Posts Tagged ‘experimental prose’
February 3, 2015 | by Dan Piepenbring
From Matisse Picasso and Gertrude Stein, a collection of experimental prose and “word portraits” written by Gertrude Stein between 1909 and 1912. Stein, who was born on this day in 1874, had arrived in Paris by 1903 and began to develop a kind of literary Cubism, steeping herself in the art of Picasso, Matisse, and others. These pieces saw her evolving approach to aphorism and especially to repetition, the device she made her trademark, even if it chagrined some early readers.
To lie in the cheese, to smile in the butter, to lengthen in the rain, to sit in the flour all that makes a model stronger, there is no strangeness where there is more useful color, a description has not every mission.
Leaning together and destroying a principle preciousness which is not mangled, this is so loaned that there is no habit, not at all and yet there is the late way, there is an instance of more.
To be painful is not more than a street, to be a principal apricot is not more than a cherry and yet there is an expression, there certainly is. Read More »
July 29, 2014 | by Christopher Higgs
Dodie Bellamy writes genre-bending works that focus on sexuality, politics, and narrative experimentation, challenging the distinctions between fiction, essay, and poetry. Her methods include radical feminist revisions of canonical works, as in Cunt-Ups (2002) and its follow-up Cunt Norton (2013), which appropriate the “cut-up” technique made famous by William Burroughs; and The Letters of Mina Harker (2004), an epistolary collaboration with the late Sam D’Allesandro, which reimagines Bram Stoker’s Dracula in an AIDS-plagued San Francisco. In her 2004 book Pink Steam, Bellamy explains, “I’m working toward a writing that subverts sexual bragging, a writing that champions the vulnerable, the fractured, the disenfranchised, the sexually fucked-up.”
As an active member of San Francisco’s avant-garde literary scene for the past thirty years, Bellamy is often associated with the New Narrative movement. Before moving to San Francisco in the late seventies, she grew up in the Calumet region of Indiana, studied at Indiana University, and joined a New Age cult. That experience informs her newest book, The TV Sutras, which Norman Fisher has described as “part porno, part memoir (maybe), part spiritual teaching (probably not), [and] part fiction.” Bellamy says she spent five months “receiving transmissions” from her television set, writing brief commentaries on each, which serve as the material for Part One. For example, from #5—“Do you want me to come back to your place? Man and woman in bar. Commentary: Focus on getting back to the basics/beginning anew. Establish a home base you can return to.”
Part Two, “Cultured,” switches into a more familiar form of narrative, but nevertheless refuses to explain itself. At times it seems as though it contextualizes and complicates the sutras in Part One, while at other times the connection seems hidden. In a recent correspondence with Bellamy, we discussed TV Sutras and her history with the New Narrative movement.
You refer to The TV Sutras as a conceptual piece. I’m curious about the ways you see it participating in the current trend of conceptual poetics, or conceptualism in general.
While my writing shares enough concerns with conceptual poetics to be published by Les Figues—poems from Cunt Ups are included in their I’ll Drown My Book anthology, followed by the book length Cunt Norton—The TV Sutras, like the current trend of conceptual poetry, connects with older roots in twentieth-century Conceptual art practices, procedural practices that have been employed since before the surrealists. Procedural strategies have been in vogue ever since I came to poetry in San Francisco in the late seventies—erasure poems, cut-ups, et cetera. I remember very early on going to a reading by Carla Harryman during which she said she “generated” a text, and I was shocked at her use of the word “generated” instead of “wrote.” For me, this was one of those “Dorothy’s no longer in Kansas” moments. Kathy Acker’s use of appropriation has been a touchstone, as well as her conflation of reading and writing. I “generated” the first handful of TV sutras for the Occult issue of 2nd Avenue Poetry, which focused on the intersections between poetry and divinatory practices, particularly rituals that introduce chance. In receiving my sutras through my television, I was reaching back to an ancient tradition of inspired texts—texts that arrive, bidden or unbidden, from a divine/alien elsewhere. Read More »