Antonin Artaud | Alienation and Black Magic & Peter Valente | from ‘The Artaud Variations’

  ALIENATION AND BLACK MAGIC   Insane asylums are conscious and premeditated receptacles of black magic, and it is not only that doctors encourage magic with their inopportune and hybrid therapies, it is how they use it. If there had been no doctors there would never have been patients, no skeletons of the diseased dead to butcher and flay, for it is through doctors and not through patients that society began. Those who live, live off the dead. And it is likewise necessary that death live; and there is nothing like an insane asylum for gently incubating death, and for…

Ryan Eckes | chase scenes

  we’re in a classroom, which is a store. the professor tells us the true write must destroy his own ego. do not tell stories, he says, unless they are someone else’s. do not  say i. i look at the clock and the clock’s the wind, it says one tongue per king, and that pulls on me like a sad movie. i just watched five easy pieces, what a bummer. what a bummer he left her and life up in the air like a dead piano. i’m sick of the road as the end as if no gas station rots…

César Vallejo | Cuneiforms

No biographer or scholar can avoid the imprisonment that César Vallejo suffered between November 6, 1920, and February12, 1921, in Trujillo, an episode that stakes out an indubitable before and after in the life and work of the Santiaguino.
The first section of ‘Scales’, ‘Cuneiforms,’ and several poems of ‘Trilce’ were composed in his cell of Trujillo Central Jail. In effect, Vallejo wrote from and about the prison.

Vladimir Mayakovsky | What Is LEF Fighting For? ((Manifesto))

  The year 1905. After it, reaction. Reaction settled in with autocracy and the double oppression of the merchant and the factory owner. Reaction created art and life in its own image and according to its own taste. The art of the Symbolists (Bely, Balmont), mystics (Chulkov, Gippius), and sexual psychopaths (Rozanov)–the life of the petty bourgeois and philistines. The revolutionary parties smashed their lives; art rose up and smashed their tastes. The first impressionistic flare up was in 1909 (the collection A Trap for Judges). The flames were fanned for three years. Fanned into Futurism. The first book of the union of…

Verity Spott | Poems ((Poetics of Protest))

Last Manifesto How hateful you’ve become. It’s the day before the deadline for the GRA consultation. Maybe you’re reading this in a few years time and you don’t know what that is – you don’t know what anything is. The whole world has been sucked out and paralysed and you’re not capable of knowing anything. No. That’s now. Hostile subject, you don’t know anything at all. We are left with almost nothing. Hatred is not knowledge, it is idiot passion. It burns in me. The reason this feels strange is because I barely know what any of it means anymore….

Esther Leslie | Men of Doubt: Fortini, Benjamin, Brecht

I will present my ideas as theses, in recognition of the fragmented and poetic modes of the men I discuss. And, too, as reflection of the central idea here, that of ‘doubt’ – aiming at a certain non-definitive articulation, the wish to leave something uncompleted, unsealed, possible but yet to be made actual, if it can. I begin with a translation of a poem by Fortini.

Antonin Artaud | Sylvère Lotringer; All Paranoiacs (Interview with Paule Thévenin)

Antonin Artaud | Post-Scriptum Who am I? Where do I come from? I am Antonin Artaud and if I say it as I know how to say it immediately you will see my present body fly into pieces and under ten thousand notorious aspects a new body will be assembled in which you will never again be able to forget me. Translated by Clayton Eshleman   False Witnesses Sylvère Lotringer: You never told me how you met Artaud. Paule Thévenin: No, and I won’t say anything. SL: Ah! It’s a secret. PT: No. People are false witnesses. SL: And you?…