Articles

Repetition and revulsion

incantation
So a call for effect: I ask ________. I ask ________. I ask ________. I ask ________. The repeat entreats, endures out a threshold in its and again and again and again. A really really really ask “but not only that,”[1] the performance of devotion: I won’t stop since the source of power, the entreatied, doesn’t want me to stop “but not only that,” the source is boundless and will only answer if it reckons me for kin. So again and again and again as “recursiveness, incantatory insistence … repeated ritual sip … aiming to undo the obstruction it reports.”[2] Again.

Of theology, forms, and absence

Left: 'Exercises in Style,' © 1947 by Editions Gallimard. © 1958, 1981 Barbara Wright. Cover courtesy of New Directions Publishing Corp.

What writing isn’t conceptual? This is what a pundit might ask.

Current status

Specific objects. In his 1964 statement of that title, Donald Judd returns over and over to the same words to describe his art and his milieu: “the new three dimensional work,” “work in three dimensions,” “the use of three dimensions,” “three dimensions,” and so forth. There’s something about that phrase and what it points toward — not a movement, not a medium, not an art form, but a volume — that has resonated with me these past five or six years.

Peter Lamborn Wilson: A PennSound archive

P. L. Wilson, “Pang Yang & the Publick Universal Friend” (2010).

I met Peter Lamborn Wilson in the late ’80s at Naropa Institute, and after acquiring his pamphlet Chaos, written under the takhallus Hakim Bey, became a devotee to his work. His support of DIY efforts was encouraging and validating, and We Press took up the invitation to “pirate” Chaos by way of corporate resources we had at our disposal at the time.

                               Who knows

 what future poets suffered here, precocious

 existential crises moved

 by an apprehension of mourning

 sorrows precious & redeemable.

                         — P. L. Wilson, “Wallkill” (358)[1]

I met Peter Lamborn Wilson in the late ’80s at Naropa Institute, and after acquiring his pamphlet Chaos, written under the takhallus Hakim Bey, became a devotee to his work. His support of DIY efforts was encouraging and validating, and We Press took up the invitation to “pirate” Chaos by way of corporate resources we had at our disposal at the time.

On Różewicz and contemporary Polish poetry

The way the poetry of Tadeusz Różewicz (1921–2014) is used by the school system in Poland shows how we disfigure some poets to make them palatable. The educational package has it that his was an attempt to rebuild the basic powers of language after the catastrophe of human slaughter in this part of the world during WWII.