Friday, December 10


Three for today:

1. Quoted in a post at New Poetry, the late Jackson Mac Low (1922-2004)


What the maker of a manifesto does not comprehend or acknowledge is the basic unmanifestness from which and within which each manifestation takes place. It is this neglect or ignorance that calls forth repugnance when a manifesto is proclaimed or published, especially one regarding art. As if what comes to being in and as the work of art could ever be totally manifest or even manifest at all without its abiding steadfastly in the unmanifest! A work of art is a manifesto only insofar as it is its own antimanifesto.

21 June 1983
New York

2. Also quoted on the same discussion list, poet Donald Revell on John Ashbery, from the book “Range of the Possible”, edited by Tod Marshall:

People are always talking about how much Ashbery comes out of Wallace Stevens, and of course, Ashbery benefited enormously from Stevens' project. Yet I see Williams in Ashbery as much as I see Stevens. I think it's part of Ashbery's genius to understand that the inside is outside too. Part of what happens in the making of poems and the reading of poems is the understanding of one's inner life as being outside and all around you. So I don't see them as being poles at all; I see them as being orchestrations in the same moment of music. I think Ashbery daunts people in some ways because he is so accessible. They can't quite cope with a poetry that is so on the page. In a sense he is the most approachable of American poets because nothing is being concealed, and that's why I'm always astonished when people say Ashbery is a difficult poet, because he's not. He's quite the opposite. He's the most available, the most welcoming of poets I know. Everything is what it is. It's not a symbol for anything else. It's this entire exteriorization of the inward life, this humility that says there is nothing in me that didn't come from the world. It's not as if the world were some pale substitute for my splendid inner life. If I have an inner life where do you think it came from? It came from the world.

3. And, by way of an unlikely detour, in today’s Independent, an article about Throbbing Gristle:

The reappearance of Throbbing Gristle in 2004, 23 years after they split up, is something of a curiosity to many who remember their notorious presence in the late Seventies. Breaking from their separate music and art projects, the four-piece regrouped this year for a short performance in London for ticket holders of a cancelled gig at Camber Sands in June. They then reorganised that show, playing at last weekend's All Tomorrow's Parties Nightmare Before Christmas festival, curated by Jake and Dinos Chapman. That was officially TG's last ever performance, and all four members appeared for their last interview as TG at the festival before playing the show.

It was strange to find them lounging, resolutely calm, in a Camber Sands chalet, especially as their presence was anything but intimidating. The formidable Genesis P-Orridge is now a woman with a blonde bob and breasts, but that's hardly a shocking transformation for such a character. With all four members - P-Orridge, Cosey Fanni Tutti, Chris Carter and Peter Christopherson - in one room, the conversation was slightly slippery…..

………. Their simple word of advice to aspiring artists is to be honest - something very few people actually manage to achieve. "And I think one of the gorgeous things about TG is that we will go from something amazingly serious and important and significant in terms of the world and life, and then do something ludicrous and absurd," adds P-Orridge.

"We take every aspect of our lives and then magnify them because it's interesting and puzzling and baffling all at once to go through each day."

the rest of this pretty long article is here

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