Sunday, May 19, 2013
Saturday, May 18, 2013
Friday, May 17, 2013
Thursday, May 16, 2013
Wednesday, May 15, 2013
Tuesday, May 14, 2013
Monday, May 13, 2013
Sunday, May 12, 2013
Saturday, May 11, 2013
Recently Received
Books (Poetry)
Author Not the Point, Poetry is Like Golf We Each Play for Our Own
Reasons and Sometimes Tiger Woods Appears, Mission Cleaners, San Francisco, no date listed (but
certainly 2013), this book comes mostly without text but containing excerpts
from the other two Mission Cleaner books on this list.
Ammiel Alcalay, From the Warring Factions, introduction by Diane di
Prima, with a conversation with Benjamin Hollander, edited with an afterword by
Fred Dewey, re:public / UpSet Press, Los Angeles / New York, 2012
Will Alexander, Kaleidoscope Omniscience, edited by Daniel Stanforth, Skylight Press, Cheltenham, UK, 2013
Pierre Alferi, Night and Day, translated by Kate
Lermitte Campbell, La Presse, Iowa City & Paris,
2012
Clark Coolidge, A Book Beginning What and
Ending Away, with essays by Tom Orange
and Kit Robinson, Fence Books, Albany, NY, 2012
Robert Elstein, Helen Arms, Green
Zone Editions, location not listed (but Brooklyn), 2013
Burt Kimmelman, Gradually the World: New and Selected Poems, 1982 – 2013, BlazeVOX Press, Buffalo, 2013
Labels: Recently Received
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Friday, May 10, 2013
Thursday, May 09, 2013
Amiri Baraka
doesn’t like Angles of Ascent:
A Norton Anthology of
Contemporary African American Poetry
doesn’t like Angles of Ascent:
A Norton Anthology of
Contemporary African American Poetry
A response to Baraka
A terrific new poem from
j/j hastain
j/j hastain
Eileen Myles:
Painted Clear, Painted Black
Painted Clear, Painted Black
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Wednesday, May 08, 2013
A reading from
with
Labels: Brian Teare, C.D. Wright, Dan Beachy-Quick, Dana Levin, G.C. Waldrep, Gabriel Gudding, John Beer, Readings, Timothy Donnelly
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Tuesday, May 07, 2013
Monday, May 06, 2013
If I see another motion picture in 2013 that is as
remotely as intelligent or mature as Upstream
Color, it will be a very good year for movies. One can go years
between films this well-conceived & executed. It seems to have done well in
an art-house
cinema in New York, but the self-distribution plan by writer-director-lead
actor-producer-composer-editor-cinematographer Shane Carruth
found it playing in the basement auditorium of a science museum in Philadelphia
where I caught it on the second day of
its release showing to a crowd in high single digits. This in spite of a near-rave
review from the Philadelphia
Inquirer just one day before. Carruth, who settled on the do-it-yourself
distribution scheme even before the film showed at Sundance, is undoubtedly
correct in his presumption that the old model for getting films to people is
breaking down for films just as much as it is for books, music and just about every
other intellectual endeavor (heads up,
art dealers – they’re coming for you). But his cobbled-together alternative
really isn’t working unless the stream-or-download distribution that starts – hey – this Tuesday catches on. I’m here to tell you it’s worth spending twenty
bucks, give or take, to see something extraordinary. But if it’s on a big
screen, do that – even if it’s in the basement of a science museum. As film, Upstream
Color is gorgeous. And the sound is to cinema what Red Desert once was to the use of color.
I could recount the
narrative of Upstream Color, but you
wouldn’t understand it because the protagonists, played by Carruth and Amy
Steimetz, don’t and the film really wants you to feel their sense of confusion
even when it flirts with omniscience. Steven Soderbergh has been quoted as
calling Carruth the “illegitimate offspring of David Lynch & James Cameron,”
but the directors who seem to be the hovering godparents of this project are Wenders,
Tarkovsky & early Polanski. Envision, if you will, Wings of Desire blended with Rosemary’s
Baby, seasoned with just a sprinkling of Babe (& Babe in turn
as read through Soylent Green), all filtered through the depressed
lens of the driving sequence in Solaris. Did
I say you wouldn’t understand it? Now consider that much, maybe all of this
hinges on the text of Thoreau’s Walden.
Labels: Film
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Sunday, May 05, 2013
