Third Factory Note Book

"It is very likely that nearly every one has been very nearly certain that something that is interesting is interesting them" — Gertrude Stein

§ Attention Span — This year's deadline for contributing to Attention Span is Monday, August 4, 2008. Readers interested in participating are invited to drop me a line. Contributors so far include Rae Armantrout, John Wilkinson, G.C. Waldrep, Jon Leon, Patrick Pritchett, Meredith Quartermain, Stan Apps, Chris Stroffolino, Peter Quartermain, Rodney Koeneke, Pam Brown, and Erik Sapin.

27 July 2008 — permalink

§ The Poetry of the 1970s — Been busy, of late, organizing this for the NPF.

8 June 2008 — permalink

§ Scattered notes — Noël Coward's The Vortex in a BBC production from 1969 (preceded by an interview conducted by an echt era hipster with a memorable slouch, a tie that can scarcely be descried against a psychedelic shirt of identical fabric and pattern, and a face that seems, oddly, often on the verge of crying). Lot of action for words ending in -ly. • Karlheinz Stockhausen's "Kontakte" (disc 6 of the Gesamtausgabe), and Paul Hillier's 2006 version of Stimmung. With related reading in Mark Prendergast's Ambient Music, which brings little pleasure when attempted sequentially—unlike, say, Rip It Up & Start Again—but is fun enough to thumb through and contains lots of useful information and recommendations. • A real winter, and enjoying it. Snow scrunch under boot. • Battlestar Galactica Razor (2007). Stephanie Chaves-Jacobsen and Michelle Forbes give it their best, but the exposition is muddled and the result oddly null. Still impressed by the miniscule vocal range of Edward James Olmos. • Jolanta Karwowska's design work on Bill Fuller's Equipage chapbook Dry Land is amazing: working in thin rectangles of grey, blue, and silver (most matte, a few shiny) on both the cover and the recto page edges, raised lettering for the title, and page sizes that incrementally increase as the book unfolds, Karwowska outfits Fuller's distichs with an environment into which they can blend (ink color) and from which they can emerge ("from my heightened state I knew no book"). Brilliant.

3 January 2008 — permalink

§ Attention Span 2007 — Forty-six contributors discuss some five hundred titles—mostly poetry, but also film, music, art, and other things as well—in this year's installment of Attention Span, Third Factory's annual survey of what some of today's most percipient writers and critics are thinking and talking about. A directory of individual contributions can be found here. And a list of the most frequently cited titles and authors here. The most mentioned presses and publishers are listed here. The content for this installment—the fifth consecutive since 2003—is being mirrored, a bit at a time, in blog format here.

26 November 2007 — permalink

§ Scarce — For a while there, it felt like I just ambled from place to place explaining Saussure to people. Then, that all I did was work on websites. And now I'm nearly too busy to have even such thoughts. But did update works received. And sketched a few highlights into the neglected daybook. Still not sure about this facebook thing—seems unlikely to play out well in the eternal return.

13 October 2007 — permalink

§ Attention Span update — The official deadline for contributing to this year's Attention Span is midnight tonight. But there's plenty of formatting to keep me busy while you slip a late entry under the door.

Many thanks to those who have contributed so far: Jerrold Shiroma, Bill Berkson, Pam Brown, Simon DeDeo, John Palattella, James Wagner, Jordan Stempleman, Tom Orange, Allyssa Wolf, Laura Carter, Patrick F. Durgin, Michael Scharf, Meredith Quartermain, Simone dos Anjos, Craig Dworkin, Annie Finch, David Dowker, Joshua Clover, Kevin Killian, Graham Foust, Christopher Nealon, John Hyland, Nancy Kuhl, and Matvei Yankelovich.

31 August 2007 — permalink

§ Attention Span 2007 — Attention Span marks its fifth anniversary this summer. If you are interested in contributing to this year's installment, the deadline for which is August 31, drop me a line here.

13 August 2007 — permalink

§ Screen Memories (early spring to mid-summer edition) — Grizzly Man (dir. Werner Herzog, 2006). Touch the Sound (dir. Thomas Riedelsheimer, 2004). Theremin: An Electronic Odyssey (dir. Steven M. Martin, 1994). Place de la République (dir. Louis Malle, 1974). La Pianiste (dir. Michael Haneke, 2001). When the Levees Broke: A Requiem in Four Acts (dir. Spike Lee, 2006). Letters from Iwo Jima (dir. Clint Eastwood, 2006). The Best Years of Our Lives (dir. William Wyler, 1946). Thelma and Louise (dir. Ridley Scott, 1991). Playtime (dir. Jacques Tati, 1967). The Queen (dir. Stephen Frears, 2006). The History Boys (dir. Nicholas Hytner, 2006). Parsifal (dir. Hans-Jürgen Syberberg, 1982). Mouchette (dir. Robert Bresson, 1967). Eddie Izzard: Circle (dir. Anastasia Pappas, 2002). Amazing Grace (dir. Michael Apted, 2006). Black Hawk Down (dir. Ridley Scott, 2001). Caprice (dir. Frank Tashlin, 1967). Reds (dir. Warren Beatty, 1981). North by Northwest (dir. Alfred Hitchcock, 1959).

5 July 2007 — permalink

§ Lipstick Traces - As in "all that's left are." Meaning, look here (or here) if things seem all too quiet in the notebook.

31 May 2007 — permalink

§ May Day Update — When the estimable Pam Lu last updated her blog Open Reader, it was to inform us that she'd begun reading War and Peace, which more or less earns her an active link at Third Factory right through to end times. I've got no comparable excuse for my silence since mid-March, even were I to throw Against the Day into the plea bargain, so I'll not even attempt an explanation. I have, however, managed to update the works received and daybook pages over the past few days. Among so many reasons to celebrate, this one can't help but be my sentimental favorite.

For the Image-repertoire (below) — Shadows cast by the Large Glass, a glimpse into Given, and the Mister Softee truck that two Sundays ago gave me, in the form of a small vanilla cone with chocolate sprinkles, a Proustian experience while visiting the street where I lived as a very young boy.

1 May 2007 — permalink

§ Commerce between us (continued) — I don't know, maybe there are people who truly care about contemporary poetry, read it with renewed appetite and a healthy balance of curiosity and commitment, trouble themselves to articulate—at least in conversation, maybe sometimes even online or in print—their responses to books and readings and careers and magazine issues and individual poems, and who also feel that the New York Times Book Review, the New Yorker, and Poetry magazine regularly have interesting and important things to say on the topic. For most of us, though, it isn't hard to answer David Orr's question about whether The New Yorker has "given up on poetry" as something more than a "brand-enhancing commodity." It's the same answer one would give if asked about the New York Times Book Review (as Orr might know better than most, being nearer to it). I'd answer differently of the Boston Review, I know people who think more of the poetry coverage in the New York Review of Books than I do, and I'm on record as a fan of John Palattella's work at The Nation, but to whom has it not been obvious, for a long time now, that poetry lacks serious representation in what passes for a public sphere in the U.S.? The Poetry Foundation's solution to the problem, not unlike the Bush administration's strategy in the political sphere, is to pay for coverage of the art that conforms to its own viewpoint and celebrates its own programs. And as we've seen of late, $200 million purchases a lot of attention for voices that couldn't become relevant the old fashioned way, by earning the respect of their peers. • Earlier on nb: 27 February, 12 February, 23 September 2006.

15 March 2007 — permalink

§ Upcoming grad seminars — Summer (poetry in the age of the mp3), Fall (Roland Barthes).

7 March 2007 — permalink

§ Scattered notes — Happiness: Another reader's present in eleven titles. • Fewer wasted glances of late, thanks to Kaplan's feed. • Cold enough this morning that my hair briefly but pretty entirely froze. • Over at the Against the Day deathmarch, we've wrapped up week five. Some folks are contemplating desertion just about now, but not Rodney and me! • To do: get Douglas to sign all our copies of Matchbook next time he visits (at last, a retirement plan). • The Modern Review has its spring issue all set to go: a snippet from Jennifer Moxley's interview of Fanny Howe can be had online here.

6 March 2007 — permalink

§ Screen memories (Oscar run-up edition) — Half Nelson (dir. Ryan Fleck, 2006). Eddie Izzard: Dress to Kill (dir. Lawrence Jordan, 1999). The Departed (dir. Martin Scorcese, 2006). Babel (dir. Alejandro González Iñárritu, 2006). Flags of Our Fathers (dir. Clint Eastwood, 2006). Marie Antoinette (dir. Sofia Coppola, 2006). Notes on a Scandal (dir. Richard Eyre, 2006). Silkwood (dir. Mike Nichols, 1983). The Children of Men (dir. Alfonso Cuarón, 2006). Vertigo (dir. Alfred Hitchcock, 1958). Dracula (dir. Francis Ford Coppola, 1991).

1 March 2007 — permalink

§ Commerce between us (bis) — Dana Goodyear's New Yorker piece on John Barr and the Poetry Foundation has occasioned a fair amount of chatter online and off. To widen the account of the "argument that keeps on giving" offered on the Foundation's million-dollar website, here's a sample of what people are saying:

At the Chicago Reader, Deanna Isaacs permits Barr a paragraph of response to Goodyear's story before raising her own questions about PF sponsorship of PBS reporting on poety (scroll to second item): "this series is funded at $250,000 per year with the foundation collaborating—in regular conference calls with PBS—on possible topics and poets. The sponsorship is acknowledged in the broadcast credits, but since when is this the way news is gathered?"

Christopher Frizzelle, writing for Seattle's The Stranger, concludes a quick squib about the Goodyear piece this way: "Word on the street is that the Poetry Foundation is in a tizzy over it."

At dot-org, an anonymously-tended blog about nonprofs, the writer wonders "are poets always so touchy?" Suggesting that Barr has overreacted to Goodyear's mildly critical piece, the writer offers this advice: "Were I a board member over there I'd be suggesting that the chief calm down, accept that reasonable people can disagree, and keep moving forward with what sounds like a smart plan that is well-grounded in the organizational mission."

Bob Hoover at the Pittsburg Post-Gazette sees a revival of long-simmering poetry wars. "In our democracy, the lowest common denominator gets all the money. In the case of Mr. Barr's crusade, it was the money that won out over the art."

A contributor to the Philanthropybeat blog takes note of Ethel Kaplan's straightforward admission (speaking, apparently, for the whole Poetry Foundation board) that "Nobody wanted to sit back and read grant proposals—especially from poets."

In a long, even-handed meditation on his recently-launched blog, poet Reginald Shepherd writes: "What angers me is when the work that I care for is weighed and found wanting not because it fails to live up to its aims but because it doesn’t offer the comforting homilies of the Prairie Home Companion (which to be fair does sometimes feature interesting poems) or the narrowly defined entertainment value John Barr demands. It angers me that 'intellectual' is used as a pejorative. It angers me that such pseudo-populism is held up as a model of what all poetry should be for all people. Barr even objects to writing for posterity, which would disqualify much of the English language poetic tradition."

Speaking of tradition, poet Tom Raworth first unearthed "This Rhymeless Nation," an "anonymous Skelton," back in mid-January. It rhymes and isn't hard to parse, so one anticipates it will be a favorite of general readers everywhere.

Salon is not the only site to snicker at Barr's deathless line about "corporate salami" (scroll down to "talkers"). One Brooklyn-based wit has even started a blog by that name.

27 February 2007 — permalink

§ Site notes — Added some fresh clickable cover scans to the ensemble page, which had gotten badly outdated. And recorded another banner week of works received. Continuing on with LibraryThing, despite the extra work it makes. • While the scanner's humming, here's a picture of yours truly in July 1971 (age six and a half), probably thinking more of Oscar the Grouch than Endgame while doing an Evening Times of Trenton photographer's bidding.

17 February 2007 — permalink

§ Commerce between us — Dana Goodyear's much anticipated New Yorker piece on the Poetry Foundation is live. And by strange coincidence, the much delayed Baffler 17 arrives the same week. "Free (Market) Verse" remains here.

12 February 2007 — permalink

§ Like paper caught in wind (another whirl) — Asked if he'd need a jacket. My heart comes undone. And live on but remembering. Them that don't like it / can leave me alone. L'oisif ira loger ailleurs.

9 February 2007 — permalink

§ Like paper caught in wind — Le modèle et son peintre. One-off. That sort of so-insincere-it’s-sincere tone is his trademark. On the necessity of the male conceptual poet. As she inventories her boyfriend’s parts she inventories the world, and in his valorization becomes herself a giantess! Ironically, the system gets stronger and better because of the attacks as we're constantly upgrading the technology.

7 February 2007 — permalink

§ A Middle Class Voice — Via Pantaloons and Venepoetics, found my way to Big Bridge 6 and the poem John Wieners wrote (on, do I recall it correctly, a stenopad?) for his reading at the National Poetry Foundation Conference on the poetry of the 1960s, "Lisbon Indian Island." Memories triggered: making the invitation phone call, feeling absurdly awkward and overly formal and, well, very middle class; being perhaps midway through my introduction when John decided that was enough, rose from his seat next to Kevin Killian, and took the stage (beginning with this poem); the worries formed during his reading and expressed afterwards, so many witnessing for the first time Wiener's "state," made painfully uncomfortable thereby. • Raworth's memorial page for John.

6 February 2007 — permalink

§ Scattered Notes — Got so excited about the books in this morning's mail, went ahead and started a LibraryThing thing. Too bad you can't grab titles from SPD rather than Amazon (had to hand enter almost everything, whether barcoded, izbin'd, or no). Bumped into Clay Banes via Kate Greenstreet's book. • Second event of the spring (ahem, it's 6ºF as I write that word and windy and not yet sunset!) New Writing Series is Thursday: Jonathan Skinner & Annie Finch. • I'm following Cecil Vortex and such chums as chance by on the Against the Day deathmarch. A stroll through the Fair, so far.

5 February 2007 — permalink

§ The method of revision — Via the venerable Mosses, came upon this interesting study of revision methods Reznikoffian by reference librarian Benjamin Watson. I especially like the sixth and final step (too often omitted!).

3 February 2007 — permalink

§ Mantra for a short month — "Neither of us ever took a day’s holiday unless we were too ill to work or unless we went away on a regular and, as it were, authorized holiday.... It is surprising how much one can produce in a year, whether of buns or books or pots or pictures, if one works hard and professionally for three and a half hours every day for 330 days" (Leonard Woolf, Downhill All the Way, qtd. by Claire Messud here).

1 February 2007 — permalink

§ Screen memories — Germany Year Zero (dir. Roberto Rossellini, 1948): Screen with Los Olvidados and Mouchette to next friend who complains about his or her childhood. Fountain of children shot. The shattered facades of the city as a black-market album of a Hitler speech is previewed for purchasers. Parallel to Vertigo as Edmund ascends interior of the last bombed-out structure he'll know. Brought to it by "the zone" sections of Gravity's Rainbow. • Dreamgirls (dir. Bill Condon, 2006): loved the glam, the melodrama, the numbers. Great throwaway shot of a record being pressed. • The Fisher King (dir. Terry Gilliam, 1991; ft. Michael Jeter as "homeless cabaret singer," still below). • Bruno Walter: The Maestro, the Man (1958): Seated on the same cushioned wooden lawn furniture I knew as a child in New Jersey, Walter confesses his hatred of "artificiality" in composing (target Schönberg). When asked his opinion about jazz, he smiles and says "do you wish to provoke me?" then delivers the Adornian line verbatim. I found the scenes of him conducting the Vancouver orchestra unbelievably great but would be hard pressed to explain to you why.

30 January 2007 — permalink

Absent from every bouquet — "Postscript: The title for this anthology—The Rose, the Lily & the Whortleberry—was chosen early in the research process as a 'working title.' Subsequently we found many songs and motets with references to roses and lilies, but none, alas, in praise of the whortleberry (which is also known as bilberry and blaeberry). Our search will continue, however, and we are so determined eventually to find the elusive piece that we have decided to remain faithful to our original title."

23 January 2007 — permalink

§ For long — "she makes music by way of an accidental foot to wine glass to floor, in a gentle key a sparkle of shatter and nothing no nothing is ever soundproof for long, if ever, if ever desired" (Sawako Nakayasu, nothing fictional...).

§ The Shape of the Lack — "The really depressing thing about 1985, though, wasn't the mainstream tyranny of nouveau riche pop so much as the unimpressive state of the alternative scene. The collective sense of purpose that bound together the diverse initiatives of postpunk had seeped away. Everything seemed desperately disparate and therefore somehow diminished. John Peel caught the shape of the lack well when he admitted, 'I don't even like the records I like'" (Simon Reynolds, Rip It Up & Start Again 390).

22 January 2007 — permalink

§ Known unknowns — Forty-two years ago tomorrow I was born in a New Jersey hospital, seen briefly then legally surrendered, as per agreement, by the birthmother, placed in foster care for three months, and eventually delivered to my adoptive parents' door at the end of April. The birth, foster, and adoptive mothers all naturally had different names for the infant they assisted into this sad and beautiful world: I've only recently learned the two that weren't "Steve." This year, after an affecting if not particularly arduous search, I'll speak for the first time to the birth mother. Soon in fact. Should be interesting.

§ Site Notes — Regained my appetite for new poetry (new to me, that is, and printed rather than listened to) recently. Not a regret in the batch. Also updated the list of works received and constellations. • Not sure if you noticed or needed it, but php and xml options for both nb and Lipstick of Noise have been in place for a while.

§ Zone of meek adjustments — Wonderful analysis of the meek adjustments we all make here. Only trouble I can see is this (we had it a lot when the Dictionary of Received Ideas was first published): the meta-analysis implicates nearly every poet the charming FJB will encounter in the coming year. For who has not failed to adequately control his or her abstractions at some point? And whose work is not sometimes enjoyed without being fully understood? Which is not to excuse the "contentious yet unsurprising conclusion" part, just to observe (empathetically) that the "X" that marks no spot digs into everyone's flesh equally.

19 January 2007 — permalink

§ Zones of pragmatic deceit — "Zones of pragmatic deceit are the social and mental inventions that exist to lubricate the friction between what we claim to stand for (i.e. simple polar pictures) and what we actually have to do to make things works (i.e. navigate over networks of axes). These two are often quite different, as situations change much faster than the moral constructions that are supposed to describe them" (Eno, "Axis Thinking," 1993, Year 301).

§ Engaged — "I am engaged in taking away / from God his sound" (Wieners, "Poem for Record Players").

§ Surge — "A luminous pallor surges out of the screen, spreads over every face and form in the picture, it is the color of consciousness" (Fanny Howe, "Au Hasard Suicide").

§ Come, Senescence, Come — "It’s not that I’m looking for new sounds so much as a new platform for delivering sound into a life that no longer needs to be so tightly wound around music" (Rodney Koeneke at Modern Americans).

16 January 2007 — permalink

§ Keep it burning — New tracks by Franklin Bruno and The Human Hearts. "You play Revolver, baby / that's when I start reaching for my culture." With nods to "Winter Wonderland" and "Life During Wartime" no less.

§ Screen memories (late December, early January) — Come back to the Five and Dime, Jimmy Dean, Jimmy Dean (dir. Robert Altman, 1982; ft. Karen Black): As Gary Morris writes, "While Dennis is the standout, Black is at her most voluptuously horrific in her Kansas City pants suit and Porsche as she dashes every dream of her heartland sisters." Indiana Jones and the Last Crusade (dir. Steven Spielberg, 1989): A basically charmless picture, seen in (Grail) "research" mode. River Phoenix "doing" Harrison Ford is amusing. Best line (delivered by ancient knight, guardian of the Grail, upon spectacular death of the bland badguy): "He chose poorly." Borat (dir. Larry Charles, 2006): Sacha's in the bathroom, inventing situations. A Scanner Darkly (dir. Richard Linklater, 2006): like Lime Tree, I found it an enjoyable near miss. Little Miss Sunshine (dir. Jonathan Dayton and Valerie Faris, 2006; ft. Abigail Breslin as Olive, Paul Dano as Dwayne): très slight, especially once Arkin's blustery libido absents itself. A Knight's Tale (dir. Brian Helgeland, 2001; ft. Paul Bettany as Chaucer): "More an involuntary vow of poverty, really." Berlin Alexanderplatz, episodes 4-6 (dir. Fassbinder, 1980).

15 January 2007 — permalink

§ Consolation — Deborah Solomon: "Where do you turn for consolation?" John Ashbery: "Probably to a movie, something with Barbara Stanwyck." (NYT Magazine)

§ Recursive — In the comments field for Simon DeDeo's appreciative review of Eugene Ostashevsky's Infinite Recursor or the Bride of DJ Spinoza, this amazing sentence by Matthew Hendriksen describing Ostashevsky's approach to performance: "a Russian cyborg Alexander Pope yelling break beats in heroic couplets." • My quick take, and a sound sample, here.

14 January 2007 — permalink

§ And the terrorists hate freedom — Still chuckling about a sentence in Rachel Donadio's early Christmas present to Helen Vendler: "The poets she admires share 'nothing except intelligence and originality,' said Stephen Burt, a poetry critic and professor at Macalester College who studied with Vendler at Harvard in the early ’90s."

13 January 2007 — permalink

§ Received (Ideas) — Audun Lindholm remembers stumbling across ILS Nº 10 at the Poetry and Rare Book Collection in Buffalo.

10 January 2007 — permalink

§ Words on film — The always excellent Girish takes stock of his reading about film in 2006; there were more than fifty comments when I last checked in, with suggestions aplenty for further reading and some interesting discussion of what I too take to be a fundamental problem in blog design, identified thus by Girish: "But so much of valuable on-line writing and comment exchange is widely dispersed, and proceeds to disappear quickly, as time passes, into the dark caves of the archives. It's my one serious dissatisfaction with the blog format: I wish every blog contained a helpful table of contents page that conveniently listed or indexed all posts at a particular site. This year, I'd like to add a table of contents and index here; I'm assuming it won't be that difficult to do."

§ From a journal (15 June 1982, 4:23pm, Huntington Beach, aetat. 17) — "It just happened so I can explain it well. I was sitting on my bed doing Algebra and taping records, the Selecter at the moment. When the song '3 Minute Hero' came on it absolutely drove me to get up and dance. Here I am all by myself dancing around the house and feeling really great, thinking about Dance Craze, etc. Isn't it amazing what a song can do. Shit, it just struck me so powerfully, what a beat, that I couldn't sit down. Energy—how fantastic." • Clip courtesy of YouTube.

9 January 2007 — permalink

§ Documented Case of Involuntary Bressonism — I'm having an ambivalent but absorbing relationship to Robert Bresson's films as I work slowly through the available dvds. But perhaps under the influence of Kent Jones's meticulous BFI study of L'Argent, a quickly devoured Christmas present, I found myself thinking fondly, indeed almost longingly, of Bresson while seeing Brokeback Mountain for a second time the other night: first, as I meanly willed the complete annihilation of Gustavo Santaolalla's "subtle" guitar-driven score, and again in the penultimate scene at Twist's parents' ranch, the interior of which—a structural emanation of the stricken look on the mother's face, or vice versa—seemed a distant visual echo of the Sylvie van den Elsen scenes at the close of Bresson's last film.

8 January 2007 — permalink

§ Delegated decisions — Having blinked each time a year end list of books, films, or music tripped into my peripheral vision in December, I feel receptive to the picks by Pam Rehm and Peter O'Leary at Cultural Society. Da Crouton's favorites from 2006, too. My resolutions for aught seven all concern inframince adjustments nobody but me would notice. Less a resolution than an inclination I hope to remember to give in to from time to time: stopping by here.

5 January 2007 — permalink

§ Signature — "Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely becomes its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit—all these will be cherished and emulated as soon as they can be avoided" (Eno, A Year with Swollen Appendices, 19 December 1996).

4 January 2007 — permalink

§ From a journal (4pm, 18 January 1987, Quel Fromage coffee shop in San Diego, aetat. two days shy of 22)

Reading Joyce's letters ($5 at 5th St. Books, discard hardback from SD Library). Endless account of accounts. Badly edited, too—but once in a while something worth the time and tedium. Woke up early for a Sunday, made coffee, showered, read two chapters of Anti-Oedipus. Went to laundromat: amazing woman, dressed in fringed cowboy boots, green tights, a black skirt, short slicked-back dyed burgundy hair—like Deneuve in the opening 'cruising' shots of The Hunger—sunglasses and all—drinking Heineken through a straw, heavily made up, kind of tough looking. Defined a charged area in the erotic economy of a Hillcrest laundromat with her scads of lingerie on hangers. • Am going to see Down by Law in half an hour. Last night saw Decline of the American Empire (Canadian) at the Guild and a tape of Tati's Playtime at M. & B.'s. The latter was brilliant—the elements/shots/objects become characters and the film moves by anxiety(-ies)—which are enacted (finally someone does walk into a closed glass door) and continued—much like Ulysses.... • X. called me last night at M. and B.'s and began another attack (whining) on the language poets (whoever they are)—the dullness of which is hard to recount. (45:3504)

3 January 2007 — permalink

§ Out there — Andrew O'Hehir on Baraka this Sunday, stressing the "outtelligence" of the work. And in the Wesleyan catalog, Peter Gizzi's next book: The Outernationale.

§ Pronounced pobiz — "The only value of ideology is to stop things becoming showbiz" (Brian Eno, A Year with Swollen Appendices).

2 January 2006 — permalink

nb archive

February - December 2006
September 2005 - January 2006
March - August 2005
January - February 2005
July - December 2004
March - June 2004
January - February 2004
October - December 2003
September 2003
August 2003
July 16-31, 2003
July 1-15, 2003
June 16-30, 2003
June 1-15, 2003

back to ensemble • back to index

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