Archive for October 2010
Attention Span 2010 – Paul Stephens
Seth Price | How to Disappear in America | Leopard | 2008
The ultimate how-to guide for the hobo Houdini in us all. The book itself has almost disappeared from circulation—for now at least, it can be ordered online from Ooga Booga.
Robert Kelly | Fire Exit | Black Widow | 2009
R Kelly may have reached the height of his fame in the 70s; he may be reaching the height of his powers in his 70s. The strongest case yet made against flarf….
Monica de la Torre | Public Domain | Roof | 2008
Will the real Monica de la Torre please stand up? An important addition to the growing pantheon of conceptual writing.
Miles Champion | Eventually | The Rest Press | 2008
The cover, the endpapers, the front matter, the body, the colophon…. A true chapbook de résistance.
Stuart Bailey, ed. | Dot Dot Dot 18 & 19 | Dexter Sinister | 2009-2010
The ne plus ultra of contemporary meta-journal design. Not well enough known among poetry types, Dot Dot Dot regularly features writing by Seth Price, Angie Keefer, Liam Gillick and more. Conceptual? Relational? Quasi-conceptual? Or all of the above.
Clark Coolidge | The Act of Providence | Combo | 2010
The graphomanic master returns with a hometown epic. In the grand tradition of Maximus and Paterson—sort of.
Chris Burnett | SprawlCode: descriptions | Preacher’s Biscuit | 2006
Got forty dollars burning a hole in your pocket? You could buy one share of BP and hate yourself. Or you could procure this beautifully printed, brilliantly conceived book that somehow hasn’t yet sold out, despite having been printed in an edition of only 100 copies. Consider cornering the market. (Special shout out also to Journal of Artists’ Books 24 edited by Craig Dworkin and Kyle Schlesinger, which features a fascinating meta-road trip dialogue between Burnett and Tate Shaw.)
Reza Negarestani | Cyclonopedia: Complicity With Anonymous Materials | re: press | 2008
Page turning theory-fiction. One part Bataille, one part Deleuze, one part Said, one part Pynchon: put them in a blender and you have an inimitably paranoid critique of the global petrocracy as seen from the perspective of the underground noosphere.
Drew Daniel | 20 Jazz Funk Greats | Continuum | 2008
A completely engrossing account of Throbbing Gristle’s 20 Jazz Funk Greats. Just the right mix of fandom and critical distance. Read it as you listen to the album—you won’t be bored.
Larry Eigner, ed. Curtis Faville and Robert Grenier | Collected Poems | Stanford | 2010
Who wants a wi-fi Kindle for $139 when you can have the four-volume Collected Poems of Larry Eigner? At $120, 3,072 poems comes out to less than four cents each. A bargain in disguise.
Attention Span 2010 – Benjamin Friedlander
Ralph Waldo Emerson, ed. Lawrence Rosenwald | Selected Journals 1820-1842 and 1841-1877 | Library of America | 2010
Memory is the ultimate power, it “holds together past and present, beholding both, existing in both, abides in the flowing, and gives continuity and dignity to human life.” The slackening of that power tells the story—or rather, withholds the story—of Emerson’s final years, in which he suffered from dementia, and which he passed, in part, by rereading these journals.
Herman Melville, ed. Robert C. Ryan, Harrison Hayford, Alma MacDougall Reising, G. Thomas Tanselle; historical note by Hershel Parker | Published Poems: Battle-Pieces, John Marr, Timoleon | Northwestern UP | 2009
Though you wouldn’t think so from their prose, Emerson is the more sensational poet; Melville, the more metaphysical. Even in Battle-Pieces, he attempts to worry the essence of a truth. Which isn’t quite right: his poetry is too adept, too carefully worked, to be a mere attempt; it’s we who do the worrying. Assured as a sailor’s knot. And just as unlovely—unless you love knots.
K. Silem Mohammad | Sonnagrams | Slack Buddha | 2009
From one point of view—mine increasingly—craft is the ability to shape a meaningful context for interesting words. And it’s in this sense that Mohammad lives up to his model. The Bard he takes apart letter by letter, leaving everything changed except the form, had a mammoth vocabulary, and little fear (at least on stage) of the vulgar. But Mohammad has less fear. And more laughs.
Aífe Murray | Maid as Muse: How Servants Changed Emily Dickinson’s Life and Language | U of New Hampshire P | 2009
For a hundred years biographers have overturned stones looking for Emily’s lovers while the ones who knew all the secrets stood invisibly in the shadows. This lovingly researched book helps to part those shadows. A story worthy of James: the hiring of Margaret Maher, fought over by two rich families. Worthy of Tillie Olsen: the poet’s funeral, her white casket hefted by Irish servants. Out the back door and across the fields, a final concession to visibility.
The Charles Olson Research Collection | Thomas J. Dodd Research Center | University of Connecticut Libraries | Storrs
Free with visitors and unimaginably wealthy in unpublished material, the Olson Archive, like the Rembrandt Museum, or Stonehenge I suppose, is well worth a trip across the world. Even with a finding aid, there are plenty of surprises—the papers are organized in service to their editing, which is to say their own logic is subordinated to hierarchies of genre. Which are often arbitrary, even whimsical: notebooks are scattered all through the collection, sometimes marked as notebooks, sometimes as prose, sometimes as poetry. I even found a heavily annotated copy of a John Wieners book marked as poetry, because of a few lines of verse on the inside cover. All of which makes reading into a kind of archaeology. Do you like digging? You will dig it.
Tom Raworth | Windmills in Flames: Old and New Poems | Carcanet | 2010
I wish I could be satisfied with a poem, but what I really seek to know is the mind that made it. And minds I like as little as poems when there’s no body to hold them, no world for the body, no history for the world. Some poets give you their world, or give you their response to it, and some call you into the world, or from it, with a voice that has as much meaning or matter as any discourse. Raworth is the former, but in a manner so unique as to seem the latter. Almost a sonar, sending you back minute-by-minute information, his narration is almost never enough, but has to be heard, a ping-ping-pinging … a sounding that gives you an object and its motion, with little time to react.
Tom Raworth | Earn Your Milk: Collected Prose | Salt | 2009
Turning to Raworth’s prose from his poetry is a little like clicking on the plus sign on Google maps, watching the world grow larger within a shrinking horizon, ever more knowable. At one point, there are even street names. Hell, there are even directions available. It’s the same world, but close up. I’d call it comfy, but that’s going way too far.
T. D. Rice, ed. W. T. Lhamon Jr. | Jim Crow, American: Selected Songs and Plays | Harvard UP | 2009
Blackface minstrelsy has always been disreputable, but before it became synonymous with racial domination it formed the cutting edge of popular culture—and Rice, if anyone, held the blade. Hard to believe this is the first collection of writings to bear his name on the cover.
Lisa Robertson | R’s Boat | U of California P | 2010
Robertson’s poetry is tactile; and dense, but pliable. Reading it is a little like pressing one’s way through a spongy medium, like a fly in marmalade. Alive in a substance that nourishes, or suffocates; that has to be escaped. Except that this is language, not jam, so Robertson abets our escape, guiding our senses beyond the medium, toward a world of imagination, possibility, desire.
Gianni Vattimo with Piergiorgio Paterlini, , trans. William McCuaig | Not Being God: A Collaborative Autobiography | Columbia UP | 2009
The story of a professor’s life, which is to say: a life of the mind lived as something other than the spirit of history. “Although a decent knowledge of languages has helped me along in life, I confess that vis-à-vis Gadamer I felt like a worm. As far as I could tell, the only one who understood less than me was a beautiful prince from some African tribe, whom I tried to seduce. Unsuccessfully, because of the language barrier.” A bit of a feint, since Vattimo understood well enough—he was the first to translate Truth and Method. Thus: “Gadamer in the end is a watered down Hegelian, like me.” Which is only deprecatory if you want to be God—modesty is Vattimo’s own truth and method. Making him a good seducer; and this, a thoroughly likeable book.
Albery Allson Whitman, ed. Ivy G. Wilson | At the Dusk of Dawn: Selected Poetry and Prose | Northeastern UP | 2009
The most ambitious African American poet of the nineteenth century, formally speaking, and the most prolific up until Dunbar (with whom he shared a stage at the Chicago World’s Fair), A. A. Whitman is hardly known, even to experts. Born a slave in Kentucky, he became a pastor in the A.M.E. church, publishing six volumes of verse between 1871 and 1901, the first of which is no longer extant. But despite his church affiliation, there is little religion in his poetry. For the most part, he’s a cultural nationalist, a little like Tolson, who shares Whitman’s narrative scale and sense of form. Not to give any false impression of Modernism: this is a poetry indebted to Bryant’s neoclassical side. It’s a shame that all four long poems appear in extract—that this could not be a Collected (especially since the book is already too expensive for casual purchase)—but what a gift to have any edition at all, especially one so scrupulously researched. Opening this book makes the nineteenth century a little larger.
More Benjamin Friedlander here. His Attention Span for 2009, 2008, 2007, 2006, 2005, 2004, 2003. Back to directory.
