Third Factory/Notes to Poetry

art is autonomous

Attention Span 2012 | Erika Staiti

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Clark Coolidge | The Crystal Text | Sun and Moon | 1995

One morning in June, I pulled this off a bookshelf and read parts of it while lying on the living room couch. I do this every couple of years. Someday I would like to read the whole book in one sitting, though I think that might be impossible. It’s crystalline—you can’t see the whole thing at once, you can only take partial views into its center. It’s too bright. Not bright, sharp. It is dull but luminous. The language is like white noise, unassuming but persistent.

Samuel R. Delany | Dhalgren | Vintage | 2001 (orig pub 1974)

This is the central book of my year. Always throw a big ass crazy novel into the mix. I’ve often thought I would like to live in a place that was cut off from the rest of the world, but now I’m not so sure. Bellona is dirty and alluring. Dhalgren has been haunting me since the day I picked it up and it continues to linger. 801 pages and I’m about 500 in. I have to take breaks. When I first started, I read it every morning and night for many days in a row and I almost went insane. I might always remember Oakland 2012 as DHALGREN.

Eiko and Koma with the Kronos Quartet | Yerba Buena Center for the Arts | 2012

Performance as text. I sat transfixed while Eiko and Koma lay naked on a bed of dirt with the Kronos Quartet playing behind them, their movements so slow I could hardly track them. I watched with painful attentiveness, like a close reading of movement and stillness, rhythm and structure and syntax. Four hours later, walking out onto Mission and 3rd was a jarring shock to the senses. When art transports you to a different universe, it is a rare thing. This was an epic.

Samantha Giles | deadfalls and snares | Futurepoem | forthcoming 2013

Bold enough to go places that most people can’t, or don’t want to. SG’s first book (Hurdis Addo, Displaced Press, 2011) is an elegy for every person murdered in the city of Oakland, CA in 2006. deadfalls and snares deals with Abu Ghraib tortures. I often find the writing on such issues of public trauma to be cliché or sensationalist or just plain bad, but Giles opens up a space that not only complicates an issue, but also challenges readers to consider their relationship to it as victims, perpetrators, and onlookers.

Ariel Goldberg | The Estrangement Principle | 2012

Staggering number of references in this chapbook-length text, a series of musings by Ariel Goldberg on the label “queer” as used by and applied to artists and writers. Expanded aphorisms threading slantwise through a conclusion that has yet to be reached, that is perhaps unreachable. The thing I love about this piece is that some of it perfectly articulates thoughts of my own, while other parts cause me to shake my head or cringe with disagreement. This is an honest text. It’s raw. It preserves the juiciness of its subjects. It doesn’t attempt mastery. It is not making a corpse out of the art or culture it critiques. The questions it asks have immediacy and vitality. This is an evolving program and I can’t wait for the next version.

Pamela Lu | Ambient Parking Lot | Kenning Editions | 2011

The long-awaited Ambient Parking Lot arrives, toting with it an amorphous group of ambient musicians exuding smugness and self-satisfaction, anxiety and paranoia, revelry and disillusionment. They are a singular character embodying a WE. In the center of the book, an anecdote spans 50 pages–a sustained bravado, a tale of adventure and heartache, an individual belting his story out beyond the backdrop of the Ambient Parkers. Then, a radio interview with a dancer and former collaborator of the Ambient Parkers enfolds them in a new self-consciousness–the sudden realization that they have been seen and judged by others, not merely by themselves.

kathryn l. pringle | Fault Tree | Omnidawn | 2012

One of the obsessions of this book is TIME. The narrator cannot escape time, and cannot make sense of it. I believe kathryn l. pringle has invoked a narrator so powerful that he influenced the actual text to resist conventions of temporality as well. There is no beginning, middle, or end. It is circular in a way that makes me feel almost as paranoid as the narrator. I have read this book many times, heard it read many times, I even lived alongside its creation, and yet every page, though familiar in the moment I encounter it, seems to appear in a different place each time I return. The entirety of the book takes place in one moment. The MOMENT. I encourage you to revisit KP’s first book RIGHT NEW BIOLOGY (Factory School, 2009), as it might make a little more sense now, or if not now, it will soon.

Viktor Shklovsky, trans. Shushan Avagyan | Bowstring: On the Dissimilarity of the Similar | Dalkey Archive | 2011 (orig. pub 1970)

Hadn’t read anything by Shklovsky besides Zoo but now that will change. I am already having intense feelings about this book and I only just started reading it. Trying to fathom Shklovsky’s life in the Soviet Union through the greater part of the 20th century. Looking at his style, words, anecdotes, and criticisms with enthusiasm and relief. He is offering me alternatives to the mundane. He offers new questions. I think being moved to consider new questions is a good thing. Potentially life saving.

Suzanne Stein | Tout va bien | Displaced | 2012

The excitement I felt upon reading through this book I cannot say I feel very often. I see this work/collection as its own living and breathing organism that I can hold, have conversations with, listen to, grapple with, consider and reconsider. I deeply appreciate its architecture. I appreciate the moves it makes, its gestures. It is free, literally.

Cecilia Vicuña | SABORAMI | Chain Links | 2012

The re-release of this collection of writing, drawings, painting, and ephemera by Cecilia Vicuña after the death of Salvador Allende couldn’t come at a more perfect time. Her live performance in February of SABORAMI at Small Press Traffic in San Francisco included text, voice (in song/words/whispers), projected visual imagery, storytelling, and inspiration from this luminous spirit that is Cecilia Vicuña.


This is Erika Staiti’s first contribution to Attention Span. Return to 2012 directory.

Written by Steve Evans

November 19, 2012 at 10:30 am

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