What do we make of Vanessa Place’s curious presence in the special dossier “On Race and Innovation” that Dawn Lundy Martin edited for the November 2015 issue of boundary 2? To put it mildly, Place is not the first person one would expect in such a grouping. Is this an example of “conceptual editing”? Martin, not surprisingly, explicitly frames the dossier in terms of the recent controversies that have inflamed the poetry world since last spring:
Kenneth Goldsmith was excoriated for reading Michael Brown’s autopsy report in a conceptual poetry performance at Brown University, and a petition successfully got Vanessa Place (included in this issue) removed from an AWP subcommittee because of her Twitter appropriation of the black voices from Margaret Mitchell’s Gone with the Wind. Still, in all the mayhem, in all the personal attacks on social media, there has not been much actual conversation about what poetry has to say, and can say, about race in the contemporary moment.
A diptych of two hand-drawn phrases, “IT’S KIND OF FUCKED UP” and “IT’S FUCKED UP” (see above), Place’s piece seems to demonstrate in a colloquial register what Freud calls the “narcissism of minor differences.” Continue reading
Is there a David Bowie of literature?—such an asinine question, as dumb as asking, “Is there a Virginia Woolf of music?”—arguing against it arguably as asinine as answering it at all, even on its own terms, which is to say, which “David Bowie”? which “literature”?; not to mention the problem of even locating a “there” with any kind of certainty, and of establishing what and/or where or whatever “Is” in this case is.
Notes during and at the close, immediately after, my Skype appearance on Friday, June 4th, at
“The Importance of Independents,” Los Angeles, 7:30 pm
w Harold Abramowitz / Teresa Carmody / Alexandra Chasin / Gina Frangello / Davis Schneiderman / Mathew Timmons
a reading at w o r d s p a c e
3191 Casitas Avenue, #156 / Los Angeles, 90039
I’ve deliberately not done any significant editing to the document, in hopes that the immediacy of the entry might compensate for its roughness. I’m initiating a Skype reading series for Lake Forest College next year, and well, I find the whole thing fascinating. I would be very interested in hearing from others about their experiences reading at-a-distance.
Here’s a link to Publishing The Unpublishable, an incredible project that’s “edited” (although I would call it curated) by Kenneth Goldsmith. Goldsmith writes:
What constitutes an unpublishable work? It could be many things: too long, too experimental, too dull; too exciting; it could be a work of juvenilia or a style you’ve long since discarded; it could be a work that falls far outside the range of what you’re best known for; it could be a guilty pleasure or it could simply be that the world judges it to be awful, but you think is quite good. We’ve all got a folder full of things that would otherwise never see the light of day.
Invited authors were invited to ponder to that question. The works found here are their responses, ranging from an 1018-page manuscript (unpublishable due to its length) to a volume of romantic high school poems written by a now-respected innovative poet. You get the idea.
The web is a perfect place to test the limits of unpublishability. With no printing, design or distribution costs, we are free to explore that which would never have been feasible, economically and aesthetically. While this exercise began as an exploration and provocation, the resultant texts are unusually rich; what we once considered to be our trash may, after all, turn out to be our greatest treasure.
The series will conclude when the 100th manuscript is published.
Please note that the series is by invitation only.