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Posts Tagged ‘Ohio’

F?!@#g Ohio

December 4, 2013 | by

Nice work, Buckeyes: you curse more than any state in the union. (Not to be confused with our Ohio-born associate editor’s odd penchant for exclaiming, “Jesus Christ and all his merry elves!”)

marchex-swearing

 

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It Involves Breaking Stuff

November 21, 2013 | by

Scott McClanahan’s readings are always highly memorable. As he wrote me about this, the video of his avowed final such reading ever, “I’m quitting. Yep, I’m just straight up quitting. It’s in Ohio which will make you want to quit anything—including LIFE. It involves breaking stuff.”

Apologies to Buckeye readers.

 

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Philosophy Turns Violent, and Other News

September 17, 2013 | by

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  • During an argument over the works of Immanuel Kant, a Russian man was shot in the head. He is, shockingly, not seriously hurt, but the shooter faces up to a decade in jail for “intentional infliction of bodily harm.”
  • The distinguished poet Graham Nunn—former artistic director of the Queensland Poetry Festival—has apologized for serial plagiarism. After getting caught.
  • James Patterson: “I’m going to give away $1 million in the next twelve months or so, to help independent book stores. We’re making this big transition right now to ebooks, and that’s fine and good, and terrific, and wonderful, but, we’re not doing it in an organized, sane, civilized way. What’s happening right now is, a lot of book stores are disappearing, a lot of libraries are disappearing or they’re not being funded. School libraries aren’t being funded. This is not a good thing. It used to be you could go to your drugstore, you’d find books everywhere.”
  • The president of the Ohio board of education is calling for the ban of The Bluest Eye by native daughter Toni Morrison. Debe Terhar calls the 1970 novel “pornographic.” Says Morrison, “I resent it … I mean if it’s Texas or North Carolina as it has been in all sorts of states. But to be a girl from Ohio, writing about Ohio having been born in Lorain, Ohio. And actually relating as an Ohio person, to have the Ohio, what—Board of Education? —is ironic at the least.”
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    Part 2: Escape to Newark

    December 27, 2011 | by

    We’re out this week, but we’re re-posting some of our favorite pieces from 2011 while we’re away. We hope you enjoy—and have a happy New Year!

    The second installment of a three-part saga. Martin is hitchhiking from Kansas City, Missouri, to New York City in order to catch the last day of Christian Marclay's The Clock at the Paula Cooper Gallery. Read Part 1 here.

    “The thing is we gots to get my dog. I understand you got a bus to catch. But I can’t get my dog alone. You come this far, you gots to help me get my dog.”

    My mouth is dry, we’ve gone through all the gum, and in gazing up the long reach of the highway as it ascends into the blue, late-morning sky I have achieved an atmospheric clarity with regard to the meaning of clocks. Marclay’s idea is to be at the center of things—that is the categorical imperative of the timing device, that is why the hands spin round. Being and time. Must check if Marclay is British neo-Nazi.

    “But where was the center? I moved around a lot/ and thus from an early age,” I remember the line from John Ash, and quote it to Duze, who looks at me like “what the fuck” and wipes his hands on his jeans.

    “We need some beers right about now, man, is what we need.”

    “I am thirsty,” I admit. Suddenly I understand that we are out of luck, I have to get out of this semi as soon as possible. I’m Ratso from Midnight Cowboy and for three days now I’ve been sitting next to Jon Voigt. I’m sweatier than Ratso. I look to see if Duze has blood on his jacket.

     

    I can count every sharp hair of his red-and-brown goatee. Duze is handsome but balding young.

    “Pull over,” I say. My hourglass is filling with sand. I lick my lips. “I have to get out of this truck.”

    Duze unsubtly accelerates. He swings into the left-hand lane.

    “We’re up on Columbus now. But I’m telling ya’ we gots to head north. I need your help with my dog, man. My girlfrined ain’t gonna let me have that dog back lessun I have a buddy with me, someone she can trust. Not to mention if there’s another man there. That’s just like her. It doesn’t take her twenty-four hours before her legs are back up in the air. That bitch. That cold-hearted whore. She never appreciated my music neither.”

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    North American Books I Read as a Child in Castro’s Cuba

    October 19, 2011 | by

    Havana, Cuba. Photograph by Jordi Martorell.

    In the spring of 2007, I was invited to a dinner organized by The Paris Review in honor of Norman Mailer. The novelist had just published what would be his last novel, The Castle in the Forest, and would have a conversation with E. L. Doctorow. That evening, when Mailer entered the room, with his very distinctive mien—that of a rather solid and stout man who, because of his age, used two canes—I was deeply moved. I told him—what else do you say in those circumstances?—how much I admired his books and that I started reading them when I was very young, many years ago.

    A few days later I told a friend about this experience. “But, how?” he acted surprised, “Did you read Norman Mailer in Cuba?” And added, “Wasn’t he supposed to be one of the banned North American authors on the island?”

    My friend had imagined, perhaps for a good reason, that you couldn’t find American literature in Cuba, that it was banned because both countries were at more or less declared war, an openly proclaimed enmity. I patiently explained to him that nothing like this ever happened. Mailer’s books and those of many other North American authors were not censured in Cuba; in fact, they were widely sold. You could find them in every library; they could be read by everyone. Read More »

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    Portfolio: Industrial Spaces

    January 11, 2011 | by

    My process is different every time. Sometimes I stumble upon places, objects or spaces that I then go back and photograph. I also do research and travel to cities in the U.S. that are historically known as industrial, like Bethlehem and Bath in Western Pennsylvania. I’m not actually looking for anything specific; there’s no predetermined idea in my mind. I walk around these industrial sites until I find the shapes and structures that are rich in lines and geometric forms. I often travel to New Jersey, mainly to Elizabeth. It’s a heavily industrial city, a blue-collar working-class city. A friend of mine wanted to come shoot with me one day—he’s from Cleveland, which is where I grew up. He found it hilarious that I moved from Cleveland to New York, because I keep going to places that look like Cleveland.

    As a photographer, I’m visually attracted to the same things I found compelling when I thought I’d be an industrial designer. When I started art school, I realized I liked the medium of photography and its immediacy more than drawing. When I take photos of these places that already exist I can then see them through my own perspective, instead of re-creating them through a sketch or a drawing. The photographs featured in the show were taken in New York, New Jersey, Ohio, and Western Pennsylvania.

    Factory Wall, Elizabeth, New Jersey

    Crane 19, New York, New York

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