Above: Johannes Goransson w/ Daniel Tiffany
Check out this 2010 series of Montevidayo interviews where Johannes and Daniel discuss kitsch:
“Taking all of these factors into account, it’s clear that any working definition of kitsch must–at this point–acknowledge the polemical and impoverished legacy of modernist definitions of kitsch. Kitsch remains an enigma–a flaming enigma–precisely because the sanctions put in place against it–against the very idea of kitsch–nearly 75 years ago have proved so effective. Until these sanctions–and erasures–are lifted, kitsch will be nothing more than a scandalous accessory of modernism: the last, great unexamined aesthetic category of the 20th century.”
"In the poems of Privado (Action Books, 2010), the reader will discover fragments of cadences used by the armed services in marching drills. These training songs—chanted in formation by recruits for lengthy periods—are called jodies in military slang. Strictly speaking, in terms of poetic form, a jodie is a carol, a dance-song for a chorus (either male or female) of unmixed voices. On the following pages, however, the choral chant of the jodie survives only—and unavoidably—through a kind of ventriloquism.”
You are very lazy
Master Hair Dresser,
You do me back
Look to not cup me.
Err, er, er, er, er
Er, Er, er, er, er
Err, er, er, er, er
Er, Er, er, er, er
Six to the front
And three to the rear
That’s the way
We do it here.
Impervious to pain,
To human presence.
Hair en massacre,
Close to modern.
Do I look illegal?
by Daniel Tiffany
Currently reading the hell out of James Merril’s incredible ouija board poems aka The Changing Light at Sandover:
Souls can’t feel at E’s level. He somehow was
using me, my senses, to touch JM who
this morning swears it was my hand stroking him.
(Typical of J to keep, throughout, staring
off somewhere else.) Now Ephraim tried to lead me
to the mirror and I held back. Putting his
hand on me then, my excitement, which he breathed
smiling, already fading, to keep secret
Eyebeam sparkling coolly into black,
Lips rippling back into the glass-warp, breathing
Love … So much, so little, David saw
That was before our brush with Divine Law.
RODENTIA AND OTHER GUILTY SMALL ANIMALS
BY MADELINE WEISS
Drew Kalbach makes his debut over at FANZINE with a review of Lauren Shufran’s Inter Arma:
"These lines hinge around the ‘thyrsis,’ who is a character in Virgil and is linked with the pastoral poem. However, in the first poem, it is spelled ‘thyrsus,’ which is a kind of fennel rod, and makes a lot of sense given the overwhelming cock and sexual imagery. It’s this sort of subtle mutation from poem to poem, a slight twist in vowel or consonant, which gives these poems their slowly squirming feel. Along with that, the poems deal with sexuality in violent and multifaceted ways. For example, pious in public but depraved in private, Shufran links the Roman’s daily double-consciousness with the typical homophobic American male to emphasize both its absurd nature and its hateful ubiquity. In public, the military hates anything outside their tiny in-bred world; however, in private, all those ducks line up together to call each other a ‘fag.’ They love their cocks and ‘seizing flesh like they were taking pictures.’ Meanwhile, the duckish narrator flits in and through these scenes, dropping classic references and speaking in meter. He seems a part of and beyond it all."
"To engage in persona is to assume there is a face beneath the mask. Gurlesque poets, on the contrary, assume there is no such thing as coherent identity. There is no actual self, only the performance of self. This is one of several things that potentially separates Gurlesque poets from female Confessional or Neo-Confessional poets. For the Gurlesque poet, the use of the lyric ‘I’ does not confess a self, but rather a raucously messy nest of conflicting desires and proclivities that can be costumed this way or that. Disjunctions in identity are not to be worked through or resolved but savored and tapped for their cultural power."
-Lara Glenum, co-editor of Gurlesque: the new grrly, grotesque, burlesque poetics and author of Pop Corpse
10TAL has announced that the 17th annual Stockholm International Poetry Festival has a Gurlesque theme!! This means Kim Yideum (Korea), Lara Glenum, Joyelle McSweeney, Johannes Göransson (U.S.), and Aase Berg and Leif Holmstrand (Sweden) will be taking the stage on December 4th to share poetry that Glenum has described as writing that "swerves between parodies of violence to its enactment, which, in the hands of women, becomes strikingly transgressive. Gurlesque poetry thus investigates the collision / collusion of fantasy and ethics at the core of Western cultural battles."
Additionally, actor, Anna Pettersson, will also be performing and the Mare Kandre Prize will be awarded for the eighth year.