{"id":35530,"date":"2019-06-16T13:54:18","date_gmt":"2019-06-16T17:54:18","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=35530"},"modified":"2019-06-18T10:01:26","modified_gmt":"2019-06-18T14:01:26","slug":"strictly-unpaid-advertising","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2019\/06\/strictly-unpaid-advertising.html","title":{"rendered":"Strictly Unpaid Advertising"},"content":{"rendered":"\n

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. <\/em><\/p>\n\n\n\n

\"\"
Click to ‘look inside’ and purchase <\/em> in the U.S.<\/a><\/em>,
the U.K.<\/a>, France<\/a>, Japan<\/a>, Italy<\/a>, Spain<\/a>, and Germany<\/a>.<\/figcaption><\/figure><\/div>\n\n\n\n

All That Would Ever After Not Be Said<\/a><\/em> <\/a>is composed of forty-two deformed sonnets of mine and forty-two collages by the late Norman O. Mustill. The collages appear in the same sequence in which they were originally published fifty-two years ago by Beach Books, Texts and Documents under the title Flypaper<\/em>. Their juxtaposition with the sonnets is a matter of chance. The collages are not intended to illustrate the sonnets, nor are the sonnets meant as commentaries on the collages. The exchange of meanings and parallel references are welcome accidents. The words and images appear side by side simply to honor our longtime friendship.<\/h3>\n\n\n\n

<\/p>\n\n\n\n

\"from
Page 40 and 42.<\/em> Click to enlarge.<\/a><\/figcaption><\/figure><\/div>\n\n\n\n
\"\"
Pages 64 and 65.<\/em> Click to enlarge.<\/a><\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"

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.<\/p>\n","protected":false},"author":3,"featured_media":35573,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,26,18,4,23,17],"tags":[],"class_list":{"0":"post-35530","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-books","9":"category-literature","10":"category-main","11":"category-news","12":"category-political-culture","13":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2019\/06\/ALL-THAT-WOULD-black-cover.png","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-9f4","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/35530","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=35530"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/35530\/revisions"}],"predecessor-version":[{"id":35593,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/35530\/revisions\/35593"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/35573"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=35530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=35530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=35530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}