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[…](or top to bottom, or back to front), this holopoem can also be read from left to right (or bottom to top, or front to back). The time vector of the piece is reversible. TRANSITIONAL DISCONTINUITY In most holopoems, discontinuity is explored via leaps and gaps between the verbal material. In some cases, as in “Shema (1989),” letters are embedded in color fields that operate verbal discontinuity via visual transitions of colors. I call this “transitional discontinuity.” VIEWING ZONE(S) A viewing zone is a non-physical zone, located in front of the hologram, through which the reader can actually see the […]
[…]is intimately bound up with that of form: “Gombrowicz’s testament is shaped by the struggle to formulate the ‘I’ according to the authorial desire that is placed in perpetual conflict with established forms” (Ziarek 35). However, the strength of Longinović’s analysis is that he doesn’t merely reduce Gombrowicz to Kristeva’s terms but rather shows how his exploration of abjection takes in completely different dimensions, particularly through his experiences of exile, homosexuality and immersion in the world of impoverished Argentinian youth. Also in this section is Dorota Głowacka’s treatment of the tensions between Gombrowicz and Bruno Schulz, the writer whom Gombrowicz […]
[…]in the Los Angeles area. More recently, I had participated in successful PEN U.S.A. campaigns to free writers imprisoned abroad. Though some think poetry is weak and marginalized in the United States, I believed that poetry can be a force in our lives. If poets and novelists can be powerful in France and Russia, why not here? After I sent off the first press releases and press packets, the first newspaper articles appeared in November and early December. Some West Coast poets were very supportive of my efforts to fight the lawsuit – Uncle Don Fanning, Carol Kent Ireland, Alexis […]
[…]actually lulls us to sleep and turns off our abilities to hear deeply? This was the subject of my latest composition, “Wak Auf,” which was premiered in June, 2001 by the DownTown Ensemble of NYC. To hear an excerpt of this composition, you will need Real Player. This excerpt has extreme volume levels, so monitor your headphones. “Wak Auf” is a musical attempt to wake the listener to the horrors of technological violence of the twenty-first century. This section is the epicenter of the piece and showcases the terror of the nightmare: the moment when you cannot awake from a […]
[…]of color do not run off with TVs. Men do not attack women in a nihlistic orgy of unrestrained testosterone. Everybody cooperates. Nor is this movie an advertisement for Star Wars technology, if indeed one grants the possibility of appropriating the tabloid rhetoric of “they’re out there” as a ploy for multibillion-dollar funding. The tech of choice in Independence Day is low not high; bottom up not top down. Morse code not C3I, conventional not nuclear, ad hoc and not strategic. The critique of preparedness cites interagency turf – CIA versus DOD – rather than US or global disarmament as […]
[…]tried to cover up their actions. The stage was seemingly set for two deep-pocketed polluters to compensate the families of the children they poisoned. The families’ case was handled by Jan Schlictmann, a flashy, idealistic, young attorney who prided himself on his track record of large plaintiffs’ verdicts. The defendants were represented by two old-money Boston firms. If A Civil Action were a novel, the flashy young attorney defending the downtrodden and victimized would win a huge damage award while the toxic polluters would learn to rue the day they dumped illegally. But A Civil Action is not a novel. […]
[…]Carson’s Silent Spring, a comparison that the book goes to great and sometimes tiresome lengths to elaborate. Like Carson’s now classic text, Our Stolen Future examines the effects of environmental pollution, in this case what the authors describe as “hand-me-down poisons.” By this term, the authors refer to chemical contaminants that have been “passed down from one generation to the next, that victimized the unborn and the very young” (26). The actual detective work begins with the efforts of Theo Colborn, a senior scientist at the World Wildlife Federation and one of the book’s three authors, to make sense of […]
[…]it. The first step toward a solution to the problem of “nature,” such as it can be imagined in toto, is to ensure that we understand what it is that various systems “think” about the world, that, for example, the world according to the economy is always and necessarily reducible to no more than a positive or negative exchange of money. Then we realize that the narrow perspective of the economic system can only be combated through the other systems, probably by making the environment of the economic system more “irritable,” thus forcing it to modify its structures if it […]
[…]to Pound’s influence, which significantly altered the course of both journals, but (in an effort to complicate, if not rewrite, the canonical history of literary modernism), he demonstrates that Marsden was an assertive and strong-willed collaborator in the tug-of-war over editorial leadership and, more often than not, the driving impulse behind conceptual redirections. Marsden, not Pound, for example, proposed and saw through the name change from the New Freewoman to the Egoist (129-31), and it was largely in response to her discursive influence and the aesthetic provocations in her letters that Pound wrote what has come to be a canonical […]
[…]the time when every fresh-faced junior account manager with the ink still wet on his M.B.A. will extol to you ad nauseam about the need to diversify your portfolio? If you want a return, you diversify. If you don’t diversify, you’re a gambler or, worse, an East Village novelist, a nut pursuing a singular and very private vision intended for select small presses. Wallace diversifies, but that’s okay because the world at large, not only the Village, is already teeming with people all blessed with singular visions and very focused ambitions. These days, when ranks of accomplished novelists are breathing […]