Category: Poets


image from Charles Bernstein on Jacket 2

 

 

 

Darren Wershler-Henry

Darren Wreshler (Henry) is the author or co-author of 12 books, most recently, Guy Maddin’s My Winnipeg, and Update, with Bill Kennedy. Darren is an Assistant Professor of English at Concordia University, where he works with the Technoculture, Art and Games (TAG) group, and is also part of the faculty at the CFC Media Lab TELUS Interactive Art & Entertainment Program.

His Blog alienated.net–the most visible part of Darren’s brain.

PDF’s of The Tapeworm Foundry, a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, “andor.”

http://www.ubu.com/ubu/wershler_tapeworm.html

Internet poem Nicholodeon, a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles.

http://archives.chbooks.com/online_books/nicholodeon/

Update Terms of Service: This book will publish unauthorized communications. It will collect content or information using an automated means, employing harvesting bots, robots, spiders and/or scrapers without permission. It will engage in multi-level marketing. It may contain viruses or other malicious code. It may bully, intimidate and harass. It will contain content that is hateful, threatening and pornographic. It may contain nudity or graphic and gratuitous violence. It will have no age-based restrictions. It will be unlawful and misleading, and could disable, overburden or impair the proper workings of literature. It will facilitate and encourage the violation of poetry. It will let the dead speak.

Lara Glenum

“Get minky in the momodrome with Lara Glenum’s second book, MAXIMUM GAGA. In scenic Catatonia, the Normopath snoozles, the Cherubim applaud, King Minus lies face-down, the Visual Mercenaries burst in, Icky and his school-boy minions race past, and the Queen Naked Mole Rat climbs inside the miraculating machine. Reworking the tabloid maximalism of Jacobean drama, this book investigates the politics of aesthetics and prosthetics, gender and power.”
Lara Glenum

Lara Glenum

Manifesto of the Anti-Real

1. Art is neither a form of consolation nor a butler to hegemonies. Even in its most discreet moments, art explodes.

2. The Anti-Real does not deny the Real.* The Anti-Real knows that everything is in annihilation in the Sublime. The Anti-Real is that which seeks to manifest itself through the secret side-door to the Sublime rather than through the mock world of realism.

3. Realism is the bordello of those who would have their perceptions affirmed rather than dilated. When the door of fascism is opened, Realism will be seen lounging like a whore in its inner sanctum.

4. The Apocalypse is a way of thinking. Only the Apocalyptic clock announces from atop the grotesque pile of refuse, ‘The Kingdom of Heaven is now.’

5. Irony is not a device. It is a state of being.

6. To be Anti-Real is not to be Surreal. The achievement of Surrealism lies in displacing correspondences, in the poem not arriving. In the Anti-Real, all assumptions are disabled, too, with one difference: the Anti-Real displaces causal logic with a totalizing logic of violence.

7. ‘Defile! Defile!’ shriek the Obliterati as they vandalize the museum of language.

8. Sentimentality is a form of exploitation, a connivance with official lies. Hang sentimentality on the gallows of Emergency.

*Even though the Real does not exist

MAXIMUM GAGA