Wednesday, February 6, 2013
Have a look.
Thursday, July 14, 2011
Monday, April 11, 2011
This conversation arose out of a discussion of "work". I seem to have a similar problem with my work as Paul Celan did with his - he thought of his poems as accessable, and could not understand those who didn't, inscribing a volume to his English translater Michael Hamberger "nicht hermetisch". Similarly I sent a copy of A Pelt to a relatively prominant NZ poet, who described it as "too intelectual" (aside -another writer explained this in the following terms:
"whenever someone in New Zealand describes your work as "too" something, what they mean is what they say, but without the "too"), just as a girl who had been in a creative writing class with me drunkenly lectured me at a party about how I should "stop thinking about things so much" and "not be afraid to just write what I feel". I consider that book to be pretty close to the traditional lyric, and primarily 'emotional' - very much a work in which 'feeling is first' - although not quite, as, at least to the reader, the word is first, as ink on paper. This is something that many people forget, and which I find myself unable to. In this way I would find verse that reports the internal thoughts and feelings of the poet as "too intelectual": the poet would then be paying attention to, and thinking about, and carefully manipulating language as a code, as a means to an end, rather than as an object that is beautiful in and of itself.
All of this makes me think about information, and language, as existant prior to my engagement with them. Kenny G, riffing on Douglas Huebler: "The world is full of texts, more or less interesting; I do not wish to add any more". What we as writers do is intercept and alter the flows of desiring-production that are active in language, aggregating, manipulating, filtering, altering, deforming. This is probably why I'm more active on Facebook these days then I am here - it is the perfect medium for tapping this vein of hypersemiotic joissance: the divertion of links, sedementation of information, manipulation/appropriation/deformance of image and sound - something which my former flatmate, Matthew Ward, knows all about. He's got a show, "The Ghost / They can speak for themselves" coming up at None Gallery in Dunedin - if you're anywhere near there, you should check it out.
Tuesday, March 29, 2011
I've got a self-published chapbook out, A Draft from BIRDS, wich is the inaugeral publication of my micropress, &then&then, which will aso be publishing a chap by the great rob mclennan and launching a website very soon. There are also some very, very exciting names who want to / have agreed /have been bulied into participate in this venture, and I'm very excited.
I'm also teaching, which is really cool. I'm tutoring an introductory English/Writing Studies paper, and it's great, and I think a lot of my students are more on to it than I was in 1st year!
But down to the nitty-gritty - the masters project(s)..... here's the connundrum. I was planning on /trying to mash up various strands of my practice into some kind of agrogate, but it wasn't working. And my advisor was talking about lack of cohesion, or an affective center.... it was largely turning into a mushy blob.... but then I'm not sure of (or comfortable with) the parts as seperate.... and the idea of something happening in a poem seems strange to me... the point comes down I thin to this:
I'm a little bit worryed that my "taste" in things my be developing in such an absurd direction I'll lose connection with any kind of meta-discourse, or audience, or community.... things are getting kind of wierd.
Everything I like seems to be massive and largely centreless, flux instead of progression, or drone, poetry as both ambiend and psycho-traumatic(etymology is important here) experience, with an emphasis on duration.... reference points:Pierre Guyotat, Samuel Beckett, Tan A. Lin's BLIPSOAK01 (I've got to get the rest of them!), Kenny Goldsmith's No. 111, Artaud, Bruce Andrews more prolonged pieces, Karen Mac Comack in places, Steve McCaffery in The Black Debt or parts of Panopticon, the kind of psych-scapes of flux Auckland poet and mystic Jarrad Dickson constructs, the dronescapes of Swans, Earth, Campbell Kneale's various projects, late Coil, and Handful of Dust; much of the latest wave of US/Canadian blackmetal weirdness, the weirdest work fo Tricky, The Shadow Ring, the jagged, staccato time-fucking of grindcore and microgrind (ie 8sec songs one after the other) or rapidly moving polyrhythmic free-jazz or jagged post-musique-concrete composition-by-assembly... and internet hip-hop sensation Lil B "THE BASEDGOD".
Long form repetition that seems to go (k)no(w)where, other than the movement as an EMBODIED, EXPERIENTIAL ACT OF DURATION.
I need to perform this. How do you do it in a codex? Can you?
I'm leaning more and more toward sound-work as a possible answer.
Monday, November 22, 2010
Saturday, September 11, 2010
Dear God, I Hate Myself
Chocolate Makes You Happy
Save Me, Save Me
Sad Pony Guerilla Girl
I Luv the Valley Oh!
Friday, September 10, 2010
Sunday, September 5, 2010
I'm also publishing a small volume, tentatively entitled Draft from "Birds" as part of my (BA) Honours dissertation in an edition of 26 hand-lettered copies. I'm not sure how much they'll cost yet, but if you're interested chuck me an email.
Lastly, I've been asked to take part in the latest Dusie Kollektiv, which is really awesome, I'm a big fan. Susana Gardener is one of that rare breed of super-awesome people. I've got a manuscript lined up called Tempral Maze Denture. I'm proud of that title.
So stay tuned. I may have quietened down on the blogging front, but there's still things happening.
Monday, August 30, 2010
"For a number of reasons, during my twenties I believed then that I was unemployable - too feckless to do either manual work or retail, and nowhere near confident enough to do a graduate job of any kind. (The ads for graduate jobs would fill me with despair: surely only a superhuman could do the job as described?) I won't deny that eventually getting employment was important - I owe so much of what I am now to getting a teaching job. But equally important was the demystification of work that gaining this employment allowed - "work" wasn't something only available to people who belonged to a different ontological category to me. (Even so, this feeling wasn't rectified by having a job: I had a number of depressive episodes when I was convinced that I wasn't the sort of person who could be a teacher.)
"But surely the importance of Virno and Negri's work is to have undermined the distinction between work and non-work any way. What precisely counts as non-work in post-Fordism? If, to use Jonathan Beller's phrase, "to look is to labour" - if, that is to say, attention is a commodity - then aren't we all "contributing", whether we like it or not? As Nina argues, "[i]t is as if employers have taken the very worst aspects of women's work in the past – poorly paid, precarious, without benefits – and applied it to almost everyone, except those at the very top, who remain overwhelmingly male and incomprehensibly rich." In these conditions - in which unemployment/underemployment/perpetual insecurity are structurally necessary, not contingent accidents - there's more case than ever for a benefits saftey net."