p.s. Hey. ** Bertie Marshall, Well, hello there, Bertie! What a pleasure to have you here! Awesome that you got to see Guyotat read so relatively early. I saw him read once about eight years ago here at Centre Pompidou. Of course I didn’t understand a syllable of what he read, but my French friends who were with me said they didn’t either. Take care. ** Dóra Grőber, Hi! Thanks, yeah, that book is quite amazing. Yes, wanting to be prepared, that’s probably it. Overly prepared maybe. Thanks, me too, about the possible performer. We’re waiting to hear back. Oh, of course your job or ‘job’ of doing those interviews sounds extremely interesting. And no doubt you’ll learn and find things you can use in your own thinking and work at the same time, no? I’ve heard of ‘About Ray’. It’s depressing that so often when documentaries are about young people they mostly concentrate on how adults cope and deal with them. Well, not just in documentaries, but in life too. The way adults treat young people like foreigners has always been ugly and bewildering to me. My day wasn’t too exciting, and, no, I didn’t brave the cold apart from running some errands. Oh, well. I did find out that, as I had been told, it is impossible for me to set up a bank account in France without residency status, so this is a huge problem since I need an account to rent a new apartment, and I need to find a new apartment very soon. Trying to figure that out. Otherwise, Zac and our film’s DP Michael/Kiddiepunk had a meeting last evening at this movie equipment/crew renting organization here who have offered us a good deal on renting the equipment we’ll need and providing some of our technical crew, and I’ll find out what happened today. Not much else. We’ll see what today springs on me. What did it spring on you? ** David Ehrenstein, Hi, David. Yes, indeed. Pretty amazing that Hedi was able to organize that USA Guyotat tour. Based on what I saw/remember of the ‘****’ cut, I totally see what you mean about the ‘Out 1′ importance-level comparison. ** Tosh Berman, You showed Barrios’s cut during your tenure too? Oh, wait, I think I remember you doing that now. Yeah, I haven’t seen/heard hide nor hair of Gregg in ages. I do agree with you about the importance of creating a, at the very least, database of the history of Beyond Baroque’s programming. Their website is so inadequate. As disorganized as that place can be, surely they have some kind of record. I think there really should be either a book or documentary about the place. When I started going there in the mid-70s, Jim Krusoe ran the series, followed by Bob Flanagan, me, Benjamin Weissman, you, Fred Dewey, … I embarrassingly don’t know who runs the series now. Am I forgetting someone? ** Sypha, Hi. Yeah, your hardly doing anything is akin to other writers’ super productive streaks. Of course I find what you say about that time machine story very exciting, formally and story-wise. I can’t wait to read it. ** Bernard, Hi, B. Yes, I think we essentially agree about ‘the traditional’. I was mostly talking about the brand of conventions that many writing programs aim to embed in aspiring writers’ approaches and which end up being excessively visible as a kind of literary flab in graduates’ fiction. And it’s actually more of a problem (to me, at least) the more ‘daring’ those officially trained writers try to be. I.e. your Franzens, Safran Foers, Lethems, Tartts, and so forth where it’s like the book equivalent of going to see some theater work that you’ve read/heard is Robert Wilson-esque and seeing some artsy production of ‘Phantom of the Opera’. Stuff like that. Yeah, I think the impression of stasis in Guyotat’s work is transgressible with patience. I find his writing explosively energetic. But I’m stuck in my head. Yes, you were in LA for the Northridge quake! The eeriest thing for me was first hearing that sound like a giant train was approaching my apartment, and then … bang. I’m fairly sure you didn’t do an Eartha Kitt post before, but I would be honored, thrilled, grateful, and all that good stuff if you want to do that. ** Steevee, Hi. Roger ‘liked’ the post on Facebook, so maybe he saw it. Yes, I am reading closely on what the effects of the ACA repeat will mean, and, yes, terrifying. ** Jeff J, Thanks, Jeff. I don’t know that story about the nervous breakdown. I wouldn’t be surprised. There hasn’t been a new edition of ‘Eden Eden Eden’, just the change in the cover design a long time ago. There’s obviously something fucked up going on behind the scenes that no one has reprinted that book. Creation Books went down so violently and controversially that I assume the problem is with getting the rights from the ex-publisher, who seems to have basically disappeared. It sucks. Really sorry to hear about the bad news re: your novel. Put it out of your mind, obviously. I look forward to talking with you about the novel once I finish reading it. Erpenbeck, cool, yeah, really interesting writer right? ** _Black_Acrylic, Hi. Holy shit, it’s time! You’re heading off to the festival! Man, have such a great time there, and I can’t wait to hear how the screening and everything else went! Safe travels, and knock ’em very dead! ** H, Hi. Thank you. Yes, I think I agree with you about Schneemann’s work, based on my memory of it at least. Yes, I like George Kuchar’s work very much. I did a post on the dead blog about the Kuchars’ work that I need to restore. Favorites? Wow, he made so many films and videos. Off the top of my head, ‘Thundercrack!’, obviously, and … ‘The Nocturnal Immaculation’, and, hm, ‘Pagan Rhapsody’? I’d need to really think about it to be definitive at all. ** New Juche, Hey! I did get your email. I haven’t gotten to it yet, but I will today. I agree with you about how Guyotat’s writing works when you get fully inside it. Great to see you, Joe! ** Jamie, I don’t think I know the reference, but it worked anyway. Oh, wait do you mean ‘Secret Agent Man’? I remember that early series starring Patrick McGoohan. Or I at least remember the theme song which was either a hit single in the US or a hit single in my head. The cold’s kind of good. I’m kind of all right with it, not that I’m being that brave re: it. Oh, that does sound rough, the writing yesterday. Your methodology sounds pretty practical. With Zac and me, we sit and throw ideas around, and I take notes. Then I go home and type up something based on our discussion because I’m ‘the writer’, or, really, because I’m faster at writing drafts than he is because he’s always very meticulous, and then we go over it, make changes, etc., and I write that up, and on and on until we’re basically fine tuning details and until we’re both totally happy with it. I can’t remember what dulce de leche is. I’ll find out. Tuesday was pretty okay, pretty uneventful. Bad news (bank account), good news (everything else). Today might be interesting. Zac has to fly to the US for his grandmother’s funeral tomorrow, and we have this ritual or whatever that whenever he goes out of town, I give him a bag of edible treats for his flight or train, which I gather by going around Paris selecting highights from various patisseries and chocolatiers and so on, and so I’ll be doing that today, and I like taking that adventure, so today will have that going for it if nothing else. And you and Wednesday? How did you two get along? And any news about what you wrote? I see (in the betting sense) your love with Scottish undertones and offer you French love with undergrowth, whatever that means, Dennis. ** Misanthrope, True, better to be busy with a job than twiddling your thumbs with an empty cupboard. Oh, okay, I get it about him wanting to be there for the historical thing. That makes sense. Me, I’m going to turn off the TV, computer, and everything else while the inauguration is happening, which shouldn’t be too hard since most of it will happen after my bedtime here. ** Okay. I made an energetic thing for you today. See you tomorrow.