Monday, October 15, 2007

Name Drop 2

"If the author hadn't been a "name" . . . would you have bothered navigating through all that gimmickry?"

--Pete Anderson

"I love . . . names."

--J.S. Custer, from a review on entitled "The Logic of Laughter"

Out of the building blocks, the raw materials of a social readymade,[names] become interfaces — precisely because of the way they are already ‘wired’ to social codes (like the programming codes of the computer). Don’t start out with the usual phobic rejection of reference, and certainly not with the usual squeamishness about the non-literary social. The text broadcasts a social address that makes a comfy suburbanizing distance impossible. It calls out. It’s more presentational or theatrical, less given to auratic or cinematic absorption (Brecht).

A little of the ‘elliptical’ is okay — an informalism . . . of connections. The connectionism is a Surprise Machine. It works by . . . MULTIMPLICATION.

We face up to [names] which are more like deindividuated subjectivities. A projectile cluster (or stickerball) (or snake tangle) of [names] offers up a staged memory trace of how earlier word-clusters (and their repetition) turned the body into a lively, reactive surface of inscription.

Strangeness puts things right in your face, right up to our ears.

A fluid architecture of information makes the contagion of the text more likely. We find ourselves the accomplices of the text’s sense. A social connectionism is there for the taking, a barrage or multiplication of images (or of the raw material for images): montage takes place within the frame.

We’re not using the physical choreography of language to decorate (or cover up) its referential, mediating role. Rather than a narrative, we get a collage of multiplicitous positioning. Carved out of their usual representational contexts, the [names] [go] to work all the more extravagantly on our nerves, which makes this writing closer to a linguistic pornography.

Here, the words become the social characters, and that’s how you’re composing: you build the text out of a broader social translation for what goes on within and between persons. Any individual unit, anything resembling an image, comes with its code implied, revealed — as if everything (already, always) involves a translation. This is a hyperbolic extension of the way that single words or [names] carry a charge that is social. We’re exploring a social gameworld, a multi-dimensional stadium of meaning. Explanation is embedded in the writing itself.

The praxis of the reader reconstructs this responsiveness. And reconfigures the relation to an outside context.

--dismembered text lifted from Bruce Andrews's "The Poetics of L=A=N=G=U=A=G=E"

(That's the way you play the game)
(Drop that name!)
(That's the way you play the game)
(Drop that na-a-a-a-a-a-a-a-me, ah-haaaaah!)


Flann O'Brien John L. Sullivan James Joyce Bono George Ashlin George Drumgoole Coleman Sir Thomas Drew James Gandon Eileen Gray James Hoban Francis Johnston James Joseph McCarthy Thomas Parke Edward Lovett Pearce Kevin Roche Michael Scott Jonas Armstrong Patrick Bergin Stephen Boyd Kenneth Branagh George Brent Pierce Brosnan Gabriel Byrne Colin Farrell Richard Harris Liam Neeson Maureen O'Hara Conan O'Brien
Dylan Moran Tommy Tiernan Sean Hughes Ardal O'Hanlon Kathy Griffin Eithne Ní Bhraonáin Bob Geldof Mike McCormick Van Morrison Phil Lynott Shane MacGowan Colin Malloy Sinéad O'Connor Damien Rice John Banville Samuel Beckett Oliver Goldsmith Seamus Heaney Frank McCourt Thomas Moore Edna O'Brien Frank O'Connor Seán Ó Faoláin Liam O'Flaherty William Butler Yeats Oscar Wilde George Bernard Shaw Laurence Sterne Bram Stoker William Trevor George Berkeley Jonathan Swift Owen Madden James Coonan Mickey Spillane


Robert Bailey, Jr. Mychal Bell Carwin Jones Bryant Purvis Theo Shaw Jesse Ray Beard


Bill Gates Warren Buffett Karl Albrecht Theo Albrecht Paul Allen Lawrence Ellison Sam Walton Alwaleed Bin Talal Alsaud Joanna Quandt Liliane Bettencourt Kenneth Thomson Steven A. Ballmer Ingvar Kamprad Carlos Slim Helu Michael S. Dell Kirsten Rausing John W. Kluge


Henry Darger Vincent Van Gogh Franz Kafka Anne Frank Scott Joplin Robert Hutchings Goddard Emily Dickinson Paul Gauguin Casey Jones


Jule Styne Betty Comden Adolph Green Judy Holliday José Ferrer Janet Blair Fred Astaire Vincent Minelli Daniel Mann Lynn Fontanne Elia Kazan Grace Kelly Louie Schurr Courtney Burr Irving Lazar Anthony Quinn Rin Tin Tin Doris Day Barry Gray Edna Best Arthur Loew Vaughn Monroe Rebecca West Irving Shaw Evelyn Waugh Errol Flynn Rory Calhoun Rin Tin Toon Barney Baruch King Farouk Alistair Cooke Debbie Eddie Lucille Ball Lauren Bacall Hedy Lamarr Roz Russel Freddie Carol Reed Sammy Snead Deborah Kerr Anna May Wong Ron Ton Tong Errol Flynn Rin Tin Tin Edmund Gwenn Ren Ten Ten Ali Kahn Rahn Tan Tan Raymond Massey Lassie Frank Sinatra Albert Schweitzer Ingrid Bergman Noel Coward Gene Kelly Oscar Levant Brigitte Bardot Jean Pateau Marilyn Monroe Vincent Minelli Fred Astaire René Clair José Ferrer Grace Kelly Lynn Fontanne Danny Mann Deborah Kerr Irving Berlin Danny Kaye Doris Day Pasternak Hemingway Prince Rainier Moran Mack Irwin Shaw Evelyn Waugh Cary Grant Rory Calhoun Barney Baruch King Farouk Alistair Cooke Lizzie Eddie Lucille Ball Lauren Bacall Vivien Leigh Roz Russel Freddie Arthur Freed Sammy Snead Irving Lazar Anna May Wong Keenan Wynn Sophia Loren Ali Kahn Raymond Massey


Tao Lin


Hillary Clinton Sam Brownback Barack Obama Rudy Giuliani John Edwards Mike Huckabee Wesley Clark Duncan Hunter Mike Gravel John McCain Bill Richardson Ron Paul Joe Biden Mitt Romney Dennis Kucinich Tom Tancredo Chris Dodd Fred Thompson Tom Vilsack


Pete said...

Thanks for the shout-out, Josh. Now, if and when I ever put together a press kit, I can claim I'm "mentioned in the same breath as Flann O'Brien, James Joyce and Jonathan Swift." Though for obvious reasons, I'll conveniently omit Guiliani, Fred Thompson, etc.

Josh Maday said...

Sure thing, Pete. I look forward to that press kit. Hopefully I am improving many potential press kits. Omissions are inevitable, of course. The power of the blurb is in the ellipsis.


how much are these helpin ye traffic?

Josh Maday said...

The name drops bring traffic through at a moderate flow; nothing like the porn keywords, I'm sure. Mostly I'm just having fun with them now, even if others are not enjoying them so much. I suppose I should be posting more opinions/recommendations, or at least dipping into the thick honey of porn words if I'm really concerned about redirecting traffic (which I am and am not, although I appreciate people clicking in and commenting regularly). I may be finished with the name drops for awhile. Of course, if something comes together in a few weeks, I'll post it despite any eye rolling. We'll see though. How much traffic are you getting from the crazy porn searches?

Pete said...

The ellipsis is indeed the key. With it, "not one of the finest books I've read" becomes " of the finest books I've read."