Thoughts on The Visibility of Darkness
A recent article in the Wall Street Journal has gotten quite a bit of attention. In the article, Meghan Cox Gurdon laments that Young Adult fiction has, essentially, gotten too real, too dark with stories that explore complex, difficult themes that Gurdon argues are too much for young adults. She writes:
If books show us the world, teen fiction can be like a hall of fun-house mirrors, constantly reflecting back hideously distorted portrayals of what life is. There are of course exceptions, but a careless young reader—or one who seeks out depravity—will find himself surrounded by images not of joy or beauty but of damage, brutality and losses of the most horrendous kinds.
Many people, both Young Adult writers and writers from other genres have been swift and passionate in taking Gurdon to task for her rather narrow argument and the shallow way she criticizes Young Adult literature. Individuals also took to Twitter, as we are wont to do these days using the hashtag #yasaves, as a means of discussing how Young Adult literature was more than just literature but also some kind of salvation. Most of the counterarguments to Gurdon’s perspective speak to the difficulty of adolescence and how it is good for young people to see a multitude of realities reflected by the literature they read. As one of many, many people who relied heavily on books as a coping mechanism when I was younger, I was glad to see such a resounding response to Gurdon’s polemic. What really inspired this level of response though, might well be the condescending tone throughout Gurdon’s article. Any valid points she makes are difficult to appreciate because she’s so busy casting aspersions on an entire genre by discussing a small selection of books that reflect the “depravity,” that so troubles her.
“Lin mumbled that he and Johnson aren’t really speaking to each other…Lin said that it was because Johnson “didn’t approve of the relationship” in Lin’s latest novel.” Should a publisher like the books they publish? Shouldn’t they?
I’m Not Going To Make It Through This Life. Okay, Never Mind. Do You Like Ice Cream? : 3 Reviews
i am like october when i am dead poems by steve roggenbuck
18pp published by Steve Roggenbuck (2011)
Steve Roggenbuck is not Robert Frost. His poems avoid forests of metaphors. Although they might give you a woody. Roggenbuck’s poems are not pedestrian, but peripatetic. They get you to think, just a little bit, about murder and loss. They also make you look into a night sky and wonder what you had for lunch or what’s on TV. Roggenbuck’s poems hold up dead flowers, then make you leave the room after declaring that that’s all there is. They are rakish, shake a giant rake to scare you, gather dead leaves outside the church of poetry, walk an elephant into that strange part of you called consciousness. Steve Roggenbuck’s poems will choke your dad for your birthday. They don’t care. They will not answer your calls. They are alive with the memories of killers, wonder what they will harvest, then stuff dogs into garbage trucks. These poems are the eraser of two hundred years of American poetry, the shout at the end of a sentence that seeks always a little bit of anarchy, a car on fire. Roggenbuck’s poems are the beginning of a great career.
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The Day Was Warm and Blue poems by Richard Loranger
28pp published by Richard Loranger (2002)
Richard Loranger is gay. He remembers the colors, temperatures of his mornings. Some of these simple memories become poems. Like the twenty-eight poems contained in this book. However, Loranger’s poems are not really contained. Or, if they are, they are contained the same way a sky is contained: warm and blue. But, peculiar. Very, very peculiar. Each poem is a tiny ass-fuck on the same day you kill your boss. Each one is there, with you, because there is nothing else to do. This makes them wonderful. Loranger’s poems are pretty butterflies. They flutter through a room and are closely listened to, but only after they have been eaten. They gather dead leaves outside the church of poetry, put them on a shelf, forget them, maybe. If Loranger had the time he would write these poems upon a wall using his own urine. They are that simple and that marvelous. And who knows? Perhaps he already has. Each of these poems are a little song that drifts by. They are the shadow of an acrobat tumbling in air, a cat in each eye. They are a drink of water after an argument, the mystery of television. Doused in gasoline, simple, lyrical, they want to know who’s in charge, will only listen to the secrets of plants, then wait quietly, to get the names they need to celebrate their small fire. Time has nothing to do with them. I mean, who needs time? These poems keep going on and on, each in their little, magnificent way, all warm and blue.
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Aquarium poems by Ryan W Bradley
26pp published by Thunderclap Press (2010)
Ryan Bradley is straight. He eats lots of spaghetti. He sees pornography everywhere. His poems are a testament to that vision: defiant, sexy, sometimes late for class. It is a teenager’s world. Bombs go off like songs on the radio. And Bradley listens, makes them pretty, finds the wonder in flashing red lights, women falling from the sky, a city on fire. Bradley’s poems attempt to feel things. That is, they are thinking: About the next cigarette, cheerleaders buried under ice, a sudden sensation that slants everything, makes you walk funny. It likes girls, smoke, the Beatles. But best of all, they get depressed in the summer, still believe in the alcoholism of the blues, disguise their social class because these were born poor. Sex and death. It’s all here in these poems. And if you aren’t drunk by page two, you will be by page twenty-six. Drunk and slightly bruised. And touched, lightly. Because Bradley’s hand is light, might even take you far away. Imagine particles, the flash of fireflies, the nakedness of desire—cells rapidly dividing—spread over noodles. These poems are peppered with neighbors singing opera, but Bradley also wants to hear your eyelids closing. He’s sweet. These poems are sweet. All of them, underwater.
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Janey Smith (b. March 30, 1981, Anaheim, California) was born on the same day that President Ronald Reagan was almost assassinated. She likes to think her birth had something to do with it. Janey lives in San Francisco, CA.
June 23rd, 2011 / 2:03 pm
What is Experimental Literature? {Five Questions: Johannes Göransson}
Johannes Göransson is the author of four books – Dear Ra, A New Quarantine Will Take My Place, Pilot (“Johann the Carousel Horse”), and Entrance to a colonial pageant in which we all begin to intricate – and the translator of several more – most recently Johan Jönson’s Collobert Orbital and Aase Berg’s With Deer. He teaches at the University of Notre Dame and edits Action Books and the online journal Action, Yes, and he blogs at montevidayo.com.
Drinking at the Movies
I glow Hobart and came across an interview with Julia Wertz. Interesting. I then went to her comic blog (once named Fart Party, but she’s tired of that phrase). I then $$ her book. I also glow drinking at the movies. Once, during an absolutely packed house of the showing of Fahrenheit 911 (this was Massachusetts, go figure), I snuck a Fosters oil can into my pants and then when I opened it (always an awkward moment) the beer loudly exploded all over my jeans. That was embarrassing. Julia Wertz is a graphic memoirist. Often she is stumbling, spilling things, misunderstanding the situation, young and dumb (I mean the type of dumb that comes with this developmental age; the character is always self aware and obviously intelligent) and wander/wondering about Brooklyn—often, well, embarrassed. (Example: At one point, she has a giant, painful, of-unknown-origin rash on her ass.) If you are about to go all Oh God another story about a twenty-something in Brooklyn, blah, blah, bar scene, go right ahead. In the introduction, Julia Wertz says, “As an autobiographical writer, I had no choice but to portray the natural progression of my life, and I apologize to anyone who’s sick of these stories as I am.”
It’s an insightful, funny thing to say, and most likely speaks to one of the more endearing aspects of this character, her voice.
I Will Judge Your Book By Its Cover
Do you know what I’m tired of? Really bad cover art. I understand that when you run a small press you have limited funds and can’t pay some brilliant designer, but IDK, if you can’t create something new at least copy something good. I’m an aesthete and have no problem admitting that if a book has an awesome cover & i’ve never heard of it, I will be more likely to pick it up. Hell, if a book has an awesome cover and is some weird mathematical exploration of space I will pick it up and read it even though I formerly had no interest in mathematical explorations of space, etc. Here are 35 book/magazine/pamphlet covers that (I think) are better than most things in the world:
What author writes the best about drinking and eating? I mean so good you’re reading and your damn mouth waters.
The Screen on My Phone Broke
Above is the last picture it took before taking on water at work today, from which it would never recover. Luckily I uploaded the captured smorgasbord before it was too late. I replaced the phone at my local Verizon retailer. Now I’ve got a classic Samsung flip-style phone. Feeling pretty retro. Like, déjà vu. This shit happened two years ago. Seriously trippy.
Anyway, yesterday I received a package from out of the country containing three copies of a chapbook titled “Porn” and by “Richard Longfellow.” After some Facebook+Gmail research and hard-thinking, I determined the package to be from Jackson Nieuwland. I haven’t read it yet, but my mother did. She said it was like karaoke. Seems interesting. The chapbooks are pink and have a lot of things. I read a few words from the middle of a poem in the middle of the pamphlet yesterday, but was it like karaoke?
My dog is getting groomed right now. Right outside the house. In a van. The van pulls right up, washes the dog, cuts the dog’s hair, delivers the dog anew. It’s a deal.
I just want to take this moment to shout out to M Kitchell, I been loving David Lynch too. Rewatched Twin Peaks this month too.
And to all you out there thinking about voting for Mitt Romney, I’m just here to say, that’s cool I guess. I mean, I’m not gonna do that, but I’m not here to judge. Just out of curiosity though, are any HTMLGIANT readers Mormon? Does religion influence your vote (I mean anyone, not just Mormons)? Does anyone here even vote?
But really, don’t those hotdogs look good?
Why I Will Love David Lynch Forever
I have been re-watching Twin Peaks for, literally, the first time in a decade. I first saw the series when the Season 1 DVD was released, unfortunately long before Season 2 ever saw a DVD release, on December 18th, 2001. I got the box-set for Christmas. I had never seen the series before, but in the midst of my Lynch obsession at age 15, I was pumped.
Since I’ve been re-watching it, I’ve been thinking a lot more about David Lynch than I have for years– at least since Inland Empire was released. While I know that Twin Peaks is specifically not exclusively the work of Lynch, in any sort of auteur sense, it certainly maintains a lot of elements that are specific to his aesthetics, and the episodes he himself directed are certainly the best of the series. The point is, I’ve been thinking about how awesome David Lynch is, and how really he is sort of the only ‘dark cult figure’ that I can still deal with after decades of obsession & attempting to navigate ‘fanboy’ culture (which, for the record, any sort of genre-based fanboy culture–actually just make that any sort of fanboy culture in general–is pretty much the most annoying thing in the world; I can no longer deal with the cult of Werner Herzog due to his incessant pandering & the caricature of himself that he’s fallen into (and the fact that Klaus Kinski is 100x more awesome than Herzog while Herzog gets all the credit majorly pisses me off)). Anyway, the point is I’ve made a list of why I will love David Lynch forever.
1. David Lynch understands the idea that films are more than just a representational narrative, rather, they are experiences in their own right.
2. David Lynch is not afraid of unwavering intensity. In fact, he loves it, and uses it to a very strong degree. Within the first season of Twin Peaks, made for prime-time network television, after establish a jovial tone filled with the lower-middle class & hat-tips to coffee and pie (“americana”), there are strobe lights, sexual perversions, and intense screaming & crying. This is not Lynch pandering towards “revealing the dark underbelly of suburbia”– maybe that is what Blue Velvet did, but I’d argue it’s more likely that Lynch is just prone to exploring this intensity in various environments (which if you ask me, the rest of his filmography seems to prove).
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