Coffee with Warhol

Amy Vanderbilt’s Complete Cookbook illustrated by one Andrew Warhol

andy warhol illustration coffee service - amy vanderbilt cookbook

Shall I pour? Cream and sugar? Black?

Mind you don’t spill any.

And so for day 1702
11.08.2011

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Sanguine Bravura

En rouge! Elle tricote du rouge, la mère! un rouge magnétique, frénétique, un rouge de pulsions! Un rouge biographique, définitivement triomphant contre le neutre, l’objectif, le nul, le propre. Et son foulard finit toujours par ressembler, je ne sais pourquoi, à un étendard d’amazone.

“les faiseuse d’anges” in tryptique lesbien
jovette marchessault

Crimson! The mother, she knits flesh red! Magnetic, frenetic scarlet, pulsating red! A biographic vermillion, definitely triumphing over neutral, objective, null and proper [colours]. And the scarf [she knits] always ends up resembling, I know not why, an Amazon banner.

from repetition to synonym pileup : coral rust

And so for day 1701
10.08.2011

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Sampling the Burdens

Harryette Mullen. Muse & Drudge collected in Recyclopedia.

Described as a blues meets lyric poetry project, reading is a type of sampling.

her songs so many-hued
hum some blues in technicolor

blurred rubble slew of words
stutter war no more

last chance apocalypso

lay down my burden

: The chorus or refrain of a composition.
: Something that is carried.

And so for day 1700
09.08.2011

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Sweet Tooth Multiplied

What struck me in this emergence of an orisha was the plural “sweet teeth”. It lends a fierceness to the goddess of love.

women of honey harmonies offer
alfalfa wild flower buckwheat and clover
to feed Oshun who has sweet teeth
and is pleased to accept their gift

Harryette Mullen. Muse & Drudge collected in Recyclopedia.

Craving. Appetite. And a glorious sense of possession.

Mullen explains her project thus:

When I wrote Muse & Drudge, I imagined a chorus of women singing verses that are sad and hilarious at the same time. Among the voices are Sappho, the lyric poet, and Sapphire, an iconic black woman who refuses to be silenced. Diane Rayor had translated surviving fragments of Sappho’s ancient Greek poetry into an American idiom that sound to my ear like a woman singing the blues. So Muse & Drudge, in a sense, is a crossroads where the blues intersects with the tradition of lyric poetry, as well as a text for collaborative reading and on occasion to unite audiences often divided by racial and cultural differences.

There are many types of sweet teeth as there are of honey — clover buckwheat wild flower and alfalfa

In a country far away someone else was musing differently on fierceness and love through an envocation of Oshun through the voice of a top

Orange seeds, I’ll spit five your way.
The rind is mine.

O-rages for Oshun (12/4/92)

Like a back beat, Other teeth in Muse & Drudge

those cloudy days I’d fly
from the icy airport
while you tried to breathe life
into your bucktoothed scarecrow

a thing of shreds and patches
hideous scarecrow she
puts teeth in any nightmare
of the man who sleeps with matches

And so for day 1699
08.08.2011

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Cycling: simple and compound

Out of “Ulterior Thule” by Phil Hall in The Little Seamstress

What topsoil tells the hand—the hand tells a pencil—a pencil
tells type—type tells a program—a program tells brains—
brains tells the gods—& the gods tell topsoil …

Telluric wanderings. Airy driftings. Culture and nature caught in the same anthropocene ecology. Whispers of a great chain of being pluralized and streaming along planar surfaces.

And so for day 1698
07.08.2011

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tools bodies cities

Opening of William Gibson “Metrophagy: the Art and Science of Digesting Great Cities” collected in Distrust That Particular Flavor and first appeared as as a review of London: The Biography by Peter Ackroyd in The Whole Earth Catalog Summer 2001.

Literary forms are tools, and genuinely new ones are and far between.

I believe that Peter Ackroyd has invented a genuinely new one with London: The Biography, although I would hesitate to give him sole credit for the perfected form.

Here is the opening to Ackroyd’s book:

The city as body

The image of London as a human body is striking and singular; we may trace it from the pictorial emblems of the City of God, the mystical body in which Jesus Christ represents its head the citizens its other members. London has also been envisaged in the form of a young man with his arms outstretched in a gesture of liberation; the figure is taken from a Roman bronze but it embodies the energy and exultation of a city continually expanding in great waves of progress and of confidence. Here might be found the ‘heart of London beating warm’.

Key name in this review: Iain Sinclair.

And so for day 1697
06.08.2011

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More Word Associations

Like an exquisite corpse, more from the denizens of Madhouse.

(Nov 16 18:54) From Yred: surprise
(Nov 18 17:26) From Light: party
(Nov 19 18:43) From Irc: political
(Nov 23 18:17) From Yred: animal
(Nov 25 21:50) From Irc: vegetable
(Nov 29 08:01) From Yred: peeler

(Dec 31 09:31) From Razor: draw
(Jan 1 13:59) From Yred: poker
(Jan 4 17:18) From Light: face
(Jan 7 15:20) From Razor: palm
(Jan 10 19:04) From Irc: oil
(Jan 12 19:11) From Yred: change
(Jan 13 16:15) From Light: mind
(Jan 13 18:24) From Razor: blown
(Jan 16 18:54) From Timer: balloon
(Jan 17 09:35) From Yred: clown
(Jan 18 17:00) From Irc: politicians

surprise animal peeler poker change clown

And so for day 1696
05.08.2011

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Victim Blaming and Suspension of Beliefs

From “Privilege of Unknowing: Diderot’s The Nun” in Tendencies by Eve Kosofsky Sedgwick

A simple response to this worry would be that the deglobalizing, the pluralizing of the idea of innocence/ignorance, that we are trying to effect here, should also if it were consistently understood result in a disassembly of the fascination with reified innocence/ignorance as the main ground for claiming injury, especially sexual injury. […] In fact, it might well strengthen our ability to define and hence to combat such injury if we could understand it in some way that separated it entirely from the issue of initiation, of the violation of a supposed originary non-knowledge, non-desire, non-individuation that can perhaps be shown in every case already to have been breached.

Brings to mind a line of poetry from Phil Hall

skepticism inefficient as a rose

“Variorum” The Little Seamstress

Beware of thorns. Handle with Care. No simple response.

And so for day 1695
04.08.2011

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Abandoned To Be Retrieved

Dancer from the Dance
Andrew Holleran

Well, these personalities had vanished and now the house was empty. And as I wondered through, I felt a guilty pleasure I have always known in places the crowd has departed — a dormitory room on graduation day, a church after mass, bungalows by the sea when the season is past. There was something mute and eloquent about such places, as if they were speaking a very old tale of loss, futility, and peace. Post offices in small towns, late at night …

I am reminded of the exquisite work of Geoffrey James Entrance & Exits: The Garden as Theatre, Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, 1984.

And so for day 1694
03.08.2011

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Adept

R. Bruce Elder
The Body in Film
Art Gallery of Ontario, 1989

On the “personal body” in the films of Andrew Noren The Adventures of the Exquisite Corpse

but the presence of these allusions to historical works of art have another importance. The artist has the unique privilege of speaking to or of other artists as colleagues and associates. Every strong artist is required to confront his predecessors and to claim the strength to be their colleague; the moment when he or she can do so is the moment when the artist becomes an adept. The inclusion of these references suggests Noren’s encounter with his precursors and points out that he engages in a similar act of creation with theirs. These allusions, then, come as close as anything in Noren’s films to announcing his assumption of the responsibilities and delights of his vocation.

I detect the influence of Harold Bloom‘s The Anxiety of Influence minus the anxiety.

And so for day 1693
02.08.2011

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