1 month ago
PEELED PENCIL, CHOKE
In 1914 Gertrude Stein published her first prose text „Tender Buttons“. It contains three parts. The title „Peeled pencil, choke“ is derived from the first part called „Objects“. As a friend of Pablo Picasso Gertrude Stein once called these diverse objects portraying textes, still life.
The text from„Peeled pencil, choke“ is so brief as the title itself. It is called „Rub her coke“.
Mrs. Stein always recommended to read her writings aloud. There is a difference whether to speak „Rub her coke“ slow or fast. When spoken too fast the sense will change. When spoken still faster, the words „rub“ and „her“ will be closer.They become the new word „rubber“. And when speaking fast is it difficult to find out whether „coke“ is calling „cock“ or „coat“.
„Rub“ and „her“ and „coke“ contain percussive qualities. „Rub“ is much harder than „her“ but softer than „coke“. „Coke“ could correspond to an intensive footstep on the floor, „rub“ to a banging clap and „her“ to a beat on the chest.
And another thing becomes clear. The reader reading aloud ( in this case a multivoiced choir of loud reading readers) is a bodily active one, a percussive moving reader itself. He reads with hands and feet, or in other words he „wrest“ from the text qualities in a way as if would being in a quarry of language which must be open.
(Poster by Eve Fowler, text by Gertrude Stein, commentary by Thomas Jahn.)

PEELED PENCIL, CHOKE

In 1914 Gertrude Stein published her first prose text „Tender Buttons“. It contains three parts. The title „Peeled pencil, choke“ is derived from the first part called „Objects“. As a friend of Pablo Picasso Gertrude Stein once called these diverse objects portraying textes, still life.

The text from„Peeled pencil, choke“ is so brief as the title itself. It is called „Rub her coke“.

Mrs. Stein always recommended to read her writings aloud. There is a difference whether to speak „Rub her coke“ slow or fast. When spoken too fast the sense will change. When spoken still faster, the words „rub“ and „her“ will be closer.They become the new word „rubber“. And when speaking fast is it difficult to find out whether „coke“ is calling „cock“ or „coat“.

„Rub“ and „her“ and „coke“ contain percussive qualities. „Rub“ is much harder than „her“ but softer than „coke“. „Coke“ could correspond to an intensive footstep on the floor, „rub“ to a banging clap and „her“ to a beat on the chest.

And another thing becomes clear. The reader reading aloud ( in this case a multivoiced choir of loud reading readers) is a bodily active one, a percussive moving reader itself. He reads with hands and feet, or in other words he „wrest“ from the text qualities in a way as if would being in a quarry of language which must be open.

(Poster by Eve Fowler, text by Gertrude Stein, commentary by Thomas Jahn.)

1 month ago
I would like to show those people
Looking forward to cherry blossoms
The green grass hidden in the snow
In early spring.
Cite Arrow Fujiwara no Ietaka
8 months ago
The Book of Goodbyes by Jillian Weise
"In a world where subway cars are filled with passengers staring at tiny screens, where to like something you click something, we are lucky to have Jillian Weise’s new book of poems to take to bed, to take on the bus, to sneak into our pacified English Lit curriculum. The Book of Goodbyes is a narrative, lyric, modern, mash-up of our experience on earth."—Matthew Dickman
"The Book of Goodbyes is in effect a Book of Eternal Returns. The poems lead us through our minute daily-life distractions with a matter-of-fact candor that expands the dimensions of intimacy available to us. Ultimately, the Goodbye itself is the muse here – to leave a thing, an idea, a person, a way of life that limits your own being – and to sing for the process of leaving. Weise helps us understand that when we say goodbye, we leave something in the past as much as in the future—this book is a beautiful lesson in how to do exactly that, and in how the humbleness of doing so is in fact heroic."—Harmony Holiday

The Book of Goodbyes by Jillian Weise

"In a world where subway cars are filled with passengers staring at tiny screens, where to like something you click something, we are lucky to have Jillian Weise’s new book of poems to take to bed, to take on the bus, to sneak into our pacified English Lit curriculum. The Book of Goodbyes is a narrative, lyric, modern, mash-up of our experience on earth."
—Matthew Dickman

"The Book of Goodbyes is in effect a Book of Eternal Returns. The poems lead us through our minute daily-life distractions with a matter-of-fact candor that expands the dimensions of intimacy available to us. Ultimately, the Goodbye itself is the muse here – to leave a thing, an idea, a person, a way of life that limits your own being – and to sing for the process of leaving. Weise helps us understand that when we say goodbye, we leave something in the past as much as in the future—this book is a beautiful lesson in how to do exactly that, and in how the humbleness of doing so is in fact heroic."
—Harmony Holiday

9 months ago
interwar: B is for Bad Poetry, Pamela August Russell
1 year ago
Jane Gregory’s My Enemies records a poet’s search for meaning in a landscape of combined and dissolving definitions. Affirming disaster and its beyond, these poems sing toward belief — a self-made belief that will not rely on any static symbol or logic or idol.  Gregory’s dynamic, unpredictable enactments of the modern world avow vulnerability to a belief compatible with self-consciousness. Sometimes triumphant, sometimes overcome or self-ruinous, My Enemies never halts in its search for definition, even when it claims to not have been written—as in the serial “Book I Will Not Write” poems. Each poem here establishes a new, necessary material and mode for our uncertain world that can offer its readers something to believe in; despite forces internal and external that try to undo us, Gregory’s poems redo that undoing until “my enemies” becomes instead “my eyes many,” a new sonic way of seeing.
 "When Jane Gregory speaks of ‘enemies’ she speaks of those elements that (following Valery) ravage books and people alike: fire, humidity, wild animals, time, and their own inner content. Gregory knows how to let those elementals run free in her own words, and to make a friend of their disequilibrating energy. Her work renews romanticism in the twilight of time, knowing that even the spelling of words is the spilling of everything they cannot say. Here, the poet has overwritten the multiples of her ‘Book I Will Not Write’ with ‘the fire in the ocean’ - with words that, reduced to their very atoms, ‘in the dark: s,i,n,g.’" -Andrew Joron

Jane Gregory’s My Enemies records a poet’s search for meaning in a landscape of combined and dissolving definitions. Affirming disaster and its beyond, these poems sing toward belief — a self-made belief that will not rely on any static symbol or logic or idol.  Gregory’s dynamic, unpredictable enactments of the modern world avow vulnerability to a belief compatible with self-consciousness. Sometimes triumphant, sometimes overcome or self-ruinous, My Enemies never halts in its search for definition, even when it claims to not have been written—as in the serial “Book I Will Not Write” poems. Each poem here establishes a new, necessary material and mode for our uncertain world that can offer its readers something to believe in; despite forces internal and external that try to undo us, Gregory’s poems redo that undoing until “my enemies” becomes instead “my eyes many,” a new sonic way of seeing.

 "When Jane Gregory speaks of ‘enemies’ she speaks of those elements that (following Valery) ravage books and people alike: fire, humidity, wild animals, time, and their own inner content. Gregory knows how to let those elementals run free in her own words, and to make a friend of their disequilibrating energy. Her work renews romanticism in the twilight of time, knowing that even the spelling of words is the spilling of everything they cannot say. Here, the poet has overwritten the multiples of her ‘Book I Will Not Write’ with ‘the fire in the ocean’ - with words that, reduced to their very atoms, ‘in the dark: s,i,n,g.’" -Andrew Joron

1 year ago

Brautigan fastidiously controlled each novel’s jacket, typography, layout, and even promotional materials. Such powers, rarely bestowed on any author, resulted in the Brautigan brand, arguably more famous than anything in the books themselves. The cover photo for Trout Fishing in America is exemplary: in front of the Benjamin Franklin statue in San Francisco’s Washington Square Park, Brautigan appears like a Gold Rush prospector, his girlfriend at his side in style. For his friend Keith Abbott, the photo displays “His open, cheerful, confident expression … characteristic of his belief in his prospects, while his blue work shirt displays the uniform of artistic poverty”. The increasingly beautiful girlfriends, who always joined the author on his covers, were integral to his mystique. (via)

Richard Brautigan’s Trout Fishing in America

1 year ago
Ships that pass in the night, and speak each other in passing,
Only a signal shown and a distant voice in the darkness;
So on the ocean of life we pass and speak one another,
Only a look and a voice, then darkness again and a silence.
Cite Arrow Henry Wadsworth Longfellow
1 year ago

Tom Waits recites “The Laughing Heart” by Charles Bukowski

2 years ago
Raymond Carver on Happiness

Raymond Carver on Happiness

2 years ago