BOMB interview Stephen Dixon.
I don’t like description in the novel. In fact, in one story I wrote long ago, ‘A Sloppy Story’ — it’s in 14 Stories, I think — I satirize description. “Something is like this, something is like that.” The character jokes about it. Anyway, I don’t like description.
See also, Tao Lin‘s interview with Dixon for 3:AM Magazine.
From this:
To this:
Please excuse the low res pics… but, as we’re still working away on issue one of gorse, we thought we’d share a snippet from a brand new story by Desmond Hogan:
Max Ernst’s surrealist ‘graphic novel’, Une semaine de bonté:
The 184 collages of Une semaine de bonté [A Week of Kindness] were created during the summer of 1933 while Max Ernst was staying at Vigoleno, in northern Italy. The artist took his inspiration from wood engravings, published in popular illustrated novels, natural science journals or 19th century sales catalogues. With infinite care, he cut out the images that interested him and assembled them with such precision as to bring his collage technique to a level of incomparable perfection. Without seeing the original illustrations, it is difficult to work out where Max Ernst intervened.
Music & Literature magazine present the ‘Three Archives of Gerald Murnane.’
Murnane has for decades accumulated an impressive collection of literary, personal, and creative manuscripts, including his legendary Antipodean Archive, founded in 1985, which contains an expansive Henry Darger-like fictive universe of horseracing, romantic obsession, and overlapping imaginary realms. Murnane has stated that these archives will not be made public until after his death, but here we are given a glimpse into his many worlds. Revered in his home country and deemed “a genius on the level of Beckett” by Teju Cole, Murnane is regularly rumored as a candidate for the Nobel Prize.
‘Baudelaire, Benjamin and the Birth of the Flâneur’ by Bobby Seal.
It is, therefore, clear that Baudelaire established a tradition that moved through the early modernists, to the Surrealists and on to the Situationists. As part of the latter movement, Guy Debord developed the notions of the dérive and the ‘spectacle’. A dérive (in English ‘drift’) is the means by which ‘psycho-geographies’ are achieved. A drift is an unplanned walk, usually through a city or marginal area, and a psycho-geography involves the walker creating a mental map of the city which, “depends on the walker ‘seeing’ and being drawn into events, situations and images by an abandonment to wholly unanticipated attraction.” (Chris Jenks (ed), ‘Visual Culture’)