CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'



Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'


The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.


The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Saturday, August 29, 2009

Letter "D" from Flaubert's Dictionary of Received Ideas and Bierce's Devil's Dictionary


AMBROSE BIERCE, 1866
from FLAUBERT'S DICTIONARY OF RECEIVED IDEAS
(INCOMPLETE AT TIME OF THE AUTHOR'S DEATH--OFTEN APPENDED TO THE UNFINISHED BOOK BOUVARD ET PECUCHET (1881)




DAGUERREOTYPE Will take the place of painting. (See PHOTOGRAPHY.)

DAMASCUS The only place where people know how to make swords. Every good blade comes from Damascus.

DANCING People don't dance any more, they walk about.

DANTON 'Let us dare, and dare again, and go on daring.'

DARWIN The fellow who says we're descended from monkeys.

DAYS The master has days: for trimming the beard, taking a purge, etc. And Madame has days too, which she calls 'critical', at certain times of the month.

DEBAUCHERY Cause of all the diseases from which bachelors suffer.

DEFEAT Is sustained, and is so complete that no one is left to carry news of it.

DEICIDE Wax indignant over it, even though the crime is somewhat infrequent.

DEMOSTHENES Never made a speech without a pebble in his mouth.

DENTISTS All liars. Use 'steel medicine'. Are generally believed to be chiropodists too. Call themselves surgeons, just as opticians call themselves engineers.

DENTURES Third set of teeth. Take care not to swallow them while asleep.

DEPUTY To be elected is the height of glory. [cf B&P6] Thunder against the Chamber of Deputies. Too many talkers there. They do nothing.

DERBY Racing term: very smart.

DESCARTES Cogito, ergo sum.

DESERT Produces dates.

DESSERT Deplore the fact that people no longer sing at dessert. Virtuous persons despise it: 'Pastry! Heavens, no! I never touch it.'

DEVICE Obscene term.

DEVOTION Complain how little other people show. 'We are inferior to the dog in this respect.'

DIAMONDS The time will come when man will manufacture them! To think that they're nothing but coal; if we came across one in its natural state, we wouldn't bother to pick it up!

DIANA Goddess of the chaste (chased).

DICTIONARY Say of it: 'It's only for ignoramuses!' A rhyming dictionary?-- 'I'd rather die than use one!'

DIDEROT Always accompanied by d'Alembert.

DILETTANTE Wealthy man who is a regular opera-goer.

DIMPLES Always tell a pretty girl that little loves are hiding in her dimples.

DINNER In the old days people dined at noon. Now they dine at impossible hours. The dinner of our fathers' time is our lunch, and our lunch is their dinner. A meal as late as our dinner shouldn't be called dinner, but supper.

DINNER JACKET In the provinces, the acme of ceremony and inconvenience.

DIOGENES 'I am looking for a man.' 'Get out of my light.'

DIPLOMA Emblem of knowledge. Proves nothing.

DIPLOMACY A fine career, but beset with difficulties and full of mystery. Suitable only for aristocrats. A profession of vague importance, though superlor to trade. Diplomats are always subtle and shrewd.

DIRECTORY A scandalous period. In those days honour had taken refuge in the army. Women in Paris went about naked.

DISGUSTING (INFECT) Must be said of any work of art or literature which the Figaro will not let you admire.

DISSECTION An insult to the majesty of death.

DISTINCTION Always preceded by 'rare'.

DIVA All women singers must be called divas.

DIVIDERS Perfect eyesight has them built in.

DIVORCE If Napoleon had not divorced Josephine, he would still be on the throne.

DJINN The name of an oriental dance.

DOCTOR Always preceded by 'the good'. Is a marvel while he enjoys your confidence, a fool as soon as you've fallen out. Are all materialists: 'You can't find the soul with a scalpel.'

DOCTRINAIRES Despise them. Why? Nobody can say.

DOCUMENT Invariably 'of the highest importance'.

DOG Specially created to save its master's life. Man's best friend.

DOGE Wedded the sea. Only one is known-- Marino Faliero.

DOLMEN Something to do with the ancient Gauls. Stone used for the Druids' sacrifices. Found only in Brittany. (Nothing else is known about them.)

DOLPHIN Carries children on its back.

DOME Tower with an architectural shape. Express surprise that it stays up. Cite two examples: the Dome of the Invalides and that of St Peter's in Rome.

DOMESTICITY Never fail to speak of it with respect.

DOMINOES One can play them all the better for being tight.

DORMITORIES Always 'spacious and airy'. Preferable to single rooms for the pupils' morals.

DOUBT Worse than negation.

DRAWING (ART OF) 'Consists of three things: line, stippling and fine stippling. There is also the masterstroke; but the masterstroke can only be given by the master' (Christophe). [B&P10]

DREADFUL 'Absolutely dreadful'-- when alluding to erotic expressions: one may commit the act, but not speak of it. 'It was in the darkness of a dreadful night.'

DREAMS Any lofty ideas one doesn't understand.

DRESSES (LADIES') Disturb the imagination.

DUCKS Always come from Rouen.

DUEL Thunder against it. It is no proof of a man's courage. Prestige of the man who has fought a duel.

DUNGEON Always horrible. The straw in it is always damp. Nobody has ever come across a delightful one.

DUPE It is better to be a knave (fripon) than a dupe.

DUPUYTREN Famous for his ointment and his museum.

DUTIES Insist on others 'fulfilling them', but dispense yourself from them. Others have duties towards us, not we towards them.

DWARF Tell the story of General Tom Thumb, and if by any chance you shook his hand, boast of the fact.

FRom AMBROSE BIERCE'S DEVIL'S DICTIONARY

DAMN, v.
A word formerly much used by the Paphlagonians, the meaning of which is lost. By the learned Dr. Dolabelly Gak it is believed to have been a term of satisfaction, implying the highest possible degree of mental tranquillity. Professor Groke, on the contrary, thinks it expressed an emotion of tumultuous delight, because it so frequently occurs in combination with the word jod or god, meaning "joy." It would be with great diffidence that I should advance an opinion conflicting with that of either of these formidable authorities.
DANCE, v.i.
To leap about to the sound of tittering music, preferably with arms about your neighbor's wife or daughter. There are many kinds of dances, but all those requiring the participation of the two sexes have two characteristics in common: they are conspicuously innocent, and warmly loved by the vicious.
DANGER, n.

A savage beast which, when it sleeps,
Man girds at and despises,
But takes himself away by leaps
And bounds when it arises.
Ambat Delaso

DARING, n.
One of the most conspicuous qualities of a man in security.
DATARY, n.
A high ecclesiastic official of the Roman Catholic Church, whose important function is to brand the Pope's bulls with the words Datum Romae. He enjoys a princely revenue and the friendship of God.
DAWN, n.
The time when men of reason go to bed. Certain old men prefer to rise at about that time, taking a cold bath and a long walk with an empty stomach, and otherwise mortifying the flesh. They then point with pride to these practices as the cause of their sturdy health and ripe years; the truth being that they are hearty and old, not because of their habits, but in spite of them. The reason we find only robust persons doing this thing is that it has killed all the others who have tried it.
DAY, n.
A period of twenty-four hours, mostly misspent. This period is divided into two parts, the day proper and the night, or day improper -- the former devoted to sins of business, the latter consecrated to the other sort. These two kinds of social activity overlap.
DEAD, adj.

Done with the work of breathing; done
With all the world; the mad race run
Though to the end; the golden goal
Attained and found to be a hole!
Squatol Johnes

DEBAUCHEE, n.
One who has so earnestly pursued pleasure that he has had the misfortune to overtake it.
DEBT, n.
An ingenious substitute for the chain and whip of the slave- driver.

As, pent in an aquarium, the troutlet
Swims round and round his tank to find an outlet,
Pressing his nose against the glass that holds him,
Nor ever sees the prison that enfolds him;
So the poor debtor, seeing naught around him,
Yet feels the narrow limits that impound him,
Grieves at his debt and studies to evade it,
And finds at last he might as well have paid it.
Barlow S. Vode

DECALOGUE, n.
A series of commandments, ten in number -- just enough to permit an intelligent selection for observance, but not enough to embarrass the choice. Following is the revised edition of the Decalogue, calculated for this meridian.

Thou shalt no God but me adore:
'Twere too expensive to have more.

No images nor idols make
For Robert Ingersoll to break.

Take not God's name in vain; select
A time when it will have effect.

Work not on Sabbath days at all,
But go to see the teams play ball.

Honor thy parents. That creates
For life insurance lower rates.

Kill not, abet not those who kill;
Thou shalt not pay thy butcher's bill.

Kiss not thy neighbor's wife, unless
Thine own thy neighbor doth caress

Don't steal; thou'lt never thus compete
Successfully in business. Cheat.

Bear not false witness -- that is low --
But "hear 'tis rumored so and so."

Covet thou naught that thou hast not
By hook or crook, or somehow, got.
G.J.

DECIDE, v.i.
To succumb to the preponderance of one set of influences over another set.

A leaf was riven from a tree,
"I mean to fall to earth," said he.

The west wind, rising, made him veer.
"Eastward," said he, "I now shall steer."

The east wind rose with greater force.
Said he: "'Twere wise to change my course."

With equal power they contend.
He said: "My judgment I suspend."

Down died the winds; the leaf, elate,
Cried: "I've decided to fall straight."

"First thoughts are best?" That's not the moral;
Just choose your own and we'll not quarrel.

Howe'er your choice may chance to fall,
You'll have no hand in it at all.
G.J.

DEFAME, v.t.
To lie about another. To tell the truth about another.
DEFENCELESS, adj.
Unable to attack.
DEGENERATE, adj.
Less conspicuously admirable than one's ancestors. The contemporaries of Homer were striking examples of degeneracy; it required ten of them to raise a rock or a riot that one of the heroes of the Trojan war could have raised with ease. Homer never tires of sneering at "men who live in these degenerate days," which is perhaps why they suffered him to beg his bread -- a marked instance of returning good for evil, by the way, for if they had forbidden him he would certainly have starved.
DEGRADATION, n.
One of the stages of moral and social progress from private station to political preferment.
DEINOTHERIUM, n.
An extinct pachyderm that flourished when the Pterodactyl was in fashion. The latter was a native of Ireland, its name being pronounced Terry Dactyl or Peter O'Dactyl, as the man pronouncing it may chance to have heard it spoken or seen it printed.
DEJEUNER, n.
The breakfast of an American who has been in Paris. Variously pronounced.
DELEGATION, n.
In American politics, an article of merchandise that comes in sets.
DELIBERATION, n.
The act of examining one's bread to determine which side it is buttered on.
DELUGE, n.
A notable first experiment in baptism which washed away the sins (and sinners) of the world.
DELUSION, n.
The father of a most respectable family, comprising Enthusiasm, Affection, Self-denial, Faith, Hope, Charity and many other goodly sons and daughters.

All hail, Delusion! Were it not for thee
The world turned topsy-turvy we should see;
For Vice, respectable with cleanly fancies,
Would fly abandoned Virtue's gross advances.
Mumfrey Mappel

DENTIST, n.
A prestidigitator who, putting metal into your mouth, pulls coins out of your pocket.
DEPENDENT, adj.
Reliant upon another's generosity for the support which you are not in a position to exact from his fears.
DEPUTY, n.
A male relative of an office-holder, or of his bondsman. The deputy is commonly a beautiful young man, with a red necktie and an intricate system of cobwebs extending from his nose to his desk. When accidentally struck by the janitor's broom, he gives off a cloud of dust.

"Chief Deputy," the Master cried,
"To-day the books are to be tried
By experts and accountants who
Have been commissioned to go through
Our office here, to see if we
Have stolen injudiciously.
Please have the proper entries made,
The proper balances displayed,
Conforming to the whole amount
Of cash on hand -- which they will count.
I've long admired your punctual way --
Here at the break and close of day,
Confronting in your chair the crowd
Of business men, whose voices loud
And gestures violent you quell
By some mysterious, calm spell --
Some magic lurking in your look
That brings the noisiest to book
And spreads a holy and profound
Tranquillity o'er all around.
So orderly all's done that they
Who came to draw remain to pay.
But now the time demands, at last,
That you employ your genius vast
In energies more active. Rise
And shake the lightnings from your eyes;
Inspire your underlings, and fling
Your spirit into everything!"
The Master's hand here dealt a whack
Upon the Deputy's bent back,
When straightway to the floor there fell
A shrunken globe, a rattling shell
A blackened, withered, eyeless head!
The man had been a twelvemonth dead.
Jamrach Holobom

DESTINY, n.
A tyrant's authority for crime and fool's excuse for failure.
DIAGNOSIS, n.
A physician's forecast of the disease by the patient's pulse and purse.
DIAPHRAGM, n.
A muscular partition separating disorders of the chest from disorders of the bowels.
DIARY, n.
A daily record of that part of one's life, which he can relate to himself without blushing.

Hearst kept a diary wherein were writ
All that he had of wisdom and of wit.
So the Recording Angel, when Hearst died,
Erased all entries of his own and cried:
"I'll judge you by your diary." Said Hearst:
"Thank you; 'twill show you I am Saint the First" --
Straightway producing, jubilant and proud,
That record from a pocket in his shroud.
The Angel slowly turned the pages o'er,
Each stupid line of which he knew before,
Glooming and gleaming as by turns he hit
On Shallow sentiment and stolen wit;
Then gravely closed the book and gave it back.
"My friend, you've wandered from your proper track:
You'd never be content this side the tomb --
For big ideas Heaven has little room,
And Hell's no latitude for making mirth,"
He said, and kicked the fellow back to earth.
"The Mad Philosopher"

DICTATOR, n.
The chief of a nation that prefers the pestilence of despotism to the plague of anarchy.
DICTIONARY, n.
A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.
DIE, n.
The singular of "dice." We seldom hear the word, because there is a prohibitory proverb, "Never say die." At long intervals, however, some one says: "The die is cast," which is not true, for it is cut. The word is found in an immortal couplet by that eminent poet and domestic economist, Senator Depew:

A cube of cheese no larger than a die
May bait the trap to catch a nibbling mie.

DIGESTION, n.
The conversion of victuals into virtues. When the process is imperfect, vices are evolved instead -- a circumstance from which that wicked writer, Dr. Jeremiah Blenn, infers that the ladies are the greater sufferers from dyspepsia.
DIPLOMACY, n.
The patriotic art of lying for one's country.
DISABUSE, v.t.
The present your neighbor with another and better error than the one which he has deemed it advantageous to embrace.
DISCRIMINATE, v.i.
To note the particulars in which one person or thing is, if possible, more objectionable than another.
DISCUSSION, n.
A method of confirming others in their errors.
DISOBEDIENCE, n.
The silver lining to the cloud of servitude.
DISOBEY, v.t.
To celebrate with an appropriate ceremony the maturity of a command.

His right to govern me is clear as day,
My duty manifest to disobey;
And if that fit observance e'er I shut
May I and duty be alike undone.
Israfel Brown

DISSEMBLE, v.i.
To put a clean shirt upon the character.

Let us dissemble.
Adam

DISTANCE, n.
The only thing that the rich are willing for the poor to call theirs, and keep.
DISTRESS, n.
A disease incurred by exposure to the prosperity of a friend.
DIVINATION, n.
The art of nosing out the occult. Divination is of as many kinds as there are fruit-bearing varieties of the flowering dunce and the early fool.
DOG, n.
A kind of additional or subsidiary Deity designed to catch the overflow and surplus of the world's worship. This Divine Being in some of his smaller and silkier incarnations takes, in the affection of Woman, the place to which there is no human male aspirant. The Dog is a survival -- an anachronism. He toils not, neither does he spin, yet Solomon in all his glory never lay upon a door-mat all day long, sun-soaked and fly-fed and fat, while his master worked for the means wherewith to purchase the idle wag of the Solomonic tail, seasoned with a look of tolerant recognition.
DRAGOON, n.
A soldier who combines dash and steadiness in so equal measure that he makes his advances on foot and his retreats on horseback.
DRAMATIST, n.
One who adapts plays from the French.
DRUIDS, n.
Priests and ministers of an ancient Celtic religion which did not disdain to employ the humble allurement of human sacrifice. Very little is now known about the Druids and their faith. Pliny says their religion, originating in Britain, spread eastward as far as Persia. Caesar says those who desired to study its mysteries went to Britain. Caesar himself went to Britain, but does not appear to have obtained any high preferment in the Druidical Church, although his talent for human sacrifice was considerable. Druids performed their religious rites in groves, and knew nothing of church mortgages and the season-ticket system of pew rents. They were, in short, heathens and -- as they were once complacently catalogued by a distinguished prelate of the Church of England -- Dissenters.
DUCK-BILL, n.
Your account at your restaurant during the canvas-back season.
DUEL, n.
A formal ceremony preliminary to the reconciliation of two enemies. Great skill is necessary to its satisfactory observance; if awkwardly performed the most unexpected and deplorable consequences sometimes ensue. A long time ago a man lost his life in a duel.

That dueling's a gentlemanly vice
I hold; and wish that it had been my lot
To live my life out in some favored spot --
Some country where it is considered nice
To split a rival like a fish, or slice
A husband like a spud, or with a shot
Bring down a debtor doubled in a knot
And ready to be put upon the ice.
Some miscreants there are, whom I do long
To shoot, to stab, or some such way reclaim
The scurvy rogues to better lives and manners,
I seem to see them now -- a mighty throng.
It looks as if to challenge me they came,
Jauntily marching with brass bands and banners!
Xamba Q. Dar

DULLARD, n.
A member of the reigning dynasty in letters and life. The Dullards came in with Adam, and being both numerous and sturdy have overrun the habitable world. The secret of their power is their insensibility to blows; tickle them with a bludgeon and they laugh with a platitude. The Dullards came originally from Boeotia, whence they were driven by stress of starvation, their dullness having blighted the crops. For some centuries they infested Philistia, and many of them are called Philistines to this day. In the turbulent times of the Crusades they withdrew thence and gradually overspread all Europe, occupying most of the high places in politics, art, literature, science and theology. Since a detachment of Dullards came over with the Pilgrims in the Mayflower and made a favorable report of the country, their increase by birth, immigration, and conversion has been rapid and steady. According to the most trustworthy statistics the number of adult Dullards in the United States is but little short of thirty millions, including the statisticians. The intellectual centre of the race is somewhere about Peoria, Illinois, but the New England Dullard is the most shockingly moral.
DUTY, n.
That which sternly impels us in the direction of profit, along the line of desire.

Sir Lavender Portwine, in favor at court,
Was wroth at his master, who'd kissed Lady Port.
His anger provoked him to take the king's head,
But duty prevailed, and he took the king's bread,
Instead.
G.J.

ANGUISH LANGUISH: More Homophonic Furry Tells: Guilty Looks Enter Tree Beers & Center Alley


Note: for each entry in case you missed it, will include the Intro with all the explanations etc--


Anguish Languish

by Howard L. Chace
Here further verse thyme in book firm is the extraordinary version of LITTLE RED RIDING HOOD that Arthur Godfrey read aloud on his program — and made famous. And with it are more FURRY TELLS, NOISER RAMS, FEY MOUSE TELLS, and THONGS, especially transcended by Prof. H. L. Chace, the originator of ANGUISH LANGUISH, for you, your friends, and your family to half pun wit.
PRENTICE-HALL, INC.
ENGLEWOOD CLIFFS, N. J.
Copyright 1956 by
Prentice-Hall, Inc. Englewood Cliffs, N. J.
All rights reserved, including the right
to reproduce this book, or any portions
thereof, in any form except for the in-
clusion of brief quotations in a review.
LIBRARY OF CONGRESS CATALOG CARD NUMBER 56-8160


Anguish Languish: Introduction



THE ANGUISH LANGUISH


English words are astonishingly versatile and could readily be made to serve a new and extraordinary purpose, but nobody seems to care about this except SPAL (Society for the Promotion of the Anguish Languish) [The members of SPAL are the persons who have written to the author concerning the Anguish Languish, especially the thousands who wrote to request copies of LADLE RAT ROTTEN HUT after Arthur Godfrey's inimitable reading of it, on his television show. The society is very poorly organized, in fact few of the members even know they belong. There are no officers, no meetings, no convention, and, worst of all, from the point of view of the author and founder, no dues.]

In keeping with its lofty ideals and its slogan, ANGUISH FOR EVERYBODY, the Society is sponsoring this little text, which has three aims:

* To improve the public's understanding of the Anguish Languish.
* To improve the academic standing of the Anguish Languish.
* To improve the social and financial standing of the Society.

Policemen and Magicians

A visiting professor of Anguish, Dr. ____________, [This isn't his real name, nor is it intended to be the name of any other Anguish Languish professor, living or dead.] who, while learning to understand spoken English, was continually bewildered and embarrassed by the similarity of such expressions as boys and girls and poisoned gulls, used to exclaim:

"Gracious! What a lot of words sound like each other! If it wasn't (sic) for the different situations in which we hear 'em, we'd have a terrible time saying which was which."

Of course, these may not have been the professor's exact words, because he often did his exclaiming in Anguish rather than in English. In that case he would say:

"Crashes! Water larders warts sunned lack itch udder! Egervescent further delerent saturations an witch way harem, wade hei[er haliver tam sang witch worse witch."

Dr. __________ was right, both in English and Anguish. Although other factors than the pronunciation of words affect our ability to understand them, the situation in which the words are uttered is of prime importance. You can easily prove this, right in the privacy of your own kitchen, by asking a friend to help you wash up a dozen cops and sorcerers. Ten to one, she'll think you said a dozen cups and saucers, and be genuinely surprised if you put her to work cleaning up even one police officer, let alone all the others, and the magicians, too.

If you think that she misunderstands merely because the two phrases sound somewhat alike and not because of the situation, read what SPAL's Committee on Housewives has to say:

"Presented with a dishes-piled-in-sink situation, several hundred well-adjusted housewives thought that cops and sorcerers referred to dishes, but seldom did normal subjects, interviewed under the same conditions, make the opposite mistake. When they were asked to help us wash cups and saucers, some women consented, some made stupid excuses, and some told us bluntly to go wash them ourselves, but practically no one thought that we were talking about policemen and magicians."

What Anguish Really Is

"The experiments described above, and hundreds of similar ones conducted by SPAL show that an unbelievable number of English words, regardless of their usual meanings, can be substituted quite satisfactorily for others. When all the words in a given passage of English have been so replaced, the passage keeps its original meaning, but all the words have acquired new ones. A word that has received a new meaning has become a wart, and when all the words in the passage have become warts, the passage is no longer English; it's Anguish.

Are There Any Good Reasons to Study Anguish?

This is not an altogether silly question, and it deserves the prompt and unequivocal answer any Anguish Languish enthusiast will give it.

"Watcher mane, ardor rainy gut raisins toe sturdy anguish?" he will say, and will probably give you an impressive list of them which will certainly include the following:


1. Anguish is fun.

You and your friends can make a game out of learn-lng Anguish, and you'll have fun developing your own style and observing each other's efforts. How to begin will be explained later.

2. Anguish Languish means verbal economy.

If words can be made to do double, triple, or even quadruple duty, it is obvious that we don't need so many of them. Wouldn't it be a comfort to know that, in the event of some unpredictable disaster wiping out half of our English vocabulary, we could, if we had learned Anguish, get along nicely with what we had left?

3. Anguish helps out in certain social situations.

People who aren't sure of themselves should learn Anguish. Suppose you have been asked to dinner by the president of your company and his wife. Since you haven't met your hostess, you have spent some time, before going, thinking up something to say that will really interest her. Finally you decide to ask, during the dinner:

"Mrs. Bellowell, didn't I hear that your brother Henry was discovered to be in collusion with those election crooks?"

The moment arrives, but you no sooner get her attention than you have sudden misgivings. Too late to change your subject, you slip deftly into Anguish:

"Mrs. Bellowell . . . deaden are hair ditcher broader Hennery worse dish-cupboard toe bang collision wet dozer liquor-chin crocks?"

Whether or not such a calamity is likely to occur seems entirely beside the point; in times like these one should be prepared for any emergency.

Chances are that everyone will be so fascinated by the graceful form of your question that not even your hostess will attach much importance to what you've asked.

4. Anguish relieves that terrible craving to tell dialect stories.

People who are addicted to telling dialect stories, or chronically frustrated because they can't tell them without Scotch brogue or Brooklynese getting mixed up with Deep South, will be overjoyed with Anguish. Anguish is definitely not a dialect, since it consists only o[ unchanged English words which anyone can pronounce. By imparting a delicate and indefinably exotic accent to one's speech, however, it not only provides a socially acceptable substitute for telling dialect stories, but adds to one's personal charm. [ANGUISH ANONYMOUS, an organization of former dialect story tellers, sponsored by SPAL, can be called ill difficult cases.]

5. Anguish improves your English

As your Anguish vocabulary increases, you'll find that your English vocabulary does, too, but you must be careful not to mix them up--something which people orphan do when they begin to use words accordion to the way they sound rather than how they're spelled. Words which are rare in English are often common enough in Anguish, so you have new opportunities to see them. Suppose you're spending a week-end reciting nursery rhymes in Anguish to a happy group of children or immature adults, and come across SING A SONG OF SIXPENCE, A POCKET FULL OF RYE. In Anguish, this, of course, is SINKER SUCKER SOCKS PANTS, APOCRYPHAL AWRY. This will give you an unexpected chance to use the last two words.

You'd be surprised to know how many people haven't the faintest idea what a xyster is until they hear a SPAL member talking about his fodder, murder, broader, and xyster. This makes them want to look xyster up. When they do, they find that, although xyster [The plural of xyster in Anguish, is c/sterns. See, in this book, the atory of Genter Alley] in Anguish, may mean sister, in English it's nothing in the world but a common raspatorium. Now raspatoria, and, therefore xysters are important surgical instruments, nice to know about before being scheduled for an aberration.

Speaking of xysters, hominy people know what higglery is? Very few, yet it occurs in the Anguish Languish version of something as well known as:

"Murder, mare argo art toe swarm?

"Yap, mar doling dodder,

Hank yore clues honor higglery larme

An dun gore norther warderl"

While you're looking up higglery, you might find larme, just a few pages away in Webster's Unabridged.

6. Practical Anguish.

Anguish can be used for group study at parties and entertainments; as a psychological test of something or other (we don't know just what), and as practice material in Speech and Typing classes. [A research psychologist plans to use Anguish Languish to provide data for a study entitled: "Individual and Sex Differences in Configurational Perception of Artificially Contrived but Phenomenologically Comprehensible Auditory Stimuli." This sounds as if it should mean something.]

How Can One Learn Anguish?

Read everything in this text aloud, and preferably in a group. Make a game of it.

You'll find it easier to understand Anguish when you hear it than when you see it. If you have trouble, listen to someone else read it to you, preferably someone who doesn't quite know what he's reading. This often gives the best effect. Watch what happens when the listeners understand better than the reader.

Don't try to read too fast and be sure to give all words their usual English pronunciation, regardless of the new meaning the word has acquired. An accurate pronunciation and good intonation are most effective.

3. Don't worry if you seem to have suddenly acquired a slight accent; your friends will tell you that this is most attractive.

The first item in this collection is a story familiar to all readers--LITTLE RED RIDING HOOD. Or, as you can probably say now in Anguish, LADLE RAT ROTTEN HUT.
(Already shown here so skipping it this time--

Heresy ladle [urry starry toiling udder warts--warts welcher altar girdle delerent firmer once inner regional virgin. This sentence means: "Here is a little fairy story told in other words--words which are altogether different from the ones in the original version."

ORIOLE RATTY? DEN LESS GAT STUTTERED!

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Anguish Languish: Furry Tells

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Guilty Looks Enter Tree Beers

WANTS PAWN TERM DARE WORSTED LADLE GULL HOE HAT search putty yowler coils debt pimple colder Guilty Looks. Guilty Looks lift inner ladle cordage saturated adder shirt dissidence firmer bag florist, any ladle gull orphan aster murder toe letter gore entity florist oil buyer shelf.

"Guilty Looks!" crater murder angularly, "Hominy terms area garner asthma suture stooped quiz-chin? Goiter door florist? Sordidly NUTY"

"Wire nut, murder?" wined Guilty Looks, hoe dint peony tension tore murder's scaldings.

"Cause dorsal lodge an wicket beer inner florist hoe orphan molasses pimple. Ladle gulls shut kipper ware firm debt candor ammonol, an stare otter debt floristl Debt florist's mush toe dentures furry ladle gull!"

Wail, pimple oil-wares wander doe wart udder pimple dum wampum toe doe. Debt's jest hormone nurture. Wan moaning, Guilty Looks dissipater murder, an win entity florist.

Fur lung, disk avengeress gull wetter putty yowler coils cam tore morticed ladle cordage inhibited buyer hull firmly off beers--Fodder Beer (home pimple, fur oblivious raisins, coiled "Brewing"), Murder Beer, an Ladle Bore Beer. Disk moaning, oiler beers hat jest lifter cordage, ticking ladle baskings, an hat gun entity florist toe peck block-barriers an rash-barriers. Guilty Looks ranker dough ball; bought, off curse, nor-bawdy worse hum, soda sully ladle gull win baldly rat entity beer's horsel

Honor tipple inner darning rum, stud tree boils fuller sop--wan grade bag boiler sop, wan muddle-sash boil, an wan tawny ladle boil. Guilty Looks. tucker spun fuller sop firmer grade bag boil-bushy spurted art inner hoary!

"Archl" crater gull, "Debt sop's toe hart--barns mar momel"

Dingy traitor sop inner muddle-sash boil, witch worse toe coiled. Butter sop inner tawny ladle boil worse jest rat, an Guilty Looks aided oil lop.

Dingy nudist tree cheers--wan anomalous cheer, wan muddle-sash cheer, an wan tawny ladle cheer. Guilty Looks set darn inner ladle cheer, bushy worse toe bag ferret, ant soddenly- bustard.

Clamming upper stars tutor beer's bet-rum, Guilty Looks dish-cupboard tree bets--wan grade bag bet, wan muddle-sash bet, an wan tawny ladle bet. Failing torrid, shay flunker shelf honor ladle bet, an, jester cobbler menace letter, worse sunder slip an snorting.

Inner ladle wile, donors offer cordage cam beck firmer barrier-pecking extradition, currying baskings fuller rash-barriers. Whinny entity darning rum, Fodder Beer stuttered snuffing an gruelling tomb shelf .

"Warts ban goring earn hair? crumpled dole beer, "Conjure small psalm-sing deferent a boarder horse?"

"Crashes!" crater murder beer, ashy castor quack glands adder tipple, "Hose ban muddling wet debt sop?"

Ladle Bore Beer stuttered crayon.

"Jest locket mar ladle boiler sop- oil garbled dopel An locket mar itchy pitchy cheer--oil bustardl"

Locking adder bustard cheer, Murder Beer bay-gander gat historical, an stuttered hurling tore horse-barn:

"Brewingl Brewing! Way gut BURGHERS inner horse. HORSE BURGHERS! Quack! Coiler place! Wail, dun stun dare lacking end-bustle during nosingl Coiler Place Deportment, quack!

"Harmer garner coiler Place Deportment wen way dun heifer toiler-fun?" resplendent Brewing, inner trampling verse. "Set darn, worming, an cape quoitl Yore oil-wares thanking dare burghers inner horse!"

Oiler shame, Brewing worse jesters scarred aster udders; infect, haze niece war shagging.

Finely, Fodder Beer gutter grade bag short-gum, Murder Beer gutter muddle-sash haunting raffle, an Ladle Bore Beer gutter tawny ladle pestle, an oiler beers crypt upper stars, ware Guilty Looks worse line honor bet, sunder slip an snorting. Herring door beers, shay weakened, lipped otter door windrow, an dished aware harm jesters fascist shagged scrabble.

Oiler beers tar darner stars, an stuttered toe locker doers an windrows.

"Fodder," aster ladle bore beer, finely, "Wart worse debt discussing crasher honor bet? Wart worse debt ogling ammonol wet oil debt yowler far honor had, an hoe dint half nor far atoll honor beck? Wart worse

debt hobble lurking crasher, Fodder?"

Fodder Beer shuttered.

"Comb hair, mar bore. Heresy gut lessen furrier! Debt discussing crasher worsen HORMONE BANG! Kipper ware firm debt candor ammonoll Dare nor gutl Warts mar, are dun wander catcher goring entity florist oil bar yore shelf. Debt florist's mush toe dentures I'urry ladle beer!

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Center Alley

CENTER ALLEY WORSE JESTER PORE LADLE GULL HOE LIFT wetter stop-murder an toe heft-cisterns. Daze worming war furry wicket an shellfish parsons, spatially dole stop-murder, hoe dint lack Center Alley an, infect, word orphan traitor pore gull mar lichen ammonol dinner hormone bang. Oily inner moaning disk wicket oiled worming shorted, "Center Alley, gad otter bet, an goiter warkl Suture lacy ladle bomb! Shaker lake!" an firm moaning tell gnat disk ratchet gull word heifer wark lacquer hearse toe kipper horsing ardor, washer heft-cistern's closing, maker bets, gore tutor star fur perversions, cooker males, washer dashes an doe oily udder hoard wark. Nor wander pore Center Alley worse tarred an disgorgedl

Wan moaning, Center Alley herder heft-cisterns tucking a boarder bag boil debtor prance worse garner gift toiler pimple inner lend.

"O stop-murder," crater ladle gull, "Water swill cerebration debt boil's garner bayl Are sordidly ward lacquer goiter debt boill"

"Shed dope, Center Alley," inserter curl stop-murder, "Yore tucking lichen end-bustlel Yore nutty goring tore debt boil--armor goring tutor boil wet yore toe heft-cisterns. Yore garner stair rat hair, an kipper horsing ardor an washer pods an pensl Gore tutor boil? Hoar, hoarl Locket yore close--nosing bought racksi"

Soda wicket stop-murder any toe ogling cisterns pot honor expansive closing, an stuttered oft tutor boil, living pore Center Alley setting buyer far inner racket closing, wit tares strumming darner chicks.

Soddenly, Center Alley nudist debt annulled worming hat entity rum, an worse setting buyer site. Disk oiled worming worry furry gourd-murder.

"Center Alley, Center Alley," whiskered dole worming, "watcher crane aboard? Ditcher wander goiter debt boil? Hoe-cake, jest goiter yore gardening an pickle bag pomp-can; den goiter yore staple an gutter bag rattletrap witch contends sex anomalous ratch. Wail, watcher wading fur? Gat goringl"

Center Alley garter pomp-can any sex bag ratch. Inner flesh, dole worming chintz door pomp-can intern anomalous, gorges, courage. Dingy chintz door sex beg ratch enter sex wide hearses. Oil offer sodden, Center Alley real-iced dashy worse warring putty an expansive closing--sulk an sadden--an honor ladle fate war toe putty ladle gloss slobbers.

Center Alley, harpy acid lurk, clammed entity gorges courage, any sex wide hearses gobbled aware tutor prance's boil.

"0 borel" crater prance, whinny sore Center Alley, "Hoes disk putty ladle checking wetter gloss slobbers?" any win ope toe Center Alley an aster furry dense, den fur servile udders. Door prance dint wander dense wet dodder gulls--jest wet Center Alley.

Pimple whiskered, "Jest locket debt gnats-lurking cobbler Door prance sordidly enter-stance harder peck gut-lurking worming!"

Ladle Center Alley worse door bail offer boil.

Door wicket stop-murder any toe ogling cisterns wore trampling wet anchor an forestation.

"Courses, coursesi" crater stop-murder. "Hoes debt ladle Manx wetter gloss slobbers? A nervous sore suture ladle horsey, any prance axe lackeys knots a barterl Lucks lackeys garner dense wetter oil gnat, wile oil ware during aster set hair an kipper cheers worml Courses!"

Oil offer sodden door cluck stork mit-gnat. Inner flesh, Center Alley's putty closing chintz backer racks, enter pore gull hatter dasher ware firmer boil. Goring donor steers, Center Alley caked offer ladle gloss slobber. Door prance traitor casher, bought oily gut worse door slobber.

Necks moaning door Prance set: "Arm goring toe fine debt putty gull hoe worse warring disk slobber. Shale bay mar waif, debt's fur shore, an oil bare horsebarn."

Den, lipping honors hearse, door prance gobbled aware.

Whinny prance retched Center Alley's horse, door stop-murder an toe heft-cisterns wandered toe traitor pot honor gloss slobber.

"Arch, archi Debt hearts{" crater cisterns. "Are fates toe bag fur debt slobber{"

"Arch, archi Ticket oftI" shorted door stop-murder, "Wart inhale yore during, Prance? Debt slobber's toe ladle furry hormone bang{ Ticket oftl"

Wile ticking offer slobber, door prance nudist Center Alley setting buyer far, any set: "Hoes debt ratchet ladle crasher? Props debt pore gull cut pot honor gloss slobber."

Door abdominal stop-murder any toe wicket heft-cisterns bust art luffing.

"Hoar, hoar, hoar{ Debt's jest Center Alley. Yore wooden wander half suture discussing parson furry waifi Lock attar hens and phase--oil cupboard wet darti Locket doze close--nosing bought racksi"

"Jester seam," resplendent door prance, gadding impassioned, "arm garner traitor pot disk slobber honor ladle fort. Comb hair, Center Alley."

Wail, bores and gulls, badger canned gas wart hop-pingi Center Alley tickle ladle slobber an potted earn. Den, oil offer sodden, door prance potters alms rounder ladle gull an caster-rat honor mousel

Fur lung, wadding balls war wrangling, an Center Alley winter wear firmer wicket stop-murder's horse, an becalm door mattress offer prance's gorges mention. Center Alley worse jest knots aboard disk hansom horse-barn, an lift, yonder daze harpy sorghum-stenches, furry lung, lung, tam.

MURAL: Ladle gulls shunt bay disgorged; warts garner hoppings garner hopping.

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Carlos Oquendo de Amat: 4 poems in English--Outsider & Poet of the No

. Carlos Oquendo de Amat, a Lima street kid who published one book, 5 Meters of Poems, on a folded sheet of paper five meters long, then gave up writing to join the Communist Party, and bounced in and out of jails and tuberculosis wards in a half-dozen countries before dying in Spain just before the civil war.
--Eliot Weinberger, "On Omar Caseres" Jacket 3; 1998

See below for images and links of the English version of four poems from the book--


/noframes>


Cover of the 1927 edition


Book opened with butterflies . . .

"
The cover and pages of the book are carved into the mountainside in Peru . . .


Amat with fellow poet/friend . . .


Writing carved in the mountainsides--sites in Peru carved into maountains . . . some seen , like Nazca, only from the air--


Amat wearing a suit . . .


Amat . . .

Among the poets Eliot Weinberger writes of in his excellent brief essay which makes one hunger in the night, the day, all the time-- for these poems, poets, so far away, and across the mountains of another language,as hardly any of their poems are as yet available in English . . . a few standout and one is Carlos Oquendo de Amat
who stopped writing poetry at age 19 and turned to MarxistCommunist politics--

Oquendo de Anat is a living proof of the dictum of Yeats's that "The quarrel with oneself is poetry, and the quarrel with others, politics."

Inspired by wanting to read these poems i began studying Spanish in a slightly more organized way than previously, (yeah, right!-) as much of what i learn is from Visual Poetry and Mail Art calls--

As one may see in the images here and available via the links below, Five Meters of Poems is created as a a book/poem-object in itself, with the folding accordion construction, and with the varying layouts of the lines on each page--

In terms of the layouts and the book as poem-object, the work is related to some of the other modernisms of the time, especially Russian Futurism, although these were probably unknown to the Peruvian poet at the time.

Far from the "centers" of art and poetry of the world of the 1920's Amat nonetheless is creating a book-poem-object form stretching out to over three meters actually of layouts of poetry which is as "advanced" as any writing of the period.
If not more so, in many ways also--

Outside of the centers of poetry and art, and outsiders to the the writings of their fellow Latin American poets . . . poets like Amat seize convulsively the spirit of the times, the modern spirit, which had been first mapped out by Baudelaire in his essay on "The Painter of Modern Life." Inventor also of the prose poem, Baudelaire indicates a triangulation of painting, poetry and prose-poetry as a method for presenting words as images not only descriptively but in the forms of their layouts, of the font sizes, the types of fonts used and the character of the physical form of the book containing the poems . . . The conjunction of these writings may be "seen" and "read" simultaneously as contemporary versions of Illuminated Manuscripts such as the book of Kells, where image word and idea are all intertwined as one, ye that 0one teeming with a myriad smaller images, ideas, and forms on the verge of being letters. The shifting of the handwritten fonts within one letter or across several words is a much earlier version of today's uses of various fonts, layouts and sizes to create Visual Poetry or lexical poetry which aspires to a kind of visual form without the impulse of the image behind it.

Already in Amat one finds the uses of advertising,brand names, Jazz, autos,slang--all the things which William Carlos Williams in the same year was attempting for the first time in his masterpiece Spring and All. All the same though, the lyric impulse remains very much alive and forceful, and so there is a tension between the new structurings of the poem and its maintaining of the lyrical impulse as songs of the new vocabularies and sounds of the modern cities . . . )or rhythms of the modern cities as Baudelaire puts it in his famous description of the Prose poem--)

It is often remarked how at many places and via many quite different persons the same or very similar ideas and images may be held simultaneously around the world; so it is that though so isolated geographically and culturally, Amat's work is taking place "outside" and in company , unknowingly, with many other poets of the period addressing many of the same questions.

While it's difficult to find much in English re Amat, in Spanish one finds that there is also a problem in tracing out more of the outlines of this person, their life, their ideas . . . since Amat stopped writing at age 19 or 20, and his work is not only very small but also made in such an unusual form, and exhibiting as it were an outside connection with the outside world unknown to most of the audience of his area, his book is seemingly for the most part consigned to being a kind of "oddity," or "cult classic of a small band of devotees"without much attention paid to it beyond remarking on its quirks. With time I have begun to find more serious studies, which move beyond the "outsider" factors of the book's "freakish appearance and stle," yet on the whole Amat's work has remained obscure and followed it appears to be by primarily the kind of cult-like lovers of the poet and his work who take the time and energy to carve these poems into the mountainsides . . .

Perhaps its the distance between oneself and the poet the work, which draws one so strongly to an outsider figure--that is, the distances of forms and languages unknown and histories that are part of an other world and time and culture . .. perhaps it is all these distances to overcome what one has recognized in a flash of recognition that creates the power of the Outsider figure and work to create its devoted followings while never attaining to the popularity of the best selling or more accepted, academic forms of writing . . .

The Outsider then that draws one to the Outside is a figure of one's own desires, impulses, recognitions of one's possible lives, shadows, existences beyond the small circle of the moment--a circle which even as it grows bigger may remains always small until meeting the poet such as an Amat whose obscurity and distances beckon to one far more fiercely than those easily reached, easily read, easily understood and categorgized.

The the Outsider, and the Poet of the No as Amat also is in his stopping writing poetry in favor of activist Marxist politics and wanting to join the Republican side just before the Civil War erupts in Spain--then both the Distance and the No are understood in their refusal of the "easy way, the nearby, the familiar." Instead, the Outsider poet and poet of the No exemplify that shock of recognition which Melville wrote of, and Emerson called an event of the uncanny--to find someone and something at once familiar and unknown, to find an immediate affinity with things very distant--and at the same so very near--

In this way, there is a flip side to the SEARCH and DESIRE, the WILL for th "taking possession of" the Outside, the outsider, the No--the flip side is that the Outsider, Outside and No are not only found rather than sought, but that they also are FINDING ONESELF--that is, they find the person in whom they recognize qualities of themselves.

Perhaps because of this mutual cal and response this finding of the Oustide and the Outside and No finding oneself, that the captivity inherent in the search for the outsider is "skipped over," and these recognitions ensure that there is always an outside which is recognized and handed on from one Outsider to another--

Amat is one of the figures of the outside and of the No and one feels very much the attraction, the call of anuncanny reocognition, which only means more work--learning nother lanaguge--and wilingnes to climbinto themountains where the poems are carved . . .lik those immense chasms words and letters carved in the obsidian rock Island in Edgar Allan Poe's "The Narrative of Arthur Gordon Pym, of Nantucket."






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Five Meters of Poems 1986
Poems by Carlos Oquendo de Amat. Translation by David M. Guss. Woodcuts by Antonio Frasconi.
8 by 9 3/4 inches

Poems written in the 1920's by the Peruvian poet, Carlos Oquendo de Amat. Translated and with an introduction by the poet and anthropologist David M. Guss. Woodcuts by Antonio Frasconi. Eighteen typographically playful poems handset in Goudy Modern and printed on Mohawk cover. The accordion style format folds out five meters in length and is enclosed in a paper case. Edition of 300.



we don't torture

Mississippi Fred McDowell - Goin Down to the River

Elmore James - Rollin' and Tumblin'

David Chirot: 15 Visual Poems in the series "Fenetres Farouche/Fierce Windows"















Record>Again! 40jahrevideokunst.de – Teil 2 and Videoarchiv at Ludwig Forum fur Internationale Kunst



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August 29, 2009






Ludwig Forum für
Internationale Kunst





Record>Again!
40jahrevideokunst.de – Teil 2

An exhibition by the ZKM | Karlsruhe
September 19 - November 11, 2009

Opening: Friday, September 18, 2009, 8.00 p.m.

Videoarchiv
The video collection of the Ludwig Forum
September 19, 2009 - January 17, 2010

Opening: Friday, September 18, 2009, 8.00 p.m.


Ludwig Forum für Internationale Kunst
Jülicher Straße 97-109
52070 Aachen, Germany
Phone +49-241-1807 104
http://www.ludwigforum.de

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Record>Again!
40jahrevideokunst.de – Teil 2


Nam June Paik, Ricardi Peredo, Klaus vom Bruch, Egon Bunne, Chicks on Speed (mit Melissa Logan, Alex Murray-Leslie), Klaus Peter Dencker, die Freiburger Medienwerkstatt, Michael Geißler, Freddy Paul Grunert, Jörg Herold, Gusztáv Hámos, Rudolf Herz, Ruth Toma, Nan Hoover, Alexander Kluge, Gerd Kroske, Marcus Kaiser, Korpys/Löffler, Laurids&Mattheus, Edmund Kuppel, David Larcher, Urs Lüthi, Anna Oppermann, Susanne Ofteringer, C.O.Paeffgen, Gustav-Adolf Schroeder, Telewissen(Herbert Schumacher), Ulay, UTV - Unser Fernsehen, Peter Weibel, Regina Wyrwoll


The exhibition by the ZKM | Center for Art and Media Karlsruhe continues the project for the technical and scientific research, restoration and maintenance of video art that had been initiated in 2006. More than 60 video works from the early times of video art have been restored, reconstructed and digitized and will now be presented in a comprehensive exhibition on original equipment of that time. From the video collection of the Ludwig Forum 21 works have been included in the project of which some will be presented in the exhibition.

Videoarchiv
The video collection of the Ludwig Forum


Laurie Anderson & Julia Hayward, John Baldessari, Chris Burden, Douglas Davis, Terry Fox, Gilbert & George, Joan Jonas, Bruce Nauman, Nam June Paik, Ulrike Rosenbach, Richard Serra

It's already been during the 1970s that the Neue Galerie – Sammlung Ludwig, predecessor of the Ludwig Forum, began collecting video works thus being one of the first institutions that saw the importance of the new media . As opposed to classical museums that opened up for performance and video art rather reluctantly, the Neue Galerie with its conception as a forum had the unique chance to show such works and events. Thanks to this early initiative the Ludwig Forum now has pioneering works of video art in its collection of which a selection will be presented in the exhibition Videoarchiv.

During the exhibition period there will be a lecture or artist talk in the Ludwig Forum on every Thursday. Curators, artists and art historians will discuss ground-breaking works and positions from both exhibitions and deal with questions concerning the collection, presentation and reception of video art.

Lectures and artist talks
(in German language)

Wed, September 30, 2009, 6.30 p.m.

Lene ter Haar, curator Schunck-Glaspaleis, Heerlen
talking with Wolf Kahlen

Thu, October 10, 2009, 6.30 p.m.
Video art and television

Lecture by Regina Wyrwoll
Generalsekretärin Kunststiftung NRW

Thu, October 29, 2009, 6.30 p.m.
Performance – Video – Exhibition

Lecture by Prof. Dr. Hildegund Amanshauser
Director Internationale Sommerakademie für Bildende Kunst, Salzburg

Thu, November 5, 2009, 6.30. pm
Unser Fernsehsender (UTV) / Our TV station

A flashback into a time when the question „how do we want to live?" was still possible in the utopia of televison. And how this question should be asked today, in a situation where the use of technology primarily serves the interest of a controlled society.

Lecture by Stephan Dillemuth and Hans-Christian Dany

Thu, November 12, 2009 6.30 p.m.
Schwellenräume / Barrier Rooms

Transitions of aesthetical experience in the spaces of video art
Lecture by Prof. Dr. Ursula Frohne, University Cologne

Thu, November 19, 2009, 6.30 p.m.
How does an art historian come by video art?

A personal account from the 1970s
Lecture by Prof. Dr. Wulf Herzogenrath
Director Kunsthalle Bremen

Thu, November 26, 2009, 6.30 p.m.
Guided tour with Anna Sophia Schultz
Curator, Ludwig Forum, Aachen

Thu, December 3, 2009, 6.30 p.m.
XCREEN and 'Exposition of Music'

The beginnings of media art in NRW
Lecture by Dr. Barbara Engelbach
Curator Museum Ludwig, Köln

Thu, December 20, 2009, 6.30. p.m.
Auf der Suche nach neuen Räumen / In search of new spaces

The early years of video art
Lecture by Dr. Susanne Jaschko
Art historian and curator

Thu, December 17, 2009, 6.30 p.m.
Der gegenwärtige Körper / The Present Body

Early video and 16 mm films by Bruce Nauman, Joan Jonas and Chris Bruden
Lecture by Elke Kania
Art and film historian and curator

Thu, January 7, 2010, 6.30 p.m.
Guided tour with Dr. Brigitte Franzen
Director Ludwig Forum, Aachen

Thu, January 14, 2010, 6.30 p.m.
Kathrin Becker, director of the Video-Forum in the Neuer Berliner Kunstverein, in conversation with Marcel Odenbach

Further information
Julia Zeh, press and public relations, julia.zeh@mail.aachen.de, +49-241-1807 107

Opening hours
Tue, Wed, Fri 12.00 - 6.00
Thu 12.00 – 08.00
Sat, Sun 11.00 – 6.00









41 Essex street
New York, NY 10002, USA

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David Chirot This Week's Feature at New Post Literate

http://thenewpostliterate.blogspot.com
this week 's gallery feature the work of david chirot

This is a very amazing project of/ Michael Jacobson's' in which each week he features a different Visual Poet, Artist, Poet's pieces made with a sense of conveying their consideration of "what IS the new post literature" and also just what is asemic writing, or the role of asemic writing-- in relation with this?
Since everyone may well have different approaches quite various and wide ranging, the way Michael is giving a week each to the works helps present this swarming cosmos of possibilities--as an open one, rather than an apriori categorically divided and defined "New Post Literature" which is instead an area of excavation, investigation divigation and Anarkeyological Expo- and Explosivagation--

Jeremy Scahill | Flushing Blackwater

Jeremy Scahill | Flushing Blackwater
http://www.commondreams.org/view/2009/08/28-10

and more...

Video: Do Americans Know Senator Feingold Has Called for a Timetable for Withdrawal from Afghanistan?

Do Americans Know Senator Feingold Has Called for a Timetable for Withdrawal from Afghanistan?
Spread the news with our 4 minute video.
http://www.justforeignpolicy.org/act/exit-afghanistan

NOTE--THE VIDEO HAS ALREADY BEEN POSTED HERE BUT NOW AGAIN
as it's necessary to be informed of what the Govts is actually up to

Milton Keynes Gallery presents Nasreen Mohamedi









August 29, 2009






Milton Keynes Gallery



Nasreen Mohamedi
Untitled, Undated
Pen, pencil and ink on paper (49.5cm x 69 cm)
Courtesy Glenbarra Art Museum Collection, Japan




Milton Keynes Gallery presents

Nasreen Mohamedi: Notes
Reflections on Indian Modernism


5 September - 15 November 2009


Milton Keynes Gallery
900 Midsummer Boulevard,
MK9 3QA, UK

http://www.mk-g.org

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About Nasreen Mohamedi
Nasreen Mohamedi (1937–1990) was born in Karachi, (formerly India, now Pakistan) before moving to Mumbai. She travelled abroad to study, spending time in London at Saint Martin's School of Art (1954–57) and in Paris. After extensive travels to Iran and Turkey in the 60s, she returned to India and settled in Baroda in 1972; here, she became a teacher at the prestigious M.S.University, Faculty of Fine Arts.

In Baroda, Mohamedi produced her classic works: small-scale, abstract geometric drawings, painstakingly composed using pencil and pen – working with the grid and creating deviations with diagonal lines. Virtually alone amongst her peers in India, who generally favoured a figurative narrative style, her lineage can be traced back to an earlier generation of Indian artists engaged with abstraction, such as V.S. Gaitonde. Other parallels for her practice can be drawn with works on paper by the American artist Agnes Martin, or with the utopian abstraction of Kazimir Malevich and the Russian Suprematists, whom she admired greatly.

Despite Mohamedi's cosmopolitanism, her work also reflects her identity as a female Indian artist working during the second half of the twentieth century, as the subcontinent, its landscapes, urban centres and Islamic heritage are often intimated in her work, particularly her photographs.

About Mohamedi's Work
Mohamedi worked in various media, including drawing, painting and photography. These works are rarely dated, but fall roughly into three different periods. Early works, which include watercolour and ink on paper, oil on canvas, collage and lithography, are lyrical and semi-abstract. Influenced in part by Japanese calligraphy, they often suggest plant life or landscapes.

In the 1970s Mohamedi moved closer to abstraction, producing serial works based on the grid on square sheets of paper, which have become a hallmark of her practice. She constructed these compositions by means of lines rendered in pen and ink and used technical drawing equipment. In her final works from the 1980s, Mohamedi abandoned the grid, and began to compose geometric shapes, combining diagonal lines, triangles and spheres, suspended on an empty ground.

Throughout her career, Mohamedi produced photographs as a visual record of the places she visited. Although she never regarded them as works in their own right, today they stand as an important part of her oeuvre.

Mohamedi's diaries, filled with reflections on her work and personal life, attest to the link between her struggle for equilibrium and a disciplined commitment to her practice. The ephemera from her studio, which includes calendars, pages of letterset and magazine cuttings, along with notes, sketches and photographic experiments, reveal her working process and the way she developed a language that is both visual and conceptual.

Mohamedi's futuristic visions around the grid resonate in time and form with the utopian aspirations of the founders of the city of Milton Keynes itself, built in the late 1960s around a precise and repetitive geometry composed of vertical and horizontal lines. The city provides a fitting context for the artist's most substantial exhibition in the UK.

This exhibition is an expanded version of Nasreen Mohamedi: Notes – Reflections on Indian Modernism curated by Suman Gopinath and Grant Watson, and organised and initiated by the Office for Contemporary Art Norway in Oslo. It includes an additional section of works from the Artist's Estate and other collections, courtesy of Talwar Gallery, New York and New Delhi. A variation of this exhibition will travel to Lunds konsthall, Sweden.


Milton Keynes Gallery
900 Midsummer Boulevard, MK9 3QA, UK
http://www.mk-g.org









41 Essex street
New York, NY 10002, USA

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