Mutant Books

by Brian Dettmer via if:Book

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aslongasittakes Submissions

aslongasittakes is looking for submissions. Submit to aslongasittakes@comcast.net in one of the following formats:

• .mp3
• .wav
• .wma
• flac.

Please query before sending in other formats. via Crg Hill

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Is It Academic?

More from Ken Edwards:

None of the poets I grew up with were taught at college how to write innovative poetry; the learning happened outside of the academy by and large, even if there were academic mentors around. Will exciting stuff happen as a result of the great explosion of creative writing courses in this country? I'm not holding my breath. The irony, though, is that most of my poet peers now earn their crust in education, generally higher education. While I was assembling the new Reality Street website recently, I was struck by the fact that the vast majority of poets my press has published are described as teaching or having taught for a living. And the opportunities for paid readings, vanishingly few as they are for most of us, are largely provided by the academies.

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Grassroots Jargon

Jow Lindsay on words banned by the Local Government Association:

Semantics is conflated with synonymy. Useage is viewed as self-evident, vaguely Heavenly, and a dependable indicator of synonymy. That is, if the Citizen (formally envisioned as the thesaurus's executor, "Couldn't you have just said" and scone crumbs always smudged on his curmudgeonly lips) does not know a lexical item, or cannot remember it just this minute, its meaning must be that of a lexical item he does know and can recall. I guess a word like localities, with its pompous differentiation, to which no nuance seems ever to want to stick, is an example of the kind of thing the article invites us to think all the words are.

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Innovate

Ron Silliman on new work by Jared Hayes and Janet Holmes:

Both books are well conceived, well executed and, as book objects, delights to have & to hold. But I’m wondering if these projects carry forward in the same innovative spirit as the works that initially inspired them, or perhaps represent something profoundly different altogether. ... Which gets me back to that problem of value. I’ve argued before that the history of literature is the history of change in literature & that “doing something best” really counts for very little.

To which Johannes Göransson replies:

Most obvious is your obsession with originality and authenticity. This of course comes out clearly in your dismissal of translation, which as much as any avant-garde practice trouble notions of authenticity and originality. ... [Nor - thankfully! - is any work of Flarf "Great" (but often funny, perverse and insightfully ludicrous). There's also some irony in christening Flarf as genuinely new, when its practices are patently anti-genuine and anti-originality. Likewise, your repeated description of Kenny Goldsmith - who is equally overtly anti-original (even his idea of un-originality are very 1960s!) - as genuinely "new."]

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My Eyes! It's Too Long! My Eyes!

Sebastian Mary:

I read books, read blogs, I twitter compulsively. I use these different formats for different kinds of experience. I see no contradiction: what I'm getting at here is that the e-reader is being treated as though it is a viable vehicle for long-form writing, in a way that ignores the essential fact that long-form writing and reading is rooted in paper, and book manufacturing.

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Prynne-t on Demand

Now available from Barque Press: STREAK~~~WILLING~~~ENTOURAGE ARTESIAN by J.H. Prynne Barque Press Free tilde! via Keston Sutherland

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The Precession

Justin Katko has pointed in the direction of The Precession, which can be viewed here or here:

just one output currently from Mark Jeffrey & Judd Morrissey who are artists in residence this week in Providence at Firehouse13.

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Chomskybot

Al Filreis:

The Chomskybot, which I've been using for years, recently located to a new server. So I've changed my links variously and found a renewed fascination for what it does to and with the language of Noam Chomsky. Chomskybot takes sentence parts from Chomsky's linguistics writings and organizes them into randomly formed paragraphs.

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Manifesto You

Mary Anne Caws talks the whys and wherefores of manifestos by Charles Bernstein, A.E. Stallings, and Thomas Sayers Ellis that first appeared in Poetry magazine.

Listen here.

The MoMa event was a collaboration between the newly established Modern Poets series (an attempt to revitalize Frank O'Hara's legacy within the institution) and Poetry journal. The journal had commissioned eight new manifestoes on poetry, four authors of which, with different ideologies and stylistic approaches, were invited to the event. Joshua Mehigen, A.E. Stallings, Charles Bernstein and Thomas Sayers Ellis each read Futurist manifestoes and finished the day performing their own works. It kicked off with Bernstein, a legendary L=A=N=G=U=A=G=E poet, declaiming in full, high-pitched throttle Marinetti's original manifesto. Nonplussed by it all, the passing crowds simply stared at him.

via Al Filreis

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