Chirot on "The Clean" & Thanks for Aura Etrada's great essay "Borges, Bolaño and the Return of the Epic"

Aura Estrada:   Borges, Bolaño and the Return of the Epic

 

Translated from the Spanish by T.G. Huntington

 <a href="http://www.wordswithoutborders.org/article.php?lab=BorgesAndBolano">

 

This is from the final section of this long and excellent essay by Aura Estrada, who, as the notes below tell, died tragically in a swimming accident in 2007, barely 30 years old.

I never knew Aura Estrada or anything of her before reading her essay; it's linked and quoted from as a Thank You for her remarkable work and a Tribute to her memory.

 

What especially interests me here is Estrada's lucid paean to the "unkempt prose of Cervantes" that Borges speaks of and poetry as the "idiot song of ghosts" in Bolano's words. 

       Both Borges and Bolano echo the famous list of Rimbaud's, with its  "debased" elements in which he finds poetry, and also the Duende of Garcia Lorca,  a powering forth of the inner deepest soul through the cracked battered off-key voice  of an aging Flamenco singer in a form that no "perfect" singing and singer can ever approach.  As Borges puts it:

 

Conversely, any page that has an immortal vocation can endure the fire of errata, of approximate versions, of distracted reading, of incomprehension, without leaving its soul behind in the proofs.

The arrival at the existence of a cracked battered, off-key voice of the Duende has a story in it and with it, igniting the visions of Borges and Bolaño that in an unkempt prose may be a conjunction with poetry, and a return to the epic, the poet as story teller.

Bolano's idea of such a poet is "valiant" and "lucid," courageous in the face of disaster; and he would hire such a poet to help him rob the most secure bank of Europe. (Perhaps he would choose--Villon?!--) Borges chooses Don Quixote as the figure of the valiant poet--the "sorrowful knight" who emerges as a "real poet" from the wreckage his figure as a satire of the tales of valiant knights, courageous rescues, the daring of the "impossible dream."

Bolano notes Joyce as a great contemporary example--a poet who turned to writing epics which directly take Homer's epics as examples.

In essaying to create the epic "Legend of Duluoz" Kerouac also chose the unkempt style and raged against "craft."

The ongoing expansion of the absolutely immense industry in the USA of writing programs, poetics programs, workshops, retreats, walks with poets, talks with prose persons via chat --the drive is n the opposite direction--towards craft, at expense often of two detested elements--a story, (or, that bane of contemporary existence, its great Fear--a "-plot"--) and the unkempt jumble of "content" that lies all around one.

The most beautiful world is a heap of rubble tossed down at random/in confusion--Heraclitus

The emphasis on Formalism, craft, style, opacity, smoothness of surfaces--a cleanliness--a lack of detritus and uncomfortable elements--historically has often been associated with the aesthetics of Fascism  A "style" widely found in Totalitarian reactionary regimes is the elevation and celebration of "clean presentations" of "elegant configurations."  The geometry of massed elements a al Leni Reifenstahl's Triumph of the Will, organized and in full uniform and professional attires, holding the symbols of the different crafts practiced by the "people."

(Busby Berkeley in the US at the same time was using geometric massed formations in quite different ways, of the kinds which the Reich was from day one against as "degenerate.")

 

"Cleanliness is next to Godliness," as the saying goes, and so in American writing of today, the cleanliness is often the scrubbing out, erasing, eradicated built over, rebranded non-presences of actuality's stories in favor of craft and the ever greater movement towards mass and group conformism, which swerve as the smooth surfaces on which Deleuze and Guattari's War Machine may function without a hitch.

(In Visual Poetry also, the Clean has almost completely eliminated the traces of the Dirty.; though to be sure there always a few spots that "nothing can remove.")

The War Machine functioning so well on these smooth surfaces, erases the Wars from the spheres of Craft and Cleanliness, and puts a big kabosh also on the "valiant" poet or figure critiquing the language of a "Civilized, "Stylish" society which unquestioningly enables War Crimes, Apartheid, genocides ethnic cleanings, torture, and the conformities demanded by Fear.

CHIROT: --SUPER BOWL --"Black Sunday"-AMERICAN AVANT'S SILENCE-

In a fit of "Black Humor," a joint US-Israeli Black Ops "Homage" to the 1977 film of the 1975 novel BLACK SUNDAY skyjacked the Goodyear Blimp and attacked the Super Bowl as the Half Time Show and ads began. . Posing as "Palestinian Terrorists" the Black Ops dropped leaflets claiming the huge Crowd & Stadium as a Poetic Analogy for the open air prison of Gaza, and its 1.5 million death row inmates. Stating " BUT--No Rockets were launched from inside the Super Bowl, “Presidents Ohmert and Obama ordered the carpet bombing of Gaza. Bettors and advertisers made sure Patriotic Duty prevailed and the game was completed as over Gaza “bombs burst in air—“and over the Stadium “our flag was still there.”










Under a sky grey as the concrete of Fascist train stations a large contingent of Avant Poets contributed readings, performances and brief speeches to the large rally. Fired by the unaccustomed welcome of the crowd’s partisan fervor, a leading Avantist announced: “Many accuse the American Avant of Silence regarding Gaza. Do they not understand Poetics sufficiently to know that “it goes without saying” that such “Silence” “Speaks Volumes” and at “High Volume” our Support of Israel?”

Black Sunday is a 1975 novel by Thomas Harris. It was the first novel by Harris, who went on to write the Hannibal Lecter novels. Harris wrote the novel after watching the 1972 Munich Olympics hostage crisis where Palestinian terrorists took Israeli athletes hostage and murdered them.

[edit] Film adaptation

Main article:Black Sunday (1977 film)

In 1977, a film was made based on the novel starring Robert Shaw and Bruce Dern and directed by John Frankenheimer.

Plot

Michael Lander (Bruce Dern) is an American blimp pilot deranged by years of torture as a prisoner of war in Vietnam, a failed marriage, and a bitter court martial. He longs to commit suicide and take as many people as possible with him, so he conspires with an operative (Marthe Keller) from a Palestinian terrorist group known as Black September to launch a massive suicide bombing on American soil. Lander plans to detonate a flechette-based bomb, housed on the underside of a blimp, over a football stadium during the Super Bowl. American and Israeli intelligence agencies, led by Mossad agent David Kabakov (Robert Shaw) and FBI agent Sam Corley (Fritz Weaver), race to prevent the catastrophe. To add further intrigue and a pall of doom, the President of the United States attends the game.

[edit] Reception

The film was a commercial hit when it was released in 1977. Although director John Frankenheimer lamented serious shortcomings in the visual effects of the climax (due to time and budgetary shortfalls), many critics trumpeted the final scene featuring a helicopter/blimp chase over the Orange Bowl as one of the more riveting and unusual in movie history. Black Sunday also features a film score from John Williams.

[edit] Behind the scenes

A significant portion of the filming was done during actual Super Bowl X at the Orange Bowl in Miami, Florida, on January 18, 1976. In the movie, Kabakov discusses the security arrangements for the game with Miami Dolphins owner Joe Robbie, who plays himself. In the movie, Jimmy Carter is shown as the President of the United States who attends the Super Bowl, although Gerald Ford was President when Super Bowl X took place.

[edit] Blimps

The Goodyear Tire and Rubber Company granted use of all three of its U.S.-based blimps for Black Sunday. The landing and hijacking scenes were photographed at the Goodyear airship base in Carson, California with Columbia (N3A); a short scene in the Spring, Texas base with the America (N10A), and the Miami, Florida Super Bowl scenes with the Mayflower (N1A), which was then based on Watson Island across the Port of Miami. While Goodyear allowed the use of their airship fleet, they did not allow the "Goodyear Wingfoot" logo (prominently featured on the side of the blimp) to be used in the advertising or movie poster for the film. Thus, the words "Super Bowl" are featured in place of the logo on the blimp in the advertising collateral.

[edit] Differences between the novel and the film

* In the novel, the Aldrich Rubber Company owns the blimp. In the film, the Goodyear Tire and Rubber Company permitted its blimp to be used. A Goodyear representative noted that it is impossible for two people, alone, to launch the blimp.
* In the novel, the Super Bowl occurs in New Orleans at Tulane Stadium. Harris wrote his novel before completion of the Louisiana Superdome. In the film, the Super Bowl occurs in Miami at the Orange Bowl Stadium.
* In the novel, Mochevsky (Kabakov's assistant) survives to the end of the story, but Kabakov, the helicopter pilot, and the FBI Agent Corley are killed in the blimp explosion over the Mississippi River. In the film, Mochevsky is killed; Kabakov is not.
* In the novel, Muhammad Fasil, a Palestinian terrorist who assisted Lander survives and is repatriated to Israel (by Mochevsky) to be tried; in the film, Kabakov shoots and kills him during a gun fight in Miami.
* In the novel, Kabakov has a relationship with a young psychiatrist named Rachel Baumann. The part was originally scripted with either Ali McGraw or Katharine Ross in mind, but due to budgetary issues, the script was revised and the role was deleted.

[edit] In Popular Culture

In Tom Clancy's novel The Sum of All Fears, Mark Russel mentions Black Sunday to the main antagonists when he notes the similarity of their plan to that of the film.

CHIROT: ANGUISH LANGUISH & questions of literary history & hegemony--More Homophonic "Noisier Rams," "Fey-Mouse Tells" & "Hormone Derange" "Thongs"

Various sources--among them a notice at Ron Silliman's blog as I discovered during a search for more homophonic translations- claim poet Louis Zukofsky's 1969 "Catullus" as the first homophonic translation in English.

Howard L. Chase's Homophonic "Anguish Languish" is from 1956; while not a translation of a foreign language, it still a homophonic translation, albeit of English into Anguish.

In a sense, is translating English to Anguish really all that much different than from Latin into English?
After all, in both cases the method used is the same--translating words by sounds, not meanings.

James Joyce actually should be thought of as the first extreme master non-pareil of the homophonic translation, especially at its most complex, multi-lingual and punning, in Finnegan's Wake.

Perhaps claims for one or another version of homophonic translations or any other literary method are guided by "ideological" considerations; that is, since Zukofsky is considered a major predecessor by Ron Silliman, for example, it is natural he would choose Mr. Z rather than another example as the "first" homophonic translator. Every movement, such as the Language poetry Mr. Silliman is an advocate and "member" of, retroactively constructs its own canon and "ancestors," "influences" and "first" exemplars of any form of writing that it can include within its own territory. Sometimes such demands are forced to alter historical facts in favor of a "poetic history" that favors the canon of the given movement making the claims. This is perfectly understandable, while at the same being misleading. Sometimes omissions of other predecessors are due to ignorance rather than deliberate pruning. After all, it might be frowned upon--let alone impossible (??)-- to claim Anguish Languish as a forerunner in any way to "Language" writing, while to claim Mr. Z is of course to place a very large feather in one's cap. The omission of Mr Joyce is more extreme; yet, again, he and his work would not "fit" the requirements of a Language forerunner.

"Poetic license" is then taken with literary history, and, if repeated often enough, becomes considered the "truth," regardless of the actualities. Does then literary history of this kind become a form of constructed blindness to or omission of history? One can understand this license taken within the proscribed limits of a "movement," yet, outside that movement, is it not simply an alteration of or blindness to facts?

One might then ask if it is permissible to construct literary histories which have nothing to do with historical actualities, in order to maintain a "historical progression" within a literary "movement." Does the fact that there are deliberate "blind spots" or "gaps" within this carefully constructed progression denote an unraveling from within of the foundations of the "movement?" That is, if it is founded on false claims or fallacies (for example, the claim that "grammar is structured by capitalism") does this not entail its eventual collapse unless it is protected and preserved by force of some kind, by the imposition of various assertions as "truths" that are not allowed to be questioned? And does not this force entail gaining the weight of supporters such as the academic institutions, which in turn are part of the state-corporate structures of higher education?

In other words, a perhaps falsified or unknowingly altered history becomes the Official State-Corporate-Institutional "truth" and so is enforced at every level of the overall system in which such literary histories are discussed and used. In this way a hegemonic literary history is constructed which is selected as the one to be taught at the expense of al others. Once this stage has been arrived it, it then becomes necessary to ignore or suppress any questionings of the Official Line. It is this structure and its systems of security that I mean by the word "ideological" in relation with the "history" of homophonic translations into English and in relation to poetry and poetics.

In terms of (American, Language) poetry, of course, it makes sense to say Mr Z is "first." Since this School as it were is the hegemonic academic one today, this means that Mr Z becomes in effect, the, THE, first, without discussion of other examples. In effect, an unquestioning belief is granted to an assertion without it being checked up on, or of other alternatives such as Anguish Languish or James Joyce being considered. An unquestioning acceptance of such claims becomes a method for the establishment of conformity in which to question is considered antithetical to the "good" of an hegemony. To question the "good" of course, is to be considered "outside" the accepted bounds of a discourse, and to be lacking in "knowledge of the truth." In a bizarre way, to question a statement or claim by the Authorities is an "ethical" failure, a kind of moral lapse which needs to be condemned. When the ethical enters the imposition of a conformity, one begins to enter the sphere of a kind of religious unquestioning "faith" that is in effect a certitude of "knowledge of the truth."

Ironically, this "knowledge of the truth" becomes a means for cutting off any other "knowledge" and one is back in a Garden of Eden where it is forbidden to eat the fruit of the Tree of Knowledge for fear it will reveal that the Knowledge of Received Ideas will be exposed--For are not unquestioned ideas believed in with a form of ethical-religious faith, with a willing suspension of disbelief usually reserved for fiction, often a danger to whatever they themselves consider "a dangerous heresy or questioning?"

Why bother with such questions --other than without a continual questioning, there is the danger of becoming a follower in a herd who obey directives and accept pronouncements as though they are indeed "received ideas" so clearly true as to be taken for granted as being the foundation of a "knowledge," rather than examples of a particular ideology contesting for control of thinking on literary or other histories, let alone the relation of literary history to history itself. Literature then in effect becomes a separated entity distanced from any other criteria and one is returned once again to the rarefied atmospheres of the New Criticism and other Formalisms which flourished in the USA esp during the repressive McCarthy Era, just as today is an Era of Oppression post9/11. In effect, one is confronting an Era of Reaction which rebrands old conformities as new "alternatives" and "experimental, transgressive, radical" ideas and works.


The Anguish Languish


Note: for each entry in case you missed it from previous entries on this blog, will include the Intro with all the explanations etc--each time more entries are posted


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


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 Sir 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:

1. To improve the public's understanding of the Anguish Languish.
2. To improve the academic standing of the Anguish Languish.
3. To improve the social and financial standing of the society.

Policemen and Magicians
A visiting Professor of Anguish, Doctor Blank, 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! Effervescent further deferent saturations and witch way harem, wade heifer haliver tam sang witch worse witch."
Dr. Blank 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 dished-piled-in-sink situation, several hundred well-adjusted housewives thought that cops and sorceress referred to dishes, but seldom did the 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 the 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 altogether a 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 learning 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? (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.)

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?"
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 the Deep South, will be overjoyed with Anguish. Anguish is definitely not a dialect, since it consists only of 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 in 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 surprise to know how many people haven't the faintest idea about 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* 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 ergo art toe swarm?
“Yap, mar doling dodder,
Hank your clues honor higglery larme
An dun gore norther warder!”

While you're looking up higglery, you might find larme, just a few pages away in Webster's Unabridged.
(* The plural of xyxter in Anguish, is cisterns. See, in this book the story Center Alley)

6. Practical Anguish
Anguish can be used for a 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?

1. 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.

2. 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.

Heresy ladle furry starry toiling udder warts - warts welcher altar girdle deferent 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

Noisier Rams


Marry Hatter Ladle Limb

Marry hatter ladle limb
Itch fleas worse widest snore.
An ever-wear dept Marry win
Door limb worse shorter gore.

Sinker Sucker Socks Pants

Sinker sucker socks pants
Apocryphal awry
Foreign turnkey blank boards
Bagged inner pyre.
Whinny pious orphaned
Door boards bay-gander sink.
Worsen dizzy jelly ditch
Toe setter furry kink?
Door kink worse inner conning horse
Conning otters moaning.
Door coin worse inner panda
Aiding burden honing.
Door mate worse inner gardening
Hankering ardor cloys.
A lung camel blank board
An sniffing offer noise!



Effervescent

Effervescent further ACHE
dare wooden bather CHECKING.
Effervescent further PEG
way wooden heifer BECKING.
Effervescent further LESSONS
dare wooden bather DITCHERS.
Effervescent further ODDEST
way wooden heifer PITCHERS
Effervescent further CLASHES
way wooden kneader CLASH RUMS.
Effervescent further BASH TOPS
way wooden heifer BASH RUMS.
Effervescent further TUCKING
way wooden heifer LANGUISH.
Effervescent further WARTS
nor bawdy cud spick ANGUISH!


Oiled Murder Harbored

Oiled Murder Harbored
Wen tutor cardboard
Toe garter pore darker born.
Wenchy gut dare
Door cardboard worse bar
An soda pore dark hat known.


Pitter Paper

Pitter Paper peeked or parker peckled paupers
Or packer peckled paupers pitter paper peeked
Aft Pitter Paper peeked or packer peckled paupers
Ware aster packer peckled paupers debt pitter paper peeked

3
Fey-Mouse
Tells
Casing Adder Bet

Oh, somewhere in this favored land the sun is shining bright;
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and somewhere children shout;
But there is no joy in Mudville—mighty Casey has struck out

— Ernest Lawrence Thayer

Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan hearse torn coiled Mutt-fill.

Mutt-fill worsen mush offer torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Casing. Casing worsted sickened basement, any hatter betting orphanage off .526 (punt fife toe sex).

Casing worse gut lurking, an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing's sweat-hard, any harpy cobble wandered toe gat merit, bought Casing worse toe pore toe becalm Any-bally's horsebarn, (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.)

Bought less gat earn wetter starry.

Wan dare, inner Mutt-fill borsch boil pork, door scar stud lack disk inner lest in-ink:

MUTT-FILL 2

UDDER TAME 4

Water disgorging saturation! Oiler Mutt-fill rotors, setting inner grin-stance, war failing furry darn inner mouse.

Bought, watcher thank hopping? Soddenly wan offer Mutt-fill pliers hitter shingle, an an-udder plier gutter gnats toe beggar! Soda war ptomaine earn basis. Bust off oil, Casing ham-shelf, Mutt-fill's cerebrated better, worse combing ope toe bet!

Whinny kraut inner grin-stance sore Casing combing, day stuttered toe clabber hens an yowl, "Date's CASING! Attar bore, Casing!" An whinny hansom sickened basement sundered confidentially ope tutor plat, oiler Mutt-fill rotors shorted:

"CASING ROAR!

CASING ROAR!

ROAR, ROAR, CASING!"

Putty ladle Any-bally, setting oil buyer shelf inner grin-stance, worse furry prod offer gut lurking loafer. Lack oiler udder pimple, Any-bally worse shore debt Casing worse garner winner boil gam fur Mutt-fill.

Casing weaved tutor kraut, an castor sweat glands add Any-bally, den retched darn tutor grunt an robbed dart honors hens, an warped haze hens honors pence.

"PLY BOIL!" shorted door empire, gadding impassioned.

Casing pecked upper bet, an locked adder patcher, any set tomb shelf:

"Latter comb! Arm garner smirk disk boil rat offer defense!"

ZOMBIE! Door boil short pest Casing lacquer canning boil. Casing dint peony tension turret.

"STORK WARN!" crater empire.

Door kraut inner grin-stance stuttered shorting an coursing.

"Wart inhale's madder wet debt empire's ICE? Hazy gun BLAND?"

"Lessen, empire-Java heifer ICE exempted? Batter goiter seeder obstetrician!"

"Boor! Boor! B-o-o-r!"

"O water bag BOMB!"

Door patcher warn dope akin, any boil short pest Casing lacquer bullock firmer raffle.

"STORK TOE!" setter empire, lurking unctuously adder kraut.

Oiler Mutt-fill fens an rotors war hurling wet anchor! Servile bear bordels an corker cooler bordels cam firmer grin-stance, an fail honor grunt, nut for firmer pore empire's fate.

Inner grin-stance, ladle Any-bally, hoe dint lacquer seer loafer mucker bag foal otter ham-shelf, bay-gander wiper ice wetter tawny ladle lazy hanker-sniff.

Wants akin, Casing locked adder patcher, disk term wetter lock off gram razor-lotion honors phase.

"Jest locket Casing!" whiskered door kraut, "Disk term, Casing manes baseness. Badger Casing's garner smirk debt borsch-boil rat offer defense!"

SWASH! Casing swank adder boil wet oilers farce! Water swank! Wart anomalous farce! Wart gram razor-lotion!

Water sham debt Casing dint hitter boil!

"Stork tree—yore art!" whiskered door empire, trampling, an gadding ratty toe dock corker cooler bordels an bear bordels.

Door kraut worse stunt.

Any-bally worse sopping historically inner tawny ladle lazy hanker-snitt.

Wail, yawl nor debt putty pacer pottery coiled CASING ADDER BET—spatially doze lest melon-colic versus:

O psalm-war an disk levered lend, door soreness shunning brat;

Door benders plying psalm-war, an psalm-war hurts alite,

An psalm-war manor luffing, an psalm-war chaldron short;

Butter ash nor jarring Mutt-flu—muddy Casing hash stork art!

Bought lessen, forks! Wander nor wart rally hopping? Wail, doze putty versus becalm cerebrated—an Casing becalm cerebrated, toe! Suture bag kraut off pimple cam toe Mutt-fill toe shag hens wetter hansom borsch boil plier debt Casing win enter parlor-tricks, an gat retch. An, whinny gut retch (conjure gas?) Casing becalm door diverted horsebarn off putty ladle Any-bally.

4 Lath Thing Thumb Thongs

Hormone Derange

O gummier hum warder buffer-lore rum
Enter dare enter envelopes ply,
Ware soiled'em assured adage cur-itching ward
An disguise earn it clotty oil die.

Harm, hormone derange,
Warder dare enter envelopes ply,
Ware soiled'em assured adage cur-itching ward
An disguise earn it clotty oil die.

2010 World Report : Abusers Target Human Rights Messengers

Dear david, Last year, our staff at Human Rights Watch touched down in 90 nations and territories around the world, conducting extensive investigations into allegations of abuse. We published their findings in the newly launched 2010 World Report, our 20th annual review of human rights practices around the globe. One major trend we uncovered: Over the past year, governments responsible for serious human rights violations have intensified attacks against human rights defenders – including murder. They've also targeted organizations that document abuse. These governments are attacking the very foundations of the human rights movement. Even in this hostile environment we continue to promote justice around the world. Thank you for being a part of the human rights cause.   Download the PDF version here (4MB) Purchase a bound copy of the 612 page edition Executive Director Kenneth Roth unveils the World Report 2010 at the National Press Club in Washington, DC.   Follow us on:                 Home | Take Action| Donate

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DBChirot sent you a video: "The Starfires - I Never Loved Her"

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DBChirot has shared a video with you on YouTube: The Starfires - I Never Loved Her ....................................................................................................................................................with the linda rodgers dancers, originally shaking to another track, g-l-o-r-i-a, not overly clever but something interesting to watch during another garage classic.
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New Books @ Kaurab

Dear Reader

5 new books of contemporary Bengali poetry were released by Kaurab during the ongoing Kolkata Bookfair. These books are

1. Chhayaanouka by Kamal Chakrabarty
[A new collection of self-collaborated poems. Newer poems woven with Kamal's early work.]
2. Mayabee Hashish by Barin Ghosal
[Two-in-one. His early books - Mayabee Shimum & Hashish Tarani]
3. Mouchaker Prakriti by Aryanil Mukhopadhyay
[New book. A poetic fiction-screenplay intersected with poems themed on memory & cinema.]
4. A new book by Pradip Chakrabarty
[Pradip Chakrabarty is a fine poet practising the new Bengali lyric.]
5. Chitabagh Shahar by Subhro Bandopadhyay
[Poems themed on the prehistoric Spanish city of Soria where the poet did a residency recently.]

Each one of these 5 books are unique, genre-specific, entail a wide range of experimentation, like other true Kaurab titles. Chitabagh Shahar and Mouchaker Prakriti are already in our online bookstore. Please visit -
http://www.kaurab.com/books/index1.html

Also visit kaurab online's website for our bookfair news and updates -
www.kaurab.com

If you are in Kolkata visit our stall [405] in the bookfair grounds.

Staff, Kaurab

e-flux journal issue #13 -- available now

February 5, 2010

			e-flux journal – issue #13 February 2010 Available online: http://e-flux.com/journal/
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	Repeated attempts to dismantle the aura of value and rarity surrounding art objects have been, for the most part, unsuccessful. Why is that? The majority of these attempts throughout the twentieth century have consisted of infiltrating the economy of care, custodianship, conservation, and considered attention granted to art objects upon entry into the art establishment. While the introduction of impostors into this ecosystem in the form of real-world doubles (such as Duchampian readymades) served to short-circuit the aura of authenticity within spaces of art, over time these impostors nevertheless began to perform the function of ritualizing a general sense of disbelief with regard to the art establishment's unpredictable and indeterminate patterns of attention to art objects. In essence, these attempts mistook the art establishment for being in the business of producing an aura of authenticity, when in fact the real commodity has always been this attention itself, the care and custodianship bestowed upon objects by this system. It could be said that the fear of encountering one's own double that Freud articulated in his notion of the uncanny no longer becomes relevant—such an encounter would not produce any kind of crisis of identity because a regulatory system has already been installed to accommodate the idiosyncrasies of exhibiting everyday, easily reproducible objects and formats. However, the real fear that remains even today is that an art object will encounter its material double (mass-produced or not) on the street one day, and—rather than experience some kind of crisis of identity—befriend it, forming the unholiest union possible: one that would simultaneously denigrate and distribute its care, conservation, and custodianship beyond the spheres where it can be safely regulated. In this issue, Sven Lütticken opens his upcoming three-part series "Art and Thingness" by looking at how an approach to artworks through their status as common objects can reveal a way for art objects to overcome the aura of the complex contemporary commodity. Starting as a response to Paul Chan's "What Art Is and Where it Belongs" from issue 10, Lütticken echoes Chan's assertion that "art is both more and less than a thing," and further proposes that, rather than suppress art's thingness, looking at certain works as concrete objects absent of their added commodity value could allow "these alienated and hollowed-out objects … to be charged with new subjectivity." (see full essay here) Elisabeth Lebovici speaks with Pierre Bal-Blanc about the exhibition "The Death of the Audience" recently curated by Bal-Blanc at Secession in Vienna. In trying to work with "professional marginals"—artists who, "voluntarily or not, strayed from the movements through which they would otherwise have defined themselves as professional artists"—the exhibition attempted to engage with many of these artists' propensity for open forms and processes that evade straightforward completion or easy commodification. Bal-Blanc further explains how the refusal of spectacle was mirrored is his approach to the exhibition as being less about inclusion than about exclusion. (see full essay here) Nataša Petrešin-Bachelez begins the first part of her series "Innovative Forms of Archives," looking at artists who amass or simply invent semi-authoritative archives of historical or contemporary material. Whether compensating for an absence of available resources locally—as did Lia Perjovschi's Contemporary Art Archive, started in the artist's Bucharest apartment in the 1980s—or working with documentary evidence as a form, many of these approaches nevertheless comprise displaced, improvisational, portable museums that question the authority of historical canons my mimicking their structure and presentation, sometimes in oblique and playful ways, and sometimes replacing their function altogether. (see full essay here) Bernardo Ortiz Campo takes a speculative look at how October's editorial policy of publishing images of artworks in black and white speaks to a fundamental distance between the act of writing about art and the object of that writing: the artwork itself. Campo then proceeds to build an argument for the autonomy of the act of writing, which works at its best when it can take this distance for granted and use it to produce its own form of imagination, its own experiences and subjectivities, alongside and independent of artworks themselves. (see full essay here) Monika Szewczyk considers the role of labor in art through Allan Sekula's 1974 work This Ain't China: A Photonovel, an exhibition of which she is curating at e-flux's project space from February 20 to April 3. Documenting labor and social conditions at a fast food restaurant where the artist was once employed, the work's forty-one photographs alternate between the mock-heroism of demanding worker's rights in a typical American restaurant, the products of labor (pizza, hotdogs, burgers), and, as Szewczyk points out, the spectral presence of mass workers' movements in Mao's China and elsewhere at the time. (see full essay here) Finally, Adam Kleinman looks at the expectations heaped on artists and artworks to be validated through withstanding the "test of time," an understanding of historical relevance that is as constructed as it is projected. How do works then qualify for this privileged conservation? Kleinman proposes that such great works are in fact stand-ins for the conglomeration of culture and human activity that produced them, symbols of a preferred history. But the question remains: how do we then access these works when the elevation of their status has the simultaneous effect of placing them beyond critique? (see full essay here) —Julieta Aranda, Brian Kuan Wood, Anton Vidokle
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Successes & Training Opportunities for Boycott, Divestment, and Santions

BDS Successes and Training Opportunities Feb. 4 2010 Dear david, I'm happy to let you know about some recent victories for the boycott, divestment, and sanctions (BDS) movement.  The largest bank and pension fund in Denmark have both announced divestment from two of the occupation's worst corporate offenders, Africa-Israel and Elbit Systems.  Additionally Carleton University in Ottawa has recently launched a divestment campaign and students have launched an investigation into the University of Arizona's relationship to occupation profiteers.  We are also excited to announce several exciting training opportunities for BDS activists - a US Campaign organizing tour in the Southwest, workshops at the Campus Anti-War Network and Intercollegiate Peace Fellowship conferences, and a day of workshops in conjunction with the upcoming US Campaign - Interfaith Peace-Builders Grassroots Advocacy Training.  Please support our efforts to organize BDS campaigns by making a tax-deductible donation. click here to viewCarleton University students made the video above to explain their divestment campaign. Click here to make a contribution to our BDS education and organizing efforts. Supporting boycott and divestment is one of the strongest statements you can make for human rights and international law in Palestine/Israel.  Following Hampshire College's successful divestment campaign one year ago Howard Kohr, the Executive Director of the American Israel Public Affairs Committee (AIPAC), had the following to say about the BDS movement: "[The campaign] is coming home right here to the United States. We see it already on our college campuses, America's elite institutions of higher learning, the places we've entrusted with the education of our children. We need to recognize that this campaign is about more than mere rhetoric. This is the battle for the hearts and minds of the world...left unchallenged, allowed to go unchecked, it will work." I hope that you agree that the BDS movement plays a critical role in changing U.S. discourse and policy regarding Israel's illegal occupation.  There are many ways to get involved in this growing movement. Can you join us at one of our upcoming BDS training sessions? We'll be in Harrisonberg (VA) Feb 19th Albuquerque (NM) Feb 22nd, Phoenix (AZ) Feb 24th, Tucson (AZ) Feb 25th, and Washington (DC) on March 6th.  Click here for more information about our Southwest organizing tour or here to register for the March 6th campus training in DC.  The March 6th DC BDS training is being offered in conjunction with the US Campaign - Interfaith Peace-Builders Grassroots Advocacy Training, which will offer trainings and lobbying on Capital Hill on March 7th and 8th.  Click here for more information about the Grassroots Advocacy Training, including the schedule and registration form. Of course, none of the support that we provide for our grassroots activists would be possible without financial contributions from people like you.  Did you know that more than half of our total budget comes from individual contributions of $20-$500?  Click here to make a donation or look below to see how even a small contribution can go a long way to provide trainings, strategic support, and resources to our member groups and individual activists. $10 $50 $200 $500 Pays for training materials for one student attending a BDS workshop Provides organizing kits for six BDS activists working on our campaigns in their communities Sends our National Organizer to present a BDS training for our member groups around the country Gets us half way to our goal of a new BDS website Thanks so much for your support of our BDS campaigns.  We hope to see you soon at an upcoming US Campaign training! Peace & Power, Katherine M. Fuchs National Organizer US Campaign to End the Israeli Occupation P.S.  Donate $50 or more we'll show our appreciation by sending you a copy of the award winning film Occupation 101, Donate to BDS education and outreach programs   Get more information about BDS trainings in the Southwest and Mid-Atlantic regions.   Sign up for our upcoming Grassroots Advocacy Training   Sign up for a organizing kit for one of our BDS campaigns. 1 Support Our Work: Join the Olive Branch Club: Follow us on: ABOUT | TAKE ACTION | GET INVOLVED | STORE | DONATE | RESOURCES | MEDIA | SUBSCRIBE |UNSUBSCRIBE US CAMPAIGN TO END THE ISRAELI OCCUPATION | PO BOX 21539 | WASHINGTON, DC 20009 202-332-0994 | USCAMPAIGN@ENDTHEOCCUPATION.ORG | WWW.ENDTHEOCCUPATION.ORG