{"id":7290,"date":"2013-06-15T15:46:33","date_gmt":"2013-06-15T19:46:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=7290"},"modified":"2013-06-15T16:37:57","modified_gmt":"2013-06-15T20:37:57","slug":"artauds-hammer-a-dissident-portfolio","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2013\/06\/artauds-hammer-a-dissident-portfolio.html","title":{"rendered":"
\u2018Artaud\u2019s Hammer\u2019: A Dissident Portfolio Continues<\/center>"},"content":{"rendered":"

This is one of two new cards in the continuing series.<\/center><\/p>\n

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From the ‘Artaud’s Hammer’ Portfolio \u00a9 Gerard Bellaart [Cold Turkey Press, 2013]<\/p><\/div><\/p>\n

Cold Turkey Press publications have a flavor all of their own; there\u2019s a kind of wild, mad goodness about them — you know you\u2019re going to be taken on a trip. Somewhere edgy and dangerous. You may not get back. You don\u2019t care. You\u2019re in the company of people who took lots of risks with their organs of thought, and took those cerebral balloons as high as they\u2019d go. To the outer reaches. Some burst, some floated back down with their observations — sometimes all in tatters. Cold Turkey Press keeps fine flames burning. — Heathcote Williams<\/em><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

This is one of two new cards in the continuing series. Cold Turkey Press publications have a flavor all of their own; there\u2019s a kind of wild, mad goodness about them — you know you\u2019re going to be taken on a trip. Somewhere edgy and dangerous. You may not get back. You don\u2019t care. You\u2019re […]<\/p>\n","protected":false},"author":3,"featured_media":0,"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":[19,18],"tags":[],"class_list":{"0":"post-7290","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"category-literature","8":"entry","9":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-1TA","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/7290","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=7290"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/7290\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=7290"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=7290"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=7290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}