My biography of the Hollywood director William Wyler, A Talent for Trouble, is available as an ebook at Amazon and an ebook on iTunes at the Apple store. Putnam published it in hardcover, and Da Capo Press published it in paperback.
New European edition
of The Z Collection
Recently I’ve been writing a cycle of “deformed sonnets.” You can read a collection of them in Your Obituary Is Waiting.
Some of the poems have also been published by Peter Engstler Verlag in a bi-lingual English-German edition titled FOURTEEN: Deformed Sonnets. (The German translations are by Gregor Pott.) Other poems in the cycle have been published in The Way the Lines Break, and in handmade limited editions by Cold Turkey Press. Jay Jeff Jones’s review of Your Obituary Is Waiting appeared on Amazon in the U.K:
Moloko Print has published a bilingual edition of Your Obituary Is Waiting,
a cycle of “deformed sonnets.” The German translations are by Gregor Pott.
On the cover is one of Norman O. Mustill’s “flypaper collages” from the book.
This message came from Charles Plymell:
And Jay Jeff Jones posted this review:
Moloko has published an enhanced facsimile edition of my old project Brion Gysin Let the Mice In, and in case anyone is interested, Collateral Damage: The Daily History of a Blog, traces blogposts of mine from more than a decade ago with a foreword by William Osborne. “If there is a single ethos that defines this collection of blog entries,” he writes, “it is that the arts do not exist in a vacuum, that culture is holistically connected to every aspect of society. … This blog captured the American cultural zeitgeist in the aftermath of 9/11. Written in Manhattan during a 14-month period between May 2002 and July 2003, it provided witty, detailed, atmospheric snapshots of a wide cross-section of the arts, media, and politics during a pivotal time in U.S. history, attracting millions of readers as the most popular blog by far during the early years of MSNBC.com.”
I am also the co-author of the experimental fiction Cut Up or Shut Up, a collaboration with Carl Weissner and Jurgen Ploog (and with a “tickertape” intro by William S. Burroughs).