Tuesday, October 30, 2007

Barrelhouse Online

Barrelhouse's new online issue is now live. Once again, they've done an excellent job putting the issue together. Along with work by Jared Ward, Tyler Stoddard Smith, Scott Garson, Mary Crocket-Hill, and Dave Housely, my short fiction entitled Reinvention: Tom Cruise is there. I am hugely honored to have my work published at Barrelhouse.

Friday, October 26, 2007

Me, Brooding

Brood, you bastard, brood1
Until the illusion
Swallows you whole2

1 This is me brooding.
2 I spend my days / brooding / and I cannot / stop

Monday, October 22, 2007

Another Proposed Paper Topic

"Make Love to Your Starbucks: The Semiotics of the Coffee Cup in Advertising"

Friday, October 19, 2007

NewPages on MySpace

Go be a friend. It will feel good.

Update: An update for me, mostly. I guess I've known for awhile that MySpace is for children now, and the new place for grown-ups is Facebook. This has probably been the case for over a year. I would just like to take this opportunity to say how tired I am of chasing around the "place to be." This shit is childish. I am tired and cranky right now, so I may edit this later. But right now I'm saying fuck Facebook and fuck whatever the new virtual hangout will be in ten minutes. So find me on Facebook before it's not cool anymore and be by fucking friend. Thanks.

Good Times in Detroit

On Wednesday I went to the Zeitgeist gallery in Detroit where Jeff Vande Zande and Ken Meisel read selections of their poetry. Carly Sachs was scheduled to read as well, but unfortunately she was under the weather and had to cancel her long trip from Washington, D.C.

Jeff and I met up with Ken in Corktown at Slow’s Bar BQ, the best barbeque place in Detroit, according to Ken. And if anyone knows and loves Detroit in all its gritty glory, it is Ken Meisel, so when he says Slow’s is the best BBQ in Detroit, then that is indeed the case.

The Zeitgeist is a great venue, and James Hart III and Kim Hunter are very gracious hosts. The bar gallery is a collage in itself, what with the paintings of Jacques Karamanoukian adorning the old brick walls while the bar and booths remain intact from its days as a watering hole. But aside from being an art gallery and literary reading venue (hosting readings by ground-breaking experimental poets like Carla Harryman and Catherine Taylor just last month), the Zeitgeist also produces classic avant-garde and contemporary experimental plays. Artifacts such as the dust jacket from a copy of Alfred Jarry’s King Turd and playbills from past performances of Jarry’s brilliant Ubu plays (as well as many others) are tacked to the walls among the paintings and lithographs.

Jeff and Ken both delivered great readings to an attentive and engaged audience. I want to thank Jeff for hauling me down there (and back), and Ken for showing us a glimpse of authentic Detroit. It was a great time all around.

Wednesday, October 17, 2007


Q: Do you smoke?

A: No. Maybe. Sometimes.

Monday, October 15, 2007

Jeff Vande Zande, Ken Meisel, and Carly Sachs Reading in Detroit at Zeitgeist

Yup, I'm hittin' the road with my friend Jeff Vande Zande on Wednesday. I'll be tagging along to a poetry reading at the Zeitgeist in Detroit.

Here's more info about the reading (via Jeff's blog):

Ken Meisel, Carly Sachs and Jeff Vande Zande will be reading at the Zeitgeist Gallery on Wednesday, October 17 at eight o'clock p.m. The Zeitgeist is a cool Detroit venue located at 2661 Michigan Ave.

It's sure to be a great time. Check out Zeitgeist while you're waiting. I am right now.

More Proposed Paper Topics

"Criticism, Literary and Otherwise, as Appropriative Postmodern Fiction à la Jorge Luis Borges's Pierre Menard, Author of the Quixote, Stanislaw Lem's Imaginary Magnitude, and Jacques Derrida's Dissemination"


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 Amazon.com 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

Friday, October 12, 2007

New Reviews Posted at NewPages

The latest batch of literary magazine reviews is live on NewPages. In case you didn't already know. You'll find reviews of fine magazines such as:

Bayou Magazine
Clackamas Literary Review
Minnetonka Review
Paterson Literary Review
PMS poemmemoirstory

And after you're finished partaking, give a little back to NewPages. Click on the pint in the upper right hand corner. Please. Denise needs beer. Thank you.

Monday, October 8, 2007

What Was Going to be MetaNews, but Quickly Became a Few Rambling Paragraphs Centered Around Tao Lin

No news lately.

I read some of Tao Lin's blog today. He seems like a funny guy. He is a funny writer, at least. I like his deadpan sarcastic tone. I sense that Tao Lin's MO is irony: meaning: he both means and does not mean what he writes/says. His tone feels both funny and serious at once. I will probably buy one of his books soon. That should make him happy for a moment. Hopefully it will make me happy for a moment, too. If I only choose one, Tao Lin says I should buy Bed rather than Eeeee Eee Eeee. I will buy Bed. I hope Tao Lin says I should win the lotto if I am choosing to win or not to win the lotto. Tao Lin is an iceberg of intelligence: he will broadside you and you will sink. Many people will die.

Tao Lin reassures me that irony is not dead.

I want to ask Tao Lin many questions, and I also want him to answer those questions. Someday I will interview Tao Lin. Maybe I will write his biography. In that case, I will not interview Tao Lin. I will not read any of his books, nor will I research his actual life. Instead, I will write what I imagine Tao Lin's life has been like and what it will be. You will find my biography of Tao Lin in the Creative Non-Fiction, American History, Self-Help, Poetry, and Philosophy sections at your local bookstore. Coming soon.

I am trying deadpan sentences, as you may be able to tell if you've read Tao Lin's voice on the internet. Maybe deadpan is not the word for it. Maybe "simple sentences" is more accurate. But simple in the manner of Hemingway. Hence the "Tao Lin is an iceberg of intelligence." I think he will like that sentence. Unless he does not like Hemingway's writing or Hemingway himself. Then maybe he won't. I don't know. I'm not concerned with that. Not right now.

Wednesday, October 3, 2007

No Country for Old Men

The Coen brothers bring part of Cormac McCarthy's world to life this Fall. Counting down.