tag:blogger.com,1999:blog-184140572024-03-18T23:42:57.913-04:00Wild Horses Of Firewhat wings raised to the second powerThom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.comBlogger1353125tag:blogger.com,1999:blog-18414057.post-16494467244183366062021-02-14T23:01:00.004-05:002021-02-14T23:01:49.981-05:00Ian Dreiblatt's Forget Thee<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4YCIodiXYTwQoKHmC7p5TtWVoEsHOeW1Tddr6pdPDvYK9c0y0Rky0gRshj6tT9jAJPbuzDr34ZMOUiU5lH-WRfQrnLqipXbOgOEVf1bErRJYdAPL_muvrhxZj7ZyJt21eY6Xp/s1024/forget-thee-Cover-731x1024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="731" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4YCIodiXYTwQoKHmC7p5TtWVoEsHOeW1Tddr6pdPDvYK9c0y0Rky0gRshj6tT9jAJPbuzDr34ZMOUiU5lH-WRfQrnLqipXbOgOEVf1bErRJYdAPL_muvrhxZj7ZyJt21eY6Xp/s320/forget-thee-Cover-731x1024.jpg" /></a></div><br /><p><br /></p><p><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; white-space: pre-wrap;"><a href="https://uglyducklingpresse.org/publications/forget-thee/?fbclid=IwAR2_w8vpKD6c-yO3vIyC13fioZfMaCYJpxh5YAWSpfWfIw8_gaFaZKGIyV8">Pre-order</a></span></p><p><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; white-space: pre-wrap;">Despite the fact that it is 2020, and nearly 2021 when I write this, I want to remember Ian Dreiblatt’s Forget Thee as one of the great poetry books of the (post-) Occupy era. It arrives as an untimely meditation upon the long 2010s, a speculative, elegiac lyric of hope without hoping, clear-sighted and hearted intellectual pessimism amidst an attenuated collective optimistic will. In the first and last poems of the book I am transported to many conversations regarding (political) friendship after [Frank] O’Hara. To what extent can our most intimate relationships prefigure unacknowledged worlds and worlds of the unacknowledged despite their mediation by the commodity form (and social media specifically as an apotheosis of the commodity form)? And to what extent is a commons salvageable from the unfathomable wreckage of advanced racial capitalism? Assuming a choral mode, Ian forces us to consider a tenuous ‘we’ again despite the wreckage piling exponentially at our feet and the profound disparities concerning whom the disaster most affects. Employing interlocutors from antiquity throughout many of the poems—among them gods, poets, and ancient sovereigns—the task of the consummate translator-poet has never been more urgent, and ludic. Through his interviews with them he clears a space for critique and speculation, but also for a kind of lyric rarely heard nowadays. That specifically of thought’s fugitivity, its delightful fleeing from sense, and of the words of countless others—another mode of chorus—breathtakingly and breathlessly interwoven.</span></p>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-59997827945627776552020-12-29T12:28:00.001-05:002020-12-29T12:28:19.277-05:00Left Melancholic listings and end of the year thanks<div class="separator" style="clear: both; text-align: center;"><br /></div><p class="p1" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Thank you to my friends, family, colleagues, former students, and mentors who have subscribed to my <a href="https://www.patreon.com/user?u=20937238">Patreon</a>. Your support made a tremendously difficult year a little easier. Below is a complete listing of the site’s over 200 posts if anyone is considering subscribing.<span class="Apple-converted-space"> </span></p><p class="p2" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"We fuck death put it there ostensibly" (from The Hole)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Matt Mullican's Bulletin Boards</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"If that fire would burn" (from The Hole)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Teaching Etel Adnan’s The Arab Apocalypse</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Animal Communism</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Renée Green's Other Planes of There</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"No one was the wiser" (from The Hole)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>A grave in exchange for the commons (on Fred Moten)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"We gave our limbs we gave our throats" (from The Hole)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Remains: Poems 1999-2009 (Unpublished book draft)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Constraint is not silent nor at rest</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Hannah Weiner and Intense Autobiography</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Literal Blood (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Somatic Poetics</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Fate of Number (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Future Citizen</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Sore Ethics (introduction to Supple Science: a Robert Kocik Primer)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>For (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Accident</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Delays in Glass: Social Media Poetics</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Meatyard, My Neighbor (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Reading Martha Rosler Reading</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Now Man (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“None of us have rules, none of us have scripture”: CA Conrad’s Advanced Elvis Course and the Politics of Immanence</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Soon-To-Be (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Devotions (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Debt I (from Withdrawn)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Girl Who Loved Spiders (children's story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>from Before Freedom (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“Because the pronouns have already been wiped out”: On Melissa Buzzeo’s The Devastation</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>MANTLE (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Century of Clouds questionnaire</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Beginning Compendiums of a Bare Oak (from The Remains)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Death Is My Gift / Afterlives PDF</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On the Occult</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Macho Man, Tell It To My Heart: Collected by Julie Ault</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Songs (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>In the Ditch</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Pee Pee Town (children's story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Death is My Gift II (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Robert Kocik's Portraiture, a Reminiscence</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>After Madeline Gins</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Telegenically Dead (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Interview with Guy Ben-Ner for BOMB</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Slimy Book (children's story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Plan (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>St. Bruce</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>We are just two things of air</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Class (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Ekphrasis</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Boy Who Wanted to Be a Bird (Children's Story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Charnel Ground II (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Interview with Adam Pendleton for BOMB</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Charnel Ground I (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"Reunite" (George Floyd Multiple)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Gift of Death (from Death is my Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"All it took to light the house"</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Florence Journal May/June 2014</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>No Names (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Charlie (children's story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The non-reduction of phonic substance</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>I Hope You Are in That Sun (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Prayer Beginning with a Phrase from Paul B. Preciado</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Journal of a Plague Month</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Impassed (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Goodnight</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Man Who Hated Rainbows (children's story)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Lit (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Crowns (II)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Sublime Anger (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Lighthouse</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Evaluation (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Crowns</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“It never occurred to me that I would be a teacher” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Revenants, Remains (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>An Adjunct Phenomenology</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Recognition (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"Certain classes have chemistry, and ours did" (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>False Flags (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“On the first day of class all of the seats were occupied” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Sonnet 64 (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Love to the Teacher (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Place of Action (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Art of Withdrawal [on Lee Lozano and Ben Kinmont]<span class="Apple-converted-space"> </span></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Bruised Music (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“When my contract was renewed for another year” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>In Actu (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“On the first day of class I felt scared” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>A Thousand Levels (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“I didn’t know how to approach you at first” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to J. Morgan Puett (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>After Hito Steyerl (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“You would always sit on the margin of the class” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Gregory Sholette (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Mouth Writing (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>In Lieu of a “Statement of Teaching Philosophy” (from Left Melancholy part 3, My Students)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Left Melancholy parts 1 & 2 ms. PDF</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Gregg Bordowitz</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Does the Document Promise? (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Left Melancholy parts 1 and 2</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Glenn Ligon (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>You Make Me Want to Shout (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“I dare not use the term ‘ally’” (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Design Proposal for Etel Adnan's Reader</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Proletarian Nights (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Annotation/Redaction (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Fred Moten (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Thek (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>from Headless (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>How I Did Not Write Certain of My Books (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>No Milk Today (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>from Headless (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Etel Adnan (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Post-Sovereign (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>from Headless (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Jordan Scott (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Afterlives (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Bruce Boone and the Gay Straights</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Corpsefuckers (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Dodie Bellamy (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>For Terry (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Ressentiment (from Left Melancholy Part 2, Ressentiment)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>My Thoughts (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Introduction to "For Opacity"</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to David Buuck (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Being Gone to be Here (from Left Melancholy part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Dana Ward (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Teaching New Narrative</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>This is not a poem for JA (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Chase Granoff (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Christmas, 2014 (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Eastman PDF (Unpublished book draft)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Death Is My Gift I (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to CA Conrad (from <i>Withdrawn: a Discourse</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Slavery’s Exiles (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Note to “Eastman”</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Bruce Andrews (from <i>Withdrawn: a Discourse</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Friendship (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Holy Presence of Joan of Arc (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Bhanu Kapil (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Camp (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Crazy ------ (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Stuffed Cat (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Beka Economopoulos (from Withdrawn: A Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Zurich Concert (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Adam Pendleton (from Withdrawn: a Discourse)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Ante-Monuments (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Creation (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Use Without Using</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“The End of the world of course”: 5 Questions & 4 Prompts for De/worlding (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Femenine (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Max Razdow's <i>True Corpus</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>But Lose the Feeling (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Gay Guerrilla (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>A Different Way to Destroy (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>From “Other Suns” (On Anne Lesley Selcer's <i>Sun Cycle</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Rabbit in the Moon (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Fugue No. 7 (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>After Marcus Rediker (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Refusal (In the Tradition) (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Dolmen Music (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>After Julie Ault (from Death Is My Gift)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>My Students (from Left Melancholy Part 2)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Stay On It (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>"I didn’t know how to approach you at first" (from Left Melancholy Part 3)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>What Wings Raised: Fragments For Paradisical Beauty</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>The Refusal (from Left Melancholy Part 1)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Evil ****** (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Striving for Protection (for Jack Whitten)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“We are Abandoned” (from Left Melancholy Part 1)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>If You’re So Smart Why Aren’t You Rich? (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Statement for Eastman</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Into Bride // Army of Roses (a meditation on suicide after Maya Deren's <i>Meshes of the Afternoon</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Death Is My Gift (from Left Melancholy Part 1)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Eight Songs for a Mad King (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b><i>5 Questions for Contemporary Practice</i> introductions (2010-2012)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Wood in Time (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Statement for <i>Meatyard, My Neighbor</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Splitting (on Gordon Matta-Clark and ethical obligation)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Trumpet (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Eléna Rivera's <i>Scaffolding</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Thruway (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Jibade-Khalil Huffman’s <i>STANZA</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Akademie ‘loss (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Mumbaphilia (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Some Notes on Note-Taking (after Bhanu Kapil’s <i>Ban en Banlieue</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Macle (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Go Crazy</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Father, Don’t You See I’m Burning? (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>440 (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On Renee Gladman’s <i>Prose Architectures</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Shadow Commons (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Comp 1 (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On the Occult</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Prelude for Julius Eastman (from Eastman)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>For a Poetics of Healing (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Her Research About Horses (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>At whose expense are you held? (notes on <i>Midsommar</i>)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Post-Face to <i>Withdrawn: a Discourse</i></b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Place of Action (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>“I miss people I haven’t even met yet” (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Ruins in Reverse (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Crying (from Left Melancholy Part I)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Prologue to Left Melancholy Part I</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Arthur Russell Revised: Hold On To Your Dreams</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>On [Jodi Melamed’s] Represent and Destroy</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Leslie’s Tears (for Leslie Feinberg)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Maybe it’s just that I loved him (Kevin Killian tribute)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Touch Him When (for Kevin Killian)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Soon-to-be</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Letter to Kevin Killian regarding "Goodnight"</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Stranger Things</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Goodnight (for Kevin Killian)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Why Poets Theater Now?</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Second Reflection, Second Innocence (on art after the debt crisis)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>I Tried To Be a Socialist (on Asad Haider's Mistaken Identity)</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>I Hate Poetry</b></p><p class="p3" style="color: #302817; font-family: Arial; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><b>Why I Teach Afro-Pessimism</b></p><p class="p2" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><div class="separator" style="clear: both; text-align: center;"></div>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-20667085420904279612020-08-01T23:47:00.000-04:002020-08-01T23:47:46.545-04:00I Hate Poetry at Adjunct Press (chapbook)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImskOaVg48uoBuWSpxmumT_sjGQpU1XpcOn-zvB_KJBi3oWbJGwbS_lpx4ohYl3zQV6PQb5DG1fbYkFa1yccmaPnWDaZot4fsdXY74HLfXDueXpDfdXZwmbMB-biySv5MOAii/s256/img_2614.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImskOaVg48uoBuWSpxmumT_sjGQpU1XpcOn-zvB_KJBi3oWbJGwbS_lpx4ohYl3zQV6PQb5DG1fbYkFa1yccmaPnWDaZot4fsdXY74HLfXDueXpDfdXZwmbMB-biySv5MOAii/s0/img_2614.webp" /></a></div><p style="background-color: white; border: 0px; color: #404040; font-family: "Merriweather Sans", sans-serif; font-size: 16px; margin: 0px 0px 1.5em; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></p><p style="background-color: white; border: 0px; color: #404040; font-family: "Merriweather Sans", sans-serif; font-size: 16px; margin: 0px 0px 1.5em; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://adjunctpress.com/chapbooks/i-hate-poetry-by-thom-donovan/">I Hate Poetry</a></em> goes past the (recently and inexplicably controversial) ars poetica to question the reason for even being a poet. It is a refreshingly materialist answer to the tedious mysticism of the poet-as-seer trope. Yet, once that trope is removed, what does remain? Given the obliviousness of poetry in the general world and the more-specialized distain of poetry within the poetry world; what does choosing to become a poet mean? Why is preference developed apophatically? What are the ethical and social implications between recognition and oblivion?</p><p style="background-color: white; border: 0px; color: #404040; font-family: "Merriweather Sans", sans-serif; font-size: 16px; margin: 0px 0px 1.5em; outline: 0px; padding: 0px; vertical-align: baseline;">This book is hand-bound with a pamphlet stitch and ornamental staple. The text pages are laser printed on 24 lb recycled paper. The cover is 80 lb flat white cover stock and laser printed with a complete coverage that gives a glossy feel and we think could give the book a level or wear or patina over time. This book is made in Milwaukee in an edition of 50.</p>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-4845904492537761302020-07-31T00:06:00.002-04:002020-08-01T23:40:47.570-04:00"Journal of a Plague Month" in Decameron I am grateful to have been able to participate in <a href="http://yonkersinternational.press/decameron.html?fbclid=IwAR1ESzuBzmGmCjLk8fVPDY7ODSiZkL46b3I-o1swGki6ieQ80DxVSbEkfsw">this reimagining of Boccaccio's The Decameron</a>. Many thanks to Macushla Robinson, editor extraordinaire! Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-17903161456569577882020-07-30T23:56:00.001-04:002020-07-30T23:56:50.497-04:00"Afterlives" and "A Different Way to Destroy" in No Contact Issue 6Two poems of mine just appeared in <a href="https://www.nocontactmag.com/issue-six">No Contact Issue 6</a>. Thank you to Nathaniel Berry and Guaraa Shekhar for inviting me to contribute! Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-10220493323258980562020-07-30T23:52:00.002-04:002020-07-30T23:57:38.034-04:00"In Lieu of a 'Statement of Teaching Philosophy'" in La Belle Revue 10 Some new work from Left Melancholy Part 3, My Students has been published in <a href="http://labellerevue.org/en/public/2020/newsletter-juin-2020">La Belle Revue 10</a>. Thank you to the editors! Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-60062312031260911162020-04-10T12:26:00.000-04:002020-04-10T12:26:52.411-04:00Zurich Concert at Distantia video reading series<a href="https://m.youtube.com/watch?fbclid=IwAR2ObwPn6kfD2S34XB8RQ0bwEDohjh3nR5vY8wywApIT7-qDtpG3LR9Yi40&v=E2oOQhrIkPQ"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/E2oOQhrIkPQ" width="560"></iframe></a><br />
Here’s my contribution to Orchid Tierney’s wonderful Distantia video reading series, one of a book-length series of poems for and after Julius EastmanThom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-34704020169048569302020-04-10T11:57:00.000-04:002020-04-10T11:57:25.665-04:00The Movement Image Vol. 1I’ve got a little piece on Midsommar in this new journal, <a href="https://jet-tone.press/the-movement-image/">The Movement Image</a>. Grateful to the editors and contributors, Paul Ebenkamp, Grant Kerber, Katy Burnett, and Jamie Townsend.Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-27170076668598085392019-11-08T11:11:00.003-05:002019-11-08T11:11:46.674-05:00Provisional Avant-Gardes with Sophie Seita at Printed Matter<div class="event-main-header" style="box-sizing: border-box; margin-bottom: 1.75em; text-align: center; vertical-align: top;">
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<span class="dates" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #b4b4b4;"><span style="font-family: Georgia, Times New Roman, serif;">November 9, 2019</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Join us for a conversation between Sophie Seita and Thom Donovan, exploring Seita’s recent publication <em style="box-sizing: border-box;">Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital</em>, published by Stanford University Press. Join the event on facebook <a href="https://www.facebook.com/events/415667409140308/" style="border-bottom: 2px solid rgb(233, 12, 140); box-sizing: border-box; color: black; cursor: pointer; text-decoration-line: none;">here</a>.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">What would it mean to be avant-garde today? Arguing against the notion that the avant-garde is dead or confined to historically “failed” movements, this book offers a more dynamic and inclusive theory of avant-gardes that accounts for how they work in our present. Innovative in approach, <em style="box-sizing: border-box;">Provisional Avant-Gardes</em> focuses on the medium of the little magazine—from early Dada experiments to feminist, queer, and digital publishing networks—to understand avant-gardes as provisional and heterogeneous communities. Paying particular attention to neglected women writers, artists, and editors alongside more canonical figures, it shows how the study of little magazines can change our views of literary and art history while shedding new light on individual careers. By focusing on the avant-garde’s publishing history and group dynamics, Sophie Seita also demonstrates a new methodology for writing about avant-garde practice across time, one that is applicable to other artistic and non-artistic communities and that speaks to contemporary practitioners as much as scholars. In the process, she addresses fundamental questions about community, collaboration, and the intersections of aesthetic form and politics.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="border-bottom: 2px solid black; box-sizing: border-box;">Sophie Seita</span>’s practice spans text- and archive-based work, translation, performance, lecture-performance, video, and queer-feminist collaboration. Most recently, she’s the author of <em style="box-sizing: border-box;">My Little Enlightenment: A Lecture Performance</em> (Other Forms, 2019); the editor of <em style="box-sizing: border-box;">The Blind Man</em> (Ugly Duckling Presse, 2017), named one of the Best Art Books of 2017 by The New York Times; and the translator of <em style="box-sizing: border-box;">Subsisters</em> (Belladonna*, 2017) by Uljana Wolf, whose selected essays she’s in the process of translating. She’s also published on and continues to think about queer love poems, feminist hospitality, digital publishing, translation, multilingualism, experimental writing, forms of reading, and practice-as-research. She regularly performs and presents her work nationally and internationally and earlier this year had a solo exhibition at [ SPACE ] in London. Following three years of teaching at the University of Cambridge, she’s currently an Assistant Professor at Boston University, working on a book of lyric essays, tentatively called Lessons of <em style="box-sizing: border-box;">Decal</em>; and on a new performative installation <em style="box-sizing: border-box;">The Gracious Ones</em>, a philosophical ballet in pieces.</span></div>
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Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-49828747858604608212019-10-24T10:19:00.001-04:002019-10-24T10:19:23.751-04:00from Other Suns (on Anne Lesley Selcer's Sun Cycle)<div>
<span style="background-color: white; color: #241e12; font-size: 16px; white-space: pre-wrap;"><span style="font-family: Georgia, Times New Roman, serif;">Throughout Selcer’s art writing and poetry the sun appears to us in so many aspects, both real and metaphorical. For instance, in her essay “Day and Night” she writes “We have a culture that no longer forms, and is no longer formed by an individual body growing up through concentric circles of mother’s arms, family, home, neighborhood, village or town, one which no longer resonates with, as Henri Lebrvre says, ‘days, nights, seasons, the waves and tides of the sea, monthly cycles.’” What has replaced the diurnal rhythms of the sun for Selcer and for us all are the rhythms of artificial daylight as it is extended through night, and the many suns of a billion screens embodied by our computer monitors, televisions, and phones. On the underbelly of an artificial and permanent daylight, is Georges Bataille’s “solar anus,” the sun that no longer produces but endlessly excretes, to which Selcer makes reference in her poem for the mass murderer Elliot Rodger, who killed and injured numerous people on the University of California, Santa Barbara campus in 2014, motivated by the hatred of, in her words, “women and racialized people.” The sun setting on empire, the sun no longer revolving around certain cultural ideals and forms and representations, also gives rise to sedimented expressions of violence enabled by resent and fear.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">For more, subscribe to<a href="https://www.patreon.com/posts/from-other-suns-30963507?utm_medium=social&utm_source=facebook&utm_campaign=postshare&fbclid=IwAR3cxhS1bnZU109XR5rinDat8uoKLbuGVtCKaDxn6Q8WBOzNYjHmjCjGJ8o"> Patreon </a></span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-59660730832600474352019-09-23T10:43:00.000-04:002019-09-23T10:52:39.328-04:00EASTMAN at Elecment<span style="background-color: white; color: #1c1e21; font-family: , , , ".sfnstext-regular" , sans-serif; font-size: 14px;">A few of my poems from EASTMAN, a new poetry ms., are up at <a href="http://fencedigital.com/2019/09/22/eastman-sounds-excluded-donovan/?fbclid=IwAR0gYZyj4zYmxAkB3iLcnVJR3i90OsBofrQkJ9Am3BI0ihm_cuk8Du9jMJg">Fence's beautiful Elecment</a>. Profuse gratitude to Emily Wallis Hughes and her team for careful editing and inspiring design! Oh, and the feature includes extensive video footage of Julius Eastman performing "Stay On It" with SEM Ensemble circa 1973.</span><br />
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<span style="background-color: white; font-family: , , , ".sfnstext-regular" , sans-serif; font-size: 14px;"><span style="font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;">Attention to the music of Julius Eastman has had a major resurgence (one might more accurately say resurrection) since I started writing these poems roughly three years ago. Contributing to this resurgence have been countless performances of his works internationally in spaces for visual art, music, and contemporary dance, as well as an increasing amount of scholarship devoted to the composer. When I turned to Eastman, it was largely on account of my longtime interest in his milieus, principally that of the University of Buffalo and Upstate New York in the late 60s and early 70s, and of Manhattan’s Downtown and Disco scenes in the late 70s and 80s. Many poems from the larger manuscript of “Eastman” are engaged with these milieus and the intricate and intense social histories which they embody. Likewise, as with many of the poems I have written after artists and art works over the years, “Eastman” has offered me an opportunity to explore aesthetic practices other than my own and develop new (to myself) techniques for writing. For instance, a simple procedure that guides many of the poems here is to only write </span><em style="box-sizing: border-box; font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;">while listening </em><span style="font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;">to Eastman’s recorded music, a procedure I developed in the spirit of the “structured improvisations” of the composer’s collaborator, Arthur Russell. Yet another procedure which has guided the project is that of transcribing words and sounds. In the case of the former, I have a tendency to mishear (sung) language, which leads to some interesting transliterative effects, but which may also take-up what Fred Moten calls the “non-reduction of phonic substance,” a concept that has been generative both for my writing and teaching practices for over a decade. As the project deepens, and I listen more deeply—not just to Eastman’s works in themselves, but for their socio-political contexts and occasions—the richer and more nuanced I feel my relationship with the music becomes. Given Eastman’s penchant for allegory, and for a sort of virtuosic tricksterism, such a richness would seem inexhaustible despite the tragic dearth of his archive (many of his works were never recorded or recorded badly, and many of his scores were lost in a housing eviction in the late 80s, not long before his death at 49). This project is also indebted to the collective efforts of many scholars and thinkers who have made Eastman’s archive possible, not least of all Renée Levine Packer and Mary Jane Leach whose groundbreaking anthology, </span><em style="box-sizing: border-box; font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;">Gay Guerrilla</em><span style="font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;">, provides an invaluable resource for understanding Eastman’s biography and work. The </span><a href="https://library.buffalo.edu/music/" rel="noopener noreferrer" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px; outline: 0px; text-decoration-line: none; transition: color 200ms cubic-bezier(0.785, 0.135, 0.15, 0.86) 0s, background-color 200ms cubic-bezier(0.785, 0.135, 0.15, 0.86) 0s, border-color 200ms cubic-bezier(0.785, 0.135, 0.15, 0.86) 0s;" target="_blank">music library at SUNY-Buffalo</a><span style="font-family: SF-Pro-Display, Roboto, sans-serif; font-size: 15px;"> was kind enough to grant me access to otherwise unavailable archival recordings of Eastman performances, which accounts for the poems “Macle” and “440.” Thank you in particular to John Bewley, Associate Librarian and Archivist at the library.</span></span></blockquote>
Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-62713667369518397192019-07-03T10:45:00.004-04:002019-07-03T10:45:45.480-04:00Kevin Killian collectively remembered at Poetry FoundationBittersweet to be part of <a href="https://www.poetryfoundation.org/harriet/2019/07/dear-dear-kevin-killian-a-collective-memory">this remembrance</a> for a writer, community member, and friend without equal. I love you, Kevin!Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-36624748577308032022019-06-21T12:10:00.002-04:002019-06-21T12:10:33.252-04:00RIP Warren Niesluchowski <br />
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I was fortunate enough to meet Warren Niesluchowski a few years back during <a href="https://vimeo.com/22081022?fbclid=IwAR1DFcmbEuYK6fQ18-WY9sMFi0GJSh7owstbvtp9A3_kWWs_N6nnofq_Vtc">this interview</a> at CUE with Simon Leung and Sreshta Rit Premnath. He was a gentle soul, and an incredibly relevant artist for our times given his signature practice of itinerancy</div>
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Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-52724593561470002272019-06-20T15:26:00.001-04:002019-06-20T15:26:52.772-04:00I Tried To Be A Socialist (on Asad Haider's Mistaken Identity at ASAP/Journal)Avi Alpert asked me and some others to write responses to Asad Haider's book Mistaken Identity for ASAP/Journal, so I did, here: <a href="http://asapjournal.com/i-tried-to-be-a-socialist-thom-donovan/?fbclid=IwAR3B1HGk-YFN_FXthi32pGYDEdhYkivi0HAEoCkTvLw9QBMdzhsCnv-Uyh4">http://asapjournal.com/i-tried-to-be-a-socialist-thom-donovan/?fbclid=IwAR3B1HGk-YFN_FXthi32pGYDEdhYkivi0HAEoCkTvLw9QBMdzhsCnv-Uyh4</a>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-65210128696812124932019-06-10T13:01:00.001-04:002019-06-10T13:01:44.219-04:00Left Melancholic @ Patreon<span style="background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px;">Left Melancholic @ Patreon is an archive for writings and other materials dating back to 1999, including published and unpublished poems, essays, statements, notes, and criticism. It will also present an open notebook/studio for incubating current projects. By supporting this page you can contribute to my livelihood as a writer and independent researcher. To subscribe click on the button in the right-hand column.</span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-9744548172350396112019-04-29T09:42:00.000-04:002019-04-29T09:42:01.322-04:00Dispatches from the Institute of Incoherent Geography, Vol. 1<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">I have a contribution in <a href="https://flugschriften.com/2019/04/27/dispatches-from-the-institute-of-incoherent-geography-vol-1/">this wonderful and curious anthology</a>, edited by Carla Nappi and Dominic Pettman, devoted to “incoherent geography”!</span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-815564753444878072019-04-17T20:18:00.000-04:002019-04-17T20:35:41.172-04:00OVERWRITTEN questionnaire<!--[if gte mso 9]><xml>
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<span style="background-color: white; color: #1d2129; font-family: garamond; font-size: 13.5pt;">When in
your life have you wanted to write, but couldn’t? When have you had to stop
writing? How did this affect your sense of being a writer? How may it have
changed your writing?</span><br />
<div class="MsoNormal">
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">In what
ways is writing separate from your other practices, and in what ways is it
integrated? Do you intend writing to be separate from other things you do? If
so, why? Would you like to integrate them better? If so, how might you
accomplish this?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">Describe
a project you have abandoned, whether a writing project or something else, that
you would like to return to. Why would you like to return to it? What problems
do you foresee in returning to it and attempting to revisit, revise, or
complete it?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">In what
ways is duration an active quality in your work? How does the passing of time
(or the fact of time having passed) contribute to what you produce as a
writer/artist?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">Given
the fact that under misogynist racial capitalism we all live with intermittent
crises to varying degrees and in different ways (whether racial discrimination,
gendered violence, the exploitation of our labor, sickness, poverty, displacement,
a lack of resources, etc.), how have such crises shaped your processes as a
writer/artist? With the manifestation of a work, do these crises remain present
in the work? If so, how?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">In the
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<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">In what
ways has “failure” facilitated the making of your work? Describe a work you
have made that has been a “success” insofar as it has manifested from, or
managed to address, its beginnings in failure?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">In what
ways does “not writing” (non-productivity) constitute a rhythm/rhythms for your
work (productivity)?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">Have you
ever stopped writing/making for an ethical and/or political reason? If so,
describe. What, if anything, were the consequences of stopping? In what ways
may this “stopping” have produced something of value, albeit inadvertently?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">Are
there certain subjects or is there certain content that you feel your work can
only address negatively, through their exclusion; which is to say, by not
writing about them, or by only addressing them through restraint? If so,
describe.</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">Are
there ways you feel like you cannot write? Are there genres that you feel you
cannot write in, because you are barred from writing in them, or because you
feel that they do not serve you or others like you? If so, describe.</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #1d2129; font-family: "garamond"; font-size: 13.5pt;">What
genres most serve you and others like you? What genres do you feel you need to
invent, because they may be able to serve yourself and others like you? What,
if any, genres should be abandoned, avoided, or abolished?</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<!--EndFragment--><br /></div>
Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-52595781125721265952019-03-27T21:33:00.002-04:002019-03-27T21:33:53.018-04:00COUNTER-DESECRATION: Collective Remedying // Launch <div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;"><br /></span>
<span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">On Earth Day, <a href="https://www.poetryproject.org/events/counter-desecration-collective-remedying-launch/?fbclid=IwAR0lXf22WQ8gZWZZcpP4DM4ZU9a2SKeWmW0-hhbbLWRlm6ARUhwqYA6NP5E">The Poetry Project</a> will host the East Coast launch of </span><i style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;"><span style="box-sizing: border-box;">Counter-Desecration: A Glossary for Writing Within the Anthropocene</span></i><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, edited by Linda Russo and Marthe Reed and published by Wesleyan University Press. Join editor </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Linda Russo</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;"> and contributors </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Thom Donovan</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Marcella Durand</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Brenda Iijima</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">E.J. McAdams</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Evelyn Reilly</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;">, and </span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px; font-weight: 600;">Asiya Wadud</span><span style="background-color: #fdfcf6; box-sizing: border-box; color: #212121; font-family: "PT Sans", sans-serif; font-size: 16px;"> as they share their terms, repurposed words, and neologisms from the collective glossary that map approaches to the interlinked social, economic, and environmental forces that shape relations between places, individuals, and other species imperiled in the Anthropocene. Event will include contributor readings/performances and a roundtable.</span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-77290195979414056772019-03-13T09:59:00.002-04:002019-03-13T09:59:49.672-04:00OVERWRITTEN Seminar at Wendy's Subway<ol class="xEntriesList xSection-residency xTag-unbag" id="pageEntries" style="background-color: white; font-family: "Lucida Sans Unicode", "Lucida Grande", sans-serif; font-size: 11px; list-style: none; margin: 0px; padding: 0px; position: relative; text-size-adjust: none;">
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<strong style="text-size-adjust: none;"><span style="font-size: x-small; text-size-adjust: none;">PUBLISHER-IN-RESIDENCE: unbag</span></strong><br style="text-size-adjust: none;" /><strong style="text-size-adjust: none;"><span style="font-size: x-small; text-size-adjust: none;">March-April 2019</span></strong><br style="text-size-adjust: none;" /><br style="text-size-adjust: none;" /><span style="text-size-adjust: none;">Wendy's Subway is pleased to announce <strong style="text-size-adjust: none;">unbag</strong> as Publisher-in-Residence in March and April 2019. Join unbag<strong style="text-size-adjust: none;"> </strong>and Wendy’s Subway for a series of workshops, seminars, and walking tours centered around discussions of politics, place, and entropy. Featuring contributions from Thom Donovan, Xavier Acarin, Zahra Patterson, and J Olson, the programs are part of unbag’s forthcoming issue, set for release in Summer 2019.<br style="text-size-adjust: none;" /><br style="text-size-adjust: none;" />Books selected by unbag contributors will be on view at Wendy's Subway through April. </span><br style="text-size-adjust: none;" /><span style="text-decoration-line: underline; text-size-adjust: none;"><strong style="text-size-adjust: none;"><span style="font-size: x-small; text-size-adjust: none;">About unbag</span></strong></span><br style="text-size-adjust: none;" />unbag is a New York City-based community arts organization that produces a digital and print publication promoting critical engagement with contemporary art and politics.<br style="text-size-adjust: none;" />Visit the unbag website <a href="http://unbag.net/" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">here</a>.</div>
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<li class="entry clearfix xEntry xEntryId-33 xSection-residency" id="entry-33" style="box-sizing: border-box; clear: both; list-style: none; margin-bottom: 20px; padding: 0px; position: relative; text-size-adjust: none; zoom: 1;"><div class="entryTextWrap galleryType-slideshow" style="text-size-adjust: none;">
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<strong style="text-size-adjust: none;">OVERWRITTEN: Writing the failure, impossibility, and resurrection of the book<br style="text-size-adjust: none;" />Seminar led by Thom Donovan</strong><br style="text-size-adjust: none;" /><strong style="text-size-adjust: none;">Saturday, March 23, 2-5pm<br style="text-size-adjust: none;" />Capacity: 12 participants</strong><br style="text-size-adjust: none;" /><strong style="text-size-adjust: none;">Cost: $20-50 (sliding scale)</strong><br style="text-size-adjust: none;" /><strong style="text-size-adjust: none;">Register <a href="https://tinyurl.com/y4e4g3bt" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">here</a>.</strong><br style="text-size-adjust: none;" /><br style="text-size-adjust: none;" />This seminar will look at four seminal ante-generic texts, all of which address the book as an objectification of failure, impasse, impossibility, crisis, and/or withdrawal: Anne Boyer’s <em style="text-size-adjust: none;">Garments Against Women</em>, Renee Gladman’s <em style="text-size-adjust: none;">To After That (TOAF)</em>, Bhanu Kapil’s <em style="text-size-adjust: none;">Ban en Banlieu</em>, and Stephanie Young’s <em style="text-size-adjust: none;">Ursula or University</em>. Pressing for our discussion will be questions and problems these books raise regarding genre, and particularly the impossibility for certain subjects to write in certain genres (e.g., memoir and the novel), as well as the necessity of the invention of new genres for impassed subjects. I also hope to discuss a question that is both practical and ontological: What happens when we return to, rewrite, and revise previous works, particularly works that, for any number of reasons, never found publication/objectification in print/as a book? Of what does this encounter consist, and what possibilities does it open up for the writer? In the case that the work’s publication was avoided, abandoned, or withdrawn, how might the work be “resurrected” (overwritten, rewritten, written-into, extended, re-contextualized, and supplemented in/for the present)?<br style="text-size-adjust: none;" /><br style="text-size-adjust: none;" />It is recommended that participants read all four books in full in advance of the seminar. Digital copies can be provided upon request.<br style="text-size-adjust: none;" /><br style="text-size-adjust: none;" /><strong style="text-size-adjust: none;">Thom Donovan</strong> is the author of numerous books, including Withdrawn (Compline, 2017), <em style="text-size-adjust: none;"><a href="http://www.spdbooks.org/Products/9780982212073/the-hole.aspx" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">The Hole</a> </em>(Displaced Press, 2012) and <em style="text-size-adjust: none;"><a href="http://shifter-magazine.com/all-issues/23-withdrawn" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">Withdrawn: a Discourse</a> </em>(Shifter, 2016). He co-edits and publishes <a href="http://on-contemporarypractice.squarespace.com/" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">ON Contemporary Practice</a>. He is also the editor of <em style="text-size-adjust: none;"><a href="http://www.essaypress.org/ep-33/" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">Occupy Poetics</a></em> (Essay Press, 2015); <em style="text-size-adjust: none;"><a href="http://www.nightboat.org/title/look-sea-become-what-one-etel-adnan-reader" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">To Look At The Sea Is To Become What One Is: an Etel Adnan Reader</a></em> (with Brandon Shimoda; Nightboat Books, 2014), <em style="text-size-adjust: none;"><a href="http://www.spdbooks.org/Products/9780983504542/supple-science-a-robert-kocik-primer.aspx" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">Supple Science: a Robert Kocik Primer</a></em> (with Michael Cross; ON Contemporary Practice, 2013), and <em style="text-size-adjust: none;"><a href="http://whof.blogspot.com/" style="color: #666666; text-decoration-line: none; text-size-adjust: none;">Wild Horses of Fire</a></em>. He is currently an Assistant Professor of Literary Studies at Eugene Lang College of Liberal Arts and an Adjunct Assistant Professor in the Graduate Writing Program at Columbia University. His current projects include a book of poems and other writings based upon the compositions of Julius Eastman, a book of critical essays regarding poetics, political practice, and the occult, and an ongoing "ante-memoir" entitled<em style="text-size-adjust: none;"> Left Melancholy</em>.</div>
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Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-2621787193117825032019-03-08T15:24:00.001-05:002019-03-08T15:24:20.759-05:00PennSound update
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman";">The following readings and presentation have been
added to my <a href="http://writing.upenn.edu/pennsound/x/Donovan.php">PennSound author page</a>:</span><span style="color: black; font-family: Times; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Internal Presentation, Akademie Schloss Solitude, Stuttgart,
Germany, August 2014</span><span style="color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="mso-bookmark: vcu;"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="background-color: white; font-family: Times; font-size: 12pt;">"Delays in Glass: Social Media
Poetics" Talk at Virginia Commonwealth University, November 2014</span></div>
<span style="mso-bookmark: vcu;"></span>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="https://www.blogger.com/null" name="withdrawal"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></a></div>
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<a href="https://www.blogger.com/null" name="withdrawal"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">"The Art of
Withdrawal" Talk for Patrick F. Durgin's "Poetics of Agony"
course, Art Institute of Chicago, October 2015<o:p></o:p></span></a></div>
<span style="mso-bookmark: withdrawal;"></span>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Reading with Cassandra Troyan at
Sector 2337, Chicago, IL, October 28, 2015<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="5-2-16"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></a></div>
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<a href="https://www.blogger.com/null" name="5-2-16"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Reading for Melissa Buzzeo's BFA
Workshop, Pratt Institute, New York City, May 2, 2016</span></a><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="https://www.blogger.com/null" name="10-28-15"></a><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Reading with Anna
Vitale at the Zinc Bar, October 30, 2016<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="https://www.blogger.com/null" name="printed-matter"></a><a href="https://www.blogger.com/null" name="10-30-16"></a><span style="mso-bookmark: printed-matter;"><i><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Withdrawn: A Discourse</span></i></span><span style="mso-bookmark: printed-matter;"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"> Book Launch, Printed Matter,
NYC, November 2016<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="mso-bookmark: printed-matter;"><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Segue
Series Reading at the </span></span><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><a href="http://writing.upenn.edu/pennsound/x/Segue-ZINC.php">Zinc Bar</a>, April
15, 2017<o:p></o:p></span></div>
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<br /></div>
<!--EndFragment--><br />Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-44014143857608980102019-01-17T11:48:00.001-05:002019-01-17T11:48:42.015-05:00On the Occult (Speculative Arts Research vol. 2)<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">Thanks to friend and artist-editor extraordinaire Max Razdow for including an essay of mine (on occult poetics) in the 2nd issue of his journal, <a href="http://www.speculativeartsresearch.com/SAR_02.pdf">Speculative Arts Research</a>. "What, I wonder, becomes the sense of theory (or a theory of the senses) when one becomes synaesthesiac in the wake of the disaster; when what we see also makes us hear (or touch, or smell, or taste)? Where hearing in fact supersedes seeing, overcoming the hegemony of the ocular? [...] What, too, if our com</span><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">mon sense involves a negation of the senses? A withdrawal into the eidetic, the subtle; into non-representational modes of meaning-making (such are sound and gesture and movement)? At what point does language, as that upon which our common sense largely depends, become non-meaningful, does it refuse the reduction of “nonmeaning” and “phonic substance” for a “universal grammar” [...]?"</span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-43457601592245346472018-09-27T10:36:00.002-04:002018-09-27T10:39:33.025-04:00On Eléna Rivera's Scaffolding<span style="background-color: white; color: #1d2129; font-family: Times, Times New Roman, serif;">An introduction I gave for <span style="color: black;">Eléna Rivera</span> at the 92Y two springs ago has been happily archived as a micro review at <a href="http://galatearesurrects2018.blogspot.com/2018/09/scaffolding-by-elena-rivera.html">Galatea Resurrects</a>, regarding her incredible book <i>Scaffolding.</i></span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-73737453526382107802018-07-30T10:31:00.001-04:002018-07-31T10:09:18.230-04:00Language as Art<!--[if gte mso 9]><xml>
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<br />
<b style="mso-bidi-font-weight: normal;">Week 1 Manifestos</b><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Recommended book: Mary Ann Caws’s <i style="mso-bidi-font-style: normal;">Manifestos </i>(anthology)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: With a critical sense of the manifesto as a
“genre” of (art) writing, compose an original manifesto addressing your work
and beliefs as an artist. To the extent that your work is
collaborative/group-oriented, consider how your manifesto may also represent
the interests of your collaborators/group?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 2 Typography <o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended texts</u>: <i style="mso-bidi-font-style: normal;">An Anthology of Concrete Poetry</i> (ed. Emmett Williams), Hollis
Frampton’s <i style="mso-bidi-font-style: normal;">Zorn’s Lemma</i> (film), Adam
Pendleton’s <i style="mso-bidi-font-style: normal;">Becoming Imperceptible</i>,
and N.H. Pritchard’s The Matrix<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Exercise: Using any medium/format, compose an original work
of art that uses typography in a significant way. How may your use of
typography draw attention to current conditions of print technologies (online
and off)? How might it also investigate how typography has been used
historically in advertising, printed matter, signage, fashion, and/or other
works of art? What do your choices of font and design values intend?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 3 Artists’ Books
<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended books</u>: Johanna Drucker’s <i style="mso-bidi-font-style: normal;">A Century of Artists’ Books</i> and <i style="mso-bidi-font-style: normal;">Artists’ Books: Visual Studies Workshop
Press 1971-2008</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Produce an original artists’ book. How may
your own book extend, critique, and/or revisit a previous discourse of artists’
books? In what ways may your book not be merely a vessel for other works of
art, but a work of art <i style="mso-bidi-font-style: normal;">in itself</i>? To
what extent can the book’s construction and choices of materials (physical or
digital) inflect certain aesthetic, cultural, and socio-political values? To
what extent may your book function performatively, gesturally, and/or
theatrically?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 4 Feminisms<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended books</u>: <i style="mso-bidi-font-style: normal;">M/E/A/N/I/N/G</i> (ed. Susan Bee & Mira Schor); <i style="mso-bidi-font-style: normal;">We Wanted A Revolution: Black Radical Women
1965-1985 A Sourcebook</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Consider the historical use of
language/text by various feminist-identified artists. Create an original work
of art that mediates your “feminism” through the use of language. To what
extent are particular uses of language gendered? What is the relationship between
language and embodiment (a principal concern of many feminist artists)? How,
too, may language express a content specific to women (whether cis-identified,
trans, or otherwise)?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Week 5 Performance Writing + Screenplay</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended texts</u>: <i style="mso-bidi-font-style: normal;">Rituals of Rented Island: Object Theater, Loft Performance, and the New
Psychodrama</i> (Whitney Museum catalogue), <a href="http://www.mitpressjournals.org/loi/pajj"><span style="font-family: "garamond"; font-size: 11.0pt; text-decoration: none;">PAJ Journal</span></a>
(ed. Bonnie Marranca)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: Trisha Baga, Guy Ben Ner, Sadie
Benning, Gregg Bordowitz, Mark Bradford, Janet Cardiff, Omer Fast, Richard
Foreman, Coco Fusco, General Idea, Melanie Gilligan, Sharon Hayes, Adam
Pendleton, Howardena Pindell, Adrian Piper, Mike Kelley, Kalup Linzy, Shana
Moulton, Adam Pendleton, Yvonne Rainer, Martha Rosler, Hito Steyerl, Catherine
Sullivan, Ryan Trecartin, Kara Walker, Robert Wilson. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Compose a script for film, video, the
stage, or public space. How does language function gesturally and/or via a set
of theatrical and/or cinematic conventions (cf. Catherine Sullivan)? To what
extent is your use of language a function of genre (cf. Sullivan and Melanie
Gilligan)? How can you produce comedy and pathos in your work (cf. Robert
Wilson, Kalup Linzy, Yvonne Rainer, Guy Ben Ner, Gilligan, Mark Bradford, and
General Idea)? Consider how you wish your writing to be performed/staged
(where? to whom? with the use of what props and/or actors?). Consider how you
may involve others (actors, bystanders, an audience)? Do you wish to make
interventions in a particular space or among a particular community (cf. Sharon
Hayes)? How may your performance be enhanced by video post-production
technologies and/or installation (cf. Shana Moulton and Ryan Trecartin)?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 6 Diaries and
Journalism<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: Vito Acconci, Etel Adnan, Jean-Michel
Basquiat, Dodie Bellamy, Cara Benedetto, Gregg Bordowitz, Theresa Hak Kyung Cha,
Moyra Davey, Tracey Emin, Simone Forti, Juliana Huxtable, Chris Kraus, Eileen
Myles, Trisha Low, Lee Lozano, Bernadette Mayer, Adrian Piper, Yvonne Rainer, Paul
Thek, Hannah Weiner, Matias Viegener, David Wojnarowicz.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Using an existing set of journals/diaries
(your own or another’s) compose an original work of art. OR: start a
journal/diary that may become (part of) a work of art. Consider how journals
and diaries have been used by other artists. What qualities differentiate
diaristic and journalistic writing?<span style="mso-spacerun: yes;"> </span>How
do these types of writing inflect time differently? How might they create
different senses of immediacy and intimacy? How may they offer a means to tell
a story about yourself or others that might be impossible to tell through other
forms of writing?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 7 Materiality <o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended books</u>: Liz Kotz’s <i style="mso-bidi-font-style: normal;">Words to be Looked At</i>, Craig Dworkin’s <i style="mso-bidi-font-style: normal;">Reading the Illegible</i>, Susan Howe’s <i style="mso-bidi-font-style: normal;">The Birthmark</i>, Jerome McGann’s <i style="mso-bidi-font-style: normal;">The
Textual Condition</i>, Fred Moten’s <i style="mso-bidi-font-style: normal;">In
the Break</i>, and <i style="mso-bidi-font-style: normal;">Poetry Plastique</i>
exhibition catalogue (ed. Charles Bernstein & Jay Sanders).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: Ian Hamilton Finley, Susan Howe,
Lev Rubinstein, Robert Smithson, <span style="background: white;">Cecilia Vicuña</span>,
Lawrence Weiner.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 8 Artists’
Magazines<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended book</u>: Gwen Allen’s <i style="mso-bidi-font-style: normal;">Artists’ Magazines</i> (anthology) [see appendix for a comprehensive
listing of artists’ magazines].<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended magazines</u>: <i style="mso-bidi-font-style: normal;">LTTR </i>(Ginger Brooks Takahashi et al), <i style="mso-bidi-font-style: normal;">Dot Dot Dot</i> (Dexter Sinister), <i style="mso-bidi-font-style: normal;">Shifter
</i>(ed., Sreshta Rit Premnath), <i style="mso-bidi-font-style: normal;">The Lay
of the Land Newsletter</i> (Center for Land Use Interpretation), <i style="mso-bidi-font-style: normal;">0 to 9</i> (ed. Bernadette Mayer & Vito
Acconci)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 9
Instruction/Prompt/Questionnaire<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended book series</u>: <i style="mso-bidi-font-style: normal;">Collective Task</i> (ed. Rob Fitterman et al)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: John Cage, CA Conrad, Robert
Gluck, Bhanu Kapil, Ben Kinmont, Alison Knowles, Sol LeWitt, Lee Lozano, Georges
Maciunus, Jackson Mac Low, Yoko Ono, Benjamin Patterson, Georges Perec.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Compose a set of instructions or prompts
for a work to be performed by yourself and/or others. In composing your
instructions/prompt, consider what you would like to achieve through your own
or another’s actions? Do these actions reflect critically on a state of affairs
or set of relations (Ben Kinmont)? Do they intend to depersonalize the one
instructed (cf. Jackson Mac Low, John Cage)? Do they allow the instructed to
access desirable modes of attention (cf. Cage, Georges Perec)? Are they meant
to be works of art in themselves? Do they ask one to do the impossible and as
such become purely speculative and/or prefigural? To what extent may they
enable alternative modes of production (cf. <i style="mso-bidi-font-style: normal;">Collective
Task</i>)? Consider the elegance and economy of your words in composing your
instructions/prompts.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 10
Orality/Duration/Transcription/Scoring<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: David Antin, Amiri Baraka, Steve
Benson, Kamau Braithwaite, David Buuck, John Cage, M. NourbeSe Philip, Cecil
Taylor, Joey Yearous-Algozin, Andy Warhol.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Compose an original work using any of the
following methods: 1. By recording and transcribing a conversation or set of
conversations (cf. Warhol); 2. By improvising and recording a talk and editing
your talk for the page (cf. David Antin and Steve Benson); 3. By transcribing
and scoring two minutes of audio; 4. By transcribing your own or someone else’s language phonetically (cf. Kamau
Braithwaite).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 11 Detournment/Reappropriation/Tactical
Art<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: Alexandra Bell, Critical Art
Ensemble, General Idea, Glenn Ligon, Not an Alternative, Pictures Generation
(Jenny Holtzer, Barbara Kruger, Sherrie Levine), Keith and Mendi Obadike, Situationist
International, The Yes Men. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: In what ways are detournment,
reappropriation, and tactical art still effective as means of intervening in a
“society of the spectacle” (cf. Situationist International)? How can the media
be “jammed” and “hacked” to create novel situations that redress social wrongs
and/or create conditions of possibility for ‘another world’ (The Yes Men,
Critical Art Ensemble, Not an Alternative)? How may the reappropriation of
words, pictures, sounds, and media enable you to explore your identity or
perform another (Glenn Ligon, Pictures Generation)? To what extent does
language function through re/contextualization? Create an original work of art
that addresses any or all of these concerns.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 12 Between
Drawing, Painting, and Writing<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists</u>: Etel Adnan, Jean-Michel
Basquiat, Joseph Beuys, Renee Gladman, Philip Guston, Keith Haring, Douglas
Kearney, Robert Kocik, Henri Michaux, Matt Mullican, Carolee Schneemann, Cy
Trombly. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Compose an original work of art that exists
between ‘drawing’/’painting’ and ‘writing’ (cf. Etel Adnan)? How do words and
letters attain graphic values and vice versa? How may you use words
calligraphically, ideogrammatically, hiero- or petro-glyphically? To what
extent are the visual and aural senses of written language inextricable? <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 13 Fictions<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists/groups</u>: Etel Adnan, Arakwa Gins, Bernadette
Corporation, The Atlas Group/Walid Raad, Sreshta Rit Premnath, Alexander Provan,
Tan Lin, Jalal Toufic.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Consider the adoption of fiction by artists
historically. How have artists used the genre to create stories and narratives
about their cultural and/or society? To what extent is fiction adopted to
challenge narrative conventions and official notions of ‘truth’? How might
fictions be employed as a response to personal and widespread cultural trauma
(cf. The Atlas Group/Walid Raad, Jalal Toufic)? In what ways does fiction
challenge dominant epistemes and technological paradigms (Alexander Provan)?
How might fiction allow the artist a means to play with notions of self and/or
cultural identity (cf. Tan Lin, Jalal Toufic)?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Week 14 Poetry and
Art<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Recommended artists/groups</u>: Cara Benedetto, Bernadette
Corporation, Gregg Bordowitz, Paul Chan, Dada, Jimmie Durham, Juliana Huxtable,
Steffani Jemison, Arnold J. Kemp, Ralph Lemon, Claire Pentecost, Isaac Pool,
William Pope.L, Dmitry Prigov, Bunny Rodgers, Yvonne Rainer<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Exercise</u>: Historically, artists and visual artists
have been in conversation and collaboration with one another. Oftentimes
artists have trespassed into poetry and vice versa. Sometimes artists start out
as poets; less frequently, poets start as visual artists. How might you use
poetry as a mode or medium for your art? To what extent are you in dialogue
with poets—do you read them and take something vital from their ways of
working? Do you consider yourself to have a ‘practice’ as a poet, and if so do
you differentiate this from your practice as an artist? Inasmuch as
contemporary poets and visual artists exist in very different economies, if not
communities, how does ‘value’ affect the choices you make to be an artist, a
poet, or both? Compose a poem or series of poems that inflect any or all of the
problems I have outlined here. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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<!--EndFragment--><br />Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-49196556991350014482018-07-23T10:33:00.003-04:002018-07-24T10:13:41.023-04:00George Oppen Centennial Reading audio<span style="background-color: white; color: #1d2129; font-family: , , , ".sfnstext-regular" , sans-serif; font-size: 14px;">Reading "Semite" at Poets House's <a href="https://www.poetshouse.org/watch-listen-and-discuss/listen/2008-george-oppen-centennial-reading-full-audio">George Oppen Centennial Reading</a> (a decade ago!)</span>Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0tag:blogger.com,1999:blog-18414057.post-70362089354901972412018-07-19T15:26:00.001-04:002018-07-19T15:26:18.625-04:00New Compline website<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGYDIO0iW8jzk3b9x9XyIkdMwJbId_HULDLEsXR_kXE9CQN6mniW-MUHJwXMgtKrSbngLRLuFM8Njq1HqhRqP1ldaY8uy7y4ob0tQc_YZq5ONnSGjHXk8gR5OfZI2-rgRvW5h/s1600/tumblr_pazuclgwK91r03vyvo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="500" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGYDIO0iW8jzk3b9x9XyIkdMwJbId_HULDLEsXR_kXE9CQN6mniW-MUHJwXMgtKrSbngLRLuFM8Njq1HqhRqP1ldaY8uy7y4ob0tQc_YZq5ONnSGjHXk8gR5OfZI2-rgRvW5h/s400/tumblr_pazuclgwK91r03vyvo1_500.jpg" width="400" /></a></div>
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Compline has a new website with <a href="https://www.complinepress.com/archive">archived PDFs</a> of books by David Brazil, Michael Cross, Thom Donovan, Craig Dworkin, Jackqueline Frost, Sara Larsen, CJ Martin, Leslie Scalapino, and Eleni Stecopoulos.Thom Donovanhttp://www.blogger.com/profile/03284233270040597539noreply@blogger.com0