Spanner Issues 1974 to 2005
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Naked Lunch for Lawyers: William S. Burroughs on Capital Punishment
Batey: Naked LunchNAKED for Lawyers: LUNCH William FOR S. Burroughs LAWYERS: on Capital Punishme WILLIAM S. BURROUGHS ON CAPITAL PUNISHMENT, PORNOGRAPHY, THE DRUG TRADE, AND THE PREDATORY NATURE OF HUMAN INTERACTION t ROBERT BATEY* At eighty-two, William S. Burroughs has become a literary icon, "arguably the most influential American prose writer of the last 40 years,"' "the rebel spirit who has witch-doctored our culture and consciousness the most."2 In addition to literature, Burroughs' influence is discernible in contemporary music, art, filmmaking, and virtually any other endeavor that represents "what Newt Gingrich-a Burroughsian construct if ever there was one-likes to call the counterculture."3 Though Burroughs has produced a steady stream of books since the 1950's (including, most recently, a recollection of his dreams published in 1995 under the title My Education), Naked Lunch remains his masterpiece, a classic of twentieth century American fiction.4 Published in 1959' to t I would like to thank the students in my spring 1993 Law and Literature Seminar, to whom I assigned Naked Lunch, especially those who actually read it after I succumbed to fears of complaints and made the assignment optional. Their comments, as well as the ideas of Brian Bolton, a student in the spring 1994 seminar who chose Naked Lunch as the subject for his seminar paper, were particularly helpful in the gestation of this essay; I also benefited from the paper written on Naked Lunch by spring 1995 seminar student Christopher Dale. Gary Minda of Brooklyn Law School commented on an early draft of the essay, as did several Stetson University colleagues: John Cooper, Peter Lake, Terrill Poliman (now at Illinois), and Manuel Ramos (now at Tulane) of the College of Law, Michael Raymond of the English Department and Greg McCann of the School of Business Administration. -
Essay by Doug Jones on Bill Griffiths' Poetry
DOUG JONES “I ain’t anyone but you”: On Bill Griffths Bill Griffiths was found dead in bed, aged 59, on September 13, 2007. He had discharged himself from hospital a few days earlier after argu- ing with his doctors. I knew Griffiths from about 1997 to around 2002, a period where I was trying to write a dissertation on his poetry. I spent a lot of time with him then, corresponding and talking to him at length, always keen and pushing to get him to tell me what his poems were about. Of course, he never did. Don’ t think I ever got to know him, really. All this seems a lifetime ago. I’ m now a family physician (a general practitioner in the UK) in a coastal town in England. I’ ve taken a few days off from the COVID calamity and have some time to review the three-volume collection of his work published by Reality Street a few years ago. Volume 1 covers the early years, Volume 2 the 80s, and Volume 3 the period from his move to Seaham, County Durham in northeast England until his death. Here I should attempt do his work some justice, and give an idea, for an American readership, of its worth. Working up to this, I reread much of his poetry, works I hadn’ t properly touched in fifteen years. Going through it again after all that time, I was gobsmacked by its beauty, complexity, and how it continued to burn through a compla- cent and sequestered English poetry scene. -
Real.Izing the Utopian Longing of Experimental Poetry
REAL.IZING THE UTOPIAN LONGING OF EXPERIMENTAL POETRY by Justin Katko Printed version bound in an edition of 20 @ Critical Documents 112 North College #4 Oxford, Ohio 45056 USA http://plantarchy.us REEL EYE SING THO YOU DOH PEON LAWN INC O V.EXPER(T?) I MEANT ALL POET RE: Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy Interdisciplinary Studies by Justin Katko Miami University Oxford, Ohio April 10, 2006 APPROVED Advisor: _________________ Xiuwu Liu ABSTRACT Capitalist social structure obstructs the potentials of radical subjectivities by over-determining life as a hierarchy of discrete labors. Structural analyses of grammatical syntax reveal the reproduction of capitalist social structure within linguistic structure. Consider how the struggle of articulation is the struggle to make language work.* Assuming an analog mesh between social and docu-textual structures, certain experimental poetries can be read as fractal imaginations of anarcho-Marxist utopianism in their fierce disruption of linguistic convention. An experimental poetry of radical political efficacy must be instantiated by and within micro-social structures negotiated by practically critical attentions to the material conditions of the social web that upholds the writing, starting with writing’s primary dispersion into the social—publishing. There are recent historical moments where such demands were being put into practice. This is a critical supplement to the first issue of Plantarchy, a hand-bound journal of contemporary experimental poetry by American, British, and Canadian practitioners. * Language work you. iii ...as an object of hatred, as the personification of Capital, as the font of the Spectacle. -
LITTLE REVIEWS of a Few Books of Poetry Published 1998-2002
LITTLE REVIEWS of a few books of poetry published 1998-2002 Brian Kim Stefans Introduction The “little reviews” that I have been posting to various listservs over the past three years have usually been first drafts -- or rather, “long” drafts -- of anonymous reviews that I wrote for pay for print publications. Usually, an editor would require that I write a 250-350 word review and I would hand in something much longer -- a burden on the editors, of course, and so I owe a great debt to them for permitting me to continue this practice, and also for permission to “republish” the reviews on my web site. My aims are fairly modest: to provide a readable introduction to new books of poetry that are most likely not going to get much attention elsewhere (these are usually “experimental” works but occasionally not), to offer an opinion here or there as to their quality as writing, and to create a sense of a “living culture” for these books to exist in -- all aims that make this type of writing much closer to journalism than anything that could be mistaken for theory, or even “Criticism” with a capital c. (My more ambitious, if occasionally more turgid, critical writing can be found on the misc. writing link above.) I’ve written, at this point, about 120 of these reviews, but many of them won’t appear on the site as I don’t think they’re worth revising, or the books that they dealt with don’t interest me any more. However, I plan to include little reviews which were never rough drafts for print publications and are exclusive to this site. -
Theft of WF's Reputation « Writers Forum Information
Writers Forum Information ambition for the Poetry, not the poet Archive for the ‘Theft of WF’s reputation’ Search Category You are currently browsing the archives for the Theft of WF’s reputation category. Pages The theft of Writers Forum’s name » About Writers Forum Tuesday, August 16th, 2011 » About Writers Forum workshop » Donations to Writers Forum This has been going on for nearly a year and an index to it will be » E-mailing list provided a.s.a.p. » Getting in contact with Writers Forum The following has just been posted on uk.poetry.info where Stephen » Getting to Writers Forum Mooney posted an invitation to our workshops but at an address of his Workshop choosing » Writers Forum magazines » Writers Forum publications in * print » Writers Forum publications in preparation Stephen Mooney has announced a Writers Forum Workshop, yet again » SUBMISSIONS to Writers Forum He is still in no position to do so. Nor to declare a second series. » Interesting links » Writers Forum Workshop It is passing off. It is, as passing off, despite what is said by him and his Schedule herd, illegal under common law, although it is very hard to enforce; Archives beyond that, it is unethical. » February 2019 » July 2018 » May 2018 Create PDF in your applications with the Pdfcrowd HTML to PDF API PDFCROWD » April 2018 On July 3rd 2010, after he had already interfered in the administration of » February 2018 WF and only weeks before he, with others, tried even harder to take » December 2017 over, he emailed me — in reply to my accusation that he was – » November 2017 illegitimately — trying to speak for Writers Forum Workshop for his own » October 2017 benefit. -
436320 1 En Bookbackmatter 189..209
BIBLIOGRAPHY Adorno, Theodor & Max Horkheimer. Dialectic of Enlightenment. Translated by E. Jephcott, Stanford University Press, 2002. Allen, Tim & Andrew Duncan (eds.). Don’t Start Me Talking: interviews with contemporary poets. Salt, 2006. Alvarez, Al (ed.). The New Poetry. Penguin, 1966. Allnut, Gillian et al (eds). The New British Poetry. Paladin, 1988. Anderson, Simon. “Fluxus, Fluxion, Fluxshoe: the 1970s”. The Fluxus Reader, edited by Ken Friedman. Academy Editions, 1998, pp. 22–30. Andrews, Malcom. Charles Dickens and his performing selves: Dickens and public readings. Oxford University Press, 2006. Artaud, Antonin. Selected Writings, edited by Susan Sontag. Strauss & Giroux, 1976 Auslander, Philip. “On the Performativity of Performance Documentation”. After the Act—The (Re)Presentation of Performance Art, edited by Barbara Clausen. Museum Moderner Kunt Stiftung Ludwig Wien, 2005, pp. 21–33. Austin, J.L. How to Do Things with Words: the William Harvey James lectures delivered at Harvard University in 1955. Claredon Press, 1975. Badiou, Alain. Being and Event. Translated by O. Feltman, Continuum, 2007. Bakhtin, Mikhail. Rabelais and His World. Translated by L. Burchill, Indiana University Press, 1984. Barry, Peter. “Allen Fisher and ‘content-specific’ poetry”. New British Poetries: The Scope of the Possible, edited by Robert Hampson & Peter Barry. Manchester University Press, 1993, pp. 198–215. ———. Contemporary British Poetry and the City. Manchester University Press, 2000. ———. Poetry Wars: British poetry of the 1970s and the battle for Earl’s Court. Salt, 2006. © The Editor(s) (if applicable) and The Author(s) 2017 189 J. Virtanen, Poetry and Performance During the British Poetry Revival 1960–1980, Modern and Contemporary Poetry and Poetics, DOI 10.1007/978-3-319-58211-5 190 BIBLIOGRAPHY Blanc, Alberto C. -
Small Press Poetry Collection
Small Press Poetry Collection Alphabetical by press UPDATED MARCH 2019 Numbers 20 Pages 1204. Bernstein, Charles and Susan Bee. The nude formalism. Los Angeles: 20 Pages 1989. 811 Books 998. Corless-Smith, Martin. of the Universe The way things are On the Nature of things The Nature of and being by Lucretius: Incorporating marginalia. [Phoenix, Arizona]: 811 Books [1999] A Aard Press 541. Aaboe, Ruth. Zyzh. London: Aard Press 1978. Abbeygate Books 1339. Cooke, David. On the front. Grimsby: Abbeygate Books 2009. 1340. Cooke, David. Bruegel’s dancers. Grimsby: Abbeygate Books 2009. Acadia Press 484. Adam, Helen. Ballads. Illustrated by Jess. New York: Acadia Press 1964. Active in Airtime 1206. Hawkins, Ralph. Pelt. Brightlingsea, Essex: Active in Airtime 2002. 1219. Hawkins, Ralph. Writ. Colchester: Active in Airtime 1993. Actual Size Press 734. Raworth, Tom. Heavy light. New York: Actual Size Press [1984]. 947. Muckle, John and Ian Davidson. It is now as it was then. London: MICA in association with Actual Size 1983. 1228. De Wit, Johan. Rose poems. [London]: Actual Size 1986. Adam McKeown 1375. Intimacy. Edited by Adam McKeown. Maidstone, Kent: Adam McKeown 1992–1998. Volumes 1–3, 5. Adrian Blamires 1358. Blamires, Adrian. Eliza’s entertainments. [Reading: The Author 2015] Adventures in Poetry 100. O’Hara, Frank. Belgrade, November 19, 1963. New York City: Adventures in Poetry [1972 or 1973] 911. Bernheimer, Alan. The Spoonlight Institute. Princeton NJ: Adventures in Poetry 2009. Afterdays Press 1319. Hullah, Paul and Susan Mowatt. Unquenched. [Edinburgh]: Afterdays Press 2002. Aggie Weston’s 201. Mills, Stuart. ‘There is nothing outside the text’. -
Michael Stevens' the Road to Interzone
“The scholarship surrounding the life and work of William Burroughs is in the midst of a renaissance. Students of Burroughs are turning away from myths, legends, and sensationalistic biographical detail in order to delve deeply into textual analysis, archival research, and explorations of literary and artistic history. Michael Stevens’ The Road to Interzone is an important part of this changing landscape. In a manner similar to Ralph Maud’s Charles Olson’s Reading, The Road to Interzone places the life and literature of “el Hombre Invisible” into sharper focus by listing and commenting on, in obsessive detail, the breadth of literary material Burroughs read, referred to, researched, and reviewed. Stevens reveals Burroughs to be a man of letters and of great learning, while simultaneously shedding light on the personal obsessions, pet theories, childhood favorites, and guilty pleasures, which make Burroughs such a unique and fascinating figure. Stevens’ book provides a wealth of new and important information for those deeply interested in Burroughs and will no doubt prove essential to future scholarship. Like Oliver Harris’ The Secret of Fascination and Robert Sobieszek’s Ports of Entry before it, The Road to Interzone is an indispensable addition to the canon of Burroughs Studies.” -Jed Birmingham “Michael Stevens has created a new kind of biography out of love for William S. Burroughs and love of books. Author worship and bibliophilia become one at the point of obsession, which of course is the point where they become interesting. Burroughs’ reading was intense and far flung, and Stevens has sleuthed out a portrait of that reading--the books Burroughs lent his name to in the form of introductions and blurbs, the books in his various libraries, the books he refers to, the books that found their way into his writing, and much more! Along with lively notes from Stevens, we have Burroughs throughout--his opinions, perceptions, the ‘grain of his voice.’ That in itself makes Stevens’ book a notable achievement. -
Richard Kostelanetz
Other Works by Richard Kostelanetz Fifty Untitled Constructivst Fictions (1991); Constructs Five (1991); Books Authored Flipping (1991); Constructs Six (1991); Two Intervals (1991); Parallel Intervals (1991) The Theatre of Mixed Means (1968); Master Minds (1969); Visual Lan guage (1970); In the Beginning (1971); The End of Intelligent Writing (1974); I Articulations/Short Fictions (1974); Recyclings, Volume One (1974); Openings & Closings (1975); Portraits from Memory (1975); Audiotapes Constructs (1975); Numbers: Poems & Stories (1975); Modulations/ Extrapolate/Come Here (1975); Illuminations (1977); One Night Stood Experimental Prose (1976); Openings & Closings (1976); Foreshortenings (1977); Word sand (1978); ConstructsTwo (1978); “The End” Appendix/ & Other Stories (1977); Praying to the Lord (1977, 1981); Asdescent/ “The End” Essentials (1979); Twenties in the Sixties (1979); And So Forth Anacatabasis (1978); Invocations (1981); Seductions (1981); The Gos (1979); More Short Fictions (1980); Metamorphosis in the Arts (1980); pels/Die Evangelien (1982); Relationships (1983); The Eight Nights of The Old Poetries and the New (19 81); Reincarnations (1981); Autobiogra Hanukah (1983);Two German Horspiel (1983);New York City (1984); phies (1981); Arenas/Fields/Pitches/Turfs (1982); Epiphanies (1983); ASpecial Time (1985); Le Bateau Ivre/The Drunken Boat (1986); Resume American Imaginations (1983); Recyclings (1984); Autobiographicn New (1988); Onomatopoeia (1988); Carnival of the Animals (1988); Ameri York Berlin (1986); The Old Fictions -
Edited by Nico Vassilakis
::EDITED BY NICO VASSILAKIS:: Was there an experience, a specific interaction with visual poetry that infected your brain, made you see language differently or drew you toward exploring vispo further? Is there a vispoem that captured your imagination. What piece first awakened in you the possibility of a visual alphabet/language alternative? That was the general question posed and here are the results. Though this query is overly reductive, the poets were kind enough to choose, for the most part, a singular vispoem as example of this phenomenon. These replies were first collected in Coldfront Magazine where I was serving as Vispo Editor. Thank you participants. Nico Vassilakis 2016 Participants: Amanda Earl derek beaulieu Michael Peters Anneke Baeten Edward Kulemin Michael Winkler Aram Saroyan Francesco Aprile Miguel Jimenez Barrie Tullett Geof Huth Mike Borkent bill bissett Geoffrey Gatza Orchid Tierney Bill Dimichelle Gleb Kolomiets Patrick Collier Billy Mavreas Jeff T. Johnson Scott Helmes Brandon Downing Jesse Glass serkan_isin Brian Reed Joel Chace Stephen Nelson Carol Stetser Karl Kempton Sven Staelens Clemente Padin KS Ernst Tim Gaze Connie Tettenborn Lawrence Upton Tulio Restrepo Crag Hill Louis Bury Vittore Baroni Demosthenes Luc Fierens W. Mark Sutherland Agrafiotis Mark Young Willard Bohn Denis Smith Márton Koppány Amanda Earl / Mary Ellen Solt Zinnia (1964) by Mary Ellen Solt From her Flowers in Concrete series. Not the first visual poem, I’d ever seen, but most likely the first series that left me gobsmacked, made me want to create visual poetry myself. And also made me interested in the idea of the series in visual poetry. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Poetic Experiments and Trans-national Exchange: The Little Magazines Migrant (1959-1960) and Poor.Old.Tired.Horse. (1962-1967) Lila Matsumoto PhD English Literature University of Edinburgh 2013 Thesis Abstract Migrant (1959-1960) and Poor.Old.Tired.Horse.(1962-1967) were two little magazines edited respectively by British poets Gael Turnbull and Ian Hamilton Finlay. This thesis aims to explore the magazines’ contributions to the diversification of British poetry in the 1960s, via their commitment to trans- national exchange and publication of innovative poetries. My investigation is grounded on the premise that little magazines, as important but neglected socio- literary forms, provide a nuanced picture of literary history by revealing the shifting activities and associations between groups of writers and publishers. Drawing on Pierre Bourdieu and Pascale Casanova, I argue that Migrant and Poor.Old.Tired.Horse were exceptionally outward-looking publications bringing various kinds of poetic forms, both historical and contemporary, local and international, to new audiences, and creating literary networks in the process. -
Modern Literature: British Poetry Post-1950
This is a repository copy of Modern Literature: British Poetry Post-1950. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/140828/ Version: Accepted Version Article: O'Hanlon, K (2018) Modern Literature: British Poetry Post-1950. Year's Work in English Studies, 97 (1). pp. 995-1010. ISSN 0084-4144 https://doi.org/10.1093/ywes/may015 © The Author(s) 2018. Published by Oxford University Press on behalf of the English Association. This is an author produced version of a paper published in The Year's Work in English Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 7. British Poetry Post-1950 2016 saw the publication of two major surveys of post-war poetry in the same series: The Cambridge Companion to British and Irish Poetry, 1945-2010, edited by Edward Larrissy, and The Cambridge Companion to British Black and Asian Literature (1945-2010), edited by Deirdre Osborne.