Saturday, April 21, 2012

STREET PHOTOGRAPHER ~




This is a stunning book to find in any bookstore or library waiting on the shelf. Portrayed with the same quiet essence and shy qualities of the photographer, Vivian Maier, who kept her life and work as a photographer hidden or unknown to almost everyone she knew.

The cover photograph sets the standard — the photographer in half shadow, and of course on the street, eye on us.

Interior photographs are full page, resonant, and untitled, we are spoken to by the photographs, very little text. What text there is will be inched in by the hardworking curator of all things Vivian Maier — John Maloof — and the astute essayist Geoff Dyer. It's all win~win.


Vivian Maier (February 1, 1926 – April 21, 2009) was born in New York, grew up in France, and returned to the US at age 25. She worked for almost forty years as a nanny in Chicago's North Shore. During those years she produced 100,000 photographs, primarily of people and cityscapes outdoors and most often in Chicago. She was, according to the families she worked for, very private, spending her days off exploring the streets of Chicago and taking photographs, most often with a Rolleiflex camera.

For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue's family.

Her photographs during her lifetime remained unknown, even untouched and in most cases undeveloped until they were discovered by a local historian, John Maloof, in 2007.

Toward the end of her life, Maier was homeless for a period, living on her Social Security and making do. Some of the children she had taken care of in the early 1950s bought her an apartment in the Rogers Park area of Chicago and paid her bills. Good Samaritans. In 2008, Maier had a mishap on ice and struck her head. She never fully recovered and died in 2009, at age 83.


I've selected some photographs from the book below interspersed with John Maloof's recollections about the photographer.

[BA]



I acquired Vivian's negatives while at a furniture and antique auction while researching a history book I was co-authoring on Chicago's NW Side. From what I know, the auction house acquired her belongings from her storage locker that was sold off due to delinquent payments. I didn't know what 'street photography' was when I purchased them.



It took me days to look through all of her work. It inspired me to pick up photography myself. Little by little, as I progressed as a photographer, I would revisit Vivian's negatives and I would "see" more in her work. I bought her same camera and took to the same streets soon to realize how difficult it was to make images of her caliber. I discovered the eye she had for photography through my own practice. Needless to say, I am attached to her work.



After some researching, I have only little information about Vivian. Central Camera (110 yr old camera shop in Chicago) has encountered Vivian from time to time when she would purchase film while out on the Chicago streets. From what they knew of her, they say she was a very "keep your distance from me" type of person but was also outspoken. She loved foreign films and didn't care much for American films.



Some of her photos have pictures of children and often times it was near a beach. I later found out she was a nanny for a family on the North Side whose children these most likely were. One of her obituaries states that she lived in Oak Park, a close Chicago suburb, but I later found that she lived in the Rogers Park neighborhood.



Out of the more than 100,000 negatives I have in the collection, about 20-30,000 negatives were still in rolls, undeveloped from the 1960's-1970's. I have been successfully developing these rolls. I must say, it's very exciting for me. Most of her negatives that were developed in sleeves have the date and location penciled in French (she had poor penmanship).



I found her name written with pencil on a photo-lab envelope. I decided to 'Google' her about a year after I purchased these only to find her obituary placed the day before my search. She passed only a couple of days before that inquiry on her.



I wanted to meet her in person well before I found her obituary but, the auction house had stated she was ill, so I didn't want to bother her. So many questions would have been answered if I had.





Unfolding the mystery of Vivian Maier

The original flickr discussion

The media on Vivian

New York Times LENS




Friday, April 20, 2012

VALLEJO ~








IMAGINE A REAL DEAL ONCE IN A LIFETIME INTERVIEW WITH THE

PERUVIAN POET CESAR VALLEJO

UNEARTHED

PAGES BLOWN CLEAN, AND TRANSLATED BY KENT JOHNSON

DON'T HESITATE!

____________________________________________________________


The Claudius App is proud to announce the publication of César Vallejo's "Lost" Interview, published in the Heraldo de Madrid in January 1931, recovered, translated, and generously annotated by Kent Johnson. Over coffee with the Heraldo's interviewer (Q: César Vallejo, why have you come here? CV: Well, to drink coffee.), Vallejo discusses precision,Trilce in relation to its predecessors and contemporaries, and a non-extant then-forthcoming volume of poems, The Central Institute of Labor. This is the sole record of the great poet's conversation, and the first appearance of it, unabridged, in English.

Yours,
Jeff Nagy & Eric Linsker


Thursday, April 19, 2012

EARTH ~





Levon Helm

May 26, 1940 – April 19, 2012



Ah, a huge loss to music, acting, neighbors, friends, mankind.


To each of us.


Just listen to him sing, you'll hear it.


It must be 1968 or so and I am reading an interview with Jimi Hendrix and there's the guitar god speaking like an excited kid about a band by the name of The Band.


Hendrix mentioned an album titled "Music From Big Pink".


What in the world? I thought.


Immediately I went out the door, down the drive, along the sidewalk of houses and dogs and friends until I came to my small town and kept walking, to the Main Street
and into the red doors of Woolworth's and there in the record bin, about three wide,
was the album Hendrix had spoken about. Praised to the heavens. New in plastic and $2.95.
Capitol Records.


I bought it with little money I owned.


Played the record to death.


And still play it.


I was a drummer then and Levon was a drummer, one who sang with a great side whip charging southern voice. He was calvary.


Decades later we raised a son and he became a drummer and of course he took to Levon like every drummer I ever met did. One day he called Levon, who he didn't know, and Levon certainly didn't know him, and it was just after Levon's throat surgery for cancer and he spoke quite awhile to this young sixteen year old drummer.


I could get tears in my eyes thinking of that quality of man.





The Night They Drove Old Dixie Down by The Band on Grooveshark





by the way ~
this wheel's on fire is a terrific read
title taken from a terrific song
and one of the
top-notch books ever published
in this country on music,
musicians and the road




EARTH ~





W.G. Sebald



For how hard it is

to understand the landscape

as you pass in a train

from here to there

and mutely it

watches you vanish.










Crossing the Water



In early November 1980

walking across

the Bridge of Peace I almost

went out of my mind










At the Edge



of its vision

the dog still sees

everything as it was

in the beginning










October Heat Wave



From the flyover
that leads down
to the Holland
Tunnel I saw
the red disk
of the sun
rising over the
promised city.


By the early
afternoon the
thermometer
reached eighty-
five & a steel
blue haze
hung about the
shimmering towers


whilst at the White
House Conference
on Climate the
President listened
to experts talking
about converting
green algae into
clean fuel & I lay


in my darkened
hotel room near
Gramercy Park
dreaming through
the roar of Manhattan
of a great river
rushing into
a cataract.


In the evening
at a reception
I stood by an open
French window
& pitied the
crippled tree
that grew in a
tub in the yard.


Practically defo-
liated it was
of an uncertain
species, its trunk
& its branches
wound round with
strings of tiny
electric bulbs.


A young woman
came up to me
& said that al-
though on vacation
she had spent
all day at
the office
which unlike


her apartment was
air-conditioned &
as cold as the
morgue. There,
she said, I am
happy like an
opened up oyster
on a bed of ice.




_______________

W.G. Sebald
translated by Iain Galbraith
Across the Land and the Water
(Random House, 2011)






'I don't think one can write from a compromised moral position," remarked the German writer WG Sebald, who has died, aged 57, in a car crash in East Anglia. That scruple put him at odds with much of contemporary writing.

Scorning the Holocaust "industry", and what he referred to as an official culture of mourning and remembering, Sebald disliked feel-good sentimental portrayals of terrible events - such as Thomas Keneally's Schindler's Ark. He claimed no false intimacy with the dead.

He wanted to find a literary form responsive to the waves and echoes of human tragedy which spread out, across generations and nations, yet which began in his childhood. In the ruined cities and towns of post-war Germany the causes of the destruction of an entire society were never discussed. His father, who came home a stranger to his three-year-old son in 1947, after being released from a POW camp in France, said nothing about the war. Silence and forgetting were conditions of his early life.

read more

(the guardian. u.k.)




Wednesday, April 18, 2012

EARTH ~







Alan Chong Lau's painting for the Year of the Rabbit
sent to Bob & Susan
via mail art


Alan & Kazuko still live at the same address
where we went to visit and stay with John Levy
Seattle 1979 ~
When John moved out, A & K moved in
No fuss, no muss


We went back some years later and arrived at dawn
too early to knock at any apartment door
so we walked the pleasant neighborhood
and called all the house cats from their porch stoops,
many came!


Then we went to knock at Alan and Kazuko's door
but Alan had already left for his job
at a grocer's, so we bid Kazuko good morning
and headed down into the city, and there
was Alan, poet/artist, working in the vegetable bins


We had a grocer's visit with Alan ~
Some years later published this booklet
of poems and drawings from Alan's grocer ways ~
we have all his paintings that were gifted to us
now in frames







Alan's Longhouse booklet
available from:











Tuesday, April 17, 2012

EARTH ~









SPINNING WHEEL



A poet friend from Scotland tells another to
Meet me in Vermont when she arrives


In our town we live for months & months
Both unknown to one another


Then a poet from North Carolina
Visits to read in town


He is friendly and speaks of
Poets he knows hereabouts


My name comes up
He nods my way


Unknown to me the woman from
Scotland is in the audience


This is how we meet




[ BA ]










photo © susan arnold

Monday, April 16, 2012

EARTH ~






Peter Lamborn Wilson
"ec(o)logues"
Sloow Tapes


please click on image to enlarge



I love mail-art and have practiced it myself for forty years in all sorts of sending venues.


I also love receiving mail from outposts close to the earth, barely any funds, scratching together a great idea and running with it: music, poetry, film, art, anything handmade. The world won't quite end if we continue to make the hand~makers! So teach your children well, share with your neighbor, put your poems and art and music, one by one, into hands.


The Other World out there, of business and profits and arguments and fights, doesn't have a clue what any of this about. Much of the world continues to listen to dignified idiots, or actually think there needs to be a qualification as to a 99% and a 1%.


Well there is a difference and it's rather easy to detect: 99% counts their change.
1% doesn't carry change.
http://www.nytimes.com/2012/03/26/opinion/the-rich-get-even-richer.html?hp


Sloow Tapes is out of Belgium and run by
bart de paepe
at
sloowtapes@gmail.com

it's delightfully handmade and of immediate purpose: poets or musicians at work and prepared all on easy access cassette, with personalized inner sleeves about the performer and often art work to match the eye and meal. Good stuff.








Sunday, April 15, 2012

EARTH ~




These 23 Days in September by David Blue on Grooveshark


Now and then you can walk into a used music store and if you're lucky get to hear a little gem like this song rolling. . .and even better find a copy of the LP tucked under other bins, on the floor, stuffed in a box, sort of like a coffin. Blue was young when he passed away from a heart attack while jogging in Washington Square Park in New York City, 1982, age 41. He had recorded eight albums, appeared in Bob Dylan's Renaldo and Clara, as well as Wim Wenders An American Friend and other films, and at one time his name was on the same breath and wavelength as his Greenwich Village folk musician cohorts Tom Paxton, Eric Anderson, Dave Van Ronk, Bob Dylan et al. A few words are in order to remember and certainly respect the memory of the man and artist — but really I want to share the song with you and have it play & play. Forever. It wasn't on the Grooveshark mammoth jukebox, so we loaded it on.








Saturday, April 14, 2012

BOOK ART ~






Krystyna Wasserman
Princeton Architectural Press, 2007, 2011


This book showcases more than one hundred of the finest artists' books culled from the collection of the National Museum of Women in the Arts








Claire Van Vliet

Circulus Sapientiae (Circle of wisdom), 2001

Pulp painting on handmade paper, CD

5.5 x 12 in. / Edition of 120








Allison Cooke Brown

Teatimes, 2005

teabags, sepia ink, silk-covered box w/paper lining,
bone clasp









Pamela Spitzmueller

British Museum Memoir, 1997

small-grid graph paper, color pencil

ink, copper sheet and copper wire









Lois Morrison

Endangered Species, 1999

cloth over board, color-copied drawings,
gocco prints, paper, color pen









Emily Martin

Eight Slices of Pie, 2002

inkjet on paper, aluminum and plastic pie pan









Mary Bennett

German Egypt, 2002

altered book








Meret Oppenheim

Caroline, 1985

letterpress, colored etchings, embossing









Mirella Bentivoglio

Litolattine, 1998

iron, tin cans, caps









Karen Kunc

Small Gifts, 2004

text from Finnish folk song
color etchings and aquatints on handmade paper, letterpress










Genie Shenk

Dreams: 2005

I went to sleep, where did I go?


(not in this book, but irresistible)






Emily Martin, Lois Morrison, Allison Cooke Brown, Claire Van Vliet, Pamela Spitzmueller, Krystyna Wasserman, Karen Kunc, Mirella Bentivoglio, Meret Oppenheim, Mary Benett, Genie Shenk,




Friday, April 13, 2012

NEW BOOK! ~










NOT HERE


It was
a room which
she slowly
filled


or it was
a movement that
she
made


or
just that she was there
and
stayed.


Considering
the time of day
the opportunity
was to


his advantage. The
time she
stayed
and still more. The


movement, the
confusion.
How together they saw
through the confusion.


They almost
could have said
we're
happy.




Rolf Dieter Brinkmann
trans. Mark Terrill














Thursday, April 12, 2012

EARTH ~





Tamarack



EARTH ~











back road chalkie
photo © bob arnold




Wednesday, April 11, 2012

Tuesday, April 10, 2012

EARTH ~




Jane and Paul Bowles, New York, 1944




PAUL BOWLES, HIS LIFE
previously unpublished journal, 1986



The first sky he saw was the sky above New York.

Winters it snowed. The school was dark.

There was a song which went: "When you come back, if you do come back."

It was addressed to the American soldiers in France.

There was a day when the children paraded in the street.

They sang "Marching through Georgia", a song of victory from the Civil War.

Now it celebrated a different victory.

Kaiser Wilhelm would no longer haunt the children's dreams.

Summer meant sunshine and lakes and crickets.

The peaches dropped to the ground and were speared
by the stubble.

A day was invisible, had no hours.

The dark brought the voices of the night insects.

But school went on for many years. Discipline was strict.

The idea of escape took root and grew.

A night with thunder in the sky he packed his bag and left.

The S.S. Rijndam was old and slow. This was its last voyage.

Passengers for Boulogne went ashore in a dinghy,
rocked by the waves.

At dawn the empty streets of Paris were clean and shining.

This was fifty-seven years ago. Things are different now.

The excitements of Paris: Le Cafe du Dome, La Mosquee.

Le Theatre du Grand Guignol, el Bal Negre de la Rue Blomet.

He worked for forty francs a week, and sometimes was hungry.

Then a girl he'd known from childhood came through Paris
and saved him.

He wandered on the Cote d'Azur, in Switzerland.

And along the paths of the Schwarzwald.

He was happy, and he wrote words which he imagined made poems.

That winter in New York Aaron Copland told him: You should
become a composer.



It will be difficult, he thought, but why not try?

Soon he was in Paris again. He admired Gertrude Stein.

She told him he was not a poet, so he stopped trying to be one.

This meant that he devoted himself only to music.

Miss Stein did not like the music either.

In Hanover he stayed with Kurt Schwitters.

He went with him to the city dumping ground

And they collected material for the Merzbau.

In Berlin he wrote music, and people shouted; Fenster zu!

In Paris they cried: Fermez la fenetre!

In Tangier only Copland and the cicadas could hear him.

In the Sahara he fell in love with the sky

And knew that he would keep returning there.

In the spring he was in Agadir, where the food was not clean.

The doctors in Paris told him he had typhoid fever.

He lay for a month in the hospital. His mother came from New
York.

When he was well they went to Spain and to Monte Carlo.



Winter came. He wanted the desert.

He took a house outside the oasis of Ghardaia.

He went to Tunisia on the back of a camel.

In Tunis he learned that he had no money.

Frank D. Roosevelt had closed the banks. The dollar was not
negotiable.

Friends in France wired him francs.

He arrived in Tangier with his python skin and seventeen
jackal pelts.

He knew he must return to America, but first he sailed to
Puerto Rico.

That way he stayed outside the cage a little longer.

In New York he thought only of Morocco.

Like a convict planning a prison break he presented his escape.

And summer found him sailing toward the east. he stayed in
Fez this time.

And though his parents awaited him in New York

He went to South America to see how it looked.

The forests and the mountains delighted him, but he did not stay.

He was in California writing music. He was in New York
writing music.

Orson Welles wanted music for two plays, and he provided it.

Kristians Tonny and his wife arrived in New York.

Jane Auer appeared on the scene, and the four set out for Mexico.

The day after they arrived in Mexico City Jane disappeared.

Much later they heard she had gone to Arizona.

After a few months they went on to Guatemala. It was very fine.

He hurried to New York to orchestrate his first ballet.

He took Jane Auer to hear it played by the Philadelphia
Orchestra.

Soon Jane Auer became Jane Bowles.

With too much luggage they boarded a Japanese ship
and went southward.

Then they were in Guanacaste with the monkeys and parrots

And they carried a parrot with them from Costa Rica
to Guatemala.

They were on the Cote d'Azur when Chamberlain visited
Munich.

They were in New York when Hitler marched eastward.

He was writing music for theater and film directors

And Jane was writing a novel.

They decided to go and live in Mexico. The hacienda
was ten thousand feet up.

When he had to fly to New York to work, Jane stayed behind.

The rooming-house where they lived that winter was run by
the poet Auden.

At half past six each morning Jane met the poet in the
dining-room.

Jane was a friend of Thomas Mann's daughter Erika.

And Auden had married her. They had things to talk about.

Soon they were back in Mexico. He was composing a zarzuela.

And Jane was writing a novel.

One day she came to the end of it.

The next day the Japanese bombed Pearl Harbor.



They went to Tehuantepec and listened to the marimbas.

He was still working on the zarzuela. He was also writing a
second ballet.

They went to New York and he became a music critic.

Jane's novel was published and Leonard Bernstein conducted
the zarzuela.

He went to Mexico and admired the new volcano Paricutin.

The Belgian Government-in-Exile commissioned music for a
film on the Congo.

Collaborating with Salvador Dali, he wrote a third ballet.

Then he began to write short stories, and grew tired of writing
theater music.

He went to Cuba and El Salvador. Jane was writing a play.

He stopped being a music critic, but continued to write music
for Broadway.

One night he dreamed he was in Morocco. The dream made
him very happy.

A publisher commissioned him to write a novel.

He decided to leave New York and go back to Morocco.

In Fez he began to write The Sheltering Sky.

He continued to write it as he moved here and there in the
Sahara.



He met Jane in Tangier and took her to Fez.

A stream rushed by under their windows as they worked.
He finished his novel.

He had already written music for Tennessee Williams' first
Broadway success.

He was not surprised to learn that Tennessee wanted him for
another play.

He went to New York and wrote the score.

After the opening he took Tennessee back to Morocco with him.

The weather was bad, and Tennessee stayed less than a month.

He and Jane were living at the Farhar in Tangier.
Truman Capote arrived.

For six weeks he amused them at mealtimes.

There were many parties and picnics.

Jane worked in her cottage, but he did not know what she was writing.

He was chagrined to hear that the publishers did not want his book.

We expected a novel, they said, and this is not a novel.

So it was published first in London.



They went to England and stayed a few weeks in Wiltshire.

Jane wanted to spend the winter inParis. He decided on Sri Lanka.

On the ship he started a novel about Tangier.

He went to stay on a tea plantation in the hills.

Where leopards hid behind rocks and carried off the dogs.

He took a boat across to Dhanushkodi in India.

India was hotter than Sri Lanka. He worked on his novel.

When he arrived in Paris, Jane was not ready to leave.

He was making an opera out of Garcia Lorca's Yerma.

This was for Libby Holman. They spent a month together in Andalusia.

Autumn in Fez. Winter and spring in the Sahara.

Jane wanted to return to Morocco.

He drove to the French frontier and picked her up.

But she liked Spain so much that they spent a month there.

She finished her play and went to New York.

He finished his novel and went to Bombay.

The Indian railways had suffered in the past two years.

In South India he was put into a screening camp.

Along with twenty thousand Tamils caught while trying to
escape to Sri Lanka.

But although they were here for months and years.

He got out after two days, and went to Sri Lanka.



In midsummer he was in Venice. he was in Madrid when a
wire came from Ceylon.

It was possible now to buy a small island off the coast of
Sri Lanka.

He bought it and went to New York to write music for Jane's play.

In the summer he was in Rome, working on a film for Visconti.

He did not know what he was doing, but he did it anyway.

That winter in Tangier, while he had paratyphoid, William Burroughs
came to see him.

It was a year before they got to know one another.



In the summer he started to write a third novel, this one about Fez.

It was half finished when he and Jane sailed

To pass the winter on Taprobane, the island off the coast of Sri Lanka.

Jane was not well. She was not happy there.

After two months she returned to Tangier.

He finished his novel and took a cruise to Japan.

Then he went back to Tangier and continued his work on the
Garcia Lorca opera.

His parents came to visit him. They enjoyed Morocco.
He was surprised.

He thought about his island, and decided to go to Sri Lanka and sell it.

The Suez Canal was blocked. He had to go via Cape Town.

He passed the winter at Taprobane and set sail for Mombasa.

While he was in Kenya Jane suffered a stroke.

He took her to England to be examined.

The doctors could do nothing, and they returned to Tangier.

Soon she became worse and had to go to London again.
It was a bad time.

In Madeira her health grew worse. She was obliged to go to
New York.

Tennessee, who loved her, came from Florida to meet her at
the airport.

The Garcia Lorca opera was produced. It was not a success.

Libby Holman had worked very hard, but there was no director.

He and Jane went back to Tangier. But then a telegram came from Tennessee.

Saying he needed music for a new play.

He sent him the script for Sweet Bird of Youth.

Part of the music was written in Tangier and part on the
New York-bound ship.

The Rockefeller Foundation gave him a grant to record music
in Morocco.

He spent six months taping music in the mountains, the desert
and the city.

The following year he began to tape Moroccan story-tellers.

Jane seemed to be better, but she still could not see to work.




He took Allen Ginsberg to Marrakesh.

But they arrived the day the Medina burned.

The smoke from the bazaars and souks was heavy in the air.

Jane's health was now less good. They went twice to America,
saw their parents.

Consulted doctors who might be of use. But no doctors could
be of use.

In Tangier on the Monte Viejo he wrote his fourth novel.

He began to translate what Mohammed Mrabet recorded.

A publisher asked him to write a book about cairo.

He did not want to do it, so he playfully suggested Bangkok.

The publisher agreed. He went to Bangkok via Panama.
He was appalled.

You have arrived fifteen years too late, everyone told him.

The trees were gone. The klongs has been filled in.
The air was foul.

After four months the Thai authorities forced him to leave.

In Tangier he found that Jane needed to be hospitalized.

He took her to Spain.

Then he agreed to go to California to teach.

He told his students that he was not a teacher and could not teach.

They laughed, thinking he was eccentric.

After the first semester he returned to Morocco.

Jane begged to be taken back to Tangier. The doctors advised
against it.

Nevertheless he took her back with him because she was so unhappy.

It was a disaster. She would not eat, and grew weak and thin.

He admitted defeat and returned her to the hospital in Spain.

She remained there. She died there. Her grave is unmarked.

After that it seemed to him that nothing more happened.

He went on living in Tangier, translating from Arabic, French
and Spanish.

He wrote many short stories, but no novels.

There continued to be more and more people in the world.

And there was nothing anyone could do about anything.


from TRAVELS
Collected Writings
1950-1993
(Ecco)















Monday, April 9, 2012

EARTH ~





Richard Brautigan





FOR FEAR YOU WILL BE ALONE


For fear you will be alone
you do so many things
that aren't you at all.









"GOOD WORK," HE SAID, AND



"Good work," he said, and
went out the door. What
work? We never saw him
before. There was no door.









SEXUAL ACCIDENT



The sexual accident
that turned out to be your wife,
the mother of your children
and the end of your life, is home
cooking dinner for all your friends.









THE AMELIA EARHART PANCAKE



I have been unable to find a poem
for this title. I've spent years
looking for one and now I'm giving
--------up.

-----------------November 3, 1970









MARCH 18, RESTING IN THE MAYTAG

HOMAGE


Looking out a hotel window
it's snowing in New York with
great huge snowflakes like millions
of transparent washing machines swirling
through the dirty air of this city, washing
--------it.









WE ARE IN A KITCHEN



We are in a kitchen
in Santa Fe, New Mexico.
Some bacon is frying.
It smells like a character
that you like in a good movie.
A beautiful girl is watching
-------the bacon.









THE LAST SURPRISE



The last surprise is when you come
gradually to realize that nothing
--------surprises you any more.









1 / THE CURVE OF FORGOTTEN THINGS


Things slowly curve out of sight
until they are gone. Afterwards
-------only the curve
-------remains.





RICHARD BRAUTIGAN
from Loading Mercury With A Pitchfork
(Simon and Schuster 1976)






Richard Brautigan was born in Tacoma Washington on January 30, 1935.
He died of a self inflicted wound some time in the autumn of 1984 in Bolinas California.
The date isn't precise because the body stayed unknown for awhile.
If a 'note' was left it was cryptic but the author wasn't ~
when asked how to pronounce his name he often said,
"Richard Brought A Gun".
Zillions tried to write like him, but none as well.



http://blogs.westword.com/showandtell/2012/04/qa_richard_brautigan_william_g.php





In this monster biography of Brautigan I've reached page 100, with 800 microscopic type size pages to go. He's already killed himself, born himself, raised himself, left home and all behind as if the genuine orphan, and has landed in "Frisco". Now the tale begins. I adored all his books when I came upon them in 1968 and that lasted for about 10 years. Watermelon Sugar was sweet to the tongue in 1970. Let's not forget 1970. Sweetheart saw him read in Santa Barbara at the same time, and since Brautigan didn't drive, we're now thinking K. may have driven him down. At age 76 (in May) K. will still get up and drive at the drop of a hat, or a dare.







Sunday, April 8, 2012

Sunday, April 8, 2012

Bob Arnold: Forever

Cover of Bob Arnold's Forever


Two little beauties from Bob Arnold's new tiny little booklet, Forever. The handmade paper cover, delightful photos, illustrations and fine poems comprise a production any small press maven might envy (and collector might covet). I don't see it mounted up on the Longhouse website yet, so if you are interested, drop Bob a line at , substituting @ for at, and . for dot.




The First Step To Independence
Breaking worse
what you try
to fix







Tobacco Road
what a corny
film

and how
I can't

forget the
old fella's

sadness
Bob Arnold









my eternal youth ornament--
just three cents
of emperor's pine
Issa
translated by David G. Lanoue






best,
Don



http://lilliputreview.blogspot.com/



Buy direct from Longhouse with Paypal $20.00, signed, with free shipping












EARTH ~








PROGRESS REPORT AFTER THE STORM



It takes the utility company forever

to get the power back on



Meanwhile —

the birds are already singing







photo © bob arnold