There were a few cases of consciously not recreating things in the book. For example, there’s a wonderful section in the book about Iain’s relationship with Angela Carter. She’s great. When I interviewed Iain about the book, I was really curious about that because that is another London that doesn’t quite exist anymore, a literary London. It’s kind of dead really, at least in that form. So he’s still book dealing, and she can do a profile on him in the LRB and that can have transformative effects. What I loved about it is that there’s a lunch in Bloomsbury to celebrate an article in the LRB and that just doesn’t happen now.
Adam Scovell interviews John Rogers about his recent London Overground film with Iain Sinclair.
not hardened yet
& other acts
New poetry from Jerome Rothenberg.
Even if the gods did exist, the Epicureans argued, they didn’t care about us. Rather, everything comes from nature, and all that really exists are atoms and void, moving and congregating. The life-world of human and animal experience, with colours, tastes, solid objects, is a perceptual effect of massed atoms.
Continuing the End Times series, Richard Marshall interviews Catherine Wilson.
John is very unwell.
Imagine the entire world drunk.
Every relative every stranger every tree in Alaska every tree in Germany every tree in Brazil drunk.
Every cob-web every bird every earth-worm every heave of every sea drunk.
There’s the innocence of an inside-out day-break.
The grease of his beard growing into his mouth.
He thinks he’s saying what he thinks he’s saying but is only hair mumbling.
He’s utterly compelling.
He’s got an inquisition raptoring up his spine.
New poetry by Paul Leyden.
Kleine’s novella-in-verse achieves ephemeral constancy through the use of the fragment as a signal for filmic cuts. Part of the anchoring effect of Kanley is due to its treatment of both the continuous and the discontinuous: “This new and mysterious dream. / where / everything feels like it is burning” confronts the startlingly-contemporary observation “it’s like real lyfe”. Scenario, rather than plot, guides the movement of Stubrick.
E.G. Cunningham reviews Kanley Stubrick by Mike Kleine.
Mesmerising, episodic, full of wonder and very cool dialogue (“Let’s hit the road, Terror”), Dodge and Burn is deeply committed to exploring the possibilities of language and describing unconventional experiences.
Jude Cook reviews Dodge and Burn by Seraphina Madsen.
Although they are firmly located in the contemporary folk scene, they are not contained by it: when I first came across them, at a time when they were still testing their convergences and limits, they put me in mind of the Swingles performing Berio, or the Raincoats on Odyshape.
Paul Holman reviews Lady Maisery‘s Cycle.
Either we squelch our curiosity or we will have to fall into the circularity or regress to which the skeptic objects. Since the actual infinite regress is of reach for finite humans, we must fall into the circularity, the Cartesian sort of circularity, wherein we use our fundamental faculties (intuition and deduction, as they might be) in order to attain a picture of ourselves and the world around us (ourselves in the lap of a benevolent omnipotence) that enables us to endorse our use of those very faculties. There is no hope for a properly supportive perspective on our basic faculties that is not acquired by means of such inquiry.
Continuing the End Times series, Richard Marshall interviews Ernest Sosa.
Painting: Harry Adams.
and her form is done.
You have to pay
New visual poetry by Sarah James.
After beginning with the end, we have ended up at the beginning. The newest of Jacques Derrida’s seminars is the oldest yet published. Encountering deconstruction in the context of this newest older publication can help to shake our conviction that we know what was meant by it.
Jonathan Basile on Jacques Derrida‘s newly published seminar.