DC's

The blog of author Dennis Cooper

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dc’s 5th annual xmas poetry scroll: ashbery, britton, green, tate, koestenbaum, denby, christie, berrigan, armantrout, crawford, spicer, padgett, mirov, boyle, creeley, gluck, wieners, killian, partrik, salier, schuyler, koertge, lin, myles, o’hara, madsen, young, berkson, brainard, coolidge, bukowski, gerstler

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Redeemed Area
by John Ashbery

Do you know where you live? Probably.

Abner is getting too old to drive but won’t admit it.

The other day he got in his car to go buy some cough drops

of a kind they don’t make anymore. And the drugstore

has been incorporated into a mall about seven miles away

with only about half the stores rented. There are three

other malls within a four-mile area. All the houses

are owned by the same guy, who’s been renting

them out to college students for years, so they are virtually uninhabitable.

A smell of vitriol and socks pervades the area

like an open sewer in a souk. Anyway the cough drops

(a new brand) tasted pretty good-like catnip

or an orange slice that has lain on a girl’s behind.

That’s the electrician calling now

nobody else would call before 7 A.M. Now we’ll have some

electricity in the place. I’ll start by plugging in

the Christmas tree lights. They were what made the whole thing

go up in sparks the last time. Next, the light

by the dictionary stand, so I can look some words up.

Then probably the toaster. A nice slice

of toast would really hit the spot now. I’m afraid it’s all over

between us, though. Make nice, like you really cared,

I’ll change my chemise, and we can dance around the room

like demented dogs, eager for a handout or they don’t

know what. Gradually, everything will return to normal, I

promise you that. There’ll be things for you to write about

in your diary, a fur coat for me, a lavish shoe tree for that other.

Make that two slices. I can see you only through a vegetal murk

not unlike coral, if it were semi-liquid, or a transparent milkshake.

I have adjusted the lamp;

morning’s at seven,

the tarnish has fallen from the metallic embroidery, the walls have fallen,

the country’s pulse is racing. Parents are weeping,

the schools have closed.

All the fuss has put me in a good mood,

O great sun.

 

Santa
by Donald Britton

Santa is the incomplete
Embodiment of our charity. Poor Santa,
His many bodies minted
Of human waste, his voice the choir
Of his own need. I feel so empty,
By myself, whispering my lists
In Santa’s spiral ear, while he lists
Slightly to one side like skeet
Propelled into the air by a device
No human hand has touched, so obsolete
Is effort when a dime skims ice.
Emit a cry for every useless thing:
Abundant padding so contrived
No one of us shall feel deprived.

 

Ranting
by Megan Green

ranting, pathetic insecurities, overwhelm the Christmas tree, and you promise
me a utopia, a sort of subsequential America,
where we’ll fuck & eat & play the craps, Las
Vegas is the only place it’ll happen, &
yet the nameless, intrude like a swarm of fucking locusts
feasting upon the Satin drape of my finest
face, I believe your chest most of all, that’s where
the dragon begins, & the sigh
spills from my eyes. Dead petals favour the corners. Gathering
like they have plans.

 

Making the Best of the Holidays
by James Tate

Justine called on Christmas day to say she
was thinking of killing herself. I said, “We’re
in the middle of opening presents, Justine. Could
you possibly call back later, that is, if you’re
still alive.” She was furious with me and called
me all sorts of names which I refuse to dignify
by repeating them. I hung up on her and returned
to the joyful task of opening presents. Everyone
seemed delighted with what they got, and that
definitely included me. I placed a few more logs
on the fire, and then the phone rang again. This
time it was Hugh and he had just taken all of his
pills and washed them down with a quart of gin.
“Sleep it off, Hugh,” I said, “I can barely under-
stand you, you’re slurring so badly. Call me
tomorrow, Hugh, and Merry Christmas.” The roast
in the oven smelled delicious. The kids were playing
with their new toys. Loni was giving me a big
Christmas kiss when the phone rang again. It was
Debbie. “I hate you,” she said. “You’re the most
disgusting human being on the planet.” “You’re
absolutely right,” I said, “and I’ve always been
aware of this. Nonetheless, Merry Christmas, Debbie.”
Halfway through dinner the phone rang again, but
this time Loni answered it. When she came back
to the table she looked pale. “Who was it?” I
asked. “It was my mother,” she said. “And what
did she say?” I asked. “She said she wasn’t my
mother,” she said.

 

[older I get]
by Wayne Koestenbaum

older I get, more serious I become
—-about wearing
—-makeup and wig.
caftan, too. always interested in a rub, kind sir:
—-love yr eyebrows.
—-admittedly, my pix
—-disguise age.
mix turquoise, king’s blue, bluish purple: impose mix
—-on passive quinacridone
—-violet’s impersonality.
try to figure out how clearly delineated
—-“subject positions” find
—-angles of mutual
—-pleasurable engagement without
—-destroying each other.

Joan Rivers baking Xmas cookies seen sideways
—-through tunnel window’s
—-mirror lake Simi-
—-lac® simulacrum.
“this administration is the worst thing to happen
—-to orange since
—-Agent Orange,” quips pundit.
every novel I love is fragile. red stars
—-on black duffel bag
—-triangulate with
—-Lynn Redgrave’s in-
—-dependent sources of self-
—-esteem, not harvested from Lear.
wrongly seeking sublimity in barn-roof gutter crevice.

lucent ceiling corrugations a dauphinois
—-potato when his Pompeii
—-gaze claims me, then disappears.
kouros-carved lips, stone lingerie, scandal
—-pudding: congregated
—-shames comprise a menu.
hives on my calves, awaiting Purim-Benadryl’s
—-alleviation: sob-collapse
—-throws ash on coffin
—-lowered: crowded town
—-car back from cemetery
—-to capers, cream cheese.

abstract expressionism is what happened at the hospital:
—-fools disputing climate
—-change, Tiffany
—-blue establishing shot’s
—-concentrated inattention.
“I’m glad you gave up the figure,” she said:
—-but I haven’t
—-stopped pursuing nudes.
to be the dread golem, aloof in Prague, boning
—-up on feuilletonisme,
—-Eton pea-coat toggles
—-unclasping gelt-Jocasta.

 

Sonnet 8
by Edwin Denby

Three old sheepherders so filthy in their ways
Whores wouldn’t touch them with a ten foot pole
Saw once the Christmas star which in a blaze
Pierced like delight into the secret soul.

They later also stood with their same faces
Around a baby male and there were shown
The heart caressing with millennial graces
A beauty which in love is all its own.

These three were the first according to the story
But unbaptized they never will reach heaven
In an eternal hell tortured and gory
They can recall the joy that they were given,

This savage torture by the law of love
Of Christmas shepherds I like thinking of.

 

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I’ll Be Me and You Be Goethe
by Heather Christie

I want it to be winter and I want to change
the color of this room This room should be
a blue room and it should be freezing
but ventilated and I in my medium snowsuit
irresistible I know because everything I do
I do to get more beautiful so you will want
to love me in the cold and indoor morning

 

What I’d Like For Christmas, 1970
by Ted Berrigan

Black brothers to get happy
The Puerto Ricans to say hello
The old folks to take it easy &
as it comes
The United States to get straight
Power to butt out
Money to fuck off
Business with honor
Religion
& Art
Love
A home
A typewriter
A GUN.

 

Advent
by Rae Armantrout

In front of the craft shop,
a small nativity,
mother, baby, sheep
made of white
and blue balloons.

*

Sky
god
girl.

Pick out the one
that doesn’t belong.

*

Some thing

close to nothing
flat
from which,

fatherless,
everything has come.

 

Look at My Head, It’s a Pumpkin with a Candle in It
by Keegan Crawford

What is on your bed right now?
I laid there for fifteen minutes with my face down into the pillow.
I imagined how I looked from another person’s point of view
and I looked dead, in a humorous way.
What is your favorite holiday?
The tree was fake and everyone was acting like the tree.
If you could go anywhere in the world, where would you go?
The drop was five stories, so I didn’t look down. I just looked forward.
Have you ever been camping?
I don’t know why people are scared of wolves. ‘Blood thirsty killing machine’ is a false phrase. They are not robots and they drink water.
What was the last thing you ate?
I am not a blood thirsty killing machine. I just wanted to clarify that.
Do you have any regrets?
Flowers die 100% percent of the time. I still like flowers, though.

 

Psychoanalysis: An Elegy (Excerpt)
by Jack Spicer

I think that I would like to write a poem that is slow as a summer
As slow getting started
As 4th of July somewhere around the middle of the second stanza
After a lot of unusual rain
California seems long in the summer.
I would like to write a poem as long as California
And as slow as a summer.
Do you get me, Doctor? It would have to be as slow
As the very tip of summer.
As slow as the summer seems
On a hot day drinking beer outside Riverside
Or standing in the middle of a white-hot road
Between Bakersfield and Hell
Waiting for Santa Claus.

 

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Season’s Greetings
by Ron Padgett

The holidays are said
to give one a chance
to get in touch with others
but what held back that chance
the rest of the year?
What it means is
that the holidays are a time
when we should behave
like other people, as if
in junior high school,
jury duty, or the Army,
whereas what Philip Whalen
wanted was to take a holiday
from holidays, and then
he wavered, beautifully.

 

Kage’s First Xmas
by Ben Mirov

I am thinking of him and her having sex. I am thinking of them having really great sex, probably in front of a mirror. I am alone in the house. The TV is on, but everyone is asleep. I am about to turn twenty-one. When I turn twenty-one I am going to put on snowshoes. I am going to put on snowshoes and walk as far as I can into the snow. Once I am out in the snow I am going to sit down. I will probably sit in the snow for a long time. I’ll bring a sandwich and some juice. When I return to the house it will be Xmas morning. I will take off my snowshoes and I will tell my family my new name. I will say, On advent of my twenty-first birthday I have taken a new name. Henceforth I shall be called Kage. Kage with a K and not a C. From now on I will only answer to the name Kage. Thank you very much, and then I will walk out of the room. Then I will probably take a shower because I will be cold from sitting in the snow. I will walk into the bathroom and take off all my clothes and look at my body in the mirror. I will probably flex a little. Kage likes his new body. Then I will take a long shower. I will wash every part of my body, including my asshole and my ears and toes. Every part of my body will be clean. Then I will get out of the shower and go have Xmas. I will open my presents and say, Kage does not want this. Kage has no use for a Playstation. Kage does wear sweaters.

 

untitled
by Megan Boyle

everything i touch is going to be a fossil some day my dad still hasn’t taken down his christmas decorations

i walked to his refrigerator and immediately unwrapped and ate a square of american cheese

if i drop a toothpick i’m pretty sure it will remain where it fell for three days

not sure what happens after that.

 

Xmas Poem: Bolinas
by Robert Creeley

All around
the snow
don’t fall.

Come Christmas
we’ll get high
and go find it.

 

Love Poem
by Louise Glück

There is always something to be made of pain.
Your mother knits.
She turns out scarves in every shade of red.
They were for Christmas, and they kept you warm
while she married over and over, taking you
along. How could it work,
when all those years she stored her widowed heart
as though the dead come back.
No wonder you are the way you are,
afraid of blood, your women
like one brick wall after another.

 

THE BLIND SEE ONLY THIS WORLD (A Christmas Card)
by John Wieners

Today the Lamb of God arrives in the mail
above the Cross, beside the Handsome Sailor
from Russia
in his turtleneck sweater. Today we make love
in our minds.
And women come to fore, winning the field.

It is Christmas, Hanukkah,–heritages we leave
behind
in israel.

There is a new cross in the wind, and it is our

minds, imagination, will

where the discovery is made

of how to pass the night, how to share the gift

of love, our bodies, which is true
illumination
of the present instant.

There is no other journey to make. We receive all
we need.

Without insight, we remain blind.
Without vision, we see only this world.

 

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All the Lovers
by Kevin Killian

Outside the Disney Concert Hall,
Kylie has summoned a clutch of cold models in white underwear,

They clamber on white boxes pitching for the sky

Somehow she appears in a dream sequence,

Boys and girls kiss and poke and struggle for love

In California, where the major candidates for governor and senator
live the lavish lives of Roman emperors,

Carly Fiorina, like Nero, bought a violin
for everyone on her Christmas list, from Cremona,

her wood golden and thin as hair,

81 per cent of voters don’t care how wealthy a
candidate is

You have to be rich to flourish

What came first, the wifebeater or the social system
that allowed ever and ever more flourish

In the face of a liverish social despair
all the lovers who have gone before

they don’t compare to you

 

i am a big dumbass bear on christmas morning
by partrik

holy shit a house

im gonna look inside the fucking window

who the fuck is this dumbass family in this house

if i wanted to i could bust in there and eat every one of these fuckers

look at this little fucker opening a present

oh look its a fire truck big deal ass monkey

when are these shit hats gonna fucking notice the bear at their window

hey bitch you forgot to look in your stocking

there you go

lol bubba wubba and chocolate give her a fucking toothbrush mom and dad

when are they gonna see me and chase me away

damn thats a lot of wrapping paper

lol that kitten is playing in it what a retard

oh shit they see me

“im not gonna hurt you or eat you”

but it sounds like “roar roar roar” to them cause im a big dumbass fucking bear

dad thats a big ass gun

dont shoot me think of all the fun times

like when watched your lovely family open presents on christmas

oh shit he took a warning shot im gonna run away

there is no presents under any of the trees of the woods of the world for me

why arent i hibernating

 

in a string of christmas lights that is blinking all year long
by Diana Salier

for christmas i get a new magic set and a big plastic stealth bomber that opens up and holds fifty little metal stealth bombers. i wear footie pajamas that zip all the way to my neck. the big plastic stealth bomber has a runway to practice takeoffs and landings. i sit on the carpet in my onesie and make the grey and green stealth bombers crash into each other so that all the pilots inside will die. i can’t finish card tricks or make the red balls disappear so i wear my black felt magician’s hat and walk around pulling rabbits out of things. i drive to my first girlfriend’s house. we drink wine and leave the bottles in the door of her parents’ car. on the way back to my house i text her all i want for christmas is you. at home a string of christmas lights blinks erratically. i fall asleep clearing the rubble off the runway.

 

December
by James Schuyler

The giant Norway spruce from Podunk, its lower branches bound,
this morning was reared into place at Rockefeller Center.
I thought I saw a cold blue dusty light sough in its boughs
the way other years the wind thrashing at the giant ornaments
recalled other years and Christmas trees more homey.
Each December! I always think I hate “the over-commercialized event”
and then bells ring, or tiny light bulbs wink above the entrance
to Bonwit Teller or Katherine going on five wants to look at all
the empty sample gift-wrapped boxes up Fifth Avenue in swank shops
and how can I help falling in love? A calm secret exultation
of the spirit that tastes like Sealtest eggnog, made from milk solids,
Vanillin, artificial rum flavoring; a milky impulse to kiss and be friends
It’s like what George and I were talking about, the East West
Coast divide: Californians need to do a thing to enjoy it.
A smile in the street may be loads! you don’t have to undress everybody.
“You didn’t visit the Alps?”
“No, but I saw from the train they were black
and streaked with snow.”
Having and giving but also catching glimpses
hints that are revelations: to have been so happy is a promise
and if it isn’t kept that doesn’t matter. It may snow
falling softly on lashes of eyes you love and a cold cheek
grow warm next to your own in hushed dark familial December.

 

Molly Is Asked
by Ron Koertge

to be in the Christmas pageant. She tells
me this standing in the door of what we
laughingly call my study.

“But I don’t want to be Mary,” she says.
“I want to be the guy.”

That makes me look up from my bills.
“Joseph?”

“The innkeeper. I want to slam the door
in Joseph’s face.”

She’s eight. I wonder if we’ll look back
on this next year and laugh. Or will she
want to be Herod and we’ll have to take
her little brother and flee.

 

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That night with the green sky
by Tao Lin

It was snowing and you were kind of beautiful
We were in the city and every time I looked up
Someone was leaning out a window, staring at me

I could tell you liked me a lot or maybe even loved me
But you kept walking at this strange speed
You kept going in angles and it was confusing me

I think maybe you were thinking that you’d make me disappear
By walking at strange speeds and in a strange, curvy way
But how would that cause me to vanish from the planet Earth?

And that hurts
Why did you want me gone?
That hurts
Why?
Why?
I don’t know
Some things can’t be explained, I guess
The sky, for example, was green that night

 

“Shhh”
by Eileen Myles

I don’t think
I can’t afford the time to not sit right down &
write a poem about the heavy lidded
white rose I hold in my hand
I think of snow
a winter night in Boston, drunken waitress
stumble on a bus that careens through
Somerville the end of the line
where I was born, an old man
shaking me. He could’ve been my dad
You need a ride? Wait, he said.
This flower is so heavy in my hand.
He drove me home in his old blue
Dodge, a thermos next to me
cigarette packs on the dash
so quiet like Boston is quiet
Boston in the snow. It’s New York
plates are clattering on St. Mark’s
Place. Should I call you?
Can I go home now
& work with this undelivered
message in my fingertips
It’s Summer.
I love you.
I’m surrounded by snow.

 

Music
by Frank O’Hara

If I rest for a moment near The Equestrian
pausing for a liver sausage sandwich in the Mayflower Shoppe,
that angel seems to be leading the horse into Bergdorf’s
and I am naked as a table cloth, my nerves humming.
Close to the fear of war and the stars which have disappeared.
I have in my hands only 35¢, it’s so meaningless to eat!
and gusts of water spray over the basins of leaves
like the hammers of a glass pianoforte. If I seem to you
to have lavender lips under the leaves of the world,
I must tighten my belt.
It’s like a locomotive on the march, the season
of distress and clarity
and my door is open to the evenings of midwinter’s
lightly falling snow over the newspapers.
Clasp me in your handkerchief like a tear, trumpet
of early afternoon! in the foggy autumn.
As they’re putting, up the Christmas trees on Park Avenue
I shall see my daydreams walking by with dogs in blankets,
put to some use before all those coloured lights come on!
But no more fountains and no more rain,
and the stores stay open terribly late.

 

on sunday we took the train to the city and we each went home for one night and i saw my parents and my bedroom and my cat and you saw your ex boyfriend and his parents and his bedroom and his dog and when i called you i heard you ask me to go back to sleep and i said is everything okay and you told me to please go back to sleep
by Spencer Madsen

not sure if you
ever told me how
you felt about
christmas lights

i said i’d wrap them around our room
and put popcorn in your mouth

a few weeks ago i
walked onto a street
and sat prepared

lets
sleep like two hands
caught
in each other’s fingers

lets be demonstrative
of that image
in an earnest way
lets forget i wrote it down
or else it won’t feel genuine

yesterday i googled:
homemade fleshlight

 

vintage santa claus merry christmas animation animations animated gif gifs smilie smiley smilies smileys photo: Vintage Santa Claus Merry Christmas animation animations animated gif gifs smilie smiley smilies smileys VintageXmas04.gif

 

Is This a Poem For the Year 2219?
by Mike Young

Yes, this is a poem for the year 2219
about the fact my bathroom is above
my neighbors’ bedroom, and I sing
Roy Orbison songs at immaculate volumes
during my routines, which is partly my love
of song and partly my obsession with the idea
of audience. Dear 2219, a bathroom is a private
chlorinated water repository filled with hair gel
and other methods of impression insurance,
like sleeping pills. Neighbors are people who
lock the downstairs door just because some
random bro started fingerpainting their door-
bell Sunday night. Oops, he said. You’re not my
parents. Neighbors leave notes asking you to park
considerately and curbside boxes of giveaway bins
to judge them by. In bedrooms, 2219, what you do is
sniff a cowboy shirt you’ve plucked off the floor to see
if it’s okay to wear for teaching the kids I guess you call
First Moroccan Restauranteer in Space and Single Season
Small Needle Home Run Record Holder. You leave the mandarin
peels on your bed after having awesome sex with your girlfriend
but throw them away when she leaves for work. In 2219, you may
instead want to rub the peels all over your chest. If so, history
repeats itself. Golly. Singing is a method of generating inside
you a logging road, dawn-ish, swards of sugar beets, after driving
all night, knowing it’s about to rain but it’s not raining yet, thanks
sky! Singing may also be catalogued as Christmas underwater
and hiking slowly along the railroad ties with the best candy bar
but no home. For the sub-category of song known as Roy Orbison,
ditch your footnotes, 2219! 1936-1988, popular for soaring R&B;
and indoor sunglasses: that’s not Roy Orbison! Roy Orbison is a
naked knee so lovely you’d cry if you weren’t afraid of the knee
getting wet. Other things you need to know, 2219: I am afraid of
everything. We would rake the stars into piles to say what’s after
us. Happiness without certain phone calls is impossible. Your father
will die. Last Christmas, I ran into my friend Reggie at the cineplex.
His kid was cute. Me and my other friend were making fun of the movie
Reggie wanted to see. Reggie and I cussed together for the first time I can
remember, but I think we’re made of different smoke. 2219, I might be
above you or something. But I’m probably just below you. I take so many
multivitamins. Sometimes I try to make sure the best songs in my iTunes
have the most plays, but I don’t know why. Carolyn’s a better singer than
I am, and Dorothy told me that when I sing Bridge Over Troubled Water
it sounds like I’m falling apart. Is that a good thing? Wouldn’t it be more
considerate to just spend my time recycling cartons of apple cider for
you, 2219? Instead I carry a pillowcase full of laundry to the laundromat
and try to memorize my life enough to remember my life. I walk streets
named after people too dead to meet and try to sing loud enough to get
stuck in strangers’ heads. Carolyn and I go down on each other to hear the
other make their sounds. One time I saw my downstairs neighbor in a
line, and she smiled, waved at me. I couldn’t remember who she was.
She left her place to come talk. Then I remembered. 2219, they just
found water on the moon. Your love will only count before it’s gone.

 

Christmas Eve
by Bill Berkson

for Vincent Warren

Behind the black water tower

under the grey
of the sky that feeds it
smoke speeds to where a pigeon
spreads its wings

This is no great feat
Cold pushes out its lust
We walk we drink we cast
our giggling insults

Would you please
leave the $2.50 you owe me
I would rather not talk about it
just now           Money bores me I would like
to visit someone who will stay
in bed all day           A forest is rising
imperceptibly in my head
not a civilized park

I think it would be nice this “new
moral odor” no it would not mean
“everything marching to its tomb”
The water tower
watches over us           Is there someone
you would like to invite           no one.

 

from I Remember
by Joe Brainard

I remember Christmas tree lights reflected on the ceiling.

I remember Christmas cards arriving from people my parents forgot to send cards to.

I remember mistletoe.

I remember Christmas carols. And car lots.

I remember Aunt Cleora who lived in Hollywood. Every year for Christmas she sent my brother and me a joint present of one book.

 

Connie’s Scared
by Clark Coolidge

The wind came up, the radishes died and
the peelings continued. No one could be
more hostile than a species enclosed in
a chimney for a century or so they told me.
The lighter fluid on the other hand might warm
your nails. We deserve overtime
for dealing daily with these mistreated burdens.
The milkweed pods for no reason in the world
we could see ignited and the frog is loose.
The mail at last arrived but you had better
proceed to lick your envelopes more heartily
as they all came empty. No one exactly states
but everybody thinks the whole world level
has been lowered and continues. If the flame
goes out the food will spoil, remember?

Then there is the problem of the stray moose
to be seen from the road or better not, bring
apples, take pictures, but the village idiot
had his son throw rocks. The later thunder
around the sleeping household was a mere
five minutes herd of cows. And Rip Rowan thought that
thunder was produced by two crickets banging
garbage cans together. Tomorrow the snow will
be higher and the school fail to attract. I pay
for entrance to this life by my exit, can’t wait
each morning to treat of impossible questions and
have never been depressed. Makes you wonder,
all these seacows spitting on their tails,
flashing lights on the spaceride and even in my dreams.
Claimed I awoke from the fight I couldn’t win.
Chained my warts to a snowcone.

Across the street are many stray dogs but whose
fault are the cats. Something terrible’s going on
in the woods the rabbit is screaming, the cat
distinctly calling your name, nothing that can’t
be solved with golf club and pistol empty. Lock
your house when you leave for the auto. The company
that brought you pasteboard frowns on too many
fallen trees. Check your son’s teeth when he eats
or he’ll end a blimp. A crib death when a baby’s
network lapses mid-breath. The television not collapse
but slowly burn out. And that cooking by radar might cost
you a few meals. There goes another roast beast.

The adult book human gunned down as he left. Seems
the nature of crime to go unsolved, covered up,
never caught. Sal Mineo, for one. If so, wouldn’t
you want your kids to stop it. A gay couple hated
for their foul language not their sex. But the fat weather
woman terminated as a lesbian. Stamp out discomfort
and lift a heel for bliss. Heaven more attractive
now that harps are out of style. One arm in a sling
and the other in a bear. At the loss of life and
limb remain cool. Their son last seen chewed by
croc in pool of steam.

There is no longer any Florida and Christmas nowhere.
The men removed our home sometime lastnite while
we shook. Asked me how I felt and what he could do
with his mike. All my girlfriends have been raped,
some in basements, some by families. Even in the movies
they don’t know they can complain. Reels mixed, eyesight
tearing. Heard they’ve even left the lights on in space.
The dawning hastes and subsequent vagueries.
Never a morning wake but I congeal.

 

Some kind of nut
by Charles Bukowski

the best Christmas I can remember
I was in a tiny room in
Philadelphia
and I pulled down all the
shades
and went to bed
and pulled up the
covers.

there was no telephone.
there were no Christmas cards.
there was no family.
there were no gifts

and I believe that I felt better
than anybody in that
city
and almost anybody
in any of the
cities.

and I celebrated New Year’s
Eve in the same
manner.

 

A Severe Lack of Holiday Spirit
by Amy Gerstler

I dread the icy white concussion
of winter. Each snowfall demands
panic, like a kidnapper’s hand
clapped over my chapped mouth.
Ice noms everywhere, a plague
of glass. Christmas ornaments’
sickly tinkle makes my molars ache.
One pities the anemic sun
come January. Trees go skeletal.
Children born in the chilly months
are apt to stammer. People hit
the sauce in a big way all winter.
Amidst blizzards they wrestle
unsuccessfully with the dark comedy
of their lives, laughter trapped
in their frigid gizzards. Meanwhile,
the mercury just plummets,
like a migrating duck blasted
out of the sky by some hunter
in a cap with fur earflaps.

 

On his reluctance to take down the Christmas ornaments
by John Ashbery

A nice, normal morning:
feet setting out as though in a trance,
doubling the yesterdays, a doubled man
under the stairs, and strange surrealist fish
from so much disappearance, damaged in the mail.

Or the spry cutting edge of another day.
Here, we have these in
sizes and colors —
day goes fluttering by.

Like ivy behind a chimney
it grows and grows in ropes.
Mouse teams unsay it,
yeoman can’t hear yet.

A shadow purling,
up into the sky.
Silence in the vandalised vomitorium.

It’s great that you can be here too.
Passivity rests its case.

 

giphy

 

 

*

p.s. Hey. ** Dominik, Hi!!! I’ll share my Chucky mask with you if you like. I think you’re right that people just take advantage of politeness, or mine, at least. But I’m sadly very unskilled at being an asshole. Sigh. Tell love I’m going back to bed as soon as I finish the p.s. Love keeping the buche I’m picking up at 1 pm remain in one impeccable piece as I transport it across Paris to the buche eating location, G. ** Misanthrope, We’re coming out of a super cold spell. Now it’s ‘warmer’ but constantly raining. You can’t win. Nice. As you know, I have to wear organic clothes, so my wardrobe is dull as dishwater. A bit unfair to lovely dishwater, that saying. Xmas break! Max it out maximally! ** Ted Rees, Hi, Ted! Happiest holidays, man! You, a perv? Perish the thought! Well, naturally your book was in my list, I’m not crazy. Yes, I met Joseph and finally went PSB on my last LA jaunt. Zac and I are going to be shuttling back and forth between Paris and LA a ton until we finish shooting our new film there in April, and I’ll probably use that as an excuse to go through NYC at some point. I’ll let you know. It’d be so awesome to see you. And come to Paris! Love, me. ** Nick Hudson, Whoa, Nick! Long, long time no speak! How cool! I heard through the grapevine that you’re residing in Georgia. That’s amazing and fascinating, obviously. How’s that affecting your work, if at all? I’m good. No, I do Xmas here, but Zac and I will head to LA soon thereafter. We’re shooting our new film there. Xmas of Xmases to you! Love from the supposed city of love. ** CAUTIVOS, I think you will find ‘EEE’ well worth your time. Other than eating a Buche de Noel this afternoon, my Xmas will be basically like any other day, just with closed stores. I guess eating a Buche is abusing food. Otherwise, nah. I’m vegan/vegetarian so it’s hard to go to food crazy. It used to snow here, but nowadays it doesn’t, or maybe it snows pitifully for an hour once all winter if we’re lucky. It’s sad. Hugs to you. ** Charalampos Tzanakis, My pleasure, sir. I need a phrase of the day. I’ll try to think one up. ** Jack Skelley, Whoop, whoop, and another whoop! You simply must read ‘EEE’. It seems imperative or something. I know (of) a writer named Nersessian, but he’s not a Keats scholar. Two writers with that name. Who’d have thunk. I have not only heard of Last Estate blog, I have actually read it on occasion! It’s good! Congrats (to them)! I like rain, but enough is enough, so those Teletubbies are welcome with wide open arms. Love without an earthquake attached, me. ** _Black_Acrylic, Only you can decide if your submissiveness can be triggered by Mr. Guyotat’s scandalous tome. ** Steve Erickson, Everyone, Mr. Erickson has reviewed Paul Gorman’s book TOTALLY WIRED: THE RISE AND FALL OF THE MUSIC PRESS for Trouser Press here. We were down in those temperatures for a week. Bundle up, you’ll be fine. That’s a long time to be hospitalised. That’s rough, so sorry. ** Jamie, Hey, J-man! I’m good enough. You? Yes, I mourn the murder of Z-Library continually, both for my own personal loss and because of how very helpful it was to making blog posts. Yeah, it’s film film all the time, but we’re progressing. I would say if your writing project is freaking you out that is quite possibly the best sign any writer could ever receive. Based on me and mine. So … congrats! If you want to see an amazing Akerman film with tons of period Brussels depicted, try to see her short (hour long) TV movie ‘Portrait d’une jeune fille de la fin des années 60 à Bruxelles’ (1994). It’s really, really great! I hope your Thursday is like an explosive device disguised as a Kit Kat bar. Duck and cover love, Dennis. ** l@rst, Chapbook reality! Yay! Everyone. Here’s the amazing l@rst with an amazing Xmas gift for y’all, so harken: ‘I wanted to share my latest chapbook, print copies are available in limited edition if anyone is interested, they can send a message to larstonovich @ gmail dot com !’ Happy happy to you! ** Jeff J, Hi. Someone asked Hedi, and I believe he said there is in fact some big rights issue with ‘EEE’ that’s preventing its reprinting. Obnoxious. I liked the Tricky/Hall thing quite a bit. I didn’t get into Colourfield so much at the time, but I want to retry them. See you soon! ** Meg Gluth, Hi, M! I really like your and Steven’s album. It filled my head with all kinds of unforeseen things. I don’t think it’s that easy to pull off the speak/sound crosshatch interestingly, and you guys really did. Big kudos! Oh, wow, I’ll go back and listen to the first track again knowing it’s a novel hint. Oooh. ** David, Hi! I do remember Bad Manners, yes. Ha ha, there is definitely some shit that’s been stolen from me that I would love to restock in my abode, thank you. Greatly enjoy the family shebang and whatever today hands you. ** Okay. This is the annual day when my blog makes its biggest concession to the spirit of Xmas. See you tomorrow.

Spotlight on … Pierre Guyotat Eden Eden Eden (1970) *

* (restored)

 

‘France’s most controversial living writer is virtually unknown in this country, thanks to difficulties in translating his extremist oeuvre – extreme in style and in content. Pierre Guyotat is the uncompromising heir of De Sade, Artaud and Genet. He writes violent and pornographic books in his own invented language. Edmund White has called him “the last great avant-garde visionary of our century.” Roland Barthes wrote an introduction to one of his books Eden Eden Eden – a work of which Michel Foucault remarked: “I have never read anything like it in any stream of literature”, praising its “startling innovation”. It has been labelled pornographic, a charge that Guyotat revels in. “Pornography is certainly more beautiful than eroticism,” he observes. “Eroticism is ugly. Eroticism is an ideology… there is nothing more boring than eroticism, it’s worse than poetry, even. I say three cheers for pornography.”

‘Born in 1940 in a small town in a mountainous area of France near Lyons, the son of a doctor, Guyotat joined the army while still a teenager and served in Algeria while that country fought France for independence. Guyotat instinctively found himself more sympathetic to the Algerians (one can see a similarity with Genet and Rimbaud here), and incited the Algerian conscripts to desert. After getting involved in brawls with officers, he was arrested by the military police and interrogated for 10 days before being thrown into an earth pit beneath the army kitchens where he lived in semi darkness for three months in constant fear of his life. “They threw me scraps of food, refuse,” he recalls, “not fit for a dog.” He managed to write on a piece of paper which he kept hidden from his captors. The link with De Sade, scribbling away in the Bastille, is unavoidable.

‘Drawing partly on his experiences as a soldier, Guyotat has set many of his celebrated avant-garde novels in hallucinatory north African war zones. Soldiers rape and pillage. Bereft of narrative, and using short rhythmic phrases, he detonates sex as bestial act of power, and piles on atrocity after atrocity. With all the eidetic and visionary power of Rimbaud’s illuminations, he burns images of war into the retina. War is a monstrously glorified exchange of fluids and solids.

‘”War is a situation in which one is totally insecure – sexually insecure as well as afraid for one’s life,” he has said. Imagine if De Sade had written about Vietnam after fighting in it, and you will get some idea of Guyotat’s cultural significance for the French – both reviled and adored in equal measure.

‘The British academic and biographer of Artaud, Stephen Barber, remarks of Eden Eden Eden: “It stinks of sperm and killing.” It’s a novel that has become legendary in its own time. Originally published in 1970, it was immediately banned by the French government until President Mitterrand personally intervened in 1981. That’s also the year Guyotat famously nearly wrote himself to death; he was so absorbed in the completion of an intractable work that he forgot to eat properly and ended up being rushed to hospital in a coma. “I was mad,” he says. “And at the same time I was living in a camper van. I was driving and hallucinating and getting into very extreme situations. Once I got into a fight on a road near Marseilles, and my attacker threw me off a cliff into the sea. I was covered in blood and so weak it took me a day to climb back up to my van.”

‘Guyotat has been described as a hermit. He has always lived in some poverty, at one time in a grim block of flats in the southern suburbs of Paris, living only on his small royalties and occasional fees from the Pompidou Centre where he goes every few years to deliver long extemporisations in the form of performance art (one photograph shows a naked man and piles of meat on a cart). Edmund White describes meeting him in his book Sketches from Memory. White says: “He has a powerful hieratic appearance and you feel you are in the presence of a priest of Baal – or perhaps he is Baal. He’s stark raving mad but a very gifted writer who staked out the extreme limits of how far you can go.”

‘Like many Anglo-Saxons, White betrays an amused and slightly baffled interest in the French passion for the avant-garde. He describes Guyotat as stealing food from his plate at a dinner party, and how he fell asleep in one of Guyotat’s two-hour improvisations. “In his language every other word sounded like `testicles’, for some reason.”

‘As a biographer of Genet, White was intrigued by the Guyotat phenomena. He recalls asking a doctorate student about Guyotat’s sexual proclivities. “She said his sexuality did not involve other living creatures.”

‘I presumed Guyotat would reject labels about sexuality and I was right. At first he was evasive: “to be homosexual, to be anti-sex, pro-sex – “to be” something does not exist.” Yes, I asked, but do you prefer men or women? He laughed and finally relented. “I like both – it’s very clear – and it’s very difficult to like both sexes, it pulls you apart.”

‘He has very little time for sex; for Guyotat work is sex, and not just in the conventional “creation as sex”. Guyotat is notorious for his habit of masturbating while he writes. The resulting soiled manuscripts are then shown in galleries as works of art. “Sex is the most relentless and powerful force in the world: it is all life, it is reality. It is not obscene.” I asked him about scenes in Eden Eden Eden set in an Algerian boy brothel. Had he visited such a place? He seemed a little shocked. “No, no I ‘ate them,” he growled while admitting he had been to female seraglios in the desert zones.

‘Like Rimbaud, who ended up as a gun runner and coffee trader in Ethiopia and Somalia, Guyotat is drawn by the desert. He talks of the Saharan wastes with all the tenderness of a lover; he particularly likes the intermediate landscapes between desert and pasture, the mountainous areas “that look like moonscapes but with beautifully coloured rocks” given a chance, he would happily live in Algeria (he listens to Algerian popular music with a passion). “But it’s impossible.” He has watched with horror the rise of fundamentalism in Africa. For him fundamentalism is rooted in an attack on the writer (Guyotat has been vocal in supporting Salman Rushdie from the “great gestures of beard and robe”). “Asserting the divine character of a text is an insult to the human writer of it – it erases him, makes him disappear. Fundamentalism is an attack on writing itself and all writers should see this.”

‘The British may laugh at Guyotat or be shocked by him. But his dedication to the idea of “being a writer” makes British literary preoccupations with Martin Amis’ teeth and Julian Barnes’ pool game seem quite banal. Though Guyotat’s preoccupations with remodelling the French language and dwelling on French colonial atrocities may not have quite the same reactive effect in this country, his power as a writer, even in translation, is deadly and pure.’ — Roger Clarke, The Independent

 

_____
Further

Pierre Guyotat @ Semiotext(e)
The Multiplying Hells of Pierre Guyotat
Pierre Guyotat @ goodreads
Pierre Guyotat interviewed @ purple MAGAZINE
The Literary Revolution of Pierre Guyotat
COMA: THE ART OF UNCONSCIOUSNESS
Pierre Guyotat’s Coma
Eden and Atrocity: Pierre Guyotat’s Algeria
Pierre Guyotat’s Formation: Childhood, Awakening and Self-Writing
Pierre Guyotat / « Je suis un musicien, je suis un alphabétiseur. »
Pierre Guyotat et le corps charnel de la parole
Pierre Guyotat : “Quand j’écris, j’ai toute la langue française avec moi dans l’oreille”
L’ENTHOUSIASME DES CORPS DE PIERRE GUYOTAT
Pierre Guyotat, 
une affaire dans l’affaire Littérature
Écrire en langue : langue nouvelle et subversion du français chez Pierre Guyotat
L’aventure du muttum : étude de la langue de Pierre Guyotat
LES MOTS RAYÉS DE PIERRE GUYOTAT
VIVRE, PIERRE GUYOTAT
À propos de Pierre Guyotat
Pierre Guyotat, ovni littéraire ou pure provocation?
L’imaginaire historique : Pierre Guyotat / La Fabrique de l’Histoire
Buy ‘Eden Eden Eden’

 

_____________
Manuscript pages

‘I wrote the first canto once I finished the book at the end of December 1965. I was certain of having “given it all”, but, as far as my literary survival was concerned, and the survival of my manuscripts, I did not pay that much attention to it. I have a deep rejection of suppression: one could think that I wanted to keep the crossed text readable. For any human work, we are to keep a trace, a shadow: that is the palimpsest. I also find that restful to write on something already written, to write on the old version; but without any notion of conserving the manuscript.’ — Pierre Guyotat

 

_____
Extras


Cours Pierre Guyotat


Cocktail Hour Reading: Pierre Guyotat


PIERRE GUYOTAT : Joyeux animaux de la misère


pierre guyotat interview

 

________
Homage to Pierre Guyotat’s Eden, Eden, Eden on its 50th Anniversary
by Alexandre Stipanovich

Donatien Grau is faithful to his idols. Pierre Guyotat is one of them. In 2016, Donatien realized the exhibition “Pierre Guyotat: The Matter of Our Works” in collaboration with Galerie Azzedine Alaïa. Four years later, and following Guyotat’s death last February, his fascination is more alive than ever: because September 9, 2020, marks the fiftieth anniversary of the writer’s groundbreaking book Eden, Eden, Eden, Grau has organized fifty celebratory readings and performances in various locations around the world (Los Angeles, Paris, Tbilisi, Lusanga, Dakar, Chicago, etc.). For a book censored at birth, Grau’s challenge was to find a way to manifest Guyotat’s epic vision in a colossal way today, to restore the legacy of the book, and to break free from obscurantism.

Alexandre Stipanovich: What makes Pierre Guyotat’s Eden, Eden, Eden so important to you that you wanted to celebrate it with fifty readings in fifty different locations across the planet on September 9?
Donatien Grau: Eden, Eden, Eden is a visionary text. Pierre saw and gathered all the suffering, the oppression, and, at times, the joy of humankind. He did it fifty years ago, and Eden, Eden, Eden is as vibrant — arguably more vibrant now — than it was when it was published and then censored. Whether colonial oppression (Pierre was a soldier during the Algerian War, and he sided with the Algerians; a lot of Eden was first composed in Algeria), sexual fluidity, or the challenge of male domination, this text saw it all. It is a very extreme text, for sure, which marks extreme sexuality and brutality. It is one of the greatest epics ever written — perhaps one of the last ones. It is also a rich inspiration for artists. A couple of years ago, with Azzedine Alaïa, we organized the exhibition “Pierre Guyotat: The Matter of Our Works,” which provided the ground for the multiplicity of readings we are shaping today. Pierre changed art, and, as he passed away a few months ago, now is the time for art to manifest the life of Pierre Guyotat.
AS: Each location seems to propose a unique performance involving reading and dance, different translations and interpretations. How did you envision such a diverse celebration of a single text?
DG: As chairman of the Association Pierre Guyotat, I wanted every reading to be conceived by and with a partner. I and the board members of the Association Pierre Guyotat were present, but only as a resource: we provided information, background. With a few exceptions, in which I was personally involved alongside friends (in two cities dear to my heart, Paris for the full reading of the book, and LA, for the Instagram campaign at The Box), each partner conceived their own program with their own identity, their own ideas, their own politics as well. The diversity of the program reflects the diversity of Pierre’s impact in the world. Every venue was considered.
AS: What are the most breathtaking or surprising locations for this event and why: Los Angeles? Biskra? Dakar? Chicago?
DG: Every venue is a surprise. Tbilisi is extraordinary. So is Lusanga, in the Congo. But LA is too, or Saint-Julien-Molin-Molette, a mile away from where Pierre was born, where choreographer Emmanuelle Huynh will read and dance. It is quite amazing to have a partner in Biskra — really at the doors of the desert, in the location of the Touaregs, who speak Tamazig, the alphabet of the epigraph of the text, meaning “And now we are no longer slaves.” And then Rome, with a special sound display at Galleria Borghese. What can I say? More than the venue, it is the method of every partner that is exciting and unique.


Scholar Noura Wedell, philosopher Catherine Malabou, artist Paul McCarthy, and Donatien Grau discuss the life of writer Pierre Guyotat

 

_______
Interview
from BOMB

 

Noura Wedell You spoke about [your] practice in 1972, at the Artaud-Bataille conference organized by Philippe Sollers. (Your text, “Langage du corps,” was published in English in the Semiotext(e) Polysexuality issue of 1981.) In it, you explain how masturbation arose from the social fear of revealing your body as a producer of substances. The link between writing and masturbation had to do with understanding the embodied aspect of symbolic systems, the connection between body and language. It was a certain refusal of transcendence, as well as an experiment in the production of desire.

Pierre Guyotat Yes, and at the time, it took on a very exasperated form, probably because I was very far from home. I was also writing poems and prose without any carnal stimulation. Being in a foreign country increased the clandestine aspect of my practice; I was surrounded by people whom I barely knew. This raised both the stakes and risks of the game. It was also a time when I was torn between my desire for girls and my desire for boys, both desires full of adolescent tension and playful detachment. This was truly an internal rupture for me. I believe we all work with a fundamental rupture within ourselves. What is important is to dare to know, to accept and address it through artistic means. I did this fairly early on, and the north of England was one of the small theaters of my budding consciousness. There were still borders at the time in Europe, not to mention the great border between the Communist East and the so-called free West. It was probably fundamental that I be surrounded by a language other than the one I was used to in France, British English, which has very much changed since the war and postwar periods.

NW Language hadn’t yet become impoverished as purely communicational.

PG Yes, this is especially true of the language of television. At the time, the language on both sides of the English Channel was quite salacious and evocative. There was still a proletariat and a peasantry, and a very material language with regional distinctions. The language that was spoken in the north of England was very different from what was spoken in London, or in Kent. Even in France, in the north, people did not speak the same way as they did in Paris or in the south. There were different accents, different words and expressions.

The family I was living with had been friends of my family since the Resistance. We were staying along the North Sea, in a coastal village beneath a towering, powerful maritime fort, à la Walter Scott. I fell in love with a young French girl from Brittany who was living with a family from the neighborhood. At the same time, I was resisting the incessant solicitations of the son of my parents’ friends, a young blond boy, exhausted and exhausting, with whom I had a lot of fun. With the girl things were different, and I’ve never forgotten that young love. This book testifies to that, as it narrates and tries to explain that love.

France and England were also still empires with colonies. Both countries had just emerged from the war and were quite impoverished. The north of France had already been very impacted by the Great War, and the northeast of France had just been destroyed again. English cities had been heavily bombed. These are things we shouldn’t forget. And there were important social struggles, anti-colonial struggles, “rebellions” beginning or already underway in Kenya against England and in Algeria against France, among other places.

In addition to narrating this month spent in England, the book covers my return to France, to too-familial places. My internal split resumed there, and I began to translate it into writing. The text also describes other periods of my life through flashbacks; for example, the birth of my masturbation habit in a small rural boarding school just after World War II, and my first conflicts with my father, whom I greatly admired.

NW This moment in your adolescence was also a time in which you began to acknowledge your class situation.

PG Yes, and with it came the intensification of an awareness of social disparity that marks my entire work, from all points of view, on all levels. Since childhood I’ve always been more attracted to “the people,” as they were called at the time, than to my own class. For me, the people represented freedom, metaphysically and physically, in terms of the body. My own family’s cultural status prohibited such freedom and this caused another real rupture for me; it was not simply the luxury of a privileged kid. Although my father was a country doctor, my family was not rich; we lived at home as I did in boarding school, in a very rudimentary way.

My internal sexual rupture was an effect of my belief in Christ, triggered by the notion that he is both man and God. When you have faith, you experience this duality intensely. My family was very religious, if not overly pious. The Bible’s Christian imagery, both in the New and Old Testaments, preceded all other imagery for me. When I was young, I believed in an entity that was at once human and divine, and I also believed in the Trinity of the Father, the Son, and the Holy Ghost combined in a single God—an invisible divinity, an entity without a body, without beginning or end. At the same time, I was very strongly possessed by the imagery of the crucifiction, which is unbelievably carnal and sexual. It’s rather hard to top: the almost naked body, members spread wide, arms outstretched, and thighs squeezed tight. This was a concrete, finite, and limited imagery, whereas the other was abstract and infinite.

In addition, I was taught that before being my parents’ son, and my father’s son in particular, I was the son of God. That was my belief, and it was strongly anchored in me, through prayer especially. At home and in boarding school we prayed quite often: before eating, when we woke up in the morning, at night. They told us that prayer was the most beautiful thing in the world, which is not untrue. It gives dignity to humanity. As a child, I took all of this in very physically, in the flesh, especially since Catholicism is so physical. This is perhaps why it has endured for so long. The Church wasn’t a constraint for me. I was very content in what I felt to be a protective, poetic, intellectual, and metaphysical atmosphere. The seminary instilled in us the difference between matter and spirit, framing them as different entities that were necessarily combined. Flesh was an element of knowledge, but its temptation weakened the strength of spirit and of mind. In that very Cartesian education, both the flesh and the spirit existed, and the idea was to find some kind of balance between them—which, of course, I did not want. This must have corresponded to the internal rupture that I’d later experience. But there was a great gentleness in all of this, and I was certainly well disposed toward it. I placed my revolt elsewhere. But as the son of God I did exactly what I did with my own flesh father: I provoked him, and went farther, into sin so to speak.

NW There is another fundamental rupture that informs your work. It is within the realm of art, and it has to do with the problematic link between human creation and horror, following from a critique of humanism. I’m thinking of the relation between slavery and the development of modernism in Europe or the problem of the extreme rationality of the death camps of the Second World War.

PG I’ve always been revolted by existence, by the very fact of being human. There are reasons for this. As a child I knew what was going on in the adult world. A large portion of my family fought in the Resistance, and suffered very much for that. We were physically and biographically touched by the war’s horror. Through what I saw in photographs and through the testimony of those who had survived, I was well positioned to feel the affront against humanity that the war enacted. Luckily, I never smelled the odor of death, the way the children in the camps or elsewhere had to smell it. Smells are fundamental. But as early as five-and-a-half or six years old I did see photographs from a book produced by two of my uncles who had fought in the Resistance. They were images of a degraded man, of a degraded body, degraded despite what a somewhat strained humanism would have you believe: that man, in all circumstances, always retains some form of dignity. The image of human grandeur disappears in a body that is reduced to itself. This made a deep impression on me.

NW You can see it in the importance attributed to the body in your work. In fact, you have often been called a “writer of the body.”

PG This question of the body has been brought up very often in regard to my work; it has been explained and re-explained. I have myself added fuel to the fire, since I have even used the term to describe myself. I am a bit removed from all of that now, and more and more so as I get older. The body is self-evident; you can’t get away from it. You live through the body, think through it, feel through it. A body is inevitable, whatever it is. But—how can I say this?—I am not at all the auteur or poet of the body, as has so often been said. I find this too restrictive; my work extends beyond that question.

What I write, what I’ve been able to do and to experience, is a question of being. Much more than the body, being is what torments me, if I can use the word torment for this. I mean quite simply the fact that we exist. We make art not to prove to ourselves that we exist, but in order to place ourselves on the border of the circle of being. It is a circle into which we can fall, as if into nothingness. I’m interested in being and in the circle. The body is what allows and at the same time interferes with being. It impedes, torments, and even negates being. But of course I’m happy to speak about the body. My body wasn’t any more affected than were the bodies of others, those of my generation who were deeply harmed by the war. You know, it is not insignificant to have been born in 1940. I always felt that I belonged very strongly to my generation. Children have a specific way of feeling solidarity with other children. Even as a child I felt very close to the children whom I saw in photographs of the war—persecuted, debased, and deprived of their childhood, as they said at the time.

The question of how we feel solidarity, and of the feeling of solidarity itself, becomes greater with age. What is it, morally, that requires solidarity? It doesn’t seem to be as vital a need as eating, drinking, sleeping, finding shelter, or being taken care of when sick. Solidarity is not an irrefutable given. Art helps us ask ourselves these questions. I like to go beyond what I think are somewhat self-evident questions, dig beneath them and debunk them, to understand what they truly imply. Too many massacres, murders, and attacks on liberty have been committed throughout history in the name of so-called subversion for artists to claim to be blissful subversives. I am not a blissful subversive, and if I am one, it is despite myself.

 

___
Book

Pierre Guyotat Eden Eden Eden
Creation Books

‘This, Pierre Guyotat’s second novel, caused a huge scandal upon publication in France in 1970, and was later censored. Nowadays, he is regarded as one of the greatest French novelists of all time and his writing has been endorsed by Edmund White, Michel Foucault and Roland Barthes. Extreme and obscene, Eden Eden Eden is set in a polluted zone of the Algerian desert during the civil war.’ — Creation Books

 

_______
Excerpts







 

 

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p.s. Hey. ** Dominik, Hi!!! Ha ha, no, I didn’t wave. I just stood there absorbing the weirdly sweet nationalism all around me. Oh, shit, about your blood stained eye. Do you think you’d look cool with a pirate’s eyepatch? Favorites? I thought Gillian Wearing putting her eyes in Mapplethorpe’s near death face was pretty haunting. And I like the McCarthys. To wear, I’d probably be boring and old fashioned and sport that ugly Chucky mask. Ha ha, nice love. My brain is scrambling itself trying to picture that. Love making people understand that “thanks but no thanks” is the same as saying “no”, G. ** _Black_Acrylic, Particularly spooky Bacon, thanks. Excellent because Xmas is shockingly mere days away. Same with me with my LA pals. ** CAUTIVOS, Well, thank you kindly. I don’t remember which Vila-Matas that would have been either. I love Paris and being here. I don’t really miss LA, or rather living there, but when I visit I remember why I liked living there. Me too: unread books staring me in the face from everywhere. I don’t have any association with the term ‘best seller’. It doesn’t repel or attract me, and I don’t associate Zweig or Hamsun with that, no. I grew up in LA where it was kind of impossible not to know Bukowski. I’m not a huge fan. I saw him read twice, and he was very entertaining. I actually have a Bukowski poem in the post coming up tomorrow strangely. Your English is totally good and understandable, no worries. I hope your holidays are being better than your average days. ** Misanthrope, I kind of know our Sypha. He is a complex and mysterious being, however. I’m wearing a white shirt, but I’m wearing another shirt on top of it, so I’m probably safe. ** Bill, Yes, one wouldn’t want to wake up in the morning to find one of those McCarthy masks next to one on one’s pillow. That Vespers thing is cool. Thanks, I’m going to dig into it and its context imminently. ** Nick Rombes, Hi, Nick. Welcome, and good to meet you. Oh, right, yes, that bit in ‘Gerry’. The Minute 9 project is really interesting. The problem is I’m kind of swamped at the moment getting ready to make a film. Let me see if I can clear some space. Thank you for asking me in any case. I want to read your novel. I’ll get it. And, wow, you wrote the 33 1/3 book on the first Ramones album. I’ve been known to pontificate that that album is the most perfect album of all time. Must read. Anyway, thanks a lot! ** Dynomoose, Hi, buddy! Merry Xmas! And I hope you make some masks! And that I get to see if not even wear them! ** David, Hi, David! How really nice of you to come in/back. Thank you, I will try to have a very solid Xmas, and you too, yeah? How are you? How have you been? xoxo ** Meg Gluth, Hi, Meg. I’m going to listen to your and Steven’s sounds today! Excellent if you guys can come down! I’ll be offblog during that period, so we can figure things out via email or text or FB. Big up, my friend! ** malcolm, Hi! Yeah, I was wondering how a bunch of those masks could possibly fit over a normal human head. My memory agrees with you about those songs’ spookiness. I’m sure I don’t need to tell you about the extreme expense of using songs that well known in a film. Zac and I wanted to use this very early, obscure Fleetwood Mac song from their pre-fame, blues days in our new film, and the amount of money the rights holders wanted would have made Marvel think twice. Yes, yes, yes! Belated sweet dreams! ** jade or e, Hi. My apologies on behalf of my blog for its weird entrance protocols. It gets overly protective sometimes, and I have no idea why. Thank you so, so, so much! My ability to be articulate, which is always dodgy when I don’t have ages available to refine each sentence I’m writing, fails me, but thank you! That’s super heartening, and, again, you wrote amazingly about my wordage. Being rando is totally legit. I admire randos, as you can tell by my work and its population. Great luck with the BA. What are you having to do in that regard? Don’t worry if others don’t seem to take you seriously. They’re probably intimidated. People can be very easily intimidated by creative fireballs, and they feign disinterest as a cover story. Nice that you and Kenji are mind-melding. He’s great, obviously. I’m friends with him on Facebook, and we like each other’s posts, but that’s as far as our relationship goes. Thanks for the link and clueing me in about the tag I can hunt. I will. Great, excited! I did read Cam Scott’s essay on my gif fiction. I was really honored and thrilled about it. Not that many people have written about my gif fiction, and I take the gif fiction really seriously, so when someone treats it seriously like he did, it’s a great boost for me. Don’t worry, you didn’t say even one syllable more than I was pleasured and grateful to read. So thank you for being and generous with me! xoxo, Dennis. ** Right. Someone recently asked me to restore this post about the great, great ‘Eden Eden Eden’, and I was, you know, happy to do that, and I even enhanced it just a little. See you tomorrow.

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