Archivi tag: experimental writing

‘die leere mitte’, issue #18

In this issue: Werner Preuß, Cecelia Chapman, Jeff Crouch, Daniel Y. Harris, Irene Koronas, Antonio Devicienti, Terry Trowbridge, Sal Nunkachov, Volodymyr Bilyk, R.C. Thomas, Hifsa Ashraf, Joshua Sabatini, Bob Lucky, Joseph Salvatore Aversano, AN Grace, Nathan Anderson

julu a-wandering, julu a-riding along / alan sondheim. 2023

issue #69 of ‘otoliths’ is on line now

The penultimate issue of Otoliths, the southern autumn, 2023 issue is now live.

Dedicated to the memory of two significant contributors to the journal, Michael Rothenberg & Carla Bertola, this issue, as always, contains a variety of work in many fields from a variety of contributors — Pat Nolan, Tim Wright, John M. Bennett, Judith Skillman, Jen Schneider, Sanjeev Sethi, Andrew Stys, Jerome Berglund, Mehreen Ahmed, harry k stammer, John M. Bennett & Texas Fontanella, Strider Marcus Jones, Demosthenes Agrafiotis, Nigel Ford, Glen Armstrong, Anne-Marie Jeanjean, Jim Leftwich, Bill Wolak, Jack Galmitz, Tom Beckett, Grzegorz Wróblewski, Bruce Morton, Alan Catlin, Fin Sorrel, Karl Kempton, Dean Kelly, Pete Spence, Mario José Cervantes, Eric Hoffman, Howie Good, John Martone, Les Wicks, Louise Landes Levi, Nathan Anderson, Mary Cresswell, Michael J. Leach, Elaine Woo, Harvey Huddleston, petro c.k., Paul Perilli, Carol Stetser, Adam Fieled, dan raphael, CL Bledsoe, Clive Gresswell, David A. Bishop, Vernon Frazer, Robert Fleming, John McCluskey, M.J. Iuppa, Jennifer Weigel, Dave Read, Serse Luigetti, Mark Cunningham, Texas Fontanella, Ian Willey, Joshua Martin, Juan Pablo Mobili, David Greenslade & David Rees Davies, Kenneth Rexroth, Jeff Harrison, Adriána Kóbor, Daniel de Culla, John Tustin, Joseph Salvatore Aversano, Yejun Chun, Olchar E. Lindsann, Stephen Nelson, Bing Cherches, Luis Cuauhtémoc Berriozábal, Eddie Heaton, N. H. Van Der Haar, Barbara Anna Gaiardoni & Andrea Vanacore, Henry Hughes, Carla Bertola, Alberto Vitacchio, Javant Biarujia, Phil Montenegro, Xe M. Sánchez, Hrishikesh Srinivas, bart plantenga, Andrew Taylor, K. S. Ernst & Sheila E. Murphy, Richard Magahiz, Sydnie Stern, David Wolf, Blossom Hibbert, Hua Ai, Paul J. Enea, Paul Dickey, Bob Lucky, Mars Brocke, John Kucera, John Levy, Damon Hubbs, Patrick Sweeney, Antonio Devicienti, Massimo Fantuzzi, Réka Nyitrai, Flamur Vehapi, David Jalajel, Harrison Fisher, Jeff Bagato, Volodymyr Bilyk, Keith Nunes, Goro Takano, Joanne Bechtel, Sheila E. Murphy, Nathan Whiting, Marilyn Stablein, Tony Beyer, Gavin Lucky, Jürgen O. Olbrich, Ken Bolton, A. W. Kindness, Nam Hoang Tran, Eileen R. Tabios, Diana Magallón, Penelope Weiss, Tazeen Fatma, Glenn Bach, Rick Henry, Eileen R. Tabios & harry k stammer, Keith Higginbotham, Kit Kennedy, Darrell Petska, Edward Kulemin, Michael Helsem, Shloka Shankar, Shloka Shankar & Deepa Patil, Dhaatri Vengunad, Ganesh R., Mark Danowsky, Bob Heman, Linda M. Walker, Vidhi Ashar, Sam Langer, Angelo ‘NGE’ Colella, Jill Jones, Paul Pfleuger, Jr., J. D. Nelson, Peter Yovu, & Marcia Arrieta.

CONTENTS HERE

outside the novel form / differx. 2021

citato già altre volte:
“(…) Burroughs criticism has taken a surprisingly conventional literary approach to a project conceived so radically in opposition to the conventions of literature. The analysis of Burroughs’ novel-length cut-up texts has been at the expense of his myriad shorter texts from the same era, texts that, taken together, amount to a comparable body of work and demonstrate a much wider range of collage-based experiments. Even leaving aside his related work in other media — photomontage, collage scrap-books, tape-recordings, films — the effect of putting The Soft Machine, The Ticket That Exploded and Nova Express centre-stage is to distort the history and scope of Burroughs’ experimental practices. Minutes to Go does not fit the critical frame because it inaugurated and belongs to another history, one characterised by publication of hundreds of short texts in dozens of small underground magazines — a history, in other words, where the material, the publishing contexts, and the means of distribution all coincided with the world of avant-garde poetry in general, and the postwar revival of collage-based techniques in particular. It’s tempting to invert critical history altogether and say that, far from being the acme of Burroughs’ cut-up work, the trilogy is in fact its aberration, because the truest realisation of the project lay outside the novel form. At the very least, we can say that it is hard to grasp the poetic identity of the cut-up project so long as Burroughs is approached, first and last, as a novelist”. (Oliver Harris, https://realitystudio.org/scholarship/burroughs-is-a-poet-too-really-the-poetics-of-minutes-to-go/)

è abbastanza chiaro?
OUTSIDE THE NOVEL FORM.

si può seguire questa direzione? è legittimo. (a prescindere da tutto e tutti).

citare o mettersi sulla stessa strada di Burroughs, o su una strada che in qualsiasi modo abbia a che fare con la sua opera, è (soprattutto adesso) lavorare OUTSIDE THE NOVEL FORM.

cfr.
https://link.medium.com/rWQY01rwwfb