January 8, 2018 § Leave a comment
Ida Börjel. Miximum Ca’canny The Sabotage Manuals. 2013. Translated from the Swedish by Jennifer Hayashida. Commune Editions, 2016.
Daniel Borzutzky. The Performance of Becoming Human. Brooklyn Arts Press, 2016.
Don Mee Choi. Hardly War. Wave Books, 2016.
Tim Earley. Linthead Stomp. Horse Less Press, 2016. « Read the rest of this entry »
December 31, 2016 § 2 Comments
– speak less of other people
– watch more good cinema
– sleep well
I found a poem I wrote on 06.04.09 called “A doctoral student confesses”—it is oddly prescient:
“so sound would be plural like description is” (Giscome Road 52)
“Sentences find you, style finds you on the road out; it overtakes you effortlessly, it palavers” (69)
February 2, 2016 § 1 Comment
Truly, the most important reading I did last year was Beowulf. I got to read it in the original Old English with a group of amazingly brilliant people and to live in that super soundrich world for about two months. We also looked at a couple other translations; the Thom Meyer is really special. The next most important reading was for my comprehensive exams, which I wrote about here.
Hmm. I don’t really mean to hierarchize the value of these books. This is wrong. Maybe, since so far things have been listed chronologically (did Beowulf early last year, comps reading during the summer): a third highlight was Michael Donhauser’s Of Things (trans. Nick Hoff and Andrew Joron), which I read toward the end of the year, on my multiple flights home to Bangalore. It is a gorgeous and fierce book that reads fieldlife:
from “The Tomato”
To say once more “the tomato.”
On this autumn-saturated Sunday evening.
At the quiet of day’s end, the ringing of bells, cries of farewell.
When the fun stops and with it, the feeling of its insufficiency.
The waiting, the passing in silence, the rustling of leaves, being nowhere.
When Sunday, diminishing gradually, retires.
In sitting there, in spoiling away, in willingness.
With which we endure it: in praise of enduring.
To say it: that this has been a beautiful Sunday.
Yet the tomato takes the evening as an opportunity.
Favored by the given conditions: in all their sparseness.
By way of the light: allowing it to gently settle there.
By way of the surging traffic: in order to absorb it.
The humming, the droning, the vibrating: in order to transpose it.
Into the quieter variety of its seeds, into the juice of its fruit-flesh.
(No fruit has ever robbed me of every rebellion like this.)
The tomato appears in the shadow of language.
As moon (once again): as monad.
Darkened: a silken coal ember.
Here are the rest of my favorite books from last year: « Read the rest of this entry »
January 5, 2015 § 4 Comments
Upon deep reflection I nearly came to the conclusion that 2014 was a total shit show, unworthy of comment/time travel/etc.
Then upon deeper reflection I realized that I read all of Proust’s Search in roughly eight weeks.
So yeah, 2014 is exonerated!
In addition to these extraordinary books—
In Search of Lost Time Volume I: Swann’s Way. 1913.
In Search of Lost Time Volume II: Within a Budding Grove. 1918.
In Search of Lost Time Volume III: The Guermantes Way. 1920-1.
In Search of Lost Time Volume IV: Sodom and Gomorrah. 1921-2.
In Search of Lost Time Volume V: The Captive & The Fugitive. 1923-5.
In Search of Lost Time Volume VI: Time Regained. 1927.
in the 1992 Modern Library translation by C. K. Scott Moncrieff, Terence Kilmartin, and D. J. Enright*
[*I like their work, though of course the argument can and has been made that they’ve over-smoothed the French, which Lydia Davis has not. I was reading Proust in a small group and this was the translation chosen out of consensus. I’m happy I went along because the Viking series, from my occasional referencing it, seems to be inconsistent probably on account of having different translators for each novel.
One day I’ll read in French. And do my own translation! Ambitions.]
—I began my discovery of three writers whose work, like Proust, will have a lasting impact on how I read, write, think, live:
(1) Edmond Jabès;
[I read the first two volumes of The Book of Questions (The Book of Questions. 1963. & The Book of Yukel. 1964.), translated by a my biggest translation hero, Rosmarie Waldrop, and published by Wesleyan University Press. This was part of an amazing one-on-one tutorial and I’ll be reading the rest when I can breathe again.]
(2) Etel Adnan (who is going to be a major figure on my upcoming comprehensive exams—she is completely stunning and writes in multiple genres and languages);
[Sitt Marie-Rose. 1978. Translated from the French by Georgina Kleege. Post-Apollo Press, 1982.
Seasons. Post-Apollo Press, 2008.
The Cost for Love We Are Not Willing to Pay. Hatje Canz Verlag, 2011.
Sea and Fog. Nightboat Books, 2012.]
(3) and Lisa Robertson (whom I got to hear read and lecture at Naropa and make sign a billion books for myself and a friend).
[Occasional Work and Seven Works from the Office of Soft Architecture. 2003. Coach House Books, 2011.
Magenta Soul Whip. Coach House Books, 2009.
Nilling: Prose Essays on Noise, Pornography, the Codex, Melancholy, Lucretius, Folds, Cities and Related Aporias. BookThug, 2011.
The Weather. New Star Books, 2011.]
I should add George Oppen to this list, though technically I’ve read his books before; « Read the rest of this entry »
December 3, 2014 § 2 Comments
One of the great disappointments I experienced when I first moved to the US nearly five years ago was that regular American people sound nothing like the American people in movies.
I don’t mean that any country’s people ever sounds like its cinema, but that a certain type of film can capture, or re-invent, its linguistic community’s continuum of articulacy-inarticulacy in a way that allows you to be moved by its beauty—luxuriate in its pain.
My disappointment in American speech quickly turned into disappointment in American cinema because it’s the other way around. The cinema has failed the people.
Or: the cinema has failed part of the continuum while celebrating the other extreme.
The other extreme being that sort of determined, stylized, sometimes reverential, sometimes parodic-pastiched dialogue that’s completely well done in the hands of say Quentin Tarantino or 80s/90s David Lynch. A kind of over-articulate language that’s on the skin of personhood—think Don Corleone scratching his chin.
Actually, to take it a notch down, this—from Michael Lehmann’s Heathers (1988)—is completely genius:
I’ve always been enamored with the way American TV and movie characters « Read the rest of this entry »