DC's

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‘For the past few years, Dutch artist Harma Heikens has been drawing on subjects from the edge of our consumer society. She reveals that which is not usually clearly visible in a world that is obsessed by a flawless exterior. It’s the flip side of things that matters to her, as illustrated by an early drawing of “bambi’, not cute at all but throwing up violently. This hidden truth is in the distortion of what should be beautiful and whole, like the bust of Disney’s Sleeping Beauty, her perfect skin covered in sores (or are they zits she’s scratched open?). Heikens takes a sardonic pleasure in tranforming clichés, by undermining the traditional meaning of the toy figures and dolls we know from childhood. Their hidden horrors become visible. She does this with gusto and imagination, and with a lot of conviction. Her latest work is a good example of this. It refers to a consumerism gone haywire, in which people as well as things have a market value. Youth and beauty, though transitory, have become commodities that only the happy few can afford to buy.

‘Harma Heikens wants to show us that all around us monsters are reaching out to youthful beauty in order to feed on it, hoping to regenerate what has been lost. They refuse to believe that there are things that aren’t actually for sale. The work touches on the age-old theme of the battle between thanatos and eros as it manifests itself in modern society. Heikens, with her playful yet forceful imagery holds up a mirror to us all.’ — Margriet Kruyver, aeroplastics contemporary

‘To compare and contrast cute with confrontational is a typical and all too simple response when observing one of Harma Heikens’ near life-size sculptures for the first time. True, they are confrontational but the larger than life charm of Harma’s arrangements are powerfully thought-provoking allegories; Her description of her work is precise and understated. “I’m not into telling people that they see things the ‘wrong’ way,” says the Netherland artist. “When I make a sculpture of, say, a Latin-American or Asian looking child in horrible circumstances it is perceived as social criticism, but when I make a sculpture of a white child in a similar situation it is perceived as apocalyptic. That doesn’t feel good and it is confrontational in itself (for whoever wants to see it), but there’s no way of avoiding it. The images I work with sort of pre-exist in people’s minds. It works the same way for me.”

‘And therein lies one of the most appealing aspects of Heikens’ work. It’s not a soapbox stance, but she doesn’t resort to ’leaving it all up to the viewer’ either. What we make of it is an amalgamation of artist intention and our own built-in perceptions culled from our own reference banks.

‘Accessorized with familiar common-place objects these sculptures speak to us using our own universal language: a trash bag, a soda can, a sweater emblazoned with branded apparel. Even their cuteness is part of that language. It coaxes an examination of the debasement of our culture, our societies, our place in time, how far we’ve come – or regressed.’ — Annie Owens

 

Further

Harma Heikens Official Website
HH @ Witzenhausen Gallery
‘Paradise Lost: The Works of Harma Heikens’
The Malformed Kitsch of Harma Heikens’
HH interviewed @ Castle Magazine
‘tweeenentwintig beelden: harma heikens’

 

Extras

Noorderzon doet geen aangifte na dreigement

HARMA HEIKENS Firestarter unboxing by Toy Qube at My Silk Screen Print Shop

 

Interview

 

q)How did you get started making art?

a)I’ve been making things as long as I remember, but didn’t think that had anything to do with “art”. I always wanted to be an artist, though; I imagined that I would be painting large abstract canvasses when I grew up.

q)How would you describe your art?

a)Don’t know.Conceptual cartoonism? I hope it’s sort of direct. The process of making these things is rather time-consuming, I do four or five pieces a year.

q)Where do you get the inspiration for your art?

a)The newspapers, b-movies, t.v.commercials and everyday life.

q)What other artists inspire you?

a)Writers like for instance Elfride Jelinek, Michel Houllebecq and Douglas Coupland, grafic novelists like Charles Burnes and Daniel Clowes, film directors like Lucas Moodysson and a lot of other visual artists, too many to mention, not always the ones that make work simular to mine, it is more about an attitude.

q)What is your main medium of choice?

a)Sculpture and installation. The sculpture is mostly made of light-weight synthetics (all water-based and friendly to the environnement).

q)What are you working on now?

a)An installation in collaboration with a poet. It is about consumerism and child-prostitution.

q)Almost every artist has a special “mission”, a message they want to deliver or actions they want to provoke with their work. What’s your mission?

a)That’s a tough one. If I knew what the exact message was I don’t think there would be a need to make the work anymore … But, If I must, shortly: The message would be that life’s a bitch, and my mission to sort out who or what’s to blame. Without any result so far.

q)Your artworks often feature children in a context of violence, dirt and sex – they don’t fail in provoking unease and disgust in the viewer. How were your personal feelings during the working process?

a)I can get emotional or upset, but not all of the time. A single piece takes several months to make so that would be rather unpleasant. Sometimes I enjoy working on it in a malicious kind of way, but mostly I’m preoccupied with formal and technical issues.

q)Do those images come from personal experiences (e.g. travels to third world countries) or are they a product of your imagination / from watching the news / from listening to stories from friends/acquaintances?

a)It depends; some works are inspired by watching the news, some by disaster movies, some by everyday life: You don’t have to travel to a third world country to see people suffer. But mostly the images arise from the working process itself. It’s not just about what you see, but what it stands for. I’m always looking for images that can also serve as a metaphor. And of course the themes I choose orginate in personal experience, like with any other artist.

 

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*

p.s. Hey. ** _Black_Acrylic, Hi, Ben. Cool. I hope the Hejinian hits your mark. ** kenley, Hey! Yes, Sarah Kane, absolutely for sure. Okay, that play doesn’t sound bad. Of course the eating of his wife’s ashes is a plus. Yes, disagreeing friends who can depersonalise are the best. Keeps you percolating. Uh, hm, I don’t think I’ve actually seen any actual avant-garde performance or theater lately. There’s been kind of a paucity of that kind of work coming through Paris. Right now it’s all ‘immersive experience’ stuff, you know, walk- or sit through surround-projections of ‘trippy’ AI reality-bending stuff. It’s so empty. I should check more closely. Will do. ** Hugo, Hi, Hugo. You sound good. The last section of ‘God Jr.’ is my favorite thing I’ve ever written, so thank you. I started ‘The Sluts’ in the mid-90s. So, basically, I was working on it in the background while I wrote ‘Guide’, ‘Period’, ‘My Loose Thread’, and the early parts of ‘God Jr.’. ‘The Sluts’ came out just before ‘God Jr.’, but pretty close in time. So I finished off ‘God Jr.’ when I finished ‘The Sluts’, but it was about, oh, half finished by then. Luck with that someone whichever way it goes. And enjoy the confusion if you can. Love back. ** Carsten, Laziest question ever. There seemed to be a hopeful seeming update on Jost yesterday, so fingers extremely crossed. You’ve made me want to revisit ‘Zombie Birdhouse’. I don’t remember it very well. Maybe it’s grown into itself. RIP Tom Noonan, yes. ** Steeqhen, Pancakes will do that to you, if you gorge, which it’s hard not to do since they look so harmless. Interesting about the Lent connection. That makes sense. Oops about the German edition. The book itself is pretty attractive, as I recall. Meager compensation. ** HaRpEr //, If not being able to give up on things is a mental illness, I’ve got it too. That’s got a real plus side, as I don’t need to tell you or at least won’t eventually. Good news! Pray tell when the news gets de-cloaked. Rhys is so great. Huh, I’ll definitely go look for ‘www.RachelOrmont.com’. I don’t know or that director’s stuff at all. Thank you! ** Steve, Red Bamboo … I don’t remember it. Last time I was in NYC I was depressed to find that this great little Chinese place near Times Square that had the best cold sesame noodle ever and had been there since the 1950s closed. Fuckin’ hell. I say play your track and just say it’s by the musical moniker you use and let your listeners figure it out. Stephen is still involved in Southern Lord, but it was always more Greg’s project. Yes, he stewards quite a great label Ideologic Organ. It used to be a subset of Editions Mego, and now it’s a subset of Shelter. The Sub Pop thing was in the discussion phase for a long time. (Stephen is from Seattle originally). It’s good for Sunn0))). It makes things a lot easier, Stephen says. ** Uday, Owen Land is a good name. Nice syllables, nice rhythm. I’d be happy to wear it. You’re reading at an event that Ann Coulter as a speaker? Whoa, how is that possible? But still. Cool to read in NYC. ** Thom, Hi! Where can I find/hear your music? Really love the way you talk about it. Now I’m jonesing. Yes, the story as a place to work and play. Makes total sense. You can discover if your wishes need the girth of a longer form or not. And the zine plan sounds obviously very good. Zac and I tried to set up an ‘RT’ screening in Portland, but no venues we approached there were interested. Sad, but oh well. Thank you for the process talk about your story. It sounds kind of like the way I think about writing prose. Or I can totally get what you’re trying for, or I think I can. It’s always thrilling to find a writer who thinks and works like that with prose. It’s pretty rare. Most people I try to explain how I construct prose with get hazy-eyed pretty quickly. Anyway, what a pleasure. Enjoy everything your day has in store. ** Laura, Morning to you if it’s your morning at the moment. Seeing Land’s films projected makes such a difference. No surprise. Last night I went to an event where they showed two hours of films by Hollis Frampton, my cinema God along with Bresson, and I swear I was walking an inch off the ground for a couple of hours afterwards. Still not sure about the reading, but thank you. I don’t really mind when poems want to tell me what to think as long as they don’t also insist on inflating the author of the poem a la Walt Whitman and that kind of shit. One could only wish Almodovar would make a film like your dream at this point in his career. Okay, but I’m not going to watch ‘Heated Rivalry’. Just a hunch. Thanks about the ‘God Jr.’ squib. Like I told Hugo, that whole section of the novel is my best ever writing, I think. May your day spiral upwards from here. ** Right. Do you feel like strolling through my galerie today and looking at Harma Heikens’s stuff? See you tomorrow.

* (restored/expanded)

 

‘Owen Land, formerly known as George Landow, was a really really great filmmaker. His films are like no others. I first saw Landow’s early standard-8mm films (which may be no longer extant — is that right?) such as Are Era and Not a Case of Lateral Displacement at an open screening in New York in the summer of 1964 or 1965. Open screenings, even back then, tended to have many films that weren’t so interesting. Landow’s not only engaged me, but seemed both great, and unlike anything I had seen before. One seemed to be long takes of a wound. Are Era was shot off TV, very rapidly cut (in camera I assume), showing a TV head both right side up and upside down. Still in my teens, I had only recently discovered cinema, and had never heard of Landow before that screening. “Structural film” had not yet been so named, so the statement from the gallery that Land’s “debut” was a “critique of structural film” is not right, as a “genre” that has not yet been named is not exactly ready for its “critique.”

‘It’s true that Land was not the most sociably adept of people. But one would not expect that from his films. If you understand his films, you understand that communication in them is always paradoxical. His fascination with palindromes (and he and I exchanged a few ordinal palindromes at times) was only a bare surface indication of his films’ profound inwardness, an inwardness that was not one of psychological interiority, as in Brakhage, but of irreconcilable paradox. Land was fascinated with cinema’s artificiality, and his use of film imagery was profoundly hermetic; it always feels as if his film images are spiraling inward, collapsing in on themselves.

‘He was not necessarily the friendliest instructor for young filmmakers interested in “self-expression.” He wasn’t very patient with long, self-indulgent, emotionally-laden “personal” films. I once saw him advise a student, correctly in my view, that the student did not have the distance needed to deal with the family footage he was trying to fashion into a film. But those who so easily make personal voiceover pieces today (in which a voiceover narrates autobiographical details on the sound track which the images illustrate) might have something to learn from really studying Landow’s deeply hermetic art, an art I find true in some deep way to the truths of images either on film or seen with the eye: Do we really know what any image might mean, or how it might “feel”?

‘There is much humor in Land’s work, and one genuine belly-laugh for those who had had their fill of the academic use of Hollis Frampton’s (admittedly wonderful) (nostalgia) to illustrate “structural” film: The film within Land’s Wide Angle Saxon titled Regrettable Redding Condescension, credited to someone named “Al Rutcurts” (remember Land’s love of palindromes), which was indeed a “critique” of “structural film.”

‘I wish “experimental” cinema had more true originals such as Land, filmmakers who find a new and original use for cinema, a new type of film grammar, which, of course, can also lead to a new type of thinking. In my view, the “project” of “experimental” film at its best has always been that of forging new types of consciousness, new was of conceiving of the world, new ways of being in the world.’ — Fred Camper

 

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Stills

 

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Further

Owen Land @ IMDb
‘Owen Land (1944-2011)’ @ LUX
The Films of Owen Land @ Harvard Film Archive
Owen Land @ Office Baroque Gallery
Book: Mark Webber ‘Two Films by Owen Land’
Owen Land @ mubi
‘Avant-gardist Owen Land Comes Out of the Shadows’

 

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Documentary

‘“So, how’s that avant-garde film you’re working on going?” Hopefully, that question will be met with a fun, answer like “Oh great, it’s a really interesting project.” However, director Ben Lazarus has documented the resentful feelings of the disgruntled crew who worked on Owen Land‘s Dialogues, which was filmed in Los Angeles. In the Land of Owen, which features footage not in the original film, is a documentary of the aftermath of a film production gone haywire. Word of warning: This video is NSFW as it contains lots of nudity.

‘There is no actual footage of Land directing in In the Land of Owen. There are a couple of still pictures of him where he doesn’t look very well and some of the interviewees talk about him being ill and having had a stroke. But without actual footage of him directing and no direct interview with him, it’s tough to determine exactly how the production of Dialogues descended into complete chaos.

‘Many of the crew members and actors refer to Land as if he was a tyrannical crank on set, including being verbally abusive, but details of the abuse are not given. Some crew members are still incredibly hostile and bitter, while others kind of laugh off the flakier aspects of Land’s personality and behavior. One shocking revelation is that the first director of photography on the film has withheld over half of the footage shot of Dialogues due to non-payment.

‘One recurring topic of the documentary is that everyone on the crew was not only completely baffled by what Land was shooting, but that was a source of frustration. I don’t know if that’s because this was an L.A. crew or if the crew just generally wasn’t into avant-garde and underground filmmaking. The clips that were withheld from Dialogues and that appear in this documentary make it look like a fun film. And I totally don’t agree with the one actor’s assessment that making a film “irritating” is a goal of a lot of experimental filmmakers. That sounds like the reaction of somebody who just expects all films to have clear narratives.

‘There aren’t many “making of” documentaries about avant-garde films. Hearing about the tribulations of making Dialogues in In the Land of Owen is really pretty fascinating; and it’s a very well put together and entertaining documentary by Lazarus.’ — Underground Film Journal

 

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Interview 2009

 

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Obituary

 

‘A question that one should never ask an experimental film-maker is: “What is your film about?” George Landow, who has died unexpectedly aged 67, would probably have responded: “It’s about eight minutes.” Along with many other “structural” American film directors in the 1960s and 1970s, Landow – who changed his name to the semi-anagram Owen Land in 1977 – rejected linear narrative, giving primacy to the shape and essence of film. “I didn’t want to make films that were narrative. I found the whole traditional narrative approach was really non-visual,” he commented.

‘Landow trained to be a painter. This is demonstrated in the self-explanatory title of Landow’s Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc (1966). What he called “the dirtiest film ever made” consists of four identical images of a blinking woman, off-centre, made to appear as a loop without a beginning and end, giving prominence to the sprocket holes and edge lettering on the 16mm film, components that audiences do not normally see. Landow used “found footage”, in this case a Kodak colour test, throughout his oeuvre, where film itself is the subject matter.

‘Landow later parodied his early experimental films and those of his mentors, Stan Brakhage and Gregory Markopoulos, with jokey titles such as On the Marriage Broker Joke As Cited By Sigmund Freud in Wit and Its Relation to the Unconscious Or Can the Avant-Garde Artist Be Wholed? (1977–79). This features two actors dressed as pandas who discuss film in a false-perspective room patterned with checks and polka dots. “What is a ‘structural film’?” asks one. “That’s easy, everybody knows what a structural film is,” comes the reply. “It’s when engineers design an aeroplane, or a bridge, and they build a model to find out if it will soon fall apart. The film shows where all the stresses are.” The pandas then suggest strategies for marketing Japanese salted plums illustrated by a Japanese publicity film created to look like found footage.

‘Remedial Reading Comprehension (1970), in the form of an educational film that is part of a woman’s dreams, uses colour footage of an auditorium of people who are about to watch a film, a mock television commercial about rice, text from a speed-reading manual, and the director himself running, with the superimposed words, “This is a film about you … not about its maker.” In New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops (1976), a middle-aged man attempts to carry out a test full of seemingly meaningless instructions before entering transcendence through a woman’s shoe.

‘Dialogues, his valedictory film, was based on his own bizarre and comic sexual encounters with women and his relationship with his contemporaries, including a mocking portrait of Maya Deren, the avant-garde film-maker. He was given a retrospective at the Rotterdam film festival in 2005. This programme then moved to the Tate Modern in London, the Whitney Museum of American Art in New York and the Pompidou Centre in Paris. In 2009, his work was presented at the Kunsthalle in Bern and the Kunst-Werke, Berlin.

‘This was the last film Landow made before becoming Owen Land and leaving the underground film scene for more than three decades. He reappeared with his last film, Dialogues (2009). Little is known of his movements in between. He spent a year in Japan and taught film at US universities throughout the 1970s, and settled in Los Angeles in 2006. Landow died as mysteriously as he had lived. His death was announced a month after his body was found in his Los Angeles apartment.’ — Ronald Bergan, The Guardian

 

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9 of Owen Land’s 17 films

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Film In Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc (1965-66)
‘This film takes the view that certain defining characteristics of the medium, such as those mentioned in the title, are visually “worthy”. For this reason it is especially recommended.’ — Lux

‘The richest frame I have seen in any film when you take into consideration all movements lines the beautiful whites, and reds and blacks… The kinetic and visual experienced produced by Landow’s film is even more difficult to describe… There is humour in it (the blink); there is clear Mozart -(Mondrian)- like sense of form … ‘ — Jonas Mekas

 

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The Evil Faerie (1966)
‘The Evil Faerie is a movie starring Steven M. Zinc. It is directed by Owen Land. It is one minute in length.’ — mrr

 

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Diploteratology: Bardo Follies (1967)
‘His remarkable faculty is as maker of images … the images he photographs are among the most radical, super-real and haunting images the cinema has ever given us.’ — P. Adams Sitney

 

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Film That Rises to the Surface of Clarified Butter (1968)
‘This film had already been in my mind for a very long time, this type of film. I wanted to do a film which dealt with drawings which somehow had a life of their own, which existed in the same space as real objects and yet still had their own two-dimensional space. I wanted a kind of imagery that didn’t refer to anything in our visual vocabulary, and also was so non-objective that it didn’t refer to anything.’ — George Landow (aka Owen Land)

Watch the film here

 

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Remedial Reading Comprehension (1970)
‘Two kinds of material are used: 1) Material in the tradition of the “psycho-drama” or “personal film”; 2) Material of the sort used in industrial, educational, or advertising film. Questions are raised about the necessity of using acceptably “artistic” material to make a work of art, as well as about the relationships between “personal” and “impersonal” works. “One of the ways that REMEDIAL READING COMPREHENSION works is in the degree of filmic distance which each image has in the film. Distance here refers to the degree of awareness on the part of the viewer that the image he is watching is a film image, rather than ‘reality.’ [Land’s] film does not try to build up an illusion of reality, to combine the images together with the kind of spatial or rhythmic continuity that would suggest that one is watching ‘real’ people or objects. It works rather toward the opposite end, to make one aware of the unreality, the created and mechanical nature, of film.’ — Fred Camper

 

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Thank You Jesus for the Eternal Present (1973)
‘A rapturous audiovisual mix that `deliberately seeks a hidden order in randomness.’ The film combines the face of a woman in ecstatic, contemplative prayer with shots of an animal rights activist, and a scantily clad model advertising Russian cars at the International Auto Show in New York.’ — IFFR

 

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A Film of Their 1973 Spring Tour Commissioned by Christian World Liberation Front of Berkeley, California (1974)
‘”As an experience, it’s mind-boggling.” –Roger Ebert, Chicago Sun-Times. “Because all footage is sound sync, this screening process hones our responses, until we see more in (Land’s) 3-frame sequences than we would in hour-long doses of ‘normal’ time. Like the study of signs, this study of seconds yields a knowledge of people and truth inaccessible to more common observation.” — B. Ruby Rich

Watch the film here

 

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New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops (1976)
‘A reworking of an earlier film, Institutional Quality, in which the same test was given. In the earlier film the person taking the test was not seen, and the film viewer in effect became the test taker. The newer version concerns itself with the effects of the test on the test taker. An attempt is made to escape from the oppressive environment of the test – a test containing meaningless, contradictory, and impossible-to-follow directions – by entering into the imagination. In this case it is specifically the imagination of the filmmaker, in which the test taker encounters images from previous Land films …. The test taker is “initiated” into this world by passing through a shoe (the shoe of “the woman who has dropped something”) which has lost its normal spatial proportions, just as taking the test has caused the test taker to lose his sense of proportion. As he moves through the images in the filmmaker’s mind, the test taker is in a trance-like state, and is carried along by some unseen force …. At the end of the film the test taker is back at his desk, still following directions. His “escape” was only temporary, and thus not a true escape at all.’ — Canyon Cinema

 

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On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and Its Relation to the Unconscious or Can the Avant-Garde Artist Be Wholed? (1977)
‘ON THE MARRIAGE BROKER JOKE … turns upon an opposition of Freudian analysis and Christian hermeneutics …. Two pandas, who exist only because of a textual error, run a shell game for the viewer in an environment with false perspectives. They posit the existence of various films and characters, one of which is interpreted by an academic as containing religious symbolism. Sigmund Freud’s own explanation is given by a sleeper awakened by an alarm clock.’ — P. Adams Sitney

Watch the film here

 

 

*

p.s. Hey. ** jay, Hi. One thing I especially like about that loose generation of women UK writers like Murdoch is how they make you realise how rich a stuffy tone and style can be. There was a point where I learned a lot from that for my own writing, from Compton-Burnett especially. I don’t know, but my friends who love Proust say his work is some kind of lifelong commitment, so your staggering methodology makes sense. Big up, and have a rich day. ** gregoryedwin, Whoa! Hi, man! How amazing to find you here. How are you? What are up to? No pressure to say, but just to say I’m wondering. Yes, it’s a real blow about Michael. He’s left a large hole in the world both as a friend and as the Bookworm. And yes, about the constellating. Let’s try. Anyway, wow, really lovely to see you, my friend! ** Dominik, Hi!!! I guess even speedy people need their pit stops. Oh, interesting. Anything you’ve found in your research that’s especially instructive? Nothing I’ve read or seen about ‘Heated Rivalry’ has made me even remotely interested. Love never thought he would ever say this but he is really over winter, G. ** Carsten, Yes, I’m ‘friends’ with Jost on FB. I’m a great admirer of his films and of how he makes his art and lives. I too am quite concerned about his recent health scare and really hoping he’s going to be okay. I don’t think death deserves him yet. ** _Black_Acrylic, I wouldn’t let the Language tag intimidate you. The writers who were tagged in that way are really all over the place in their writing and at least over time have fully transcended that initial locked description. And, yes, ‘My Life’ is an excellent entry in any case. ** Steeqhen, Cigarettes and coffee for me. And maybe Melatonin. Sorry about your need to withdraw from that person, but I feel pretty sure your instincts must be correct. No Pancake Day here, or in the US, I don’t think. I wish I’d known. But I guess I can declare today Pancake Day, what’s stopping me. Thanks ever so much for your ministrations on behalf of the film. ** Thom, I would say it’s pretty killer, yes. What exciting thoughts you’re having about your short story. And the premise is beautiful. I love hearing about writers’ mental machinations whilst trying to ace a tricky formal or stylistic move. Big process junkie here. I’d ask you how you’re thinking you’ll do that, but I know as someone who has that kind of ambition for my writing, that it’s hard if not impossible to describe. But feel free to try, if you like. Two jobs and writing, that’s … well, it’s great that you can think so fully about your writing with those brackets. Thank you a lot for letting me in on that. ** kenley, I’ll even eat horrid frozen microwave mozzarella sticks with a satisfied smile. Stephen’s great. He lives in Paris. New Sunn0))) album coming any minute now. I have to say that theater or conventional theater/plays is really not a genre I enjoy very much at all. Performance art and avant-garde theater stuff I’m totally down for. But plays with all that acting and need to suspend belief via sets and light and stuff, nah. Or rarely. I can’t really think of a play I really like. Well, Beckett is great. ‘Three Penny Opera’ is incredible. Let me know if it ends up exciting you or something. ** HaRpEr //, ‘My Life’ is really, really good. Worth the read. I used to use poetry to explore my emotions, not my fiction very much. Except for ‘I Wished’ obviously. I wonder if the reason I stopped writing poetry is because my heart is dead or something. The publishing world is vast and contains venues and editorial tastes of all kinds. I wouldn’t let yourself lock that arena down as an impossibility if you can. It can just be complicated and time consuming to negotiate. ** Laura, Hey, Laura. Even if you never end up getting the lil award, you’ll still get it before I do. Curious pseudonym. Very hopeful, nice. I haven’t said yes to the reading. I don’t like doing readings very much so I might decline. Still thinking. As I sort of said to Ben up above, I personally think at this point in time it’s more valuable to think of the writers who were lumped together under the Language title as just writers because their work has dispersed to the degree that I don’t think that seeing them as examples of that tag’s definition is useful or fair to their work. I mean from Hejinian to Bernstein to Howe to Armantrout to … on and on, there are all kinds of things going on there. But I have a hard time with generalisations in general. Well, script happiness is reserved for, first, if Zac is okay with it, and, two, if a producer is okay wth it. The happiness is incremental. ** Okay. I’ve brought back an old Day about the exciting and enigmatic experiential filmmaker Owen Land, and I hope you will give it a shot. See you tomorrow.