If only Borges had the eyesight to read it: the Codex Seraphinianus, a book which doubled as a labyrinth. But publishing Luigi Serafini's chef d'oeuvre wasn't literal enough for publisher extraordinaire, Franco Maria Ricci: the latter had to construct the world's largest labyrinth too.
Megan Prelinger's "Another Science Fiction: Advertising the Space Race 1957-1962" traces the history of the post-war technological boom. What Prelinger reveals is a dreamy fiction constructed and realized not just by scientists and scholars but people from all walks of the earth.
The Los Angeles Getty Museum hosts a theater performance of one of the towering Mexican poems of the 20th century: Octavio Paz's “Piedra De Sol." The multimedia production of this magnum opus is presented in connection with the sculpture exhibition “The Aztec Pantheon and the Art of Empire."
Two intriguing books have recently been published with similar interests in the connected histories of both modern music and technology. Steve Goodman (a.k.a. dubstep progenitor Kode9) just published an ambitious academic work on MIT Press, Sonic Warfare: Sound, Affect, and the Ecology of Fear, illustrating sonic technology’s potential for either a politics of control
While I wait to hear back from MFA fiction programs -- I am expecting nine more rejection letters -- I am not writing short stories, barely reading, and the New Yorker bill has laid to waste. My reading list is following suit. Afraid of being told I can’t write, lately I’ve been reading
Better known for his novels, Roberto Bolaño shirked from the nomen of NOVELIST. . . until a hungry first child forced him to think about making some money--ergo the novels. But it seems that even then he liked to think of his business as POETRY (himself, a detective of poetry)--with or without much white
The creation of necessitousness (not need! but the feeling of being necessary) in poetry bathes the inevitability of the poetic line in the moonshine of desire– of passionately feeling that some thing must be this way (or that). Creating this requires that the poet put down the words in such a way that the