July 1998. “Nine Holes” Translated by Malcolm Sinclair.
http://krzysztofjaworski.blogspot.co.uk/2014/07/dziewiec-dziur.html
July 1998. “Nine Holes” Translated by Malcolm Sinclair.
http://krzysztofjaworski.blogspot.co.uk/2014/07/dziewiec-dziur.html
GENTLEMEN
(POETRY, MUSIC, FILM COLLABORATION FOR UPTIGHT)
DIRECTOR: Graeme Maguire
ASSISTANT DIRECTOR: Sarah Maguire
POETRY: Marcus Slease
SOUNDS: Annie Gardiner of Hysterical Injury
STARRING: Rick Hambleton, Natalie Brown, Mo, Jamie Lindsay
THANKS TO: The Cube, Scubaboy Inc, Floating Harbour Studios, Geneva Stop
check it out:
//player.vimeo.com/video/100253149 GENTLEMEN – Short Film from Graeme Maguire on Vimeo.
“Too hip for the squares and too square for the hips is a category of oblivion which increasingly threatens any artist who dares to take his own way, regardless of mass public and journalistic approval. And how could it be otherwise in a supremely tribal civilization like ours, where even artists feel compelled to band together in marauding packs, where the loyalty-oath mentality has pervaded other Bohemia, and where Grove Press subway posters invite the lumpenproletariat to join the underground generation as though this were as simple a matter as joining the Pepsi Generation which it probably is.” (from Obituary essay for Frank O’ Hara by John Ashbery)
I write mainstream poetry. So did Frank O’ Hara. So does John Ashbery. So did Allen Ginsberg. And Diane di Prima.
All my heroes are mainstream poets.
They are writing squarely in their time (this is sometimes mistakenly called AHEAD OF THEIR TIME)
They are/were at the centre of contemporary life.
NY School poetry is sometimes called neo-avant garde. Or non-oppositional avant garde.
The branding of avant garde, bohemian, underground, alternative etc. has increased since the 1960’s. In music. In clothing (see Brick Lane in East London). And yes, in poetry, even though it is barely a blip on the radar of contemporary British culture.
On the other side, the so called mainstream, maybe 80% of the so called mainstream British poetry is stuck in the 19th century. The other 20% is just plain boring!
But that might be slowly changing as people might be reading poetry after Eliot. Outside of academies (And A levels and whatever levels).
There is not much interesting British poetry in the later half of the 20th century so maybe that’s why so many poets are still attempting to write like the British Romantics. Or very narrow confined identity driven poetry. YAWN!
But an in-between is happening here. See Nathan Hamilton’s anthology Dear World & Everyone In It.
It has potential. It might become interesting.
The anthology got criticised for not being true to the avant garde tradition in British poetry. For not being true to mainstream British poetry. For mixing shit up. It was doing something different. Playing a different game!
NY School poetry was playing a different game too!
Of course, there were problems with the anthology in terms of decontextualizing the communities of poets. Community is vital to the arts! Always has been!
But . . .
It seemed a move in an interesting direction!
Frank O’ Hara, and all the poetry I look to, moves beyond the narrow confines of this or that category. This or that branding. They try to take in everything in their poetry. Contemporary life. The world. EXPANSIVE POETRY.
Most British poetry is narrow, small self identity driven and pastoral etc.
But most of all IT IS DAMN BORING! Unfortunately a lot of North American poetry is getting more and more boring too (via professionalization competency driven creative writing programs and professional organisations and the contest/award culture).
But maybe that is the way it has been for a very long time. Most poetry is YAWN despite the hundred of thousands of books of English language poetry published every year. WE JUST HAVE EVEN MORE SHIT NOW THEN EVER. ALL THE GOOD SHIT COMES FROM IN-BETWEEN JUST LOOK AT THE SANDWICH. POETRY IS NOT BREAD IT’S JAM! JAM MORE POETRY!
Awesome exhibit coming up in Warsaw Poland. The first big exhibit of the artist and poet Grzegorz Wroblewski in his home country after many many years of exile.
Gonna check it out in August.
You can see both conceptual and psychedelic paintings there.
Gonna be historic!
Opening day 6th August 18:00. Until 28th September 2014.
Muzeum Literatury in Warsaw.
Check it out:
http://muzeumliteratury.pl/program-merkury-grzegorz-wroblewski-nowa-odslona/
(painting: Grzegorz Wroblewski.
FROM MY NOVEL IN PROGRESS THE AUTOBIOGRAPHY OF DON WHISKERS.
THE COLLEGE DAYS OF SEARCHING FOR MYSTICAL TREASURES . .
A RECORDING/READING OVER AT SOUNDCLOUD:
https://soundcloud.com/marcus-slease/from-never-mind-the-beasts
“There weren’t enough gumdrops in the shop to feed the dopamine and keep him to me. My blue-suited brother had gotten wise and hid our mother’s loot on his token visit home. So when the need jerked Andrew stupid, and he got rabbit in his blood, I said, How about you hold onto me and shoot your load on my ass? If you want.”
https://www.youtube.com/watch?v=om1Qq2Ekhhk&index=1&list=UUH-fLGyt8YZrtNctaU1OauQ
Here is Philip Terry. An member back in the day of Oulipo. He puts Tim’s Atkin’s poems from Petrarch through a music box. It is very interesting.
Tim Atkin’s Petrarch is available from Crater Press over here:
Holly makes her own spin on Tim Atkin’s spin on Petrarch. Oh yeah!
and many more readings over here:
The awesome Jeff Hilson reading from Tim Atkin’s Petrarch:
Crater 27: June 2014. Tim Atkins, Complete Petrarch.
All of Petrarch translated / transfigured / transplanted by Tim Atkins – a hallucinogenic, euphoric striptease of a traductory odyssey. 550 odd pages of pure lyric gold. [Not letterpressed.] £16 + p&p
http://www.craterpress.co.uk/
Lot’s of London poets reading from Tim Atkin’s Petrarch last Saturday. Terrific night!!! One of the best readings I have ever experienced!!
I read Sonnet 12 and Sonnet 365
Reminds me of the amazing plays of Kenneth Koch. But with a Tim Atkins twist. It doesn’t get any better than Tim Atkins!!!
Amazing launch of his Petrarch at Rich Mix last Saturday. You can get the magnum opus (plays, poetry, outsider art and more) from Crater Press. Freakin brilliant. NY School Poetry meets British innovative poetry. The finest!!
Here is some info on Tim Atkin’s book from Crater Press:
Crater 27: June 2014. Tim Atkins, Complete Petrarch.
All of Petrarch translated / transfigured / transplanted by Tim Atkins – a hallucinogenic, euphoric striptease of a traductory odyssey. 550 odd pages of pure lyric gold. [Not letterpressed.] £16 + p&p
http://www.craterpress.co.uk/
by The Clash featuring the poet Allen Ginsberg (from the album Combat Rock, 1982)
by Zarina Zabrisky
Buy the awesome chapbook from TREE KILLER INK here:
Dani Sandal’s freakin awesome tale 97%. Listening now and it is mighty mighty good!!
The failures of pops. Jesus/God. Daughter/father. Pre-detox love. 3% unsure.
“The secrets are still buried deep by bull’s ass. But we rocked out and flayed asphalt. Thin Lizzy. There is no band worth a nickel, my pop believes, who hasn’t had a member OD.”
“I AM BINGHAM, FATHER TO OLIVIA. HERE TO BE SAVED”
“I gas it and drive around the block for awhile with the radio fritzing out to Johnny Cash, Ring of Fire — Down, down, down.”
“Pop doesn’t have any fashion sense when it comes to women’s attire. I’d gotten dolled up to see him off: My best black mini. Disco-dish. I even rolled my hair the night before. It was big.”
“Ground steak, chuck steak, cube steak and Moon-Pies. Rent’s paid up for the month.”
AMEN!
CHECK IT OVER AT ADROIT JOURNAL:
Coming of age 3d glasses scary breast story over at Referential Magazine. Olive and Prue waiting lady like in church for their last picture show. Faye Dunaway. Textured and layered with word pleasures. The awesome Dani Sandal.
Check it:
Got some surrealist/fabulist prose poems written in Poland 2008 and 2012 in the new issue of Likewise Folio .
Check it out at :http://likewisefolio.org/poet/marcus-slease
THREE KICK ASS POEMS BY NICHOLAS GRIDER OVER AT SHAMPOO. CUTE AS A TICK:
http://www.shampoopoetry.com/ShampooTwentytwo/grider.html
(art: Nicholas Grider)
Chris Kraus’ I Love Dick is opening a space for me to exist in. To move around in. She says,
“Reading delivers on the promise that sex raises but hardly ever can fulfill- getting larger cause you’re entering another person’s language, cadence, heart and mind.”
And that’s when I feel most alive. Expansive writing. Expansive reading.
But the so called personal is there. And that’s what NY School poetics, Eileen Myles, Michelle Tea and others have given me. A space. A permission. A recognition of the complexities of being male. I’ve never been an insider of those big powerful worlds of writers and artists. I hadn’t felt completely at home inside those insulated walls of power. The towers of HSBC or the towers of Cambridge university.
“Because we rejected a certain kind of critical language, people just assumed that we were dumb” says Alice Notley. These spheres. These permissions. In Revolutionary Letters, 1971, Diane di Prima wrote “I just realized the stakes are myself.” And that’s where I am. The self is performative. The personal is critical. Men are taught to move away from the personal into the universal. The objective. To find and unlock the big secrets of knowledge. The greatest secret is that there is NO SECRET!
Since the death of my brother, the personal has become more and more the subject of my art. And not the personal as locked in place. But moving. In motion. And full of doubt and questions. The personal full of uncertainty. An attempt to move closer to reality. Intersubjectivity. I am wrong a lot. Being sure of your self is a sign of male power. It is the president of whatever country. And that power is also a prison. Is certainty a freedom? It might be a privilege but it’s a trap. It’s not freedom. “Isn’t the greatest freedom in the world the freedom to be wrong” writes Chris Kraus in I Love Dick. And I say yes. I cannot mansplain. I never been one for mansplaining. Acting like I know something. I see it all the time. It is not limited to men at the university where I teach. Where does it come from? This need to be objective? Science. Hard science. Why is hard better than soft? Why is aggression celebrated and softness a weakness? Stubbornness and conviction a sign of strength and uncertainty and doubt a weakness? Do we all need to become hard to survive in this world we have created?
When I watch a Brooke Candy video it makes me feel because I have more freedom to move. Like the role of aggressor and predator in being biological male is less static. It’s being played with. It is reframed somewhere else. To the point of absurdity. But absurd for who? Are these gender codes being questioned in a Brooke Candy video? Or is just flipped onto other side of coin and thus the same coin?
Men need to part of the discussions on gender. It is a whole system of traps and signs and straight jackets. But we need honesty. The media perpetuates data. It is trying to be hard science. Hard facts. Us versus them in whatever context.
How do we get out? What are we getting out of? Duty? I want to get out of my duty. To my gender. I am between genders. Between classes. I can pass for the dominant one. A white male. Almost middle class. But not really. The complexity is a simple one. It’s a spectrum. Can we go there?
What if everyone woke up to the game? Then what? End of game. No game. Another game or end of life.
We keep trying to fix this game. It’s not working. Can we play another one? How much of life is performance? All of it? What isn’t performative?
https://www.youtube.com/watch?v=kZm9TbKvaDk

It’s still hard and the world is a completely different place with loss of this size.
We were so close growing up and then were reconnecting again after I left the U.S. and traveled the world for seven years in attempt to make new home. I’d made the circle. I was coming home. And I wanted to be close to Aaron. And then suddenly within two years he was gone. An overdose. He was doing well getting clean but then there was that last fatal shoot up.
That’s the story.
What does it mean?
I got the call while living in crap flat in North London with black mould that wouldn’t leave etc. My sister Shantell called from the U.S. I got descriptions of how my step dad found him on the floor the next morning when he was picking him up for work. Near the door. Swollen and blue.
I didn’t want to think of him suffering. The door was locked so he could shoot up in private. Was he trying to get to the door? Why didn’t I call him when I was in London. What could I have said?
And then, like anyone who has experienced loss of someone very close, there was anger and frustration. Why were people laughing outside? Don’t they know my brother died? And then looking at people around me and getting angry that they were alive and my brother was not alive. And then wondering what I could have done to help.
I ran away because I needed space to sort out a lot of fucked up shit. And Aaron was now the eldest when I left. And all that shit now fell on him because I had to get out of there.
He was 13 when I left. The same age when the shit fell heavy on me.
And then the reuniting after close call with death and heroin and he was clean and exercising and hopeful and I was hopeful too because the turmoil of family life I grew up was more calm and peaceful overall.
And me and Aaron and my brothers Luke and Spencer reconnected. And I felt a place. More reconciled. To what? For what?
I dream of Aaron often. He was the link to my childhood and my adulthood.
I have a tattoo in my right forearm that means NOTHING in Chinese. It reminds me to remember emptiness is form and form is emptiness.
What does that mean?
I thought I knew what it meant.
All this mass suffering in millions of ways with billions of people. Drown it out. See it. Turn it over and over and see it.
Life is shit. But sometimes beautiful. But a lot of shit.
And what’s the point of any of it! There is no point. Happiness?
I write because there is no other way. Fuck all this university bullshit careerism and little well made word artefacts. Or all those people plugged into their upper middle class art worlds and their biggest worry if they can have as much money as another artist to make their big art project NOT if they have a place to live or food to eat. Not survival. Or worrying about why male artists receive more recognition than female artists. They are in a completely different world.
But that’s OK. Who wants to be in survival mode all the time.
Do I want to be in their world?
I guess I want them to see their huge privilege. Female as well as male.
What happened to male rape? It’s embarrassing. It’s not talked about. Men worn down by a system that pushes success and bringing home money etc etc.
yes your privilege makes your privilege invisible.
Male and female.
I saw my whiteness as a minority in a mostly African American high school.
I saw the shit my mum went through as a woman growing up.
I am now finally recognising the shit that working class men go through too. The working men I have seen and avoided most of my life to get away. To be in some other world.
I hope I remember the world I came from. I hope I can see how my worries shift. I hope I can see the difference!
And it’s relative. Of course.
I think I am moving up. I maybe made closer to £20,000 this last year. £1,400 a month after taxes.
I am 40. I have been working since age 14. I have put myself through 8 years of university. And so on. Am I poor? No. I live a simple life. Am I middle class? I might be middle class. What is middle class? Is it a state of mind or how much money is in the bank? I have a university degree and teach university on a fractional/adjunct contract. I am middle class.
My brother’s truck was repossesed shortly before he died. In Utah, in a small town, that means something much different than not having a vehicle in the UK. He rode his bicycle to pick up groceries for his girlfriend and step son. He picked up scrap metal and worked on hot roofs with my step dad fixing air conditioners. He was constantly in debt to the state of Utah for fees and penalties for his drug use. He was in survival mode all the time. Food and bills and survival and trying to make good with his step son and girlfriend who was a heavy heroin user in past as well.
It all fell apart.
He got a haircut on the day he died. He had a good day. He finally got a few hundred dollars in his bank account and called my mum happy.
I live in an estate. Canary Wharf is down the road. And it is a completely different world. Shopping malls. Status. Power. Morgan Stanley. HSBC. Yadda yadda.
Elsewhere my money means a shitload. In London it is not enough to live with hipster cool art students in “cool” areas of East London.
I am lucky. I am privileged.
It’s easy to forget.
It depends how you measure your life. Who or what you compare it to?
This goes for race gender class and all other forms of privilege. All other causes.
There are homeless.
There are . . .
Class is left out of Feminism too often. It’s acknowledged but not really fully looked at. I mean in public. Where it matters.
Working class men are sometimes prostitutes. Their body worn down and for much less than a female prostitute who uses her body. And these male prostitutes are not acknowledged. They are doing their manly duty. I have seen it most of my life up close. And their wives at home trying to create perfect home.
Everyone loses!!!
But that’s only my experience.
There are lots of particular ways of suffering.
When I was in university and in many women’s studies classes and some of the rich upper middle class women said thank you for giving up some of your power I was a little mystified. I come from a working class background and the first and only to go to university and where did I fit in this culture?
I have power. They have power. Who has more power? Why were they so blind about their own power too.
It was all labeled and fit neatly into little boxes of gender politics.
I often thought of my self as a woman. I didn’t have the parts but I could never do manly things well. I thought I was gay. I couldn’t walk the right way and people said I need to walk more like a man and less like a girl.
I could sometimes become aggressive. Did that mean I was a man again?
I tried to people please all the time. I got social anxiety. Big time anxiety. I down played my own knowledge. I kept humble. What I thought was humble.
I cried almost every night, or every other night, in my room from age 12-18.
Did that make me more like a girl again?
My life was damn hard in many ways but I had pretty boy looks. I looked like a girl as a kid.
I worked construction. I was a dishwasher. I worked in factories. I worked many many jobs since age 14.
I was trying to be a man again and square it with my working class background.
I was no good at it. I worked my ass off to study and go to university. And that was a different world.
First generation immigrant makes good?
Nah. Maybe. Nah. Whatever. I don’t fuckin know.
I teach at a university and get enough money to be OK in London with simple life. I try to pass as middle class while teaching university. I am passing. But I get anxious. I have to keep remembering it is a big show. A game. A play. Clothes are only a costume. Can you become your costume?
My voice is simple straight shooting voice.
But I am university educated.
I was given fancy words.
What do I do? How can I fit? How do we all fit?
I don’t buy much. I don’t own a car or credit card or tv or or or . .
And that’s good. I like my simple life.
Everyone wants to simplify things into causes.
It’s never simple.
Or it is.
Suffering is simple. It’s universal. It’s also particular.
My brother could see his life reflected in Bukowski’s writing. I avoided Bukowski for a long time. And finally for the last six months I have been reading everything. My bother always talked about reading Bukowski. It was the only books he really read in high school. And now after reading so much Bukowski I can see why.
That raw honesty. Bukowski is ugly. Bukowski is beautiful. And often very very aware of the whole game. Including the game of his public image. Including some of his misogyny. It’s in the writing. It’s not in the public persona so much. It’s all there in the writing.
I guess I like Bukowski’s writings better than 95% of artful university educated writing. Yes there is some misogyny. But that’s not the whole story. I would take Bukowski’s misogyny over a million well made little stories and poems from male or female writers with their phd in creative writing etc.
And that’s where I am now. I am not Bukowski. I don’t have that particular life or experience or that particular suffering. But I want that attempt at raw honesty. That includes doubt. Lots of doubt.
Writing is not a degree. It’s not legitimate. It’s a big zero. An impossibility. Life is an impossibility.
But here we are. Alive. For now.
Now what?
I wanted to make good for my brother. What does that mean? I have to ask myself that a lot while walking tight rope of nihilism.
Back to existence. Existentialism. And basic Buddhism.
(Last Christmas I would spend with my brother Aaron. He is on left)
Got some poems in the new issue of Ofi Press Magazine from Mexico City.

“I began writing train poems on the London tube in 2008-2009. I sat there scribbling into notebooks as the train went from one stop to the next.”
I’m talkin about train poems & my process for writing Rides on H_ngm_n magazine today:
http://h-ngm-n.tumblr.com/post/86997117895/this-poem-this-monster-marcus-slease
It is partly inspired by Ted Berrigan’s Train Rides (picture below).
Rides is part of my nomadic surrealist project. It is a lifelong writing project.
Sarah Maguire. The co-creator of UPTIGHT.
“We are two poets, Sarah Maguire (Bristol) and Marcus Slease (London) that to put it mildly are sick of traditional intellectual, stiff, PHD driven British poetry and feel obligated to do something …anything ….to make a change. “
A READING OF THE FABULOUS RUSSIAN ABSURDIST OBERIU POET ALEXANDER VVEDENSKY’S POEM “THE JOYFUL MAN FRANZ.”
https://soundcloud.com/marcus-slease/the-joyful-man-franz-by-alexander-vvedensky
“pussy riot are Vvedensky’s disciples and heirs. . His principle of bad rhythm is our own”
— Pussy Riot (Nadezhda Tolokonnikova;s closing statement at their trial August 2012)
SAW EUGENE OSTASHEVSKY YESTERDAY AT SERPENTINE GALLERY IN LONDON. PIRATES AND PARROTS. BEST READING IN LONG TIME!! RUSSIAN/AMERICAN ABSURDISM!!
TERRIFIC!
BIG BALLS OF HAPPY ENERGY AND DEVASTATOR BEER. SPANISH FORK UTAH. DOCKLANDS EAST LONDON. UVF CHILDHOOD. PORTADOWN. EXPANDING UNIVERSE. NOTHINGNESS.
Eileen Myles reading in Vilnius. Terrific! Expansive and open and generous. Her confidence is contagious. I think she opens up the space and all the people in that space. So many poetry readings feel closed and sometimes suffocating. We need more open spaces (in body, mind, and spirit). We need more expansive poetry and art. NY School poetry has many expansive places for us. When I returned to London in 2010 it is was NY School poetry that gave me space to breathe and start my life long nomadic writing project. A nomadic surrealism. There are too many straight jackets, including gender. So many boxes we are supposed to tick. I am borderless, transient, a nomad from the milky way. It is the best place to be but not always easy. A nomadic surrealist life project.
https://www.youtube.com/watch?v=In2R_49Zd2o

SOME OF MY POEMS FROM MANUSCRIPT TRAIN RIDES. POEMS WRITTEN GOING FORWARDS AND BACKWARDS ON TRAINS IN THE U.K.
INSPIRED IN PART BY TED BERRIGAN’S TRAIN RIDES.
CHECK IT OUT IN THE NEW H_NGM_N ISSUE 16.
http://www.h-ngm-n.com/h_ngm_n-sixteen/marcus-slease.html
| — | Noam Chomsky |
NEW POEMS IN WHICH ISSUE 5. A HEALTHY SPRINGING FROM OTHERWISE OVERALL STALE BRITISH POETRY (OR STALE MAGAZINES AND PRESSES OF BRITISH POETRY)
GOT A POEM ABOUT STRING AND THE UNIVERSE AND MORMON MISSION MEMORIES OF TYING COMPANION TO BED POST TO PREVENT ACCIDENTAL INTERFERING WITH BODY LUST SENSATIONS ETC.
CHECK IT OUT HERE.
THANK YOU NIA DAVIES. KEEP MIXING THE GOOD MIX
http://poemsinwhich.com/2014/04/30/poem-in-which-i-think-about-string/
POETRY: MARCUS SLEASE
MUSIC/SOUND: FIELD RECORDINGS OF CANARY WHARF, 4 TRACKS OF RANDOM TRACKS SELECTED VIA CHANCE METHODS JOHN CAGE STYLE
Mighty good poems over at Blood Lotus. It’s Amy King. It’s not hipster irony. I am right there too!!!
in his ongoing video art work of “speaking portraits,” poet/artist George Quasha puts an impossible, but unavoidable, question before poets of all kinds and in many places: what is poetry? In response poets let us in on their private space of poetry definition. This intimate view of speaking faces, each filling the screen, shows how different it is for poets/artists to say what poetry or art is than for others (critics, historians, philosophers, viewers). For a particular poet, poetry may not only be an object, a thing historically defined, but something close to the core of one’s life, perhaps even a singular event. Here we gain unique access to its nature in the person speaking.
//player.vimeo.com/video/4407987?portrait=0&color=8c9496 poetry is [vol. I] from George Quasha on Vimeo.
Ewa is making chapbooks for my Victorian toilet bowl reading with Richard Barrett this Tuesday. Drawings by David Kelly-Mancaux. The Chapbook is called IT POPS. Ewa made a chapbook a few years ago with nail varnish for the cover called Balloons. I think there is a theme. http://www.artslav.com/
(scraps from this weeks notebook)
The giant city awake in the first warm breath of springtime. 5 days till 40th birthday. Moving into part time insomnia. Money worries. I have enough now but what about next month? The month after? What about the summer?
* * *
THE PAST- a new movie
* * *
I need to update my operating system. A spy among friends. A wolf among men. I’ve had enough now. Oblivion today. Oblivion tomorrow. I’m in ragdoll state of mind. Ash tray state of mind. When is happy? Today is OK but what about tomorrow?
Happiness = expansive mind
Are bunny rabbits happy? Are trees happy? Is the wind happy? Is the Metro happy? It bears bad tidings.
* * *
I’ve been a people pleaser most of my life. I need to work on my Moon Pie. I’m in pain. I’m suffering.
Looking for next job? 95,000 jobs. 20, 000 recruiters. Am I a modern invention. What isn’t modern? If I die tomorrow will I be in Bardo?
* * *
Splurging on mind. What else is there? An old junket of harmony and grief. A pirate? No a starlet. No a pirate.
* * *
The cosmic sublime sounds like a special kind of snail.
* * *
Cavities are contagious. Watch who you kiss! Wheat is killing us. Meat is killing us. Gluten is killing us. Eat mostly fruits and veggies. Wheat on the side. FLOSS YR TEETH!
* * *
I travel to escape tyranny of little self
* * *
Insomnia during week before hitting 40. What is 40? Is it spring energy or anxiety? There is a long german word for the emotion I feel. Eating the dream dust of my youth. As you get older time goes inside you. When you die you just become time. Today I am 40.
Fantastic interview with Grzegorz Wroblewski by Gilbert Wesley Purdy over here:
http://www.eclectica.org/v18n2/purdy_wroblewski_interview.html
Grzegorz is currently in a plane flying to New York for his American tour. Go see him if you are on the East Coast of the U.S.
A rarity for sure!!
(painting by Grzegorz Wroblewski: Muzeum 1 Kolyska Cindy)
Grzegorz Wroblewski and Piotr Gwiazda reading tour events in the U.S. during the month of April:
Friday, April 4, Poetry and Translation: A Conversation with Grzegorz Wróblewski and Piotr Gwiazda. Columbia University, East Central European Center and Department of Slavic Languages, 4 p.m., International Affairs Building, 420 West 118th Street, Room 1219, New York, New York.
Sunday, April 6, Cambridge Public Library, 2 p.m., 449 Broadway, Cambridge, Massachusetts.
Monday, April 7, A Poet, His Translator, and His Paintings: Readings from Kopenhaga. Rhode Island School of Design, Department of Literary Arts & Studies and Division of Liberal Arts, 7 p.m., Chace Center Auditorium, 20 North Main Street, Providence, Rhode Island.
Tuesday, April 8, University of Massachusetts Amherst, 7:30 p.m. Herter Hall, 161 Presidents Drive, Amherst, Massachusetts.
MALANCHOLIA
Guitar: Amir Hadziahmentovic
Text/voice: Grzegorz Wroblewski
Drawings: My Life with Ann by Grzegorz Wroblewski
http://www.youtube.com/watch?v=OKjlYwjnhf8
(drawing: Grzrgorz Wroblewski’s My Life With Ann)
SUPER SUPER HAPPY!! IT IS A GOOD SATURDAY IN EAST LONDON. GOT MY COPY OF ATLAS REVIEW 3. AMONG ABSOLUTELY AMAZING COMPANY. BEST MAG I HAVE SEEN IN A LONG LONG TIME!!! SO MANY GREAT ARTISTS AND POETS!!
THANK YOU ATLAS REVIEW. YOU WILL BE MY TUBE READING FOR THE NEXT WEEK OR TWO. AND BEYOND.
YIPPPIEEE!!!
Richard Barrett
Marcus Slease
Richard will be launching his new book ‘Free’ which is published by Blart Books.
Footsie Index #5 is at Artslav http://www.artslav.com/
Artslav is a restored Victorian public toilet located under the centre of Kennington Cross just by The Doghouse Pub.
180 Kennington Lane
London
SE11 4UZ
Get there early to get a good spot.
If you are in NY, check out Kopenhaga. Grzegorz Wroblewki and Piotr Gwiazda:
http://harriman.columbia.edu/event/poetry-reading-grzegorz-wr%C3%B3blewski
powerful story in Raleigh Review. Dani Sandal’s “WHAT REMAINS”
http://www.raleighreview.org/flash_fiction.html
Nails age. Memory fades. The power of fuck remains. The longevity of the fuck. The word. The life energy!
Skulls crack like eggs.
BY RUSS WOODS
AT BLACK CAKE RECORDINGS.
A NIFTY AUDIO SITE FOR POETRY.
DIG:
http://blackcakerecords.bandcamp.com/track/the-birthday-cake-i-made-you
BY JACK SPICER.
BACK IN PRINT.
AND GORGEOUS OF COURSE!
I LOVE POOR CLAUDIA. SO HAPPY TO HAVE MY BOOK WITH THIS TERRIFIC PUBLISHER. ONE OF MY ABSOLUTE FAVS
America
a reading of Mu (dream) So (Window) on soundcloud. Seoul, South Korea 2006:
THE POEMS OF ALFRED STARR HAMILTON. An American surrealist. A nice discussion here on the internet radio:
http://www.kcrw.com/media-player/mediaPlayer2.html?type=audio&id=bw140123alfred_starr_hamilto
I’M NOT FAMILIAR WITH ALLAN GINSBURGH BUT HE LOOKS LIKE HE SMOKES A LOT OF WEED.
CHECK OUT KRZYSZTOF JAWORSKI.
TERRIFIC POEMS OVER HERE. TRANSLATED BY BANJAMIN PALOFF
Grzegorz Wroblewski reading from his book Kopenhaga and Piotr Gwiazda reading his English translations. London. Torriano Reading Series. 9th Feb 2014.
http://www.youtube.com/watch?v=axWyV2Ja3UE&feature=youtu.be
As part of the Enemies project (www.weareenemies.com) Wrogowie celebrated contemporary Polish poetry in collaboration with British poetry on February 8th 2014 at the Rich mix arts centre in London. Six pairs of poets premiered original collaborative works specifically for this event. Supported by the Polish Institute and SSEES. Me and Grzegorz presented our ongoing nomadic surrealist projects.
poetry “is in the margins, the fray, and the common places too. Some poets may attempt to harness and use the “PoBiz” for personal or professional gain, but it is at their own expense that they fail to grasp that poetry’s power extends far beyond one’s career or notions of fame. Poetry has the potential to undo us. That is its promise and its threat too. Adhere to a western-minded safety, as if this or that prescribed poetry is the only way to art, and you will succumb to a futile capitalist caste system that has no terms for the value poetry offers. It does not recognize poetry’s value—poetry is off its charts.” (Amy King)
http://www.bostonreview.net/blog/amy-king-threat-level-poetry
THANK YOU AMY KING!!!
“What terrifies me in Denmark (the land of Bohr and Kierkegaard, a caring tolerate state, with a high standard of living, etc)? What terrifies me is homo sapiens. Also in Wilanów and other wholly innocent corners of the Earth. What terrifies me is homo sapiens.” (Grzegorz Wroblewski)
Nice review of Grzegorz Wroblewski’s Kopenhaga in Three Percent (University of Rochester):
http://www.rochester.edu/College/translation/threepercent/index.php?id=9472
http://tieryas.wordpress.com/2014/01/29/tieryas-mini-reviews-spanish-fork-by-marcus-slease/
A NICE MINI REVIEW OF SPANISH FORK CHAPBOOK. THANK YOU TIERYAS!!!
http://www.scn.org/realpoetik/topp-mike-htm-99.htm
Grzegorz Wroblewki was part of the bruLion group.
He is a punk rock poet.
And a warm warm hearted human being too!!!
Cracovian bruLion (noteBook) in the history of Polish literature of the end of the 20th
made its name as one of the most important voices of the young generation. The group
connected with the magazine, which used non-conventional poetic and medial strategy, and
whose main motivating force was scandal pugnaciously reached the literary Parnassus. In
a sense bruLion was a subsequent link in the tradition of Polish avant-garde. However, it had its peculiarity as it protested against popular idealisation of literature. “The Wild” (as they soon called themselves) negated the whole literary tradition. They treated official literature (e.g. soc-parnasites) with the same kind of dismay as the opposition literature full of tyrteism, and they negated its inherent paradigm of equation between aesthetics and ethics. Their neoavant- garde poetic art, which shocked critics and readers alike, not so much with the form as with the rejection of classical ideals; models of literature and missionary function of art made them immediately famous. Literary awards, poetic collections and brilliant careers quickly followed favourable reviews of their work.
It is worth mentioning that the credo of bruLion changed several times. There are three
periods to be distinguished in its history: the first one from the beginning in 1987 to the half of 1988, when it was a typical journal of “secondary circulation”, and when it imitated Zeszyty Literackie; the second period from autumn 1988 (No 7/8) to 1992 (No 19A and 19B), when the media popularity started and when majority of important texts were published; and the third one since 1994, when the editors moved to Warsaw and the group dissolved, and practically the bruLion formation came to its end.
Some poems of Grzegorz Wroblewski in the Brooklyn Rail.
Translated by Piotr Gwiazda.
They are from Grzegorz’s collection Dwie kobiety nad Atlantykiem – from 2011
Piotr Gwiazda’s translations of Wróblewski’s poetry have appeared in AGNI Online, Colorado Review, Denver Quarterly, The Nation, and Seneca Review. Gwiazda’s translation of Wróblewski’s book of prose poems Kopenhaga has just been published by Zephyr Press.
Grzegorz is coming to London at the beginning of Feb. With Piotr Gwiazda and Adam Zdrodowski (two of Grzegorz’s terrific translators and also terrific poets).
A rare event!!!!
Kopenhaga via Warsaw via Gdansk via The Milky Way
Oh yeaaahhh!!
Save the dates:
1) Feb 7th 5-7PM at UCL School of Slavonic & East European Studies. A READING AND DISCUSSION OF KOPENHAGA AND POLISH POETRY. I WILL BE READING A FEW POEMS BASED ON EXPERIENCES LIVING IN KATOWICE : http://www.ucl.ac.uk/ssees/research/research-centres/emigrating-landscapes-seminars/emigrating-landscapes-seminars-events-publication/e-migrating-wroblewski-poetry
2) Feb 8th at the Rich Mix at 7PM. As part of WROGOWIE – THE ENEMIES PROJECT: POLISH POETRY. British poets in collaboration with some Polish poets. Gonna be a fab night.
http://www.richmix.org.uk/whats-on/event/wrogowie-the-enemies-project-polish-poetry/ 7PM
3) Feb 9th at 7.30PM. A reading and celebration of Grzegorz Wroblewski’s Kopenhaga. As well as Polish and English poetry from Piotr Gwiazda and Adam Zdrodowski. The Torriano Reading Series in North London.
http://blackcakerecords.bandcamp.com/album/park-house
BY ROBERT DUNCAN GRAY
Robert Duncan Gray is an English artist currently living and working in Portland, Oregon, which is in the top left corner of America. Rob is the curator and host of A reading. He is currently concerned with painting, writing, drawing, and his R&B noise performance/persona project, COLDGOLDCHAIN. He produces a TV show called FLASHtv and he is always dancing, no matter what.
Park House is for lots of people, mostly Granny, Barbara Simmons, Bobbie, who I miss very much. Also, Annie, my little sister, who is very very cool. Also, all my pals at Full Life, which is where I get paid to have fun with my friends.