Niceties debuts today and pokes a hole in the coma of language. The tired factions, lyric versus experience, this tribal cliché, mellifluous pretension, or language generating language, assaulted usually converse by the plain and sneering, story time, popped out of their tepid beers now by a handier relic, just got outmoded – combined to hurt itself inside a voice both beyond and including narration, the personal event broken to the heart’s proper arrhythmia. A flaying can still be vulnerable even if it takes you with it. The sobriety of our times cannot support this book because the general crusade has been swatted operatic. Anything without khakis is giggled about in these great plots for safety so-called artists use to call themselves important. How much precedence might ones pellet-sized message keep in the face of such wrought mystic twirling up the bowel meant for silence? Don’t fret. Mikesch is here to kick you out of your crib and flout the world that hasn’t started. Think those loops Markus swerves us through tied up in a Finnish peninsular whelp, with an elbow caught between each breath, the chorus tapping out a feel good suicide. I don’t want beauty unless it’s clawing me permanent.
By Gary Lutz
Calamari Press, 2011
120 pages / $13 Buy from SPD
It’s no wonder that someone who might be said to live in the sentence would apply its logic—and its subversions—to his lens on the higher-order structures of life. In Divorcer, Gary Lutz tinkers with each level of human-linguistic interaction, cascading from social power structures, to family dynamics, personal relationships, full-scale utterances, isolated sentences, words, morphemes and phonemes, with an eye to at-once humorous and devastating exposure of the failures of empathy and failures of semantic coherence echoing throughout.
Continue reading “Utterance”
“DIVORCER is a collection of seven harrowing and hyperprecise short stories about ruinous relationships and their aftershocks.” $13
“A Mortal Affect is a satire of meaning systems targeting the role bureaucracy and cultural assumptions play in creating, distorting, and replicating the things we believe to be true. Informed by an absurdism in the Modernist vein, the novel is a celebration of error and folly that questions the wisdom of conviction and the faith in metaphysics. These themes play out in a fictional world inhabited by mortals and immortals, the oppressed and the oppressors. The former understand their condition of being oppressed but have no concept of freedom, while the latter emulate mortals but lack the ability to eat, reproduce, or die, even by suicide. Never allegorical or polemical, the novel operates comfortably within the bounds of comedy, avoiding the earnestness and self-conscious urgency common to the novel of ideas.” $18
“My writing isn’t a career or a craft or a hobby or anything like that. It is more like a tiny annex to my life, a little crawl space in which I occasionally end up by accident in the dark.” — Gary Lutz, interviewed by David Winters @ 3:AM Magazine. Also: Lutz is reading tonight at the Soda Series.
The 7th issue of the Wag’s Revue is now online, & includes a new interview with Gary Lutz by Dylan Nice: “I have too a hard time picturing anyone ever turning the pages of one of my books to worry about what that person might make of having ended up in the privacy of my paragraphs, though my heart no doubt goes out all the same.” It also contains new work by Jen Percy and an interview with Paul Harding, as well as a compelling “frenetic examination of self-loathing in the online era” by Mitch Salm.
Sasha Fletcher reads it up on Apostrophe Cast.
Science Is Fiction was a big wow for me, I recommend finding yourself a copy, if only to see this in all its glory. I saw it on a projector and very loud, which was a good thing to do. The DVD had been skipping the whole time but for some reason on this one not at all, it reminds me of J.G. Ballard’s The Crystal World.
14. Huxley on Huxley documentary. Too bad I live in Indiana and have a better chance of seeing a puma running a lemonade stand than seeing this film.
33. When you’re writing a kind of instinct comes into play. What you’re going to write is already out there in the darkness. It’s as if writing were something outside you, in a tangle of tenses: between writing and having written, having written and having to go on writing; between knowing and not knowing what it’s all about; starting from complete meaning, being submerged by it, and ending up meaninglessness. The image of a black block in the middle of the world isn’t far out.
7. Half the people I know I say “Indie” and they say “You mean vampire books?”
112. Anyway, Sabotage talks kill author #8.
A letter to the editor of the Pittsburgh Post-Gazette, May 8, 1988, from Gary Lutz: