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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. -
Modern and Contemporary Poetry and Poetics
Modern and Contemporary Poetry and Poetics Series Editor Rachel Blau DuPlessis Temple University Philadelphia, Pennsylvania, USA Modern and Contemporary Poetry and Poetics promotes and pursues topics in the burgeoning field of 20th and 21st century poetics. Critical and scholarly work on poetry and poetics of interest to the series includes social location in its relationships to subjectivity, to the construction of authorship, to oeuvres, and to careers; poetic reception and dissemination (groups, movements, formations, institutions); the intersection of poetry and theory; questions about language, poetic authority, and the goals of writing; claims in poetics, impacts of social life, and the dynamics of the poetic career as these are staged and debated by poets and inside poems. More information about this series at http://www.springer.com/series/14799 Luke Roberts Barry MacSweeney and the Politics of Post-War British Poetry Seditious Things Luke Roberts King’s College London London, United Kingdom Modern and Contemporary Poetry and Poetics ISBN 978-3-319-45957-8 ISBN 978-3-319-45958-5 (eBook) DOI 10.1007/978-3-319-45958-5 Library of Congress Control Number: 2017930177 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. -
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. -
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. -
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. -
Introduced by Sam Ladkin & Robin Purves
SAM LADKIN & ROBIN PURVES Four from Britain This introduction aspires to be a brief but accurate guide to the devel- opment of poetry in the uk over the last fifty years or so as it informs the work of the four poets collected in this issue of Chicago Review. Though this is almost certainly the first opportunity for this journal’s readers to engage with the often startling and unfamiliar work of these poets, we want to avoid offering the kind of reassuring exposition that seriously blunts the impact of the poetry, which is designed to confront and unsettle. The poets do not deserve to be smothered in coyness or slick generalization from the outset, so here we aim merely to provide a narrative which eventually but not of necessity leads to them, and to issue a handful of coordinates with which to navigate their very different approaches to their art. The best guides to reading the poetry are undoubtedly the poems themselves, in the seductions and resistances they set up for each reader. § After the Second World War, the experimental arts in Britain were shrunk, or shrunk themselves, to a more-or-less invisible fringe, thanks in part to a readiness to identify linguistic experimentation with the varieties of political extremism which had been waging war in Europe and elsewhere. The poetry ascendant in the early 1950s had vestigial roots in the most mundane elements of Auden’s and Eliot’s modernism, which were combined with the disenchantment and sentimental stoicism of pre-modernists like Arnold and Hardy. This new tendency in poetry was not, therefore, conceptualized as an advance on modernism but as a deliverance from it, a restoration of values that Pound and his affiliates were seen as having scorned: lucidity, mildness, accessibility, etc. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. 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 Please visit Sussex Research Online for more information and further details J.H. Prynne in Context, 1955–1975 Louis Goddard Thesis submitted for the degree of Doctor of Philosophy University of Sussex September 2016 1 Contents Front Matter 3 Summary . 3 Declaration . 3 Acknowledgements . 4 Note on the text . 4 Introduction 5 Chapter 1. ‘The contemporary situation here in England’ 12 i. Introduction . 12 ii. Donald Davie and Charles Tomlinson . 14 iii. F.R. Leavis . 26 iv. May Day and Metaphor . 35 v. Conclusion . 45 Chapter 2. ‘The inter-modifying force of open argument’ 49 i. Introduction . 49 ii. Prynne and little magazines, 1955–1966 . 53 iii. The role of prose . 60 iv. ‘A Note on Metal’ . 66 v. Conclusion . 77 Chapter 3. ‘The idea of perfection’ 86 i. Introduction . 86 ii. Wyndham Lewis . 87 iii. Douglas Oliver . 92 iv. Edward Upward . 98 v. ‘The Plant Time Manifold Transcripts’ . 105 vi. Conclusion . 115 Conclusion 122 Bibliography 132 Archival material . 132 Thomas J. Dodd Research Center, University of Connecticut . -
Basil Bunting E T Les Métamorphoses D E L A
L'Atelier 6.2 (2014) La Transmission B ASIL BUNTING ET LES MÉTAMORPHOSES DE LA TRANSMISSION CLAIRE HÉLIE Université de Lille 3 – Charles de Gaulle 1. Parmi les nombreuses anecdotes que Basil Bunting aimait à raconter, il en est une qui met en scène un fantasme de transmission de poète lauréat (ou du moins éternel dauphin) à poète en herbe : My father used to take me up to Capheaton sometimes and he knew some of the Swinburnes. We walked about the park and looked at the lake and so forth and it’s just chance that when I was a small boy Swinburne never had met me. He’d do what he would always have done, what he did to all the children on Putney Heath: he’d pat me on the head and present me with half a crown. And that would have been very interesting to me because when he was a little boy of eight or nine, as I, he was taken to Grasmere where he met an old gentleman who patted him on the head, but did not offer him half a crown – he was too frugal – and that was William Wordsworth! and I thought that a splendid thing!1 2. La nature sans doute apocryphe de ce récit ne déprécie en rien la valeur que Bunting accordait à cet acte de transmission, fondateur de son identité poétique. S’y retrouvent tous les éléments d’un rite de passage : la figure paternelle qui non seulement initie le fils à la randonnée mais l’intronise aussi au cercle fermé des aristocrates locaux ; la main passée dans les cheveux de l’enfant qui évoque moins un geste de tendresse qu’une cérémonie d’adoubement ; l’octroi d’une demi- couronne qui fonctionne comme un σύμβολον2, un symbole de reconnaissance ouvrant à une confrérie ; la couronne elle-même dont on peut penser qu’elle est, dans l’esprit du poète du moins, moins d’argent que de lauriers ; la répétition du geste à travers les âges qui transforme cet acte en rituel ; enfin, la référence à une figure tutélaire par qui tout a commencé, Wordsworth. -
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. -
Contemporary Poetry: Poets and Poetry Since 1990 Ian Brinton Frontmatter More Information
Cambridge University Press 978-0-521-71248-4 - Contemporary Poetry: Poets and Poetry since 1990 Ian Brinton Frontmatter More information Contexts in Literature Contemporary Poetry: Poets and Poetry since 1990 Ian Brinton Series editor: Adrian Barlow © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-71248-4 - Contemporary Poetry: Poets and Poetry since 1990 Ian Brinton Frontmatter More information CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK www.cambridge.org Information on this title: www.cambridge.org/9780521712484 © Cambridge University Press 2009 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2009 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library ISBN 978-0-521-71248-4 paperback Editorial management: Gill Stacey Cover illustration: Joy at death itself 5, 2002 Indian ink, gouache and crayon on paper 152 x 102cm Courtesy of the artist, Ian Friend, and Andrew Baker Art Dealer, Brisbane. Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables and other factual information given in this work are correct at the time of first printing but Cambridge University Press does not guarantee the accuracy of such information thereafter.