Saturday, July 23, 2005
From Melas Summer 1999
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
From Melas Summer 1999
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
From Melas Summer 1999
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Roni Horn on Emily Dickinson
Dickinsons invention was multipaction, her self and emprical reach: everything that could be felt, ehard, seen or smelt, everything precetpible, everything discenible from 280 main street, ahmerst Mass. Perceptible inclused the library, somehow dickionson used the library as an emperical source, somehow she learned to consme its contenst sensorially. HEr library ws not a source of aquired knowledge not a tool of the intellect. GEr library was simply another perceptile thing becoming another entracne, confirmation fo all she sense in the world. Even her poems about God and dEd are eyewitnesses.
qouted by Phiadon, Roni Horn , Pooling Waters.
From Melas Summer 1999
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Morrison's Beloved: Allegorically Othering "White" Christianity
Peggy Oocha
An exegetical reading of Morrison's novel seems almost inevitable since she chooses a New Testament reference, one which--not incidentally--involves a male speaker and a beloved female, as the epigraph to her novel: "I will call them my people, which were not my people; and her beloved, which was not beloved" (Romans 9:25).(4) In the original context of Romans, this quotation refers to God's claiming the Gentiles as part of his beloved people, a group which had historically been restricted to Jews. As Mae G. Henderson notes, in her insightful "Toni Morrison's Beloved: Re-Membering the Body as Historical Text," the passage from Romans "repeats with little difference a passage from the Old Testament" (64). The passage to which Henderson refers but does not quote directly reads, "I will have mercy upon her that had not obtained mercy; and I will say to them which were not my people, Thou art my people; and they shall say, Thou art my God" (Hosea 2:23). Although there appears to be little difference in the wording of the two Biblical passages, this slight difference in semantics does not diminish the immense difference in the historical relationship between Jews and Christians when the passage is read allegorically and in Biblical context. (1)
Recognizing the dynamics of "othering" can lead to an appreciation for the deeper levels of meaning in the allegorical relationship Morrison creates through her use of Paul's epistle to the Romans. According to another of Paul's epistles, this one to the Ephesians, God extended His offer of acceptance in the beloved to Gentiles who became Christians (1:6).(5)
Morrison here aligns her "beloved" blacks with early Christian martyrs, while simultaneously making an analogy between the hypocrisy of the self-righteous Pharisees and that of white Christian Americans, in effect, strategically "othering" white Christianity as less than the ideal defined by Scripture. (7)
.
...just as early Christians separated their religious observances from those of the Jews who refused to accept them as part of God's beloved people, freed blacks set up their own type of worship services separate from white society and the organized white Christian church....
And from her Bibilogrpahy
Bowers, Susan. "Beloved and the New Apocalypse." Journal of Ethnic Studies 18 (1990): 59-77.
Mitchell, Carolyn A. "`I Love to Tell the Story': Biblical Revisions in Beloved." Religion and Literature 23.3 (1991): 27-42.
Friday, July 22, 2005
*liz had her funeral today--in the woods near london, with friends and family near by. not a bad way to be buried
*an expert on islam from temple university was qouted on anderson cooper today saying that the aclu should stop whining and bitching until something real came along--the price of freedom is constant vilgence& im worried about saying this, because it always gets worse, but its bad enough that aclu should be shouting louder.
* ann coulter is accused by moby lives of plagarzing, about art--but its just a rehash of the same peices--you can describe reactionary attitudes towards transgressive art in a v. limited set of ways--i think shes more then a bit of a bitch, but i doubt shes a plagarist. (and i think shes actually a pretty good polemcist)
* the nypd is searching bags randomly in the war against terror and/or drugs--ineffective, and contiuned the dismantling of the 4th ammendment.
* 14/16 of the patroit acts section are now permanat law, with 2/16 renewed for another 10 years. god save us.
* the cia has gotten permission to intergate irish citizens on irish soil w/o irish police (did the ira teach aq counter insurgency tactics---is there an opressed people of the world vibe here?) (more imptly is there a people of the book thing)
* london police bundled a guy in the subway and shot him five times close in the head and chest, leaving him dead---muslims aouted by cnn view it as a racist and excessive move, but w/i 10 minutes of the shooting there were 5 ineffective bombs that went out on the oppoiste axis of the bombs a couple of weeks ago--rumour that it was supposed to be a faming cross what ever the fuck that means
* canadian bishops prevent the baptiszing of children of queer parents--knowing about orignal sin makes this an esp. egregious exclusion, and means that basically not only queer folx, but the family of queer folx are forbidden from being part of almost any sacraemnt (up to 2, 3 if you include arguements about forbidding communion to gay positive politicans)
i really need good news rignt now
*an expert on islam from temple university was qouted on anderson cooper today saying that the aclu should stop whining and bitching until something real came along--the price of freedom is constant vilgence& im worried about saying this, because it always gets worse, but its bad enough that aclu should be shouting louder.
* ann coulter is accused by moby lives of plagarzing, about art--but its just a rehash of the same peices--you can describe reactionary attitudes towards transgressive art in a v. limited set of ways--i think shes more then a bit of a bitch, but i doubt shes a plagarist. (and i think shes actually a pretty good polemcist)
* the nypd is searching bags randomly in the war against terror and/or drugs--ineffective, and contiuned the dismantling of the 4th ammendment.
* 14/16 of the patroit acts section are now permanat law, with 2/16 renewed for another 10 years. god save us.
* the cia has gotten permission to intergate irish citizens on irish soil w/o irish police (did the ira teach aq counter insurgency tactics---is there an opressed people of the world vibe here?) (more imptly is there a people of the book thing)
* london police bundled a guy in the subway and shot him five times close in the head and chest, leaving him dead---muslims aouted by cnn view it as a racist and excessive move, but w/i 10 minutes of the shooting there were 5 ineffective bombs that went out on the oppoiste axis of the bombs a couple of weeks ago--rumour that it was supposed to be a faming cross what ever the fuck that means
* canadian bishops prevent the baptiszing of children of queer parents--knowing about orignal sin makes this an esp. egregious exclusion, and means that basically not only queer folx, but the family of queer folx are forbidden from being part of almost any sacraemnt (up to 2, 3 if you include arguements about forbidding communion to gay positive politicans)
i really need good news rignt now
i am sure you are all riveted by me trying to sort out the religous implications of toni morrison; if you are not here are some more things that are exciting.
reading pat's co worker chris's blog he makes a tradtional refutation of porn on artistic merrit and not scaring breeders, both of which sort of piss me off.
a) why should queer folx care about pleasing straights, it is our culture that is being banned, censored, destroyed, broken--that should be our arguement, not trying to include everyone in a peaceful kum bay aye.
b) why cannot we be honest and say that the cheif merit of this work is that it makes my cock hard--like people mocking ebert about his thumb rising with his penis, or me getting in shit for admitting the only reason i want to see FF is because of humpy chris evans (who i have already wanked too (jesus the thing was marketed that way)
(side note about the movie--worth the cash i payed mostly because of a scene where he is wearing a t shirt, with a dozen holes burnt in it, including one perfectly framing his left nipple--that left nipple, i could write sonnets about it)
reading novel gazing, and there was this strange, fecund essay about beloved in it (qouted below) that and the one she put in curiouser (i shouldnt have given my copy to glenys--she wont fucking read it) made me write a fan letter to her, askign for transcripts for lectures she delivered at yale (she has an m div there)
update on come to the garden alone--a duet from chely wright and brad paisley called something like my son--which features the strange purely american line "god how could this be yr will/to have yr son and my son die for me"--the inclusion of christ as a member of the american corpus, sort of like the mythical jimmy stewart all american soilder that emerges when the right talks about our sons over there (or the left in another capacity)
(side note--the cover art on paisleys new album is unbelivably shitty--got an advance coming via stylus, though and the first single is good)
thinking of the back lash wrt john irvings latest novel, and his sex abuse charges
a) he told the newspapers (in the globe&ew so far) that he didnt realize the 20 yr old babysitter fucking him at 11 was abusive until his later sexual behaviour, his taste for older women, the subtle shifts of authority and power that happened in the reptile brain, and thinking about my mom asking why i didnt tell her about shepred earlier, and tellign her, that i was in love with him, and also thinking about my sexual history, and how littered it is with fathers (sometimes literally) and older brothers
b) his book apparently is supposed to be much less framed then it usually is, and because of surgery. etc he could not wrestle/box/run/etc as much as he usually does during hte creation of this--in fact some of the surgery was him trying to catch up w. his son on a new track at exeter which is so typical as to move from cliche to archytype. i wonder if his physical activity relaates to his creation of the text, his novels are taut, coperal objects, resting on questions of flesh more then questions of mind--can we extrapoloate that?
notes on the drs appt.
1) waited an hour, my fault for the first 15 minutes, there fault for the rest.
2) across from me, two red haired kiwi twins, sleeping with heads on each other shoulders.
3) never read critical essays on proust while waiting for the doctor, just dont.
4) talked to the intern more then the doctor, who did the standard neurotests.
b) when he did hte narrative, he did the hmmhmm thing, to fake that he cared.
5) i suck at them, cannot walk a straight line, have to move my head to follow his finger, have no side vision, etc
6) the narrative is always in the 2nd person, because i dont know what happens when i have one of the falldowngobooms
7) they kept calling them incidents--like the dwarves were toasting with champagne, judging the fdgb like one would judge the oscars
8) pissing in the washroom, one sees a notice about herpes at about penis level--not reassuring.
9) dr gross has long black hair, a blue armani shirt that looks vaguely maoist, prentious glasses--he spent about 5 minutes with me, explaining that he was taking me off the larger list and getting me on the two hour telemetry.
10) he told me that well tagetrol made it worse, like this was the key to everything, but didnt give me any information.
11) three people where there, the intern, dr gross, and a woman called daphene, who had no role i could determine.
12) the three to one really didnt help the anxiety i always have in drs officess.
13) at the end, i always feel like gulliver being tied down by a million people, the size of ants.
14) 18 months for the larger telemetry.
reading pat's co worker chris's blog he makes a tradtional refutation of porn on artistic merrit and not scaring breeders, both of which sort of piss me off.
a) why should queer folx care about pleasing straights, it is our culture that is being banned, censored, destroyed, broken--that should be our arguement, not trying to include everyone in a peaceful kum bay aye.
b) why cannot we be honest and say that the cheif merit of this work is that it makes my cock hard--like people mocking ebert about his thumb rising with his penis, or me getting in shit for admitting the only reason i want to see FF is because of humpy chris evans (who i have already wanked too (jesus the thing was marketed that way)
(side note about the movie--worth the cash i payed mostly because of a scene where he is wearing a t shirt, with a dozen holes burnt in it, including one perfectly framing his left nipple--that left nipple, i could write sonnets about it)
reading novel gazing, and there was this strange, fecund essay about beloved in it (qouted below) that and the one she put in curiouser (i shouldnt have given my copy to glenys--she wont fucking read it) made me write a fan letter to her, askign for transcripts for lectures she delivered at yale (she has an m div there)
update on come to the garden alone--a duet from chely wright and brad paisley called something like my son--which features the strange purely american line "god how could this be yr will/to have yr son and my son die for me"--the inclusion of christ as a member of the american corpus, sort of like the mythical jimmy stewart all american soilder that emerges when the right talks about our sons over there (or the left in another capacity)
(side note--the cover art on paisleys new album is unbelivably shitty--got an advance coming via stylus, though and the first single is good)
thinking of the back lash wrt john irvings latest novel, and his sex abuse charges
a) he told the newspapers (in the globe&ew so far) that he didnt realize the 20 yr old babysitter fucking him at 11 was abusive until his later sexual behaviour, his taste for older women, the subtle shifts of authority and power that happened in the reptile brain, and thinking about my mom asking why i didnt tell her about shepred earlier, and tellign her, that i was in love with him, and also thinking about my sexual history, and how littered it is with fathers (sometimes literally) and older brothers
b) his book apparently is supposed to be much less framed then it usually is, and because of surgery. etc he could not wrestle/box/run/etc as much as he usually does during hte creation of this--in fact some of the surgery was him trying to catch up w. his son on a new track at exeter which is so typical as to move from cliche to archytype. i wonder if his physical activity relaates to his creation of the text, his novels are taut, coperal objects, resting on questions of flesh more then questions of mind--can we extrapoloate that?
notes on the drs appt.
1) waited an hour, my fault for the first 15 minutes, there fault for the rest.
2) across from me, two red haired kiwi twins, sleeping with heads on each other shoulders.
3) never read critical essays on proust while waiting for the doctor, just dont.
4) talked to the intern more then the doctor, who did the standard neurotests.
b) when he did hte narrative, he did the hmmhmm thing, to fake that he cared.
5) i suck at them, cannot walk a straight line, have to move my head to follow his finger, have no side vision, etc
6) the narrative is always in the 2nd person, because i dont know what happens when i have one of the falldowngobooms
7) they kept calling them incidents--like the dwarves were toasting with champagne, judging the fdgb like one would judge the oscars
8) pissing in the washroom, one sees a notice about herpes at about penis level--not reassuring.
9) dr gross has long black hair, a blue armani shirt that looks vaguely maoist, prentious glasses--he spent about 5 minutes with me, explaining that he was taking me off the larger list and getting me on the two hour telemetry.
10) he told me that well tagetrol made it worse, like this was the key to everything, but didnt give me any information.
11) three people where there, the intern, dr gross, and a woman called daphene, who had no role i could determine.
12) the three to one really didnt help the anxiety i always have in drs officess.
13) at the end, i always feel like gulliver being tied down by a million people, the size of ants.
14) 18 months for the larger telemetry.
i am sure you are all riveted by me trying to sort out the religous implications of toni morrison; if you are not here are some more things that are exciting.
reading pat's co worker chris's blog he makes a tradtional refutation of porn on artistic merrit and not scaring breeders, both of which sort of piss me off.
a) why should queer folx care about pleasing straights, it is our culture that is being banned, censored, destroyed, broken--that should be our arguement, not trying to include everyone in a peaceful kum bay aye.
b) why cannot we be honest and say that the cheif merit of this work is that it makes my cock hard--like people mocking ebert about his thumb rising with his penis, or me getting in shit for admitting the only reason i want to see FF is because of humpy chris evans (who i have already wanked too (jesus the thing was marketed that way)
(side note about the movie--worth the cash i payed mostly because of a scene where he is wearing a t shirt, with a dozen holes burnt in it, including one perfectly framing his left nipple--that left nipple, i could write sonnets about it)
reading novel gazing, and there was this strange, fecund essay about beloved in it (qouted below) that and the one she put in curiouser (i shouldnt have given my copy to glenys--she wont fucking read it) made me write a fan letter to her, askign for transcripts for lectures she delivered at yale (she has an m div there)
update on come to the garden alone--a duet from chely wright and brad paisley called something like my son--which features the strange purely american line "god how could this be yr will/to have yr son and my son die for me"--the inclusion of christ as a member of the american corpus, sort of like the mythical jimmy stewart all american soilder that emerges when the right talks about our sons over there (or the left in another capacity)
(side note--the cover art on paisleys new album is unbelivably shitty--got an advance coming via stylus, though and the first single is good)
thinking of the back lash wrt john irvings latest novel, and his sex abuse charges
a) he told the newspapers (in the globe&ew so far) that he didnt realize the 20 yr old babysitter fucking him at 11 was abusive until his later sexual behaviour, his taste for older women, the subtle shifts of authority and power that happened in the reptile brain, and thinking about my mom asking why i didnt tell her about shepred earlier, and tellign her, that i was in love with him, and also thinking about my sexual history, and how littered it is with fathers (sometimes literally) and older brothers
b) his book apparently is supposed to be much less framed then it usually is, and because of surgery. etc he could not wrestle/box/run/etc as much as he usually does during hte creation of this--in fact some of the surgery was him trying to catch up w. his son on a new track at exeter which is so typical as to move from cliche to archytype. i wonder if his physical activity relaates to his creation of the text, his novels are taut, coperal objects, resting on questions of flesh more then questions of mind--can we extrapoloate that?
notes on the drs appt.
1) waited an hour, my fault for the first 15 minutes, there fault for the rest.
2) across from me, two red haired kiwi twins, sleeping with heads on each other shoulders.
3) never read critical essays on proust while waiting for the doctor, just dont.
4) talked to the intern more then the doctor, who did the standard neurotests.
b) when he did hte narrative, he did the hmmhmm thing, to fake that he cared.
5) i suck at them, cannot walk a straight line, have to move my head to follow his finger, have no side vision, etc
6) the narrative is always in the 2nd person, because i dont know what happens when i have one of the falldowngobooms
7) they kept calling them incidents--like the dwarves were toasting with champagne, judging the fdgb like one would judge the oscars
8) pissing in the washroom, one sees a notice about herpes at about penis level--not reassuring.
9) dr gross has long black hair, a blue armani shirt that looks vaguely maoist, prentious glasses--he spent about 5 minutes with me, explaining that he was taking me off the larger list and getting me on the two hour telemetry.
10) he told me that well tagetrol made it worse, like this was the key to everything, but didnt give me any information.
11) three people where there, the intern, dr gross, and a woman called daphene, who had no role i could determine.
12) the three to one really didnt help the anxiety i always have in drs officess.
13) at the end, i always feel like gulliver being tied down by a million people, the size of ants.
14) 18 months for the larger telemetry.
reading pat's co worker chris's blog he makes a tradtional refutation of porn on artistic merrit and not scaring breeders, both of which sort of piss me off.
a) why should queer folx care about pleasing straights, it is our culture that is being banned, censored, destroyed, broken--that should be our arguement, not trying to include everyone in a peaceful kum bay aye.
b) why cannot we be honest and say that the cheif merit of this work is that it makes my cock hard--like people mocking ebert about his thumb rising with his penis, or me getting in shit for admitting the only reason i want to see FF is because of humpy chris evans (who i have already wanked too (jesus the thing was marketed that way)
(side note about the movie--worth the cash i payed mostly because of a scene where he is wearing a t shirt, with a dozen holes burnt in it, including one perfectly framing his left nipple--that left nipple, i could write sonnets about it)
reading novel gazing, and there was this strange, fecund essay about beloved in it (qouted below) that and the one she put in curiouser (i shouldnt have given my copy to glenys--she wont fucking read it) made me write a fan letter to her, askign for transcripts for lectures she delivered at yale (she has an m div there)
update on come to the garden alone--a duet from chely wright and brad paisley called something like my son--which features the strange purely american line "god how could this be yr will/to have yr son and my son die for me"--the inclusion of christ as a member of the american corpus, sort of like the mythical jimmy stewart all american soilder that emerges when the right talks about our sons over there (or the left in another capacity)
(side note--the cover art on paisleys new album is unbelivably shitty--got an advance coming via stylus, though and the first single is good)
thinking of the back lash wrt john irvings latest novel, and his sex abuse charges
a) he told the newspapers (in the globe&ew so far) that he didnt realize the 20 yr old babysitter fucking him at 11 was abusive until his later sexual behaviour, his taste for older women, the subtle shifts of authority and power that happened in the reptile brain, and thinking about my mom asking why i didnt tell her about shepred earlier, and tellign her, that i was in love with him, and also thinking about my sexual history, and how littered it is with fathers (sometimes literally) and older brothers
b) his book apparently is supposed to be much less framed then it usually is, and because of surgery. etc he could not wrestle/box/run/etc as much as he usually does during hte creation of this--in fact some of the surgery was him trying to catch up w. his son on a new track at exeter which is so typical as to move from cliche to archytype. i wonder if his physical activity relaates to his creation of the text, his novels are taut, coperal objects, resting on questions of flesh more then questions of mind--can we extrapoloate that?
notes on the drs appt.
1) waited an hour, my fault for the first 15 minutes, there fault for the rest.
2) across from me, two red haired kiwi twins, sleeping with heads on each other shoulders.
3) never read critical essays on proust while waiting for the doctor, just dont.
4) talked to the intern more then the doctor, who did the standard neurotests.
b) when he did hte narrative, he did the hmmhmm thing, to fake that he cared.
5) i suck at them, cannot walk a straight line, have to move my head to follow his finger, have no side vision, etc
6) the narrative is always in the 2nd person, because i dont know what happens when i have one of the falldowngobooms
7) they kept calling them incidents--like the dwarves were toasting with champagne, judging the fdgb like one would judge the oscars
8) pissing in the washroom, one sees a notice about herpes at about penis level--not reassuring.
9) dr gross has long black hair, a blue armani shirt that looks vaguely maoist, prentious glasses--he spent about 5 minutes with me, explaining that he was taking me off the larger list and getting me on the two hour telemetry.
10) he told me that well tagetrol made it worse, like this was the key to everything, but didnt give me any information.
11) three people where there, the intern, dr gross, and a woman called daphene, who had no role i could determine.
12) the three to one really didnt help the anxiety i always have in drs officess.
13) at the end, i always feel like gulliver being tied down by a million people, the size of ants.
14) 18 months for the larger telemetry.
(also think of beloved, and the iron, how the scars are called iron)
(also the fable of the bird she tells often, most powerfully at the nobel prize cermony)
(as well, her isolation of language as a tool of the white opresser, and connecting that to logos)
some books to read by her
Racing Justice/Engendering Power
Playing In The Dark: Whitness and The Literary Imaganation
About her:
The Toni Morrison Encly.
The Signifying Monkey--HLG
John N. Duvall. The Identifying Fictions of Toni Morrison: Modernist Authenticity and Postmodern Blackness
Marc C. Conner, ed. The Aesthetics of Toni Morrison: Speaking the Unspeakable.
J. Brooks Bouson. Quiet As It's Kept: Shame, Trauma, and Race in the Novels of Toni Morrison
William L. Andrews and Nellie Y. McKay, eds. Toni Morrison's Beloved: A Casebook,
HR Rice Toni Morrison and The American Tradtion
Slavery and the Literary Imagination, Deborah McDowel
Qoutes From Her:
For parading their power and her helplessness, the young visitors are reprimanded, told they are responsible not only for the act of mockery but also for the small bundle of life sacrificed to achieve its aims. The blind woman shifts attention away from assertions of power to the instrument through which that power is exercised.
Sexist language, racist language, theistic language - all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.
Both from her 1993 Nobel Speech
The desperate strategy of infanticide,
interview with wolff (note 7, page 6 of essay below)
Here," she said, "in this here place, we flesh; flesh that weeps, laughs, flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they don't love your flesh. They despise it....And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them....the beat and beating heart, love that too....For this is the prize." (88-87, Beloved)
From Jeanna Furston White, in Fall 2003 AA Review
The horrifying scene of Sethe swinging her infant toward the wall while her three other children lay bleeding is described in the novel from varying perspectives, each processsed by the teller. (7) Sethe' "rememory" of the act shows its distance from madness, its proximity to agency. Sethe is a thinking subject who acts and uses reason to form what appears to her a logically and rationally determined resolution to kill/save her children: (cf YHWH/X c/c Abram/Isaac/The Ram)
(also the fable of the bird she tells often, most powerfully at the nobel prize cermony)
(as well, her isolation of language as a tool of the white opresser, and connecting that to logos)
some books to read by her
Racing Justice/Engendering Power
Playing In The Dark: Whitness and The Literary Imaganation
About her:
The Toni Morrison Encly.
The Signifying Monkey--HLG
John N. Duvall. The Identifying Fictions of Toni Morrison: Modernist Authenticity and Postmodern Blackness
Marc C. Conner, ed. The Aesthetics of Toni Morrison: Speaking the Unspeakable.
J. Brooks Bouson. Quiet As It's Kept: Shame, Trauma, and Race in the Novels of Toni Morrison
William L. Andrews and Nellie Y. McKay, eds. Toni Morrison's Beloved: A Casebook,
HR Rice Toni Morrison and The American Tradtion
Slavery and the Literary Imagination, Deborah McDowel
Qoutes From Her:
For parading their power and her helplessness, the young visitors are reprimanded, told they are responsible not only for the act of mockery but also for the small bundle of life sacrificed to achieve its aims. The blind woman shifts attention away from assertions of power to the instrument through which that power is exercised.
Sexist language, racist language, theistic language - all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.
Both from her 1993 Nobel Speech
The desperate strategy of infanticide,
interview with wolff (note 7, page 6 of essay below)
Here," she said, "in this here place, we flesh; flesh that weeps, laughs, flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they don't love your flesh. They despise it....And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them....the beat and beating heart, love that too....For this is the prize." (88-87, Beloved)
From Jeanna Furston White, in Fall 2003 AA Review
The horrifying scene of Sethe swinging her infant toward the wall while her three other children lay bleeding is described in the novel from varying perspectives, each processsed by the teller. (7) Sethe' "rememory" of the act shows its distance from madness, its proximity to agency. Sethe is a thinking subject who acts and uses reason to form what appears to her a logically and rationally determined resolution to kill/save her children: (cf YHWH/X c/c Abram/Isaac/The Ram)
AnthonySEaston (2:14:53 AM): and i think that beloved is this silmetanous rejection and absorbtion of the dual metaphors of moses and jesus
pattismithsmense (2:16:00 AM): perhaps - moses only makes sense as a man who leads out of... who led the blacks out of? Noone - but jesus led the blacks through. well, apart from the most blessed brother Elijah and his family.
AnthonySEaston (2:16:28 AM): yeah,
AnthonySEaston (2:16:47 AM): in the spirtuals the elijah and the moses references are about even
pattismithsmense (2:16:50 AM): but, like auntie fouc reminds us, power relationships work both ways - what helped the blacks has kept the blacks down.
AnthonySEaston (2:17:19 AM): exactly
pattismithsmense (2:17:26 AM): i wonder what the worshi[pers of Job might say?
AnthonySEaston (2:17:38 AM): and thats what the dual figure of martin and malcom reminded the (AA) corpus in the 60s
pattismithsmense (2:18:24 AM): yep... and as the youth looked on, saw both of them whacked not to mention the panthers, makes sense that gangland and crackdom rose up big on the temple mount
pattismithsmense (2:16:00 AM): perhaps - moses only makes sense as a man who leads out of... who led the blacks out of? Noone - but jesus led the blacks through. well, apart from the most blessed brother Elijah and his family.
AnthonySEaston (2:16:28 AM): yeah,
AnthonySEaston (2:16:47 AM): in the spirtuals the elijah and the moses references are about even
pattismithsmense (2:16:50 AM): but, like auntie fouc reminds us, power relationships work both ways - what helped the blacks has kept the blacks down.
AnthonySEaston (2:17:19 AM): exactly
pattismithsmense (2:17:26 AM): i wonder what the worshi[pers of Job might say?
AnthonySEaston (2:17:38 AM): and thats what the dual figure of martin and malcom reminded the (AA) corpus in the 60s
pattismithsmense (2:18:24 AM): yep... and as the youth looked on, saw both of them whacked not to mention the panthers, makes sense that gangland and crackdom rose up big on the temple mount
this from geoff
yep, i'm not sure I agree with her, as scapegoating writes upon the body of the jews as much as jesus but then again, xstianity doesn't separate the boyd of the beaten from that of the opressor, it calls on it to forgive, to cease, but through identification, with the body. not outside the body. the incorporation of christ's flesh, his trunk, means that he becomes us, inside of us, and that what we do to each other we do to ourselves and to christ within.
yep, i'm not sure I agree with her, as scapegoating writes upon the body of the jews as much as jesus but then again, xstianity doesn't separate the boyd of the beaten from that of the opressor, it calls on it to forgive, to cease, but through identification, with the body. not outside the body. the incorporation of christ's flesh, his trunk, means that he becomes us, inside of us, and that what we do to each other we do to ourselves and to christ within.
We was talking about a tree, sethe
After i left you, those boys came in there and took my milk...held me down and took it. i told mrs garner on em...them boys found out I told on em. School teacher made one open up my back, and when it closed it made a tree. it still grows there still"
They used a cowhide on you
and they took my milk
they beat you and you was pregant
And they took my milk
(beloved 16-17)
see also beloved 50-51 (im not transcribing two pages)
and this note:
"obviously, the tree as the sign of sacrifice--of ones beloved, in paticular--has its precedents, to put it lightly. Christianity founds itself upon t he tree as the site (and later sign) of a loss that is also a compensation. More ominously, the tree on SEthes back inscurves the site of lynching on her body..."
thats the interesting thing--from kathryn stocktons essay on it... its itneresting, because there is nothing redemptive, nothing holy about jesus talk--and because i think she thinks that in america, the whole body of christ is blacks--scapegoating as topography.
also connect to the pouring of fluids, the emptying of fluids, and the transgendered oppurtunity of the wounds of christ.
After i left you, those boys came in there and took my milk...held me down and took it. i told mrs garner on em...them boys found out I told on em. School teacher made one open up my back, and when it closed it made a tree. it still grows there still"
They used a cowhide on you
and they took my milk
they beat you and you was pregant
And they took my milk
(beloved 16-17)
see also beloved 50-51 (im not transcribing two pages)
and this note:
"obviously, the tree as the sign of sacrifice--of ones beloved, in paticular--has its precedents, to put it lightly. Christianity founds itself upon t he tree as the site (and later sign) of a loss that is also a compensation. More ominously, the tree on SEthes back inscurves the site of lynching on her body..."
thats the interesting thing--from kathryn stocktons essay on it... its itneresting, because there is nothing redemptive, nothing holy about jesus talk--and because i think she thinks that in america, the whole body of christ is blacks--scapegoating as topography.
also connect to the pouring of fluids, the emptying of fluids, and the transgendered oppurtunity of the wounds of christ.
Wednesday, July 20, 2005
Sunday, July 17, 2005
Saturday, July 16, 2005
Whitney Bedford Likes Pirates
i mean its all hear, the post painterly attention to craft, the crass colours, the reclaiming lost genre paintings, and its almsot cliched, but she paints well, has an attention to detail, and seems to be liking what she does. (ie every fucking painter in LA since Ed Ruscha)
i mean its all hear, the post painterly attention to craft, the crass colours, the reclaiming lost genre paintings, and its almsot cliched, but she paints well, has an attention to detail, and seems to be liking what she does. (ie every fucking painter in LA since Ed Ruscha)
plus drawings of pirates--should we forget that pirates werent really heros, they tended towards the cruel, the sadisitc, the colonial, etc---where will the deadwood for pirated be?
how do we feel (part of the big group show summering away at LA Louver right now--for those folx in hollywood)
some images:
somehow the blackbeard image didnt come thru 
(which reminds me, does anyone know what this drawing qoutes?)
edit:title and this--would i like it more and less it it was a he, is the naughty schoolgirl violence thing doing me in more then it should?
d, what do you think?
Friday, July 15, 2005
alright this is going to be a long one, strap in and wear the pink helmets in front of you.
one:
i am about 3/4s of the way thru the last avant garde a discussion of the poets of the new york school--(except blackburn (who i really like, who i find myself clsoer and closer to, who i think is the real under rated of those five and whose collected poem i cannot find, hes sexy in a black sweater and thick plastic glasses kind of way) So it mentions ashberry, koch, o hara, and shulyer. he made me reconsider ashberry--he qoutes an anglo english critic (maybe from oxford) who says that one cannot like larkin and ashberry at the same time, and i will admit, i have had the collection of the first five books or so of ashberry and i have not read it anymore then twenty pages or so--but i want to like ashberry, he seems funny and sexy and well read and well constructed--cryptic of course, but cryptic in the same way as pound (ie in the same way that if you get the key, if you get the right way about things, then you will be able to crack it apart like a cocunut.) But thats a wrong metaphor, because in many ways Pound wrote polemic, and wanted to e clear, wanted to be read, the book makes the point that ashberry doesnt nessc. and that the confusion and confundment can be a legitmate poetic stragey. it made me want to read him again, at least.
two
thinking of that, thinking of liz still missing in london, going back to o hara, whos sadness and laughter comingling tend to drag me thru what ever tragedy i am going thru, he has a reading of the lady day died, the most famous of o haras poem, and he doesnt make this point directly--but i keep thinking of the poem over and over again, its not the most obv. one ot go to in tragedy, but its one that conveys a v. impt lesson. here it is:
THE DAY THE LADY DIED
By FRANK O'HARA
It is 12:20 in New York a Friday
three days after Bastille Day, yes
it is 1959, and I go get a shoeshine
because I will get off the 4:19 in East Hampton
at 7:15 and then go straight to dinner
and I don't know the people who will feed me
I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
I go on to the bank
and Miss Stillwagon (first name Linda I once heard)
doesn't even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan's new play or Le Balcon or Les Nègres
of Genet, but I don't, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega, and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatere and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing.
i may also be thinking of this because it is bastille day, and well thats a place--but its filled with all these hi/lo details, and the day to day living, and the not really paying attention, and it doesnt seem really like an elegy, a proprer respectful paen.
think about this again--he does not really know her, he has heard her once, and that was so transcedent, but she does not owe him anything. and anyways--this is how we live our lives, we go thru them, and some days are really good, and some days are waylaid by tragedy, but we need to go thru, we need to read books, and drink strega, and what we do for the heros who die, is note them gentley, place the death in the daily construct of our everyday lives and move on. we do not write epic verses, we do not wear sack cloth and ashes, we kneel, bow our heads, note the context of death and remeberence, and then regain our place in the way of the living.
this poem reflects that, more then anything else ive read. and i feel stupid it took years for me to note that.
three
im thinking of george went hensley, i wrote about him for his book, and he and snake handling--and then i read this via mefi on some kind of arch con baptist website. http://www.henryinstitute.org/commentary/read.php?article=20050601b. it should really piss me off, the great gender warrior and pacifist, but i keep thinking about this, and i have yet been unable to reconcile this idea, but god is not a nice fellow, and god is not pleasent, and there is something more aware of the nature of the divine in handling snakes or viewing the world as the great dragon, i wrote this to mark sinker, about his recent posts about the nature of violence and politics: n my book i am writing about the jesuit martyrs, and about how what
the west assumed was savagery was something different---it was two
warriror societies killing each other--the death, the grizzly details
of that death i wont repeat here, was the death given to fellow
warriors, and its complicated and im working on the details, but
there is no honour left--im a pacifist, i dont think war is a nessc.
or good thing, and i dont think that we should cast our lots with
villians and fools--though we are all those two things, d epending on
the day.
i didnt want the citizens of huronia to die, and i didnt want the
martyrs to be lauded. i want for liz to be safe. i want the fucking
war to end, i want islamics to stop bombing trains, and i keep trying
really hard to find a way to say this w/o moving into pim fountyn
territory or the bush thing of they hate our freedom--if the xian
freaks of america or the muslim freaks of the middle east (and both
have their diasporas) we all lose--we lose pubs, we lose loving boys,
we lose writing what we want, we lose britney spears and girls aloud.
i dont know what to do about this mark, and i dont want to go back to
the arms of jesus, and im sure that you dont want to return to the
supersitions of your childhood--but at least praying deludes you into
beliving you are doing something--
i dont have any easy answers--but if you believe that it is the last days, and their is a culture of wickedness, and the children will be the ones fighting for jersuelem, all of this is reasonable--and the only truck one can have w. it is the question of boys--girls should be taught to be violent as well. i could argue that this is a bad lesson, but if you asked me if i wanted my kids to be taught by hensley who believed in spirtual death vs spirtual life or hammond baptist church in indidina, who mostly teaches being nice, well it would be hard not to be in favour of hensley. its a false dichtomoy, i damn well know its a false dictohomoy, but its a seductive one.
three
ebbers got 25 years in prison, which seems to be a good idea, and perhaps a genuine good place for the people who deserve to go in prison to go there.
four
hilary clinton will lose this election, (the one in 2008) on trying to be too much a republican--here call to get 100k new soilders into the immoral, tactically moronic, just encouraging the terroists, more and more unpopular, vietnam part two is absurd--she went to wessley, she did the work on vietnam, she should learn the lessons, and even if he didnt, doesnt anyone remember michael dukakis in the tank. tactically she needs to place her self in oppostion to those in power. (waylon jennings comes on the stero now--singing ruby dont take your love to town, 25 years ago--and this line comes thru "it wasnt me who started that crazy asia war/but i was proud to be my patrotic chore. His girl is cheating on him, and he cannot leave (ie "its hard to love a man whos legs are bent and paralysed")--its this gothic version of coming home with out the arrogance, and thinking of vietnam war, with this, and with movies like coming home --and i wonder what the implications of patrotic chore are now, and what the implications of this song, of his man dying, of this man who has no legs and no useful cock and nothing but a sense of exhausted lonlienss--and it ends as a murder ballad ("if i could move/id get my gun/and put her in the ground") and this was a hit, for bobby bare and willie nelson and waylon jennings and kenny rogers for christs sake--where is this now, the closeset we have to someone like waylon is toby keith, and he has been in enough hospitals to know that this cant work anymore.
five.
thinking of the pinhole camera photos of kdays i saw at the alberta binelle, and thinking of the dark and lovely nudes/self portrait daugertypes of chuck close, and thinking of kodak jetisionning everything in a mad dash towards suburban house wife, wal mart kiosk digital photos, and thinking of my practice, and the difference b.w digital poloroids and 35--and missing the ritual of the 35, and thinking of how difficult it is to maintain the cult of object (fuck how difficult it is to maintain the object itself, silver bromide photos go blank after 100 years, poloroids have 25, and non printed digitals have maybe 5) i wonder what the implications of lots of photogs taking old shit out of the cupboards(worth an exhibition, i think) and also about this revoution ? (note closes book of daugertypes is called a couple of ways of doing something, which is a wry nudge towards the nature of photogging, no?)
example:
elizabeth murray:
six
the pitt foto below is amazing, because it is an almost perfect formal composition. the colour and form all work, and its accidental--like the handsome us magazine photo 6 months or so of one of the older blondes in a supermarket, which worked the rule of thirds like some kind of reniassance dispostion.
detailed reading:
the shirts from the girls are the same colour as brads hair, the brunette has the same colour (in the family at least) of the t shirt of brad, the boom mike breaks the fourth wall, they are all kinds of caucasion, their bellies provide a sort of visual tunnel to the hottness that is pitt, who provides a kind of warholian blankness instead of the shit eating grin expected of him--the boredom in the face of supposed pleasure a retreat from the image expected, adn in opposite t papparazi shots of him and jolie--its too bad one cannot be g iven oscars for public personae.
seven
431 in my account from gvnt, not sure why, but im not complainting, pineapple of course, but its about a week too early for the second, and i want expecting it, etc etc--way too much. tis not our way to complain though.
eight
the best thing i think about dead wood is not the nasty words, etc but the calustrphobic filth, the closeness to shit and piss, the violence w/o carthasis--it is a correction against mythologies of honour and pride that infest the rest of the genre.
links
http://www.canada.com/entertainment/books/story.html?id=06cde225-5dbc-4608-b4bc-afaf2cf4021c
ratzinger views the harry potter books as a seductive evil for children--when do you think we are going back to burnings and bannings ? (mefi)
http://www.psychiatrictimes.com/showArticle.jhtml?articleId=164902208
good article on the nature of lit and shrinks. (monkeyfi)
http://www.nature.com/news/2005/050627/full/050627-7.html
add fire ants to the list of sex that is weirder and more prolifigate then we think they are. (i am not sure)
http://www.lvri-ny.com/dvl.html
next time you hear someone talk about how the west treats women better then islam, give them this assholes phone number
http://www.newsdesk.umd.edu/scitech/release.cfm?ArticleID=1098
i would prefer my meat on cows and not on vats.
what i have read:
mommy myth
two hundred and seventy pages on how we have not moved forward on from the second wave, how we have no simple things like child care, how legistors tend to hate women, and how the media is both sexist and racist when it comes to depicting people on the dole. all said before, but not better and not in one convient place. recommended.
america the book
not nearly as funny or clever as it thinks it is, though stewart has aa generational distrust in poltics as usual, and combines satire with hard poltics--though the satire is becoming less and less, and the new setand the peabody might mark the death of the funny/absurd/erotic and into more screaming fuck you. though he is balanced with his hatred.
the cr of warhols prints
mentioned earlier
bruce davidson subway
mostly pictures, though read the two essays, so i am including it--i dont like davidson as much as i should, he is one of those street photogs that seems ot be seminal to my aesthetic, and i have no reason for not liking its dark griminess, its effective compostion, etc--i will have to think about it before i give a full verdict.
chuck palinchuks new book of occasional peices
funny, astute, well written, lots of facts, falls apart near the end, not as clever as he thinks he is, but a better writer then his critics give him credit for--learnt impt things about men building castles and the state/country politics of canoloa, get it from the library
barthes camera lucida
i have been thninking about found and vintage photos in relation to this book, books that were nto as composed as they should be, and the poltics/aesthetics of compostion that centers this book (and centers most photog crit since then) so i read it again, an i havent found an answer.
and a v. good ethnographic study on the virgin of gaudlope and mexican american women. i will qoute in depth, maybe here. it was a doctorate thesis but one that was driven by the voices she was recording and not theory.
which makes the total 68
one:
i am about 3/4s of the way thru the last avant garde a discussion of the poets of the new york school--(except blackburn (who i really like, who i find myself clsoer and closer to, who i think is the real under rated of those five and whose collected poem i cannot find, hes sexy in a black sweater and thick plastic glasses kind of way) So it mentions ashberry, koch, o hara, and shulyer. he made me reconsider ashberry--he qoutes an anglo english critic (maybe from oxford) who says that one cannot like larkin and ashberry at the same time, and i will admit, i have had the collection of the first five books or so of ashberry and i have not read it anymore then twenty pages or so--but i want to like ashberry, he seems funny and sexy and well read and well constructed--cryptic of course, but cryptic in the same way as pound (ie in the same way that if you get the key, if you get the right way about things, then you will be able to crack it apart like a cocunut.) But thats a wrong metaphor, because in many ways Pound wrote polemic, and wanted to e clear, wanted to be read, the book makes the point that ashberry doesnt nessc. and that the confusion and confundment can be a legitmate poetic stragey. it made me want to read him again, at least.
two
thinking of that, thinking of liz still missing in london, going back to o hara, whos sadness and laughter comingling tend to drag me thru what ever tragedy i am going thru, he has a reading of the lady day died, the most famous of o haras poem, and he doesnt make this point directly--but i keep thinking of the poem over and over again, its not the most obv. one ot go to in tragedy, but its one that conveys a v. impt lesson. here it is:
THE DAY THE LADY DIED
By FRANK O'HARA
It is 12:20 in New York a Friday
three days after Bastille Day, yes
it is 1959, and I go get a shoeshine
because I will get off the 4:19 in East Hampton
at 7:15 and then go straight to dinner
and I don't know the people who will feed me
I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
I go on to the bank
and Miss Stillwagon (first name Linda I once heard)
doesn't even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan's new play or Le Balcon or Les Nègres
of Genet, but I don't, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega, and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatere and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing.
i may also be thinking of this because it is bastille day, and well thats a place--but its filled with all these hi/lo details, and the day to day living, and the not really paying attention, and it doesnt seem really like an elegy, a proprer respectful paen.
think about this again--he does not really know her, he has heard her once, and that was so transcedent, but she does not owe him anything. and anyways--this is how we live our lives, we go thru them, and some days are really good, and some days are waylaid by tragedy, but we need to go thru, we need to read books, and drink strega, and what we do for the heros who die, is note them gentley, place the death in the daily construct of our everyday lives and move on. we do not write epic verses, we do not wear sack cloth and ashes, we kneel, bow our heads, note the context of death and remeberence, and then regain our place in the way of the living.
this poem reflects that, more then anything else ive read. and i feel stupid it took years for me to note that.
three
im thinking of george went hensley, i wrote about him for his book, and he and snake handling--and then i read this via mefi on some kind of arch con baptist website. http://www.henryinstitute.org/commentary/read.php?article=20050601b. it should really piss me off, the great gender warrior and pacifist, but i keep thinking about this, and i have yet been unable to reconcile this idea, but god is not a nice fellow, and god is not pleasent, and there is something more aware of the nature of the divine in handling snakes or viewing the world as the great dragon, i wrote this to mark sinker, about his recent posts about the nature of violence and politics: n my book i am writing about the jesuit martyrs, and about how what
the west assumed was savagery was something different---it was two
warriror societies killing each other--the death, the grizzly details
of that death i wont repeat here, was the death given to fellow
warriors, and its complicated and im working on the details, but
there is no honour left--im a pacifist, i dont think war is a nessc.
or good thing, and i dont think that we should cast our lots with
villians and fools--though we are all those two things, d epending on
the day.
i didnt want the citizens of huronia to die, and i didnt want the
martyrs to be lauded. i want for liz to be safe. i want the fucking
war to end, i want islamics to stop bombing trains, and i keep trying
really hard to find a way to say this w/o moving into pim fountyn
territory or the bush thing of they hate our freedom--if the xian
freaks of america or the muslim freaks of the middle east (and both
have their diasporas) we all lose--we lose pubs, we lose loving boys,
we lose writing what we want, we lose britney spears and girls aloud.
i dont know what to do about this mark, and i dont want to go back to
the arms of jesus, and im sure that you dont want to return to the
supersitions of your childhood--but at least praying deludes you into
beliving you are doing something--
i dont have any easy answers--but if you believe that it is the last days, and their is a culture of wickedness, and the children will be the ones fighting for jersuelem, all of this is reasonable--and the only truck one can have w. it is the question of boys--girls should be taught to be violent as well. i could argue that this is a bad lesson, but if you asked me if i wanted my kids to be taught by hensley who believed in spirtual death vs spirtual life or hammond baptist church in indidina, who mostly teaches being nice, well it would be hard not to be in favour of hensley. its a false dichtomoy, i damn well know its a false dictohomoy, but its a seductive one.
three
ebbers got 25 years in prison, which seems to be a good idea, and perhaps a genuine good place for the people who deserve to go in prison to go there.
four
hilary clinton will lose this election, (the one in 2008) on trying to be too much a republican--here call to get 100k new soilders into the immoral, tactically moronic, just encouraging the terroists, more and more unpopular, vietnam part two is absurd--she went to wessley, she did the work on vietnam, she should learn the lessons, and even if he didnt, doesnt anyone remember michael dukakis in the tank. tactically she needs to place her self in oppostion to those in power. (waylon jennings comes on the stero now--singing ruby dont take your love to town, 25 years ago--and this line comes thru "it wasnt me who started that crazy asia war/but i was proud to be my patrotic chore. His girl is cheating on him, and he cannot leave (ie "its hard to love a man whos legs are bent and paralysed")--its this gothic version of coming home with out the arrogance, and thinking of vietnam war, with this, and with movies like coming home --and i wonder what the implications of patrotic chore are now, and what the implications of this song, of his man dying, of this man who has no legs and no useful cock and nothing but a sense of exhausted lonlienss--and it ends as a murder ballad ("if i could move/id get my gun/and put her in the ground") and this was a hit, for bobby bare and willie nelson and waylon jennings and kenny rogers for christs sake--where is this now, the closeset we have to someone like waylon is toby keith, and he has been in enough hospitals to know that this cant work anymore.
five.
thinking of the pinhole camera photos of kdays i saw at the alberta binelle, and thinking of the dark and lovely nudes/self portrait daugertypes of chuck close, and thinking of kodak jetisionning everything in a mad dash towards suburban house wife, wal mart kiosk digital photos, and thinking of my practice, and the difference b.w digital poloroids and 35--and missing the ritual of the 35, and thinking of how difficult it is to maintain the cult of object (fuck how difficult it is to maintain the object itself, silver bromide photos go blank after 100 years, poloroids have 25, and non printed digitals have maybe 5) i wonder what the implications of lots of photogs taking old shit out of the cupboards(worth an exhibition, i think) and also about this revoution ? (note closes book of daugertypes is called a couple of ways of doing something, which is a wry nudge towards the nature of photogging, no?)
example:
elizabeth murray:
six
the pitt foto below is amazing, because it is an almost perfect formal composition. the colour and form all work, and its accidental--like the handsome us magazine photo 6 months or so of one of the older blondes in a supermarket, which worked the rule of thirds like some kind of reniassance dispostion.
detailed reading:
the shirts from the girls are the same colour as brads hair, the brunette has the same colour (in the family at least) of the t shirt of brad, the boom mike breaks the fourth wall, they are all kinds of caucasion, their bellies provide a sort of visual tunnel to the hottness that is pitt, who provides a kind of warholian blankness instead of the shit eating grin expected of him--the boredom in the face of supposed pleasure a retreat from the image expected, adn in opposite t papparazi shots of him and jolie--its too bad one cannot be g iven oscars for public personae.
seven
431 in my account from gvnt, not sure why, but im not complainting, pineapple of course, but its about a week too early for the second, and i want expecting it, etc etc--way too much. tis not our way to complain though.
eight
the best thing i think about dead wood is not the nasty words, etc but the calustrphobic filth, the closeness to shit and piss, the violence w/o carthasis--it is a correction against mythologies of honour and pride that infest the rest of the genre.
links
http://www.canada.com/entertainment/books/story.html?id=06cde225-5dbc-4608-b4bc-afaf2cf4021c
ratzinger views the harry potter books as a seductive evil for children--when do you think we are going back to burnings and bannings ? (mefi)
http://www.psychiatrictimes.com/showArticle.jhtml?articleId=164902208
good article on the nature of lit and shrinks. (monkeyfi)
http://www.nature.com/news/2005/050627/full/050627-7.html
add fire ants to the list of sex that is weirder and more prolifigate then we think they are. (i am not sure)
http://www.lvri-ny.com/dvl.html
next time you hear someone talk about how the west treats women better then islam, give them this assholes phone number
http://www.newsdesk.umd.edu/scitech/release.cfm?ArticleID=1098
i would prefer my meat on cows and not on vats.
what i have read:
mommy myth
two hundred and seventy pages on how we have not moved forward on from the second wave, how we have no simple things like child care, how legistors tend to hate women, and how the media is both sexist and racist when it comes to depicting people on the dole. all said before, but not better and not in one convient place. recommended.
america the book
not nearly as funny or clever as it thinks it is, though stewart has aa generational distrust in poltics as usual, and combines satire with hard poltics--though the satire is becoming less and less, and the new setand the peabody might mark the death of the funny/absurd/erotic and into more screaming fuck you. though he is balanced with his hatred.
the cr of warhols prints
mentioned earlier
bruce davidson subway
mostly pictures, though read the two essays, so i am including it--i dont like davidson as much as i should, he is one of those street photogs that seems ot be seminal to my aesthetic, and i have no reason for not liking its dark griminess, its effective compostion, etc--i will have to think about it before i give a full verdict.
chuck palinchuks new book of occasional peices
funny, astute, well written, lots of facts, falls apart near the end, not as clever as he thinks he is, but a better writer then his critics give him credit for--learnt impt things about men building castles and the state/country politics of canoloa, get it from the library
barthes camera lucida
i have been thninking about found and vintage photos in relation to this book, books that were nto as composed as they should be, and the poltics/aesthetics of compostion that centers this book (and centers most photog crit since then) so i read it again, an i havent found an answer.
and a v. good ethnographic study on the virgin of gaudlope and mexican american women. i will qoute in depth, maybe here. it was a doctorate thesis but one that was driven by the voices she was recording and not theory.
which makes the total 68
Thursday, July 14, 2005
Subscribe to:
Posts (Atom)