See a Little Light: The Trail of Rage and Melody
by Bob Mould with Michael Azerrad
Little, Brown and Company, June 2011
416 pages / $24.99  Buy from Amazon

Why would anyone expect the ex-member of a famous rock band—those fertile dens of back-stabbing, girlfriend stealing, passive-aggressiveness and all around hurt feelings—to offer a healthy recounting of his time in said band? It’s like asking a combat veteran to empathize with the people who shot at him.

Yet, for those rock artists we truly admire, we crave that kind retelling. They’ve blown our minds so many times in the past with their transcendent work. If we’re disappointed they can’t deal with their issues enough to tell their band’s story in a fully-realized way, it’s only because we’ve learned to expect that much from them.

I skipped reading Bob Mould’s autobiography See a Little Light: The Trail of Rage and Melody (Little, Brown) after hearing Mould was less than resolved about his time in the formative post punk band Hüsker Dü, and in particular with his relationship with drummer/songwriter Grant Hart. I was a big Hüsker fan in the eighties and nineties, and I’d identified closely with Mould’s rage on classic albums like Flip Your Wig, Zen Arcade and Warehouse: Songs and Stories. I’d fallen away from his work around the time of his last album as the frontman of the band Sugar, and steadily found myself less interested in him as the years passed. The singer was so associated with the blood-curdling screams he’d let loose during his Hüsker years, I preferred to think of him as conquering his fury, moving on to better things, getting over it. Yet here was Mould, supposedly getting thorny about Hart and bassist Greg Norton in book form. Not interested.

But those who skip See a Little Light for these reasons will miss much of a story that few but Mould can tell: of Hüsker’s beginnings and ascendency, of the nascent eighties hardcore subculture in America that would lay the groundwork for the massive grunge movement in the nineties, not to mention refreshingly candid insights into Mould himself, one of his generation’s most conflicted icons.

Mould didn’t get riddled with rage by happenstance. His upbringing in rural upstate New York with an alcoholic, abusive father was plenty turbulent, and discovering his homosexuality in adolescence only further alienated him from those he grew up with. Most harrowing to me was when Mould was eighteen and for the first time away at college in St. Paul, Minnesota, trying to find his place in a confusing world. Not only were they stringing up homosexuals like deer back in his hometown, but, Mould writes, “the weekly phone calls with my family were difficult enough, especially the ones where my father threatened to sever my financial support or escalate his violence toward my mother.” I can only imagine a young, scared Mould desperately needing to make urban Minnesota work for him, knowing he had no home to go back to.

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Green Lights
by Kyle Muntz
Civil Coping Mechanisms, May 2014
108 pages / $13.95  Buy from Amazon

In Kyle Muntz’s Green Lights, we’re exposed to wavelengths as beams of prose, an unnamed narrator whose world is flooded in the disparate hues of existence. There’s a meditative quality throughout, a detachment borne of Kafkaesque inquiry and a yearning for communication that teeters on the fiat lux’s of every day creation. Not just through visible light, but the invisible nanometers that escape normal sight. “I want to talk about color,” the book begins, and the colors of the spectrum quickly become a metaphor for revelation and metamorphosis. The characters, from the moon turned into a woman, to an old man embodying evil, become symbolic accoutrements for the journey which turns out to be an excursion to another dimension. Elements of the fantastic shine as in the “Blue” chapter when the whole neighborhood is covered in noirish film shades that masquerade as night, and then, “The world froze… Ice had taken over the world.” Winter isn’t just the congealing of the veins and muscles, but a coat of futility wrapped around his routine actions. “After much effort, I thawed my room. I’m not proud of the things I did to accomplish this,” he confesses, then further reveals, “I got a job carrying a flamethrower around the neighborhood, melting people. My coworkers treated me like shit.” The frost of survival is just as bleak as the cold treatment of his colleagues and the blending of colors weaves the conflagration of pain with the inferno of transformation.

There’s a melodic beat to Muntz’s writing, terse descriptions of events interspersed with sudden bursts of graphic visuals, often macabre in its evocations. It’s a delicate balance, but one he masterfully navigates, exploiting minimalism to maximize emotional defibrillations, injecting the grotesque to animate the mundane:

“One time when I was walking in the darkness, I stumbled over something, and it was him, sprawled on the ground, unable to move. He didn’t have eyes anymore. Maggots crawled amidst the remnants of his skin, fibrous muscles like totted spaghetti. Worms fucked his intestines. Beetles were chewing his brains.”

Like signal lights, there’s a revolving flow of ideas that are given free rein and then brought to a halting stop, warning yellows demarcating the blurry boundaries between illusion and reality. That border is often where Muntz’s narrator lingers, rarely surprised by the absurdity of the surreal events that happen around him, instead, levitating past the barriers. It’s almost as though the green light were always on and physics broken free of limitations to innovate. Muntz revels in experimentation, relishes the opportunities to change up the traditional narrative as he bakes x-rays of playful contemplations into the atlas of his construction:

“Sometimes when I looked into the distance, I remembered that the darkness I could see there  was actually the mountain, holding up the base of the universe. If I were to walk that way, the neighborhood would never end, but eventually it would become less real… The road continued even where the world began to change colors.”

His main companion is his love interest, E, who is as curious as the narrator about the frontier, a geography that challenges the intellectual as much as the physical. Both are intertwined and both affect each other, a symbiotic terraforming that is volcanic in its effect.

“Nearby, behind an abandoned house, we found an immense flower growing from the ground. The flower was at least a hundred feet tall. Beads of water clung to its sides… She nodded. ‘It looks like a picture of itself, meaning it looks better than real. That means something. It implies amazingness.’

‘Should we climb it?’

‘Probably,’ she said. ‘If we didn’t, we would feel bad about it later.’”

There’s a lot of climbing in Green Lights and like E, we know we’d feel bad if we didn’t venture upward. Along the way, we get dashes of the videogame classic, Earthbound, embedded with David Lynch, Borges, and doses of Marquez. The combination acts as a variety of hues to assault our senses in this quirky and likable hike while at the same time, Muntz weaves his own identity through the narrative. I just wish there were more colors in the spectrum.

***

Peter Tieryas Liu is the author of Bald New World and Watering Heaven. He entropies at entropymag.org. He loves green lights. And red ones. And blue ones too.

Contrapposto Action Queen
by Connie Scozzaro
Bad Press, 2013
$9 / Buy from Bad Press

Before I’d ordered the book, I listened to Scozzaro read “What Is Parents?” on the Claudius App and fell in love with the poem. I listened to it the way an eight year old listens to Beatles’ songs. I’d drag my partner in to listen to it and tried to dub the poem to a mix tape but it didn’t survive the transfer. “Isn’t this just the best?” I’d say, jumping up and down as Scozzaro read in a brave and insistent voice.

“What Is Parents?” is one of the more elegant ones. Her verses make adept shifts from a naïve diction to classy Rimbaud/Swinburne-esque lyricism. I like the tension between the vague, the true, and the fantastic in “What Is Parents?”

After this good work with something not mine,
I come home to you, we feed each other and laugh. I love you,
especially when we fuck really well, but probably
we fuck really well because I love you so much.
In the heart of the grass, a fountain rushes,
blood in the shape of a rose. For seconds
I understand birth, and the Incredible String Band
play their instruments
well. What is parents?
What are dreams?

These poems, and this poem, consider everyday ritual and material limitation, but also seem to mediate banal domestic desperation through an intensely personal kind of verse. In my reading, I like to think that the poems are able to capture the boundary between boredom and fetishization.

Contrapposto Action Queen is eight longish poems long. These poems are exhausting in the best way. Reading them I’m too full of ideas. The collection is so full of colliding images, unresolvable emotional states, and shifts in diction. Scozzaro is very good at eloquent and cool verse that isn’t afraid to betray itself with urgent brattyness. Her poems are exciting because they seem to constantly shift, from image to image, from the exact to the vague, as they unfold. From “Elena, Whatever: You Are But Dreaming”

Suitors buy her roses, or posies, which upon inspection,
are but mauve, petals trembling pools,
obscuring heaving shoulders on ahead.
Two or three swoon from daily collapse, this way and
that, to be in another world, to know
how to use your hands.

Write what pleases you, what displeases me,
black liver wobbles out the drain,
dragging itself on a few gross legs.
You are the hero of the bathroom mould,
blocked drain, streams of tangled hair,
you squirt, we get deposit back.

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Eternity by the Stars: An Astronomical Hypothesis
by Louis-Auguste Blanqui
Translated by Frank Chouraqui
Contra Mundum Press
202 pages / $20  Buy from Amazon or Contra Mundum

Eternity is a concept rather dubiously tough to wrap the mind around. Throw in the idea of duplicate worlds and simultaneous events with differing end results, replicating yet infinitely fracturing the day-to-day reality we recognize as “the real,” and the average reader’s head begins to spin. While these matters are not always tidily handled within Louis-Auguste Blanqui’s Eternity by the Stars they are dealt with utilizing a fair amount of pith.

Blanqui after all was a ubiquitously engaged nineteenth century French revolutionary thinker and “man of action” who wrote this book from May to November of 1871 while under constant threat of armed guard in a heavily fortified jail on a small, rocky island just off the coast of Morlaix where waters of the English Channel mix with the Atlantic Ocean.

Translator Frank Chouraqui’s introduction provides orientation concerning the biographical details behind Blanqui’s work while also marvelously untangling some of the thornier scientific scenarios presented in his argument. There are two key scientific authors whose work and ideas Blanqui cites, often contentiously: Pierre-Simon Laplace and Francois Arago. Chouraqui irons out the creases in Blanqui’s presentation of each author’s argument in relation to his own.

The science passages in Blanqui’s text are among the most challenging material for unfamiliar readers. Having Chouraqui’s lengthy introduction to refer back to along with the endnotes he provides to the text are of enormous assistance, as is his extrapolation upon the clear relevance of Blanqui’s writing to the work of Walter Benjamin, Jorge Luis Borges, and Friedrich Nietzsche.

In and out of trouble with French authorities most of his adult life, Blanqui fought his way through numerous ups and downs accompanying several frequent changeovers within the government throughout his lifetime. These were a series of political changeovers which both in his writings and actions he did his best to ferment. Imprisoned inside Fort du Taureau (Castle of the Bull) Blanqui conceived of and wrote Eternity by the Stars while awaiting his trial, insisting that the text was an integral part of his defense.

Chouraqui describes how, locked up in the island prison, “Blanqui found himself surrounded by a world of repetition.” Confronted by such a situation, Blanqui laid out an argument for the prevailing destiny of everything in the universe that would serve to counter the frustration he felt, as Chouraqui describes it: “The main claim of Eternity by the Stars is that the discrepancy between a limited — albeit great — number of possible events and the infinity of time and space necessitate the infinite repetition of all possible events.”

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When a Lady Shakes Hands With a Gentleman by Nikolai Bokov, Mark Insingel, Gertrud Leutenegger, Claude Ollier Red Dust Books, 1982 96 pages / $8.95 buy from Amazon

1. Throughout the course of When a Lady, a very engaging 1982 collection from Red Dust, Inc, the contributors display a rigorous commitment to the avant-garde tradition of de-automatizing perception, as outlined by Shklovsky, and broken down like a boss here by A.D. Jameson

2. The Belgian novelist/ Concretist poet Mark Insingel reworks aphorisms and banal lanuage tropes.

3. “When a lady shakes hands with a gentleman (plucks out a gentleman’s eye) she does not remove her glove.”

4.

5. “How can the drop that made the cup run over be the same as the drop to which the cup is drained? (How can the drop to which the cup is drained be the same as the drop that made the cup run over?)”

6. “A Loves B who loves C who is adored by D, the only concern of E who wants to get rid of F who is courted by G who receives attentions from H, the idol of I who would be content with J who cannot leave K in peace who will not part from L who would prefer to go to M who has gone off with N who cannot forget O who would like to go back to P who has an eye on Q who would gladly be wooed by R who is making advances to S who is only interested in T who likes U, U need not despair at any rate (V, W, X,Y,Z).”

7. 

8. Insingel looks for entrenched meanings and potentialities. He is repetitive, and redundant, and often very funny. The big blocks of mutable text ultimately represent his project, a sort of frustrated response and working with and through degraded language.

9. “Rare is beautiful/Rare is wonderful/Rare is awful./Rare is horrible./Rare is incomprehensible./Rare is possible./ Rare is deniable./ (You don’t have to accept it as true, you are not obliged to see it (it isn’t being thrown into our teeth), you need not have anything to do with it (go into it) it can’t frighten you at all (the chances are much too small), you can dream about it (wet dreams—nightmares), you can actually have a cozy chat about it.)”

10. Claude Ollier, explores sensations connected with memory images. In his project he interrogates some of the “word as signifier” aspects of language, dwelling on strange associations and essentially personal multiplicities in words.

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