Nanos Valaoritis has died. He was 98. Read one of his great poems: “Endless Crucifixion.”
Other works by Ligia Lewis include Sensation 1/This Interior (High Line Commission) (2019); so something happened, get over it; no, nothing happened, get with it (Jaou Tunis) (2018); Melancholy: A White Mellow Drama (Flax Fahrenheit, Palais de Tokyo) (2015); minor matter (2016), a poetic piece illuminated by red; Sorrow Swag (2014), presented in a saturated blue; $$$ (Tanz im August) (2012); and Sensation 1 (sommer.bar, Tanz im August -2011, Basel Liste- 2014).
A painter I know had this to say about Brion Gysin’s
work as an artist. “Pleasantly surprised by his watercolour. First thought was an early Yves Tanguy, whom I admire very much. But the calligraphies are outwitted any time by one little Michaux. That doesn’t invalidate the man’s effort, but I see too much repetitive strain there. Gysin’s calligraphies are paintings and, as such, can and should be viewed within a comparative context. There is of course André Masson to begin with—right up to Lee Krasner.
Richard Aaron writes in an email: “Here is a work by Brion that I have in front of me. He did very many of these. Around 1958 the calligraphic element began to appear, but this is from 1951. I used to own a large bunch of his surrealist work from the 1930s. Typical of the period. He was fortunate to have been tossed out of the movement by Breton.”
In my antideluvian days, when I was starting out as a reporter, I interviewed Margaret Mead. I didn’t know much about her beyond the usual, so my interview hardly went beyond the usual. What I remember most was the photo I took of her and how smitten I was by her graciousness.
Meet Jim Haynes in a documentary. As I’ve written before: “I’ve never met Jim. We’ve only corresponded by email about the strange case or Orwell’s typewriter. But I know that he is a man for all reasons — pleasure, food, sex, mind, books, theater, life — and that to meet him in person all you have to do is show up at his door in Paris for dinner.”
The editors of the London Review of Books say their first edition of The Beast of Brexit, the late Heathcote Williams’s takedown of Boris Johnson, sold out “in a matter of weeks” just before the Brexit referendum in 2016. After it went through several reprints, the book was published in a second edition “with a […]
A transcript of this piece was published under the title “A house of dust, computer poem” in FANTASTIC ARCHITECTURE edited by Wolf Vostell and Dick Higgins (Something Else Press, 1969). The reading, on a cassette recording made ca. 1967, was salvaged from a recent basement flood at S|U’s Manhattan perch. It features four readers, including Alison Knowles and Dick Higgins. Any help identifying the two other voices would be appreciated.
Just back from Botswana. Before I crash from jetlag, here’s an iPhone shot with magic in it. The photo was taken in the bush via focus thru binoculars, a brilliant trick. The leopard, not more than 20 to 30 feet away, looks very handsome. After gorging on his kill, he also looks mighty satisfied. The impala, cleanly butchered by an expert, looks sadly dead.
Nimble as you were in your ‘hey’day, / Your ‘wow’zone resplendent, / whenever your / Writing and way claimed a mind. / Those still on the planet salute you in love, / Winking our wish through the cosmos, / Broadcasting life’s message that yours / Is the path still to find. It used to lead / To Oxford, but now, it stretches on . . . —David Erdos
Nearly three months after Colin Asher’s biography of Nelson Algren was published, and just in time for readers to take a break from serious books as they head off on vacation to escape the summer heat, our dearly beloved newspaper of record has deigned to take notice of Never a Lovely So Real. But let’s put that aside because Susan Jacoby’s review, which will appear Sunday in the print edition of The New York Times Book Review, is not only honest, clear, and well reported, it sets a judicious standard. Which gives it credibility.
Your humble blogger has published a new collection of poems. Moloko will bring it out in a bilingual English-German edition in Germany. In the meantime, however, an American edition is now available without the translations but with a complement of images. ‘All That Would Ever After Not Be Said’ is composed of forty-two deformed sonnets of mine and forty-two collages by the late Norman O. Mustill.
‘The Dark Side of Boris Johnson’: Now that he is on his way to becoming the new Prime Minister of the U.K., the staff believes this blogpost of Aug. 24, 2016 is worth reposting: Back in April, before the Brexit vote [on June 23, 2016], Heathcote Williams wrote a merciless pamphlet, subtitled “A Study in Depravity,” about the most notorious cheerleader for the British exit from the European Union.