Certeau? The author has certainly been reading poetics, from Mikhail Bahktin's radical linguistics to the controlled clamor of Carla Harryman's dramatic praxis. The art of play has found a talented proponent." --Marjorie Welish, 2008 National Poetry Series Judge
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