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Kathy Acker was one of the most original, subversive and
influential writers of the late 20th century. Known variously, and
notoriously, as a consummate postmodernist, feminist, post-punk and
plagiarist, her oeuvreover a dozen novels and novellashas inspired
a generation of writers and artists. Lust for Life is the
definitive collection of essays on Acker's inimitable work,
including Peter Wollen's elegiac primer, widely considered the best
introduction to Acker, and Avital Ronell's erudite meditation on
friendship and mourning. Together these essays by scholars and
writers reveal Acker's profound and innovative project, and the
ways in which fiction can penetrate the heart of political and
cultural life.
As one of the founding poets and editors of the Language School of
poetry and one of its central theorists, Barrett Watten has
consistently challenged the boundaries of literature and art. In
The Constructivist Moment, he offers a series of theoretically
informed and textually sensitive readings that advance a
revisionist account of the avant-garde through the methodologies of
cultural studies. His major topics include American modernist and
postmodern poetics, Soviet constructivist and post-Soviet
literature and art, Fordism and Detroit techno--each proposed as
exemplary of the social construction of aesthetic and cultural
forms. His book is a full-scale attempt to place the linguistic
turn of critical theory and the self-reflexive foregrounding of
language by the avant-garde since the Russian Formalists in
relation to the cultural politics of postcolonial studies,
feminism, and race theory. As such, it will provide a crucial
revisionist perspective within modernist and avant-garde studies.
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Tjanting (Paperback)
Ron Silliman; Introduction by Barrett Watten
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R508
R444
Discovery Miles 4 440
Save R64 (13%)
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Ships in 10 - 15 working days
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Space heater. Writing gathers around the pigeons. This line leads
to Uranus. Nun census. Silver fork upon a chipped blue plate. I saw
sleeping bag, pillows in the Buick's back. The companionship of
refrigerator's hum. This is beginning I again began not. Salt
shaker tall as coffee's mug. Dented Opel's orange fender. Gray
dawn. On the rain falls Spain mainly in the brain. Smudges forming
fingertips on the back door's windows. X-ray reads gold-leaf sign
on the glass. First sound of roommates beginning to stir. Grey into
yellow comes sky to the room. Each page, once tree, soon shall be
ash. Leather chipping, flaking off the tattered jacket. A woman who
wears sweat pants. Detestimonialist. Don't sneeze on cat.
Predictable boots worn by Frye people. Potholders old and dark.
Ridges by bridges. Knife blade streaked with butter. That bus
coming back this way. Rough surface of cat's tongue. Pin koans.
Clutter of seeds, oils, spices atop the side board. Uganda
Liquors.Pedestrians scamper across in the sun. Stake each sentence
out. Call this 5 Corners. Knot this knot. Ball bounced into the
panda plant. Cups fill the cupboard. Aliens from other planets are
perfectly visible. Tamal is a half-name in the place of the name.
The squeak of faucets. I was on the road discovered. Ash "tray."
Yellow caterpillar tractor. Ashtray fills up. Waking is in each
instant I am. Across, then down and across. Her tone to him through
long years of rough intimacy was at once tender and gruff. Begin
each letter at the top. Not this. Pit bull's spittle as it snarls.
I saw a burgundy filling the clear vial at needle's end, my blood.
Liquid detergent. Ing the trap bears ed. Roach holder made of a
matchbook. She never lookd this way, whose face I sought a glimpse
of. Free write each day. My fingers counted between nine and
eleven.Any symbol is a contrary seen in a positive light. A
specific shape, complex amd nameable, to each cloud. Sky pilot.
Factory filld with sunrise. Scraping paper, leaving tracks.
Forklift to timeclock of montage and cut. Call this tracing. 3
wooden rainwarpd chairs in the (back) yard. Fence is a verb.
Scratch that. Each word in Max 3 meant polis. In the mind mines
gape. Tell that to the Possum. Words tried to imagine. Coffee
ground spilld on the stove top. Bare nap rugs on the cat. Mouth
open, take a deep breath, say Ah. On the far gray bay side haze
hued the hill.Rush of footsteps upstairs. Bathetic. In a middle
that is not yet the middle. The mock coolness of the air-conditiond
underground. Hours alter colors of the page. Grease sizzles,
spitting on the stove top. Words vary. Swam past sand sharks. An
idea of land's end. Pale luncher. An eternal groove around record's
center. 4-tunneld city and 7 its hills. Owl light.Impaired eyes,
desert rocks are attributed evenly throughout the pain. Red water.
We saw on the sea sails. Stoppage makes the line. Translicity
elects the voice. Cowabonga. But you dependent for what comes thru.
Call it dogface. Know all blame, same difference. Doors "ajar." I
glimpse the machinery of the modern dentist thru windows. Pills on
my Tarot. Shade throws the light lamp. Pacific Palisades. Write
between light green lines. Beer in waxed cups. Noon's rise mooning.
Someone must make awnings. On the bus home from work, squinting at
a thick printout. On a bus in dawn heavy fog, on my way to meet
Taggart. Smouldering sienna. One ideogram, meaning lunch, middle or
China. The familiar smell suddenly of balsawood and Testor's in a
hospital corridor.My nose, seen as a waterfall. Disfeel an ease.
Cary Grant on the face of George Washington. Or the faces of
watchers through a window at sunset, their skin blue by the dim
light of the telly. Once on the bus, took his shoes off. Detains,
denotes detonation. His eyes enlarged by his glasses.
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