Category: Poetry

F.R. David
Spring 2017 : Inverted Commas

 

F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.

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Florine Stettheimer
Painting Poetry

A new look at the art of one of the most charming and idiosyncratic personalities of early 20th-century New York Florine Stettheimer (1871-1944) was a New York original: a society lady who hosted an avant-garde salon in her Manhattan home, a bohemian and a flapper, a poet, a theater designer, and above all an influential painter with a sharp satirical wit. Stettheimer collaborated with Gertrude Stein and Virgil Thomson, befriended (and took French lessons from) Marcel Duchamp, and was a member of Alfred Stieglitz and Georgia O’Keeffe’s artistic and intellectual circle.

Beautifully illustrated with 150 color images, including the majority of the artist’s extant paintings, as well as drawings, theater designs, and ephemera, this volume also highlights Stettheimer’s poetry and gives her a long overdue critical reassessment. The essays published here-as well as a roundtable discussion by seven leading contemporary female artists and curator Jens Hoffmann-overturn the traditional perception of Stettheimer as an artist of mere novelties. Her work is linked not only to American modernism and the New York bohemian scene before World War II but also to a range of art practices active today.

Flamboyant and epicurean, she was an astute documenter of New York and parodist of her social milieu; her highly decorative scenes borrowed from Surrealism and contributed to the beginnings of a feminist aesthetic.

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Kathy Acker
Hannibal Lecter, My Father

You can say I write stories with sex and violence and therefore my writing isn’t worth considering because it uses content much less lots of content. Well, I tell you this: ‘Prickly race, who know nothing except how to eat out your hearts with envy, you don’t eat cunt’…

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker’s raw, brilliant, emotional and cerebral texts from 1970s, including the self-published ‘zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker’s opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer—which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker’s fiction. And last, but not least, is the full transcript of the decision reached by West Germany’s Federal Inspection Office for Publications Harmful to Minors in which Acker’s work was judged to be “not only youth-threatening but also dangerous to adults,” and subsequently banned.

Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She’s definitely not for the easily offended—but then, there are worse things in life than being offended. Such as the things that Acker writes about…

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Eileen Myles
Not Me


Listen, I have been educated.
I have learned about Western
Civilization. Do you know
What the message of Western
Civilization is? I am alone.

This breakthrough volume, published in 1991 by the author of Cool For You and Chelsea Girls captures the high points of Myles’ work in New York City during the 1980s. Poet, novelist, lesbian culture hero and one-time presidential candidate, Myles has influenced a whole generation of young queer girl writers and activists. She is one of the most brilliant, incisive, immediate writers living today.

Eileen Myles, named by BUST magazine “the rock star of modern poetry,” is the author of more than twenty books of poetry and prose, including Chelsea Girls, Cool for You, Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The New Fuck You (Semiotext(e), 1995). Myles was head of the writing program at University of California, San Diego, from 2002 to 2007, and she has written extensively on art and writing and the cultural scene. Most recently, she received a fellowship from the Andy Warhol/Creative Capital Foundation.

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