Attention Span 2010 – Patrick F. Durgin

Tan Lin | Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking [AIRPORT NOVEL MUSICAL POEM PAINTING FILM PHOTO HALLUCINATION LANDSCAPE] | Wesleyan | 2010

I wrote the following blurb for Tan’s metadata event: Tan Lin is the first poetic conceptualist with personality; it is no wonder he has paid scholarly attention to Eliot. But what was tradition has dissipated, as if it so needed, into detritus, and that cultural clog of ingredients are what you find “controlled” in SCV. In my estimation, this is the best book of poetry written yet this century, and precisely because the politics it demands are yet to come, but their context already so familiar.

Christine Wertheim, ed. | Feminaissance | Les Figues | 2010

One of several anthologies that have been useful to me in unexpected ways, the others include The Oxford Book of Latin American Poetry, and…

Brenda Iijima, ed. | eco language reader | Nightboat | 2010

Several things seem to be coming together lately: ecological thinking, somatics, conceptualism (updated, or exploited, depending), feminism, and it’s all here. What’s great about how this collection is comprised and presented is that it posits a center and clarifies the radius of sources past and present for making a foray—you don’t just sit there and absorb, as we say, “the material.” It invites practical pluralities of response. Praise seems beside the point.

Andrew Levy | Cracking Up | Truck | 2010

An old favorite (of a poet) from a new press. The cover shots of Ann-Margaret doing “Bye Bye Birdie” perfectly illustrate the methodically coagulated spurts of late-capitalist wisdom in these pages.

Hannah Weiner | Page | Roof | 2002

I typeset this book almost a full decade ago. Now I am rereading it for a talk I am preparing to give. I have always thought it deserved as much attention as Clairvoyant Journal. It is a family drama—practically no name-dropping, which might explain why it is overlooked and why, as a new father, I have that much more interest in cracking it.

Ayane Kawata, trans. Sawako Nakayasu | Time of Sky & Castles in the Air | Litmus | 2010

I have nothing but admiration for Nakayasu’s work as writer, translator, and editor. But this one, I wish it’d gotten to me before I ordered the books for my “20th Century Writing by Women: A World View” course. I did manage to fit in Werewere Liking, Mahasweta Devi (though not Breast Stories—why let it go out of print, fools?!), Nicole Brossard, and other old favorites. Kawata is a new favorite, though I have so little context for saying so, or understanding why, exactly, I feel this way. I chalk much of it up to Nakayasu’s skill as a translator, though. After all, I need a translator, thus I have some basis for evaluating it. Maybe Kawata is proto-A Tonalist

Laura Moriarty | A Tonalist | Nightboat | 2010

Unlike Cole Swensen, who blurbs the book, I wouldn’t set Moriarty’s work under the oft-speculated upon third way rubric. She knows her history too well—Laura, I mean. What’s important to me about this book is how the concept unfurls, and what it seems capable of including, e.g. one of the sharpest critical assessments of how aesthetic communities are born, function, and die. So the book is, a lot like Tan Lin’s book in this list, both a joy to read and a compelling challenge to believe. And so it’s sort of what’s missing from conceptual writing in its current phase, as opposed, say, to the half-step between language and “uncreative” writing: Jackson Mac Low or Hannah Weiner. It also manages to be attractive, i.e. that moment you realize you won’t look up from a page you’re reading to see whose face emits that voice you just heard, and, the writing now victorious, the lyric “voice” is decisively overthrown. As for myself being included in an A Tonalist clan, I defer to Brent Cunningham’s remarks on the matter.

Fiona Kumari Campbell | Contours of Ableism | Palgrave Macmillian | 2009

I’m working on a project concerning “post-ableism,” and this is the first book to take on the converse with a satisfying scope. I don’t agree with the entirety of her argument. And it could have used a sustained sitting with a copyeditor before going to print. But it’s a good continuation of what people like Simi Linton, Lennard Davis, Tobin Siebers and Michael Davidson have begun.

Eduardo Kac | Signs of Life: Bio Art and Beyond | MIT | 2007

This takes me from the “post-ableism” project to the next big essay I’m writing, this time on “New Life Writing.” New Life Writing is not bio art, but sometimes it gets awfully close.

Marquard Smith and Joanne Morra, eds. | The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future | MIT | 2006

Just when he was getting somewhere with disability by devising a new critical category, “dismodernism,” Lennard Davis organized a highly publicized sidestep to “biocultures,” from which he has never returned. I came to this book initially as part of a disability studies reading group in Chicago, and we read Vivian Sobchack’s essay “A Leg to Stand On: Prosthetics, Metaphor, and Materiality.” In it, she uses the metaphor/metonymy distinction to say something brilliant (though abrupt) about somatics. Someone ought to link that discussion back to dismodernism, right? I tried, but have since moved on to the other essays, all of which are pretty great.

Marc Bosquet | How the University Works | NYU | 2007

“1. We are not ‘overproducing Ph.D.s’; we are underproducing jobs. 2. Cheap teaching is not a victimless crime. 3. Casualization is an issue of racial, gendered, and class justice. 4. Late capitalism doesn’t just happen to the university; the university makes late capitalism happen.” It is also ruining my life.

More Patrick Durgin here. Durgin’s Attention Span for 2007, 2005. Back to 2010 directory.

Attention Span 2009 – Michael Hennessey

Paul Blackburn | The Cities | Grove Press | 1967

I didn’t gain a full appreciation for Blackburn’s woefully out-of-print work until I put together his PennSound author page. Recently, I tried to sum up what I loved most about his work, and came up with this list: “his sharp urban observations, his unbridled (and unabashed) lusts, his ability to discern providence and wisdom in the everyday, his deadpan humor and accurate ear for speech, sound and music.” Here it all is in one generous and welcoming collection.

CA Conrad | The Book of Frank | Chax Press | 2009

I like to think of The Book of Frank as one of the best novels I’ve read this year— while the title character’s story is told through dozens of poetic vignettes, rather than straight prose, it’s a clear, complex and compelling narrative that draws us in instantly. As a general rule, I adore anything Conrad writes, but here (and also in this year’s Advanced Elvis Course) a malleable singular concept and generous length allows him to indulge every facet of the story, yielding a marvelous work that’s simultaneously hilarious and absurd, campy and macabre, sympathetic and shocking.

Tracy Daugherty | Hiding Man: A Biography of Donald Barthelme | St. Martin’s Press | 2009

A fitting and long-overdue homage to the postmodern master, right down to the dozens of short attention span chapters, which beg readers to dip in at any point and keep going. Daugherty deconstructs Barthelme’s dense metafictional collages, providing valuable insights into his work process, while never diminishing the original stories’ magic for readers. Moreover, he provides a shockingly candid portrait of the man behind the pen.

Stanley Donwood & Dr. Tchock (Thom Yorke) | Dead Children Playing | Verso | 2007

The visual aesthetic surrounding Radiohead (the work of Stanley Donwood and frequent collaborator, and frontman, Thom Yorke) is almost as formidable as their musical genius. In this slim but powerful portfolio, we finally get a chance to see the larger series of paintings from which those iconic album covers were selected (thankfully reproduced larger than the five inch squares we usually see them in) and hear the artist discuss his diverse inspirations (the Kosovo war, media saturation in the U.S., Viking king Canute). If, in a digitized society, we’re continually moving away from the record album as physical artifact, it’s heartening to see these images treated not as ancillary decorations, but rather as worthy objects of our attention.

Lawrence Lessig | Remix: Making Art and Commerce Thrive in the Hybrid Economy | Penguin | 2008

Lessig’s groundbreaking work on the overlap between creativity and legality in the internet age (along with Siva Vaidhyanathan’s) has greatly shaped my approach to the work we do at PennSound, as well as my own aesthetic sense. This volume (his swan song on the topic) offers his most hopeful vision yet for a potential future of unbridled culture, along with a chilling portrait of the alternatives we face if we don’t wise up.

Bernadette Mayer | Poetry State Forest | New Directions | 2008

While Mayer’s voice has been consistently strong throughout her long writing life, I find myself increasingly fond of her most recent work, both this volume and her last, Scarlet Tanager. As vast as its title image, this collection can ably accommodate a wide array of modes—personal, political, elegiac, experimental—further blurring the boundaries between writing and everyday life. As always, Mayer ambitiously explores poetry’s rich potential and invites us to do the same.

Ted Morgan | Literary Outlaw: The Life and Times of William S. Burroughs | Henry Holt & Company | 1988

My guilty-pleasure “beach reading” on a long cross-country trip this summer—I picked it up almost without thinking and couldn’t put it down. Morgan’s done his research, takes fruitful detours and has insider’s info, but it’s the sharp and mildly catty tone that makes this illuminating bio so addictive.

Tim Peterson | Since I Moved In | Chax Press | 2007

Throughout this startling debut, but particularly in its longer suites (“Trans Figures,” “Sites of Likeness,” “Spontaneous Generation”), I’m reminded of Barthes’ privileging of habitability as a fundamental aesthetic goal in Camera Lucida. Here, I continually discover places, emotions, personae, that I want to climb inside and stay with for a while.

Frank Sherlock | Over Here | Factory School | 2009

I’ve loved many of these poems since they originally appeared in chapbook form, but it’s wonderful to have them collected under one cover, with some strong new material added to the mix.  Sherlock’s work often reminds me of Jean-Michel Basquiat (invoked in “Daybook of Perversities and Main Events”), in that both share a sharp ear for street language, and know how a few perfectly placed words or phrases can set off a vivid image, though here, the sights are all conjured in our heads.

Hannah Weiner, ed. Patrick Durgin | Hannah Weiner’s Open House | Kenning | 2006

Was this book disqualified from further praise after last year’s survey? Durgin’s empathetic understanding of Weiner’s work makes this a wonderful standalone volume, as well as an eye-opening introduction to her broader body of work. I can’t quite quantify the effects this book has had upon my own work, the doors it’s opened.

More Michael Hennessey here.

Attention Span – Marie Buck

Helen Adam, ed. Kristin Prevallet | A Helen Adam Reader | National Poetry Foundation | 2007

Jules Boykoff | The Slow Motion Underneath | The Dusie Kollektiv | 2007

If you can’t buy a hardcopy, you can download Boykoff’s poems here.

Martha Dandridge Custis, Lawrence Giffin, eds. | Comment is Free, Vol. 1: Participatory Politics for a New Age | Lil’ Norton | 2008

Jean Day | Odes & Otium | Adventures in Poetry | 2006

Johanna Drucker | Night Crawlers on the Web | Granary | 2001

Mina Loy, ed. Roger L. Conover | The last lunar Baedeker | Jargon Society | 1982

Make sure to get the 1982 edition, not the more recent (which has the same editor and is titled nearly the same thing). The 1982 edition is considerably bigger, for one. (You may need to go to a really good library to find it.)

K. Silem Mohammad | Breathalyzer | Edge | 2008

Gabriel Pomerand, trans. Michael Kasper and Bhamati Viswanathan | Saint Ghetto of the Loans: Grimoire | Ugly Duckling | 2006

Leslie Scalapino | That They Were at the Beach—Aelotropic Series | North Point | 1985

Rod Smith | Deed | Iowa | 2007

Hannah Weiner, ed. Patrick F. Durgin | Hannah Weiner’s Open House | Kenning | 2006

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More Marie Buck here.

Attention Span – Brad Flis

Aihwa Ong | Neoliberalism as Exception | Duke | 2006

Ong’s, if only for its wide divergence from common iterations, is a refreshing theoretical reconsideration of the concept of neoliberalism. Instead of as a quasi-form of government, Ong suggests neoliberalism ought to be thought of as a technology of governing that can be used variously by an array of acting powers.  She provocatively claims that neoliberalism’s new configurations of territoriality, nationality, and identity, though motivated by market logics and self-interest, inevitably create new (hopeful) “spaces” from which populations can make claims to citizenship, human rights, benefits, and recognition previously excluded by state power. A take-to-the-beach kind of book.

Ted Greenwald | 3 | Cuneiform | 2008

Greenwald’s work tends to arrive in waves, but this past year it’s coming in torrents, with 3 being perhaps the most meaty sampling (another Cuneiform Press and a forthcoming BlazeVOX publication flank it). Three separate poems, built out of sonnets, quartets, tercets in series, each creating a centrifugal music by forging the ghosts of common speech out of the chambers of repetitive and modulating line structures. “Day in blue/ Stone in my passway/ Rehumanize/ Day in blue”  This is a much more personal, reflective Greenwald then I think we’re used to. Flawless and resonant, another career achievement in his long history of chart toppers.

Stan Apps | info ration | Make Now | 2007

I fully endorse this totally awesome, gnarly, and radical poetic explosion. All the things you wanted to say about capitalism and American imperialism but were afraid to sound like Keith Olbermann. As the title suggests, Apps dismantles and re-encrusts the critical desire of contemporary infotainment mediaspeak into a stained-glass Voltron of dystopic/ utopic language. “The oppressor was inside everyone/ I was fascinated by the chance to observe.”  Comes with neat Gary Sullivan cover.

John Keene & Christopher Stackhouse | Seismosis | 1913 | 2006

One of those books you keep picking up because new ideas in the interim force you back in. A text-drawing collab between these two artists, it’s the most fascinating argument for a reconsideration of Formalism in recent years, which works against the exploitable grain, from Kant to the New Critics, where the more isolated the presentation of something like ‘pure form,’ the more the mark of its contextual making breaks through. Stackhouse’s hand-drawings, frenzied and organic, are set against Keene’s amazing range of poetic forms, the latter of which concern themselves with the nature of form and abstraction, but restricted to a generally categorical palette of language itself. The result is the long creaking of history, the voice, and communal touching of art production and reception that breaks surface. “Injuring it, when I look./ What am I opening?/ Unlocking or loosing movement, the query of intent./ To enter the fail, the medium falling// in marks and strokes.”

Rob Halpern | Rumored Place | Krupskaya | 2004

Completely incredible. I almost put the book down by the end of the first section, being generally unenthused. So glad I didn’t. By the end of the second section, my understanding of and attitude toward the first completely pivoted. And then again through the next section, and then again, and again. The book roundelays the desire for collective history with a need for collective space. “Desire is a detour”  A masterful display in five parts of narrative reorienting through poetic mutation to wholly gratifying effect. “These shapes in us, negating figures like ‘future findings’—tracing rents in the general intelligence.”

kari edwards | having been blue for charity | BlazeVox [books] | 2007

This is a very strong, very lush book of resistances of all sorts, and a call to question the forms of resistance as it does so. Though its wild carnival of digital and formal interference will disappoint the avant techno novaphile, edwards explicitly theorizes a retreat away from the periphery of absolute break to address the point behind the lines where recognition and resource are not guaranteed but must be recycled from this behind-space. Too much going on in this book to encapsulate here justly, but certainly a record of and sustained demand for constructive presence. Though her last book, I know I will be rereading having been blue for charity for decades more.

Dudley Randall, ed. | Black Poetry | Broadside | 1969

Its full title is Black Poetry: A Supplement, To Anthologies Which Exclude Black Poets, easily the best title of any publication of all time with the exception of Trotsky’s Their Morals and Ours. 24 mostly familiar poets spanning two generations, from Hughes to Nikki Giovanni, packed into fewer than 50 pages, all post-war selections, which includes some exceptionally great poems by (then) Leroi Jones, Giovanni (at 25!), Clarence Major, Ahmed Alhamisi, & Sonia Sanchez. Malcolm X, recently assassinated, is taken up as figure and theme in much of the younger works. I’ve lately been looking for some texts with which to seriously yoke the persistent (insistent) critical hoopla around the New American Poetry Anthology, and this seems like a productive book to begin that retelling.

Hannah Weiner, ed. Patrick Durgin  | Hannah Weiner’s Open House | Kenning Editions | 2007

Not much to add to what oft’s been thought and mostly already been said about this needed book. A phenomenal display of Weiner’s talent and capability. Surely everyone should have read this by now, or else you’re the most unhip gluon. Major kudos to Durgin and the press.

Brian Kim Stefans | Before Starting Over | Salt | 2006

I love this book of essays, (digital) poetics, and reviews more than sin itself. A constant reference for what we need to be talking about and how we might go about it, like a poet’s little red book except kind of chunky (350p plus) and yellowish. Highlights include his letters to editors which are magically explosive given their brevity, while his spats with Silliman prove more than just entertaining, they get under the skin as nano-imperatives.  Overall Stefans is furiously scooping up from the vocabulary bin new ideas, concepts, and language and presenting it, however wet and dripping with goop, in the most generous and advanceable manner. The writing is impeccable, piercing, mellifluous, without a pixel of irony. N00bs & neuro-aesthetes take note.

Lesley Yalen | This Elizabeth | minus house | 2007

“At the end, the husband is strictly scientific.// At the end, someone is mopping like a mommy.// At the end, the glaring absences are back.// The background is ground.” Yalen’s  ten-part poem powerfully and uniquely scrutinizes the domestitcat(ed/ing) liberal fantasies of identity by forcing parodying and paradoxical figures upon a shallow stage. Husbands and moms, street people and lawyers, blondes and doctors all bolster the central figure, this Elizabeth, in a backward unpeeling of race and gender codes which the anti-hero of the poem, the Poet, is forced to reckon with, failingly, with all her aesthetic theory. Formally akin to Deborah Richards’ Last One Out, a solid read and an exquisite chapbook production by the press.

Martha Dandridge Custis, Lawrence Giffin (ed.) | Comment is Free, Vol. 2: Imperialism at Home | Lil Norton | 2008

This will be the book to replace Uncle John’s Bathroom Reader for decades to come. The ad copy reads like this: “Taking the government buyout of Bear Stearns, Custis deftly weaves a wondrous tapestry of the abuse of power and the potential for resistance.” The book’s contents read like this: “There is no accountability left in the ‘system’, only the rich and well connected make up the rules and we all slave to their gains.// I don’t understand why ‘we’ are at fault. ‘We’ are powerless to stop anything.” Imagine your entire collegiate graduating class invited to your house to discuss the economy. Better than the movie.

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More Brad Flis here.

Attention Span – Jennifer Scappettone

Once again I am away from my shelves, so render these but demi-impressionistically:

David Buuck | constraint-based board-bearing made-to-order essays | various performances | 2008

Cringing through this with his Catholic aunts enriched the context.

Taylor Brady & Rob Halpern | Snow Sensitive Skin | Atticus/Finch | 2007

Command mouths.

Dolores Dorantes, trans. Jen Hofer | sexoPUROsexoVELOZ | Counterpath and Kenning Editions | 2008

Difficult to choose between this and lip wolf, Hofer’s translation of Laura Solòrzano’s lobo de labio put out by Action Books in 2007. Read the notes as you read the lyrics.

Carla Harryman | direction for Kathy Acker’s Requiem | work toward performance as part of Poet’s Theater Showcase at Links Hall, Chicago | 2008

Rendered “reading” a spatialized & corporeal experience, formosa.

F.T. Marinetti | Venezianella e studentaccio | typescript | 1944

Gothic Baroque Rococo Impressionist Secessionist Futurist Refusturism.

Luigi Nono | Intolleranza 1968 | Sofferte onde serene | Prometeo:  Tragedia dell’ascolto | various years, performances, publications

“To listen to the dark, to listen to how the lights move, how the water emanates light. To listen to the way the sky is a creature of the stones, of the tiles, of the water. To know how to see and hear the invisible and inaudible. To arrive at the lowest grade of audibility, visibility.”

Roberto Rossellini | Paisà | OFI | 1946

Makes “site-specificity” seem trifling. Needs to be issued anew.

Aldo Rossi | A Scientific Autobiography | MIT | 1981

How have I never had this recommended to me? Oh, right. Ditto.

Leslie Scalapino | It’s go in horizontal:  Selected Poems, 1974-2006 | Wesleyan UP | 2008

Anti-citational oppositional time, “entirely from the inside out.”  A clamorous ethics not just a phenomenology: a tall order for poetry, finally gathered here.

Hannah Weiner’s Open House | Ed. Patrick Durgin | Kenning Editions | 2006

Long-awaited.

Haskell Wexler | Medium Cool | H&J | 1969

Time precisely to watch it again.

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More Jennifer Scappettone here.

Attention Span – Sawako Nakayasu

Vanessa Place | Dies: A Sentence | Les Figues | Los Angeles | 2005

Epically macabre, linguistically denselight, terribly terrifically continuously archaically presently engaging—it’s not a poem, nor a novel, but a sentence, should you get one.

Rusty Morrison | The true keeps calm biding its story | Ahsahta | 2008

like the spider that travels with me back through to write poetry again stop

Rosmarie Waldrop | Curves to the Apple | New Directions | 2006

Thankful to revisit all three books of the trilogy, together now, and to be read along the brilliant continuum of excluded middles.

Steven Dolph and Brandon Holmquest, ed. | Calque 2-4 | na | 2007-2008

Calque is am ambitious journal devoted to translation, which includes interviews, reviews (by reviewers who know both languages well enough to comment on the translation), reviews on reviews (it’s often a smart but harsh attack, but does the important work of promoting extended dialogue regarding what happens to translations in the US).

Pierre Joris | A Nomad Poetics | Wesleyan | 2003

Rosmarie Waldrop has her excluded middle; Joris occupies it with his middle voice—not active nor passive, home nor away—I want to go to Pierre Joris’s future please.

Kass Fleisher | The Bear River Massacre and the Making of History | SUNY | 2004

This “native american studies” (that’s what it says on its back cover) book takes an astute and compelling stance on american-ness, history, truth, and (creative) non-fiction that parallels and intersects my current thinking-living-writing in between cultures and genres.

Dolores Dorantes, trans. Jen Hofer | sexoPUROsexoVELOZ and Septiembre: A Bilingual Edition of Books Two and Three from Dolores Dorantes| Kenning Editions & Counterpath | 2007

Two books (from a lifelong project called Dolores Dorantes)—two languages—two presses—and a multiplicity of thought—tenderness in the face of massacre meet up in fragments, could only meet up as such—

Dick Higgins | foew&ombwhnw | Something Else | 1969

I love the four-column format mountains, I love the rolling hills of his essays (like Games of Art), I love the Danger Music flowers, I love the Anger Song daffodils… why “volunteer to have your spine removed” when you can be playing The Chin Game? Blessed are the clamourbound.

Susan Landers | Covers | O Books | 2007

These “cover songs” function a bit differently in literature than in those of pop music, but it does indeed give Dante’s originals (from his Inferno) a new (musical and otherwise), often fragmentary interpretation. In other words, it’s an excellent and dangerous work of translation.

Hannah Weiner | Hannah Weiner’s Open House | Kenning | 2007

If only I had known sooner the ways in which she was engaged in art and performance, with her terrific inventiveness in the events of language in both private and public realms!

Achiote Press & Tinfish Press | Ongoing

Two excellent small presses that fantastically situate their publishing projects in the growing spaces of ethnic-minority-other-avant-gardisms. Tinfish has been at it (and on the Pacific Rim, specifically) for a long time now, and Achiote is more California-based (I think?), and is relatively new.

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More Sawako Nakayasu here.

Attention Span – Rodney Koeneke

K. Silem Mohammad & Anne Boyer, eds. | Abraham Lincoln issues 1-3 | NA | 2007-2008

Nascent American sensibility change in easy-to-staple trading card form.

Hannah Weiner | Hannah Weiner’s Open House, ed. Patrick Durgin | Kenning | 2006

Each room has many mansions. More doors, please, soon.

Gary Sullivan | PPL in a Depot | Roof | 2008

Brecht shutting cell phone to mustachio Mozart with Caucasian circle chalk. “Between the dark and the thyme soufflé … mmmm …”

Philip Whalen | The Collected Poems of Philip Whalen, ed. Michael Rothenberg | Wesleyan | 2007

New eyes for old wineskin yclept “Beat.”

Sharon Mesmer | Annoying Diabetic Bitch | Combo | 2008

Dear Poetry: Please can you be like this sometimes always?

Kevin Killian | Selected Amazon Reviews, ed. Brent Cunningham | Hooke | 2006

The nation speaks through its stars—Reviewer #80 is America’s Most Wanted detourniste.

Maryrose Larkin | The Book of Ocean | i.e. | 2007

Newton’s apple fallen and washed to Eve’s, sent into re-orbit: poems for a world like that.

Benjamin Friedlander | The Missing Occasion of Saying Yes | subpress | 2007

Transatlantic two-step for treated Bösendorfer. My feet slip over at ends of lines, like when you trip in dreams. Your catching yourself’s the poem.

Alicia Cohen | Debt and Obligations | ms | forthcoming, 2008

To make Temecula and connected earth systems versus all reason sweet and green. “Actual people breathe the ghost.”

K. Silem Mohammad | Breathalyzer | Edge | 2008

That thing Greil Marcus said about buying an album of Dylan breathing hard? That. Esp. when breath moves like this. “There’s no way we’re not going to start a ruckus in a country town.”

Jules Boykoff & Kaia Sand | Landscapes of Dissent: Guerilla Poetry and Public Space | Palm | 2008

Field manual for the practice of not sitting on hands, pitched against “the almost imperceptible social octave known as normality.”

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More Koeneke here.