don draper is a rapist. and most likely a pyschopath.

Christadelphians

Christadelphians
Originally uploaded by PinkMoose

Modifed

Modifed
Originally uploaded by PinkMoose

walking around woodbine, i noticed a passage to the woods, and so i wandered down them. some one carved paths, placed wooden bridges over culverts, cut back brush, and all ofthat, but still the trail was almost 2 miles, and i did it, almost running in places, knowing where to put my foot, where to put my hands, where my body was to go next. never dropped anything, never fell down, conquest/

(camera out of batteries, but there was a section, where you could see taylor creek, then a flat bit, and then a hill, and then a modernist tower block, while trying to figure out what the flat bit was, a go train went by.)

1962

Item Details

O'HARA, Frank. Meditations In An Emergency. N. Y.: Grove Press -1957. First edition. One of an unknown number of unnumbered hardbound copies. Lepper p. 343. [There was a total edition of only 90 hardbound copies, with 15 containing original drawings by Grace Hartigan.] There were also an additional 900 paperbound copies. Presentation copy, inscribed by O'Hara to the poet James Schuyler: ""For Jimmy and Alfred and Guinevere with love, Frank"". Alfred and Guinevere are the two lead characters from Schuyler's novel, Alfred and Guinevere (N. Y.: Harcourt Brace, 1958). In 1955, O'Hara had submitted the manuscript which subsequently became Meditations In An Emergency for the Yale Younger Poets Prize, which it failed to win (Ashbery's Some Trees won). O'Hara spent two more years reconsidering and revising the poems, with suggestions from Schuyler and Koch, until it was finally published by Barney Rossett of Grove Press as an Evergreen Book of Poetry. ""Meditations, out of print by 1960, was the volume by which he was primarily known during most of his lifetime."" John Ashbery summed up the book's critical reception: ""To ignore the rules is always a provocation, and since the poetry itself was crammed with provocative sentiments, it was met with the friendly silence reserved for the thoroughly unacceptable guest."" - Gooch, p. 299-300. Small 8vo, original green cloth, glassine dust jacket. A wonderful association copy, in very fine condition
[Book #13191]

James Jaffee, Catalog Entry

did henry james die a virigin (i mean its plausible, but seems unliked)

wall street journal uses one of my photos and something from the jersey shore

369 racing emblems

ann dunwood the first female four star general.




Cape Cod themed photo shoot, for the NY Times, linked because holy fuck is this dude ideally hot.

boise state digitzes melvilles marginallia, including his copy of The Natural History of the Sperm Whale: Its Anatomy and Physiology—Food—Spermaceti—Ambergris—Rise and Progress of the Fishery—Chase and Capture—"Cutting In" and "Trying Out"—Description of the Ships, Boats, men, and Instruments Used in the Attack; with an Account of its Favourite Places of Resort. To Which is Added a Sketch of a South-Sea Whaling Voyage . . . in which the Author was Personally Engaged. by Thomas Beale. Which is among my favourite titles in literary history.

burtynsky may have solved the problem of transient photography, but one of the technophillic claims of assisted image making, is permeance, and has been since dauger, so i have my doubts.

45 dead in a bombing blamed on terrorism in Amemerhad, India.


Pope in a Cop's Hat.

and the kurdish worker parties and turkish nationalists are blaming each other for an expolosion that killed 19 people in southern turkey.

Bad weather is thwarting efforts to rescue a group of mine workers trapped by hungry bears in Russia's wild far eastern region of Kamchatka. The bears have already eaten two of the workers.The bears - apparently starving - killed the men on July 17, it was reported in Russia. As many as 30 bears have surrounded a platinum mine. Both victims worked at the mine as security guards. story here

beautiful posters of the 50 states by Frank Chimero, note Colarado and Oklahama.


Libraries in Iowa and Nebraska, lend out cake pans, in a variety of shapes!

an incredibly delicate attempt to balance the anglican tradition of dioscesan autonomy with biblical tradition. its legalese, and i still am of the basic opinon at these two things cannot be balanced, but what do i know.

greer desentimentalises european vernacular architechute.

is this the last election since nixon, where the evangelicals have not won, and if that is the case, is there furor about romney as vp a way of clinging to a tiny bit of power?

extensive discussion and paperwork, from Obama's constutional law classes, including syllabi and take home exams.

the miss frank bulltoph colleciton of menus, from 1908 onward, at the NYPL


Blueprint for Irwin's peice at Marfa, which will consist of a variety of louvered windows, lucite and plexiglass peices, all to reflect and direct the light. sort of a posst minimalist house of mirrors


cautious good new for hiv/aids.

a clear, concise, and heavily detailed plan from popular mechanics to fix american infastructure,

on the preservatiuon of 20,000 ancient manuscripts at Ahmed Baba, the largest library currently waiting to be translated, in Mali.


Obama, Alex Ross

its funny, i am interviewing this lutheran song writer, called johnathon rundman, and hes really smart, really together, and really ambitious--critical but engaged with mainstream/mainline protestant project, or what ever is worth keeping of the project--and for those engaged in that project, both conserative and progressive, there is a weariness, not giving up, but a recognition of the intricacy of the task, but for rundman, he keeps mentioning that the interview wil be fun, his work is hopeful and fun, and joyful. i do not think that the task is any less intricate for rundman, or that he knows the work ahead of him, but several times i have had to check my cynicism at the door while corresponding w/ him

Mayakovsky

Now I am quietly waiting for
the catastrophe of my personality
to seem beautiful again,
and interesting, and modern.

The country is grey and
brown and white in trees,
snows and skies of laughter
always diminishing, less funny
not just darker, not just grey.

It may be the coldest day of
the year, what does he think of
that? I mean, what do I? And if I do,
perhaps I am myself again.

~ Frank O’Hara

genius

found bill bissett, from the prince george cruising listings:

where do all you young hot boys hang out you never go to the dance,s on 3rd ave i know there lots of gay guys out here in pg so get your ass,s out there and have a good time don,t be scared no one will bite you be your self and enjoy you never know you just mite meet someone and fall in love

or:

where do all
you
young hot boys
hang out
you
never go to the dances
on 3rd ave, i k
now there l
ots of gay
guys
out here in
pg, so
get y-
our ass,s
out there and have a g
ood time d
on t be scared; n
oone will
bite y
ou, r self and
enjoy, y
ou nev, er kn
ow, y
ou just mite
meet
so me
on e
a nd f
all
in
love

things to do before sat.

1. samples of work, and tech requirements for heather
   
2. edit augustine
   
3. work on peice for rhubarb
4. pay rent
   
5. buy metropass
6. work wed, t hurs, and friday
7. collate, edit and write introduction to rundman essay
8. take notes on o hara
   

I know that you’re the type of Jew who cherishes certain Jewish traditions that comport with your values, and jettisons other traditions. Which traditions do you keep? Which haven’t you kept?

There are traditions, like homophobia and misogyny, that I categorically reject. There are traditional attitudes about, for instance, intermarriage, that I reject. But I don’t jettison any tradition, in the sense that I’m intrigued by all of them. By most standards of Orthodox Jewish practice I’d be considered a pretty bad Jew. Every once in a while I think there would be something sort of nice about observing the Sabbath, but it just has never worked out, and I guess I never felt a strong enough pull. And I have a difficulty in shul, because I sort of believe, and sort of don’t believe.

Tony Kushner

meditations on an emergency, the o hara book, was used heavily in the second season opener of Mad Men, as a touchstone, as a way of signifying ennui, and homosocial isolation.its the season of o hara, then, the big new collected poems, the nasty take down in the new york times, lyttle shaw's book, and now this.

at first, i thot that, the poem was a camp takedown of the confessional angst of late 50s blurting, and besides, there is no way that an adman could find a copy of it, and the lines they used were too dark and serious, plus the theme of mad men, is isolaltion, the gaps and immpossiblity of communincation, and the consquences of those failures. o hara, has hope, even in his elegies and his poems of meloncholy, he seeks company, he seeks to talk, to constantly and forever communicate, to make family...

but the more i think about it, the poem is very much central to the madmen project, the other theme of the show, was a group of people watching jackie kennedy tour the white house, and of course how the politics of decor, of jackies tour, of dresses, of perfect tan coats and swing skirts, of a white pocket sqaure as tight as a razor slice, of cuff links and pipes and etc...

also, i think, how those years, from the 50s to the 60s, from the post war to the liberation of something stranger...not the hippies, but the urbane, sexualised, elegant and libertine created a new kind of class of city dwellers...so in that way, meditations on an emergency is a perfect key, because o hara provides a key and an alternate route past the highway of woodstock nostalgia.

(coterie does not mention the work at all, in its index)

(the cover they used had a black and grey cover, with the title in a heavy, brutish font, the real first edition was spring green with a sprightly french inspired script)

Should I get married? Should I be good?
Astound the girl next door with my velvet suit and faustus hood?
corso

lisa and leos wedding...the two who got together not because they mutually loved god or work, but because they were passionite towards each other. the community then celebrating not quite love, but a kind of foundational optimism. there is then, not a desire to be good, to perform unnatural acts in realtion to the state, but in the ancient sense, of introducing the community to the idea that desire can be channelled, and passion can mutate and mantain.

left as a comment on lorna's blog


obama's his trip to berlin is another in a v. long line of ways that he embodies, in a self constructed, historically reflexive, image heavy way, the ideology of kennedy.

the fascinating, and under stated comment in the big new yorker article this week, is how this kennedy mirroring began explicitly with his engagement in chicago politics.

(the new yorker article was useful for a couple of reasons, as a primer on urban american politics, as a gloss on how political obama is, and as a reminder of how that smoothness is not the result of naturalness, but of an extreme and delicately placed artifice, he seems to be a man w/o appetites---Clinton, who has the same charisma, and also Kennedy, who had more of the same charisma, were both men of raeblesian appetites, they ate and they drank and they fucked...obama is not only post-racial, he seems to be post-corperal, in a miraculous act of transubstanation, the body of one man becomes the body politic....which makes him ripe for martyrdom, which has been noted by people has varied as doris lessing ("hes going to get shot") and hilary clinton (who was basically saying, we know the consquences of charisma, hire someone with no charisma (and no body), because to be seduced is to be put in danger)

not that it is quite seduction that is happening here.

Caro

It was big, but I am not sure it was monumental. There was nothing really intestesting to look at, except maybe the very visible seams, rising from the surface of the work, the patination of the bronze was too even to be noteworthy, but not even in a way t hat was slick or profound.

It hasn’t stayed with me, as a piece that breaks open modernist sculpture—though I found it interesting that I can never tell Caro apart from Hyde…I think the core though, was that in a room with an Olitski, and a Poons, I could see the narrative, but I have no idea how to talk about them.

I do not know how to read painting whose central goal is texture as opposed to colour or line. I am not even sure that I want to. (It was a really nice Poons though, this dappled grit of black over a lavender/grayish field, lunar but not isolate.) But I could find my way around, and after a few days of looking at those fellows, I think that I could note where a good building up of material and a bad building up of material, begin, intersect, work in concordance or oppositon, and finally end. My love of slickness, of lack of texture, of smoothed of machined surfaces, would give me an entry point, as would my appreciation of the formal building up in proto or early pop works, work that is essentially about formalist surface tension.

I have no idea how to look at sculpture. I do not know what a good sculpture or a bad sculpture is. I know how to look at 3d art that is not sculptural, I can place what I like formally about Judd, Andre, Flavin, Hesse, or Nevelson, to name 6. But I cannot use that formal knowledge to sit back and look at this Caro, and say this is why this piece is interesting. (and there was one in the basement, that was a table top version, that made it even more difficult)

I kept trying, but the thots came out in half sentences, cheap and easy. I like the transparency of medium. I am not sure why this is still a muddy brown instead of shiny or green. Sometimes it made me feel like a philistine, I literally did not have the vocab to talk about the pieces themselves. The table piece was grey, but it wasn’t steel. It featured a circular hole fastened to a base. Coming out from the hole were 5 or 6 large shards, in a similar material. The shards were wide at the base, and long at the ends. The larger pieces, was about as tall as I was, and featured 4 segments. They were constructed in such a way that they looked like a screen. Some of the pieces were oblong, and some were rectanglur.

See, that paragraph was awkard, that the piece was shoved into a window and could not be walked around in, was part of the problem. But I have walked around major Caro’s before. I do not know how to read not only his work, but large abstract sculpture. I think that I have mentioned this, in previous essays, on the fellow, but it would be interesting to know, from the modernist guys. When I am standing in front of a large Caro or Smith (I saw several David Smiths in SF and had the exact same problem. or Hyde work, how do I look at it?

the first line of my future hit song:

theres a jack off party
at the red roof inn
in Norman Oklahoma

if i get on a plane tonite
i can be there soon.