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post in three parts, goodbye, hello February 22, 2010: Mingus says the shoes of the fisherman are some jive-ass slippers. On the other hand, The Shoes of the Fisherman is my favorite movie. A blog, I guess, is like an open session, a kind of tour of the sausage factory but without the divine intervention. Curtis Mayfield recorded New World Order flat on his back, phrase by phrase, crumb by crumb, [...] by

“to consent not to be a single being” February 15, 2010: Edouard Glissant’s L’Intention poétique has recently been translated by Natalie Stephens; Poetic Intention will be out from Nightboat Books in March. I’ve been immersed in, and totally messed up (in the best sense) by, Glissant’s work since last Fall, when I got the chance to participate in one of a series of panel discussions on his work [...] by

B 3.1 February 8, 2010: What makes translation interesting and valuable and productive (of knowledge, of the the new thing, of pleasure) is its necessary failure. It succeeds insofar as it is deviant and deviance, in any case, is what the resistance of the "original" (which is always based on something) imposes upon it. There are a million different ways to celebrate [...] by

B 5 February 6, 2010: At circle time on Thursday, Lorenzo declared that when he makes smores for Julian (which I wasn’t aware that he’d ever done) he makes them with bricks, sticks and snow. He has become an anoriginal king of comedy. When everybody stopped laughing all the other jokes started flying around. “Have you ever seen a Bethany eat another Bethany? Have [...] by

B 4 February 6, 2010: A lot of it is just trying to figure out how to say something. How to read. Not how to offer a reading, or even an interpretation, but a performance of a text, in the face of its unintelligibility, as if one were forced/privileged to access some other world where representation and unrepresentability were beside the point (so that the response to [...] by

B 3 February 6, 2010: Dear Evie, Remember when we read together in November, and afterwards you asked me about a particular poem of mine, and seemed to wonder why my reading of it didn’t acknowledge or account for the spacing of/in the poem as it is on the page? I figured that question was a statement and that you were right. Philip’s theater is this spatial [...] by

Backlog 2 February 6, 2010: The commitment to repair is how a refusal to represent terror redoubles the logic of representation. The refusal of our ongoing afterlife can only ever replicate a worn-out grammar. The event remains, in the depths. The event-remains are deep and we stand before them, to express them, as their expression. These bits are a mystery, a new machine [...] by

Backlog February 6, 2010: I didn’t stop logging, I just stopped posting. I think I got waterlogged from not being able not to try to get too deep. I got into some kind of double trouble from blowing bubbles, I guess. Anyway, here’s some more stuff, along the lines I promised, though I might want to make another promise now. The other thing is that this is driven by the [...] by

cut plan January 14, 2010: This time i want a little distance from the top of my head though I'm still prepared to claim it by giving it away. in a long set of unmade circles, the conditions and effects of miscommunication are brutal and glorious. They keep going till you stop. to revel in something that breaks you up. to rebel in dread of reverse and whatever brings it [...] by

the plan January 10, 2010: I want to say, without arguing too much for it here, but by way of an encounter that Trane and Edouard Glissant have been having in my head for a couple of months, that Zong! (and more generally the black history that is the sea, as Derek Walcott didn’t quite say) is about ascension and consent: an emergence anticipatorily after the fact of the [...] by