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The Trouble Lamp
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2 Under the Bridge
Whatever Touches Your Life 1983 By James Richard Langston Listen . . . hear the cricket, In the softness of the night, Stand quietly by a meadow, See the birds taking flight. Hear the whisper of a breeze, Blowing through trees of pine, Let whatever touches your life, Be in tune to touching mine. Touch the velvet of a rose, On an early summer’s day, Smell the sweet aroma, Of a field of new mown hay. Throw caution to the wild wind, Play it loose just one time, Let whatever touches your life, Be in tune to touching mine. Blink your eyes at the sun, As it sets behind the hill, Skip a rock across the pond, By the old rustic mill. Cheer your team on to victory, As it comes from behind. Let whatever touches your life, Be in tune to touching mine. Taste a frosty snowflake, As it falls upon your tongue, See a mother hen fret, As she hovers o’er her young. Stay in tune with mother nature, Give her reason, give her rhyme, Let whatever touches your life, Be in tune to touching mine.
The News-paper Poems
'Regard this as a bouquet to ink¿ ¿ this is Richard Langston¿s paean to the world of newspaper to the world of newspaper reporting and reporters. To the gone age of the setting of metal type, the sound of a roomful of typewriters. To the past age of the afternoon city newspaper. This was the age of journalism before it went to university, the time of journalist as character¿
Dark Matter
Unravelling the thought of Alexander Kluge and Oskar Negt Collaborators for more than four decades, lawyer, author, filmmaker, and multimedia artist Alexander Kluge and social philosopher Oskar Negt are an exceptional duo in the history of Critical Theory precisely because their respective disciplines think so differently. Dark Matter argues that what makes their contributions to the Frankfurt School so remarkable is how they think together in spite of these differences. Kluge and Negt's "gravitational thinking" balances not only the abstractions of theory with the concreteness of the aesthetic, but also their allegiances to Frankfurt School mentors with their fascination for other German, F...
Glass Shards
Adorno characterized Critical Theory as a message in a bottle in 1940 when the exiled Frankfurt School's sphere of influence was an ocean away from the catastrophes of fascism it sought to fight. Turning Adorno's metaphor on its head some six decades later, Kluge likens his creative method in the interview with Oskar Negt that opens the second volume of the Kluge-Jahrbuch to echoes of light refracted through a bottle: "I can also see something by looking through shards of glass," he explains. Deploying this turn of phrase as its point of departure, this issue of the Jahrbuch devotes its attention first to Kluge's theory work written with Negt, its roots in and adaptation of the Frankfurt School tradition as well as its indebtedness to other schools of thought. In the remainder of the volume, scholars working in five different disciplines across the humanities query Kluge's ways of seeing in film, television and literature.
Difference and Orientation
Alexander Kluge is one of contemporary Germany's leading intellectuals and artists. A key architect of the New German Cinema and a pioneer of auteur television programming, he has also cowritten three acclaimed volumes of critical theory, published countless essays and numerous works of fiction, and continues to make films even as he expands his video production to the internet. Despite Kluge's five decades of work in philosophy, literature, television, and media politics, his reputation outside of the German-speaking world still largely rests on his films of the 1960s, 70s, and 80s. With the aim of introducing Kluge's heterogeneous mind to an Anglophone readership, Difference and Orientatio...
The Poetic Power of Theory
»Die poetische Kraft der Theorie« bezieht sich für Alexander Kluge weniger auf reine »Philosophie« oder die abgesonderte »Lust am Denken« als vielmehr auf die altgriechische Praxis der »Theoria«. Wie der antike Theoretiker namens Theoros, der als Gesandter aus fremden Ländern heimkehrte, um von anderen Völkern und Kulturen zu erzählen, strebt Kluges Interesse an der poetischen Kraft der Theorie nach der Anreicherung der menschlichen Wesenskräfte, die subjektive Erfahrung von Differenz in einer Krisenzeit auszudrücken, in der die Werkzeuge des Erzählens verarmt sind. Diese Ausgabe des Jahrbuchs erkundet Kluges Theorie dieses narrativen Potenzials im stürmischen Zeitalter der D...
Visions of Violence
Nazi Germany's campaign against 'degenerate art' and its persecution of experimental artists pushed the avant-garde in Germany to the brink of extinction. This book examines how the avant-garde came back after the war, reconfiguring its aesthetics in the light of those years.
Five O'clock Shadows
"Poems that return over and over to the land - an offering to the country of Richard's bones and of his heart. From a longdrop that demands binoculars to Caberfeidh in the Catlins where his father picked plums from the passing train, Richard Langston writes poems that return over and over to the land. Born to a Lebanese immigrant family in Dunedin, and a Country Calendar director by trade, he is constantly refreshing his acquaintance with the country he calls home. Somehow writing it down seals the deal. 'We make marks in ink,' he says. 'We are here.' Poetry is incantation too, and Richard uses it to call family from the shadows and sing ancestors into being, a tentative offering to the country of his bones and of his heart."--Publisher information.
One Bullet More
Hey, saddle tramp, said Vernon. I dont think I like a bum like you coming in here to drink with us men. Matt turned to face Guthry, spread his feet shoulder wide with his gun hand thumb still hooked in his belt, still three fingers from his .44. The men that stood along the bar, drifted to one side, out of the line of fire. The room grew deadly quiet. Ive had just about all the crap Im going to take from a local loudmouth like you, Matt said. There was a deadly chill to his voice and Vernon shivered slightly from the feel of it. All of a sudden, he realized that he might be biting off a little more than he could chew. Being the braggart that he was, he couldnt back down from the step he had ...
