D.S. Marriott | Response to Race and the Poetic Avant-Garde + Poems

  What is “avant-garde poetry”? is a question long on answers, if short on consensus. On the one hand, the notion of the avant-garde is invariably seen as a historical category. The history of modernism and the authority of certain authors converge here in a kind of hermeneutic presumption, as if the meanings and values of both constituted readymades. The avant-garde poet emerges as a figure (invariably male, invariably white) that history and culture no longer need to put in question. But on the other hand, those European and American avant-gardes posed a question about the relation between the reading…

Walter Benjamin | The Author as Producer

    II s’agit de gagner les intellectuels “la classe ouvriere, en leur faisant prendre conscience de l’identité de leurs de-marches spirituelles et de leurs conditions de producteur. – Ramon Fernandez   You recall how Plato treats the poets in his projected State. In the interest of the community, he does not allow them to live there. He had a high idea of the power of poetry. But he considered it destructive, superfluous – in a perfect community, needless to say. Since then, the question of the poet’s right to exist has not often been stated with the same insistence;…

Devin Fore | Soviet Factography: Production Art in an Information Age (Sergei Tret’iakov)

  If facts destroy theory, then all the better for theory. —Viktor Shklovsky, “In Defense of the Sociological Method,” 1927   Any discussion of factography first has to deal with the conspicuous strangeness of the word “factography” itself, an awkward and selfconsciously technicist term coined in Russia in the latter half of the 1920s to designate a certain aesthetic practice preoccupied with the inscription of facts. Those who are familiar with contemporaneous avant-garde movements in other countries and who may also be skeptical of the early Soviet zeal for linguistic invention will wonder if factography is not simply another word…

Best Books of 2019

    Miyó Vestrini | Grenade in Mouth Those who write are not even of a race. Nor a caste. Nor a class. Nor are they one. They ruin the point of living, like women in a world of science. Behind thick lenses, the court is never dull. They have all privileges: from philosophy up to anger, passing through conjugal relations, and the length of the paragraphs. Between the rights of man it is figured that the writer should write largely for himself first, then for the others, with a purpose well or poorly defined: to flood the window displays,…

PORNO-TEO-KOLOSSAL ((nach Pasolini))

  Die Verweigerung ist schon immer eine essenzielle Geste gewesen. Denk nur an die Heiligen, die Eremiten, aber auch an die Intellektuellen. Die Wenigen, die die Geschichte gemacht haben, das waren diejenigen, die Nein gesagt haben, nicht die Höflinge oder die Diener der Kardinäle. Pier Paolo Pasolini   I.     5:11 am Nachmittag: das Gefühl, dass der Geist, das Bewußtsein wie ein Sprengsatz explodieren / ich schwöre :: die einfachsten Bewegungen des Körpers nicht mehr zu kontrollieren sind und der Blick beginnt sich um sich selbst zu drehen — Einverständnis ist eine Falle.     Zeit und Raum ineinander…

Sean Bonney | Heroes

  Heroes 1. Mustapha Khayati, I got a question. When you were writing your dictionary, did you have any sense which words might be snitches and which might be scabs. While the Eiffel Tower continues to mean what it does, sending out signals no-one could ever translate, these questions continue to matter. Mustapha Khayati, say something. Fascism does what it does without a need for language. 2. Jean Genet, if alive today, would be somewhere at the bottom of the ocean, entwined with all the other human bones. No-one would say his name. His fingerprints would be stored in an…

Pasolini on de Sade: An Interview during the Filming of ‘Salò or the 120 Days of Sodom’

  by Gideon Bachmann It is reputed that Donatien Alphonse François, Marquis de Sade, spent only 37 days, writing from seven to ten every evening, in composing his masterpiece, the unsurpassed 120 Days of Sodom, the first psychopathia sexualis ever written, and preserved only in fragmentary form. More than half of what has been left are just lists of perversions, lacking that deep sociological and political insight which characterizes most of the Marquis’s other work, and which assured him his ranking place in prerevolutionary French literature. Nobody has ever used a de Sade book as material for a film. It is therefore all…