Get our latest essays, archival selections, reading lists, and exclusive content delivered straight to your inbox.
Set to noon. Exile workstation, shadow cafeteria, sever lavatory.
Rend cafeteria, dismantle lavatory, wedge workstation into wall,
slide cafeteria below grade, raise up garden—the basics
did write it, did stretch, did redact
stuttering in some small way
as of the future. He said that K was not yet, was both
himself and catastrophe, weightless
sentencing and “‘wrong’ words”
where poems once were.
All K and leaning on dizziness.
IN AND OUT: the guts. A reduction stuck
to some small way, unstuck a metropolis
of sordid expenditure
disguised as stills from old movies in which the quays
stumble but impending night is “funny, sensual, macabre and illuminating”
OR BY APPOINTMENT. A work-in-progress
is not defective something cast
of catastrophe, therefore
rubble, he articulated.
The “z” of furious geese.
With diagram and inscription in mind, Marjorie Welish produced In the Futurity Lounge/Asylum for Indeterminacy (Coffee House Press, 2012), taking poetic advantage of historic and new architectural sites. A Guggenheim Fellowship this year has so far allowed her to complete the text for a work of diagrammatic art, PUSH BAR TO OPEN.
Vital reading on politics, literature, and more in your inbox. Sign up for our Weekly Newsletter, Monthly Roundup, and event notifications.
How would I know / when I’m empty and quiet like breath?
Historian Gerald Horne has developed a grand theory of U.S. history as a series of devastating backlashes to progress—right down to the present day.
Reflecting on three monumental works of modernism—James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, and Ludwig Wittgenstein’s Tractatus Logico-Philosophicus—a hundred years on.