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[…]departed subject’ (Day 2001: 63). Having said this, as Brooks notes, ‘the flip side to this comfortable male fantasy’ is the production of ‘bastards; illegitimate offspring and bastardised texts’ (134). Brooks refers here to the possibility of the recording process to result in distortion; a lack of fidelity to the paternal source, what Fred Botting and Scott Wilson would call perversion, a turning against the father, (pere/version) (Wilson & Botting 1998: 187). In this instance when applied specifically to textual production the analogy initiates a shift in the metaphor of manifestation from insemination to what Derrida would call ‘dissemination, seed […]
[…]and the fringes of radio art. Our situation now has a bit of deja vu about it: when the ability to communicate via wireless telegraphy occurred, it was absorbed into – and contributed to – the construction of a utopian imagination, in ways that strongly resemble some of the rhetoric surrounding information technology. In fact, with each significant mutation in electronic technologies from the mid-nineteenth century on, there was an eruption of utopian energy. “Now we will be able to communicate across the world, now we will be able to solve conflicts, now we will have better education, now we […]
[…]struck Rosenthal as “too often obvious and easy,” and he concluded that “the work “demand[s] too little from its author, though the author demands a good deal of attentive sympathy and faith from the reader.” It is a judgment echoed by the eminent Christopher Ricks, now the Oxford Professor of Poetry, who wrote in the New York Times Book Review in 1973 that “Creeley is at the mercy of his own notions. He would seem to be a professional quietist and libertarian, but these conventions (e.g. no regular verse, no standard linear development) turn out to be more cramping than […]
[…]of language. As evidenced by Removed for Further Study: The Poetry of Tom Raworth (Edited [and Typeset] by Nate Dorward), Tom Raworth has been publishing, collaborating, and editing books, chapbooks, magazines, and ephemera since at least 1961 (earlier juvenilia receives no mention in the collection and is apparently off the record). In that year, Raworth collaborated with Anselm Hollo and Gregory Corso on The Minicab War (Matrix Press), edited the magazine Outburst, published four poems in Mica, and reviewed new work by William Burroughs and Brion Gysin. It was without doubt an inauspicious launch to his prolific and highly acclaimed […]
[…]of the author” (11). Both groups foreground the writing subject as a subject-in-process in order to examine the ways identity can be formed and (de)formed by narrative. By dispensing with the ideology of national literatures, Biting the Error removes the borders between Canadian and American writing to engender a consideration of the commonality between fiction/theory and New Narrative. What makes Biting the Error exciting is that it explores how urban literary communities form and prosper within a context of globalization. The anthology does not assert a national Canadian or American literature, nor does it seek to establish narrative experimentation under […]
[…](1928), once a sound happens, it immediately goes away; and the moment it’s over, we begin to forget it. That’s what memory, in fact, is: the history of forgetting. But listen to the extended instrumental intro to the Temptations’ “Papa Was a Rolling Stone”; listen to the reverb. Don’t you hear something strangely, well, rolling about the sound of the strings? It rises up, swells, and fades away, just like that stone travelling through the days. The sound may come from this world, but it goes right out of this world. It’s strange and familiar at the same time; and, […]
[…]1 point, with a maximum of 3. It’s a grainy measure of power level, but it’s precise enough for free-form play. The gamemaster takes character powers into account when adjudicating actions, but there is no separate mechanic for using powers. Games Cited Everway. Jonathan Tweet; Wizards of the Coast. […]
[…]with a series of challenges – with one, and only one, solution (generally hard-coded) for each. To open the gates to Hell, you must use the bell, the book, and the candle in a prescribed order. To get past the level boss, you must kill it, and there’s some little trick to doing so. As you move away from hard-coded systems to algorithmically driven ones (games set in 3D spaces with skill-driven combat, for instance, and games with physics engines), it becomes increasingly possible for players to discover ways to interact with the physical environment to solve problems, instead of […]
[…]them up in a way where they were constrained, they were limited, because their entire quest is how to free themselves. KB: It’s like Sartre’s notion of freedom and facticity: there’s no such thing as freedom without factical things to be free against. MZD: Yes, so the word component – the number of words, the structural component – is only part of it. Their freedom is from nature, from society, from work, the road system – you can go through the whole book and start to see all these thematics, add then you can add to that the freedom from […]
[…]stories bolstered by spiraling body counts, gratuitous obscenities, and treacherous women. ‘[S]tandardized formulas were grouped around equally standardized themes, such as the council, the gathering of the army, the challenge, the despoiling of the vanquished, the hero’s shield, and so on and on’ (Ong, 1982:23). Even so, street-level credibility did not guarantee memorable, dramatic performances. Words had to flow. Bards, across the globe, were duty-bound to rock a house party at the drop of a hat. Their skills and exploits were later documented in printed accounts such as The Mwindo Epic (West Africa), The Tale of the Heike (Japan), the […]