Tuesday, March 20, 2012

William Burroughs' Cut-Ups and the Use of Collage in Literature

I will be giving a talk on William Burroughs’ (and Tristan Tzara’s) use of the cut-up, and on more recent developments in the idea of collage as literature, this Thursday, March 22 at 11 a.m., as part of Collage in Context: A Symposium, a two-hour event connected with More Real than Life: An exhibition of contemporary collage, curated by Alexander Jarman, and running March 8-April 12 at Southwestern College Art Gallery. The event is free and open to the public. Address, program, and parking details below.

Come on out if you’re anywhere nearby.

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More Real than Life: An exhibition of contemporary collage
 Curated by Alexander Jarman
March 8-April 12 at Southwestern College Art Gallery
 In a digital world, the analog has become all the more important.

This exhibition will present 11 contemporary artists, from California to France, currently using scissors and glue rather than a mouse and a printer to create works that question our perceptions of common reality and provoke discussion about collage’s increased relevance.

Related Programs:
Collage in Context: A Symposium: Thursday,  March 22: 11:00-1:00 p.m.
Collage in poetry, Mark Wallace: 11-11:20
Artist Talk, Joshua Tonies: 11:25-11:40
Roundtable Discussion: 11:45-12:15
Q&A with Audience 12:15-12:30

This symposium program will present collage as a strategy both in art and literature, as well as position the practice within a larger context of current analogue approaches in art.  The first presentation, from Mark Wallace, will discuss the collage practices of William S. Burroughs and their continued legacy.  Wallace is the author of more than fifteen books and chapbooks of poetry, fiction, and essays, and won the 2002 Gertrude Stein Poetry Award for Temporary Worker Rides A Subway.  The second presentation will feature artist Joshua Tonies speaking about his own collage work.  His contributions to the exhibition highlight some current approaches to utilizing both analog and digital collage within a single work, and how the two differ or complement each other.  The last presentation will consist of a roundtable discussion between Michael Trigilio, Alexander Jarman and May-ling Martinez. May-ling Martinez is featured in the exhibition.  Besides creating analog collage, she has built outdated or impractical machines from old mechanical engineering manuals as part of her art.  Michael Trigilio is a Professor at University of California San Diego and a multi-media artist who has worked extensively with sound.  His independent radio project, Neighborhood Public Radio, has been featured at The Museum of Contemporary Art Los Angeles and the 2008 Whitney Biennial.

Exhibiting Artists:
Sadie Barnette  http://www.sadiebarnette.com/  Based in San Diego, CA.
Mike Calway-Fagen http://mikecalway-fagen.com/  Based in San Diego, CA.
Troy Dugas http://troydugas.com/   Based in Lafayette, Louisiana.
Lola Dupre http://loladupre.com/  Based in Avignon, France. 
Chris Kardambikis http://www.kardambikis.com/ Based in San Diego, CA.
Gordon Magnin http://gordonmagnin.com/ Based in Los Angeles, CA.
Morgan Manduley http://morganmanduley.com/
 http://sezio.org/feature/Morgan-Manduley.aspx  Based in San Diego, CA. 
May-ling Martinez http://www.maylingmartinez.com/index.html Based in San Diego, CA.
Arturo Medrano http://convulsive.tumblr.com/  Based in New York City, NY.  

Jason Sherry http://www.jasonsherry.com/  Based in San Diego, CA.
Joshua Tonies http://www.joshtonies.com/ Based in San Diego, CA.

The Southwestern College Art Gallery is located in Rm 710B
900 Otay Lakes Rd, 
Chula Vista, CA 91910.
Gallery Hours 
are Monday through Thursday 10:30am-2:00pm,
Wednesday & Thursday 5:30pm-8:30pm.
Tel. 619-421-6700 x 5568
Fax 619-421-6700 fax 5368

Free parking is available in Lot J on the days of the related events

Tuesday, March 6, 2012

Brief Review: glowball by Steven Farmer


Hardcore afficionados of poetry that stretches the materiality of language in surprising ways will love Steven Farmer’s glowball, and everybody else should read it too for the challenges it offers to overly conventional uses of language and for its insights into contemporary globalist capitalism. glowball features five poetic sequences, each quite different, but all of which interrogate how conditions of language can both reveal sociopolitical conditions and enmesh people in them.

Each of the first four sequences establishes a serial structure: jagged seven-line stanzas in “Spectacler”; isolated lines of prose occasionally disrupted by stanzas in “Jewel Box” and “Saturuate”; and the chaotic yet still somehow pleasing visual shapes in “Parts/Din.”  The final sequence, “Metacity,” varies structures more from page to page with a virtuoistic flair attuned both to shifts in language and in visual presentation. At one point, “Metacity” breaks into a kind of call and response between contemporary power structures and language dynamics and Latin (yes, Latin) versions of the same. Farmer suggests by juxtaposition that the Roman Empire remains a  relevant precursor to conditions under corporate capitalism’s present-day empire, an empire which seems more shadowy only until you challenge it.

Within these various sequences, and almost in every line of the poems, the torturous, knotty problems of the present twist and turn and result in few clear possibilities, much less solutions. “The strong station, the weaker station, the station changing messages” is just one of many moments in “Saturate” that let readers know precisely what is saturating them (68). The lines “if he stands on the bucket, we see him in the abundance/lack dichotomy” from “Jewel Box,” show humans caught in their own clownishly absurd display structures (38). There are many more thematic nuances in every part of glowball, which deserves both re-reading and a closer, fuller elucidation of all its details than I am providing here.

My only criticism of glowball is that, at times, the poems struck me as lacking a bit in energy. The book shows a world so collapsibly intertwined on its own bad intentions that its various bits and pieces of language don’t build much forward momentum, and occasionally I felt myself pushing through rather than being taken along. Of course, that’s partly because there’s so much to dwell on in each of the book’s many small parts. Besides, the gleeful rush that comes from energetic language is perhaps, in the world of glowball, no more than a desire for escape, a desperate attempt to catch some final buzz while kneeling bewildered in the ruins.

Sunday, February 26, 2012

AWP Chicago 2012: Where I'll Be

  

 I’ll be participating in the following events at AWP this coming week in Chicago. I hope to see you at any of them, or any of the number of other panels and readings that I’ll be attending.

Route 66 Off-Site Reading
Friday, March 2, 2012
3:30pm until 5:30pm
Buzz Café, 905 S. Lombard Ave., Oak Park, IL. 60304
  
This reading, coordinated with thanks to Grant Matthew Jenkins, features experimental/conceptual poets from states along Route 66. Get your kicks at 3:30pm!

Tentative lineup:
Grant Matthew Jenkins
Claudia Nogueira
K. Lorraine Graham
Mark Wallace
Bob Archambeau
Sloan Davis
Susan Briante
Farid Matuk
Greg Kinzer
Joseph Harrington
Simone Muench
Hadara Bar-Nadav
William J Harris
Dennis Etzel Jr.

To get there by subway:
Take the Blue line to Austin-Blue
Walk to 905 S Lombard Ave, Oak Park, IL 60304
1. Head west on Garfield St toward S Taylor Ave 0.1 mi
2. Turn right onto S Lombard Ave 0.1 mi
905 S Lombard Ave, Oak Park, IL 60304

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Saturday, 9:00 A.M.-10:15 A.M.
S117. Building and Surviving an Innovative Writing Program
(K. Lorraine Graham, John Pluecker, Anna Joy Springer, Janet Sarbanes, Mark Wallace)
Crystal Room, Palmer House Hilton, 3rd Floor

Participating in an interdisciplinary writing program committed to innovative pedagogies is exhilarating and confusing, especially if it’s a new program and you are a professor building the curriculum or a student in the inaugural class. A recent graduate, a current student, two tenured faculty members, and an adjunct professor discuss their experiences with innovative writing programs: the three-year old MFA at UCSD, the established MFA at Cal Arts, and the growing undergraduate BA at CSU San Marcos.

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Stop the Sentence: A Night of (Inter) Active Readings
Saturday, March 3, 2012
7:00pm until 12:00am
at Outer Space Studio
1474 N Milwaukee Ave.

FEATURE READINGS BY:
7:30 Matthew Klane
8:30 Cara Benson
9:30 Michelle Naka Pierce
10:30 Ronaldo Wilson
11:30 Tracie Morris

WITH READINGS, PRESENTATIONS & PERFORMANCES BY:

7:45 AWP SHOW AND TELL
Teresa Carmody, Feng Sun Chen, Gloria Frym, BJ Love, Mark Wallace

8:45 O.P.P./OTHER PEOPLE'S POETRY
Claire Donato, Sueyeun Juliette Lee, Luis Humberto Valadez
Catherine Wagner, Tyrone Williams, Tim Yu
& a tribute to Akliah Oliver with a video by Ed Bowes & Anne Waldman

9:45 TAG TEAM READING
cris cheek, Laura Goldstein, MC Hyland, Tim/Trace Peterson, Michelle Taransky, Edwin Torres, Christine Wertheim

10:45 INSTANT READING
David Emanuel, Jennifer Karmin, Edwin Perry, Jai Arun Ravine,
Adam Roberts, Kenyatta Rogers

+ + PLUS + + AUDIENCE PARTICIPATION
That means you!

Venue logistics --
doors open 6:45pm
in the Wicker Park neighborhood
near CTA Damen blue line
third floor walk up
not wheelchair accessible

Red Rover Series {readings that play with reading} is curated by Laura Goldstein and Jennifer Karmin. Each event is designed as a reading experiment with participation by local, national, and international writers, artists, and performers. The series was founded in 2005 by Amina Cain and Jennifer Karmin.
 

Tuesday, February 21, 2012

Book Review: E! Entertainment by Kate Durbin



Kate Durbin’s E! Entertainment, published by Insert Press, is certainly entertaining, but its ultimate effect is unsettling. The Conceptual Writing-like flat reportage of surface physical textures and human interactions gives a sense, throughout the text, that a great deal is missing, or the equally unsettling sense that maybe there isn’t anything important missing after all. Psychological motivations for the various characters (some are characters from well-known TV shows, while others appear as themselves in the context of Reality TV or media reports) are blotted out in transcriptions that record the surface of what they’re doing at the moment, as if that surface is all that matters:

“You just sit here by yourself?” asks Heidi, looking up to the ceiling. She laughs. Audrina starts to smile, then purses her lips together. She looks up at the ceiling too, nodding, her lips still pursed. Shot of Heidi looking up at Audrina. “Um,” says Heidi. “Spencer and I are having a little housewarming party and wanted to see if you and Lauren wanted to come” (16).

Why they do what they do is at times implied, at times simply not there. The result is a text that shows people as bodies in motion, watching and being watched, with some of the motions disorienting or odd or even pathological, and others having a kind of intense banality that can be even more disorienting than the oddities.

The book is broken into several sections of interconnected  prose paragraphs mingled among sometimes blurred film stills. The first follows several of the main characters from the TV show The Hills (2006-2010); the second describes some scenes from the show Dynasty (1981-89). The third section features Lindsey Lohan, through the words of reporters, as she appears in court, and the final segment seems to be from the short-lived Anna Nicole Show (2002-03) that starred the short-lived Anna Nicole.

The degree of bathos and abjection increases from section to section. By the time of the Lohan and Nicole sections, the actresses’ public personas are breaking down as the actresses themselves do the same, so that the distinctions between a public performance and a person become frighteningly lost:

ANNA: Huh? I don’t know. Oh. You said open ‘em. With a wha—for a waterpark? I wanna go. Why not. My baby’s over there sleepin. I think I just have a little gas. I think I just I think I’m having some gas trouble. It hurts and I need some gas poot stuff so I can poot it out. (54)

The lack of interpretive commentary from Durbin is crucial to the book’s oddity. She neither accuses this world of being shallow and degrading or revels in its supposed glamor. While she makes no attempt to call any of the situations banal, the lack of any attempt at psychological or social insight leaves readers with the sense that while these things are indeed happening, there’s nothing really making them happen except the fact that they’ve been created in order to be watched. I found myself wondering why and how these things and people had come to be, but realized that the author would be providing no answers.

Of course, ordinary capitalist television shows almost always feature a heavy-handed morality. The normal titillations of capitalist urges (money, beauty, sex, power, etc) get thrown hypocritically against a finger-pointing, numbingly conventional sense of right and wrong. It’s as if the two opposing urges (to lust or to condemn) shape in the dialectic between them the lives both of successful television characters and television viewers, and eliminate all other possible ways of feeling and thinking.

By removing both the titillation and the morality, E! Entertainment leaves readers with the disconcerting sense that there’s no significant reason why these things are happening beyond the possibilities they create for voyeurism. Readers wanting a moral framework (Marxist or psychoanalytical or Christian or anything else), or even a simple explanation of why things are happening, will have to impose them on the text. Instead, what E! Entertainment shows readers is bodies wrenching awkwardly with desire, anxiety, and physical pain, struggling with each other and talking to each other and dramatizing in public the fact of themselves. What finally turns the book into a kind of contemporary gothic is the developing dread, the sense that the whole show is leading in the direction of decay and collapse. The voyeur watches others go through their act of pain and dying in order to avoid the uncomfortable and unspoken truth that the voyeur too is headed in the same direction.

Tuesday, January 31, 2012

Joyland: A Hub for Short Fiction



Joyland: A Hub For Short Fiction, is a very interesting online literary journal which divides the work it publishes into a number of regions around the U.S. Some are specifically cities: Los Angeles, New York, Toronto, Vancouver, and San Francisco, among others. Others have a broader focus, like Joyland South or Midwest or Montreal Atlantic. All of them feature intriguing and often innovative fiction.

Joyland Los Angeles, for whom at least one of the editors is Mathew Timmons, is now featuring some short fictions from my flash fictions manuscript The Measure Everything Machine and Other Sketches. I hope you’ll take a look. Joyland Los Angeles has published fiction by a number of really great southern California writers, including Kate Durbin, Anna Joy Springer, Sesshu Foster, and Amanda Ackerman, among others.


Mathew tells me that Joyland is intending to expand, soon, to include poetry as well as fiction, so check back in again later to see what else they’re doing.

Tuesday, January 24, 2012

Bureaucracy Series 2011


Just in case anyone doesn't know I work for a living, I present the following:


Bureaucracy Series 2011

The institutional meeting: never does it take so many so long to do so little.

Why would I need to go to MLA? I’m already on Facebook, aren’t I?

This hyperactive anxiety and trapped feeling is exactly what involving oneself in American university, intellectual, artistic, and broader public discourse causes. I guess I’m finally home again and ready to go to work.

Now playing seriously discordant music, so that organized chaos can bludgeon the chaos of organization out of my head... temporarily, I know.

Academic gossip = low-hanging fruit.

Who administrates the administrators in these U.S. universities? And if the only answer is, “More administrators and Boards of Directors,” then we’re headed for trouble.

Hundreds served yearly.

Becoming a bureaucrat: Nature or Nurture?

In my dreams last night, I learned that I can't take a bus ride, hang out with friends, eat a plate of chicken fingers, and make it back to class on time when I only have a five-minute break between classes. My dreams were very insistent on this point.

People who insist that educational standards are too low but then make angry phone calls if their children don't get A's? I see... perhaps you wanted higher standards only for others?

My office has windows, but not windows that can be opened.

E-mail Question: Who do I ask about this? Response: Please contact the site administrator. Question: Who is the site administrator? Response: I am. I’ll get back to you about this.

Why do something burdensome and vaguely necessary once when you can also do it a second time, totally uselessly?
           
These complicated online grading systems often act as if progressive teaching pedagogy has never happened. All these bells, clangs, and whistles, yet the systems still assume that instructors mark “errors” in red ink.

A company is an organization, with means at its disposal. So why shouldn't workers also have an organization with means at its disposal? Of course organizations on either side can take advantage of conditions, and often do, but fundamentally, both sides in any work related discussion should be treated similarly in terms of their relationships to organizations, and the laws that allow them to organize. Therefore: if corporations can exist, unions can exist.

I want to be in a band called Job Application Screening Death Machine.

In my dream, we reviewed job candidates by having one white man put on black face and imitate a candidate, then take off the black face, put it on again and imitate another candidate, each time kneeling with his hands behind his back, execution-style. Really, oh my unconscious? Really?

What goal could life have other than moving the maximum possible number of units?

May I gently suggest that creating another official document might cause more problems than it solves?

That moment when I tell people how things work at my university and they look at me in stunned or incredulous silence.

I is an institutional function.

Long hours of discussion about problems no one is going to try to solve!

Event Listings “needs” information about the event three months in advance, while Events Planning will let you plan it about a month in advance.

May the infrastructure have mercy on my poor wiring.

Your advice is logical, but unfortunately the situation is not.
   
The structure announced that it was pleased with itself despite the challenges that lay ahead.

Bureaucracy encourages passivity because, over time, the blockades it sets up make even valuable actions feel not worth the effort.

I love exclamation points! In work correspondence! Proves we love our jobs and institutions! That we look forward brightly to our future institutional work! With high spirits! Never enough exclamation points!!!!! SO Happy To Be Here and Use Them!!!!!!!!

In an era when institutions are supposed to create “vision statements,” I keep wondering what it would look like to see an institution having a vision.

My campus appears to be using an online computer system that has bugs and that also has no readily identifiable source to contact regarding problems. The great computerized future of education continues to amaze.

This time of year, I could do my job more effectively if I could be purchased in a 3-pack.

When I look over the broad, debris-strewn expanse of bureaucratic documentation that I have to complete in the next few weeks so that it can sit barely touched, in some cases for years, in a computer capsule, I’m moved to an almost mystical awe at the human capacity to create non-essential work.

I left one meeting today at the moment when people were debating whether the official paragraph about where professors should keep student papers was a rule or a guideline.

I’m afraid that if I complain on Facebook about how many recommendations I have to write, someone is going to see it and ask me to write them a recommendation.

After a long discussion, the committee finally agreed that it would be important to take some kind of action.

The first business before the committee: whether it really was the officially authorized committee for examining the work of other committees.

When I feel myself losing faith in the U.S. education system, along comes a man like Chancellor Reed, who raises the salary of top administrators in the CSU system, expands the teams of lawyers designed to protect them, moves trustee and other decision-making meetings to private, undisclosed locations, and tries to finance it all with funds gained by attacking faculty and staff salaries, workload, and bargaining rights, as well as faculty academic freedom, and by massively and frequently raising the tuition of an often naive or complacent student body, more of whom are getting it all the time and speaking their minds in public protests where they can be assaulted by police with paramilitary style weapons who claim to be ensuring everybody's safety.

When, after months of long work hours using the performative friendliness and defensive wariness that allows me to function, I finally have a bit of time to read and write and be, at first it’s like being peeled open, and everything I’ve had no time to feel or think about always threatens to overwhelm me.

Thursday, January 12, 2012

Conclusion: "Landscape as Activity in The End of America poems"



"Landscape as Activity in The End of America poems"

Part Three

(Part One can be found here.)

I’ve always been interested in altering the relation between form and content in specific poems or groups of poems, and The End of America is no exception. There’s no one formal structure, or content, or relation between structure and content, that can be said to be ultimately, or even most, realist, if by “realist” one means an attempt to describe life as it is lived and experienced. Literary description can never simply show readers the real; it always reshapes it, leaving some things out and highlighting others, exaggerating and understating, tweaking for effect. Literature inevitably intervenes in the world; it reshapes it and so changes it, always.

This fact leads some writers to give up entirely on description, to consider it irrelevant, or to treat it as no more than literary, a created language with no definite relation to anything beyond language, certainly not life as it is lived and experienced. But those seem two extremes: to say either that literature can give an accurate depiction of life or can give no depiction of it at all. Instead, life and literature might share a pattern similar to that of character and environment, a series of mutual interactions that converge and diverge in different ways at different times.

In the various books of The End of America, I conceive of the person as an activity. Thoughts and feelings (whatever distinctions there may or may not be between them) are as much part of that activity as more physically visible ones. In the poems, the social geographic environment is also an activity, one of multiple voices and landscapes, of money and politics and hands gripping fences. Landscape is inevitably not stable; it changes. The person is the focal point for a processing of social geographic stimuli, acted upon by that stimuli and acting upon it, although the limits of the person’s ability to act upon it become part of the process, and a struggle. The person doesn’t always process the noise and reshape it into a clearly articulated response. That can happen sometimes, but clearly articulated responses are hardly the only way that persons process environments. Ultimately the process is less one of final answers than of motion itself, person and environment acting and re-acting. Hardly symbiosis or an easy relation, but one that involves uncertainty and anguish and that’s destructive as well as constructive.

Despite all the poetics I might use to talk about various aspects of the approach, there’s an element of barely filtered survival instinct in The End of America. Here’s what’s happening, here’s what I’m seeing and hearing, and now how am I going to live with it, to make something of it in a way that will help me be part of it? The end of it all, or the making of the end of it, can’t be the goal, since the wearing out of any person is inevitable. It’s the making something of it now, in a succession of nows, that is the most any person or poem can do.