mercredi 29 septembre 2010
dimanche 26 septembre 2010
Offensive sécuritaire: Que fait (vraiment) la police ? : France Culture: Contre-expertise 19.08.2010 – 18:15
Retranscription de l’émission Offensive sécuritaire: Que fait (vraiment) la police ? : France Culture: Contre-expertise 19.08.2010 – 18:15 en ligne à http://semantiquegenerale.free.fr/contreexpertise190810.htm
“Police des chiffres et des doutes” Jean-Hugues Matelly, Christian Mouhanna
Site de l'émission sur France Culture: http://www.franceculture.com/emission-contre-expertise-offensive-securitaire-que-fait-vraiment-la-police-2010-08-19.html
Théo Lésoualc'h, clandestin, de nulle part et simultanément
|
samedi 25 septembre 2010
Charley Plymell: photo by Richard Barr
"Charles being cool while being teleported out !" Richard Barr
Roger Gents: "N'Être": 4 chapitres en ligne
« La Tangente » www.inter-zone.org/gentis_tangente.pdf
« L'orgasme, Dieu et le fric » www.inter-zone.org/gentis_reich.pdf
« Des loups et des hommes » http://semantiquegenerale.free.fr/Articles/gentis_loup.pdf
« Des loups, des corbeaux et des hommes » http://semantiquegenerale.free.fr/Articles/gentis_corbeaux.pdf
Galerie Ecritures : info
Vendredi 24 Septembre à 18 H Vernissage de l'Expo des planches de Braise 1 et 2, étonnante apnée dans le monde fantasmagoriphique, à la rencontre des auteurs Bertrand Bouton et Cédric Fortier (jusqu'au 24 octobre 2010)
http://www.canalbd.net/index.php?id=1201
Librairie Le Talon d'Achille et la Galerie Ecritures 1 rue Pierre PETIT 03 100 MONTLUCON
http://www.canalbd.net/index.php?id=1201
Librairie Le Talon d'Achille et la Galerie Ecritures 1 rue Pierre PETIT 03 100 MONTLUCON
Mino DC: ATELIER, mode d'emploi Tours et alentours atelier 2010
2 et 3 octobre 2010 ATELIER, mode d'emploi Tours et alentours mino d.c "chaos"
chez élisabeth Daveau
51, rue de Grandmont
Saint Avertin
samedi : 14 à 20h, dimanche : 14 à 19h
At the End of Time: The Incomplete Works of Richard Krech
Review at http://dougholder.blogspot.com/
Sunday, September 19, 2010
Richard Krech's new book, "At the End of Time" which is "Volume II of the Incomplete Works of Richard Krech" which will come out in December, published by sunnyoutside.com
Buffalo, NY (September 18) – Bay Area poet and criminal defense attorney Richard Krech will have his second collected works released by Buffalo small press sunnyoutside on December 12. The compilation of poems, will retail for $20 and complements his previous anthology, was published by Litmus, Inc. in 1976.
Second collected works by Bay Area poet Richard Krech to be released December 12
First writing after becoming involved with civil rights activities in 1963, Krech's first book was published by d. a. levy in 1967. returned to writing after being inspired by the Taliban’s destruction of the Bamiyan Buddha. Selected new and unpublished poems are also included.
Ron Silliman, author of poets of the New American Poetry—the Beats, Black Mountain, the New York School—reading Richard Krech is going to feel just like coming home. He’s too young to have been a Beat, really, but from the mid-1960s right up to this present moment, he has lived the dream—and, for good measure, been a criminal defense lawyer in Oakland for much of this time. This is really the poetry of vision from somebody with a fine ear, a clear eye, and a generous soul. There is a crinkly sense of humor here as well—it makes for great reading and a deep record of our time.”
Ingrid Swanberg, editor of clear poetic meditations on the Dharma are engaged and engaging musings on time, place, history, war, and the beauty of the natural world.”
Review copies available upon request.
At the End of Time: The Incomplete Works of Richard Krech, Volume II (ISBN 978-1-934513-27-9),The Incompleat Works of Richard Krech, whichAt the End of Time compiles poems from his collections published since 2001, when heThe Alphabet, wrote of Krech's writing and importance: “If you were raised on theAbraxas Magazine and director of Ghost Pony Press, added: “These spare andSunnyoutside, an independent press, is located in Buffalo, New York and is a member of the Council of Literary Magazines and Presses, the Fine Press Book Association, the Letterpress Guild of New England, and the Western New York Book Arts Collaborative, for which publisher McNamara serves on the advisory board. Sunnyoutside is also a proud sponsor of the 2010 Indiana Authors Awards and has previously sponsored the Buffalo Small Press Book Fair. For more information and a complete list of available titles, visit http://www.sunnyoutside.com/.
About sunnyoutside
For more information, or to request a review copy, contact the publisher at:
David Michael McNamara, Publisher
PO Box 911 • Buffalo, NY 14207 • USA
(617) 905-6747 • david@sunnyoutside.com
FOR IMMEDIATE RELEASE
mardi 14 septembre 2010
Gerard Malanga: TE BOUFFE PAS LA TÊTE Charles Plymell Glass Eye Books / Ecstatic Peace Library
Traduction française: Jean-Marie FLEMAL
D’embée, Charles Plymell balance son premier coup en une fantasia de vibrations rythmiques dans " La théorie de la poussière meurtrie ", qui surpasse même les premiers jets de Ginsberg. Et, ainsi donc, " Te bouffe pas la tête " est un recueil de dimensions modestes (29 poèmes réunis en 34 pages), empli de sévères mises en garde contre le mauvais sort et la destruction et des souvenirs de la planète Terre lorsqu’elle traversait des âges plus innocents, avec des vagues de blés chaleureux s’étendant aussi loin que le freux peut voler dans ces rêves du Kansas. J’ai lu ce plaisant petit recueil à haute voix de la première à la dernière page tout en écoutant, presque en sourdine, " Gaspard de la nuit " de Ravel et c’était pareil à l’émotion retrouvée dans l’un ou l’autre scopitone, comme si j’avais regardé par la fenêtre d’une voiture, avec Charlie au volant.
" Agenouille-toi, l’Amérique, et embrasse l’asphalte, tu as voté pour " est précisément l’un des vers mêmes qui fait mouche d’instinct. " (…) les succès trop répétés sont à coup sûr le prologue d’un désastre " en est un autre et, ainsi, la cupidité surgit çà et là, au moment où Charley se met à singer le jargon du Wall Street Journal afin que tous ces gusses en costard & cravate puissent comprendre entièrement une fois qu’ils auront terminé leur pause lunch et qu’ils se retrouveront sous une lumière aveuglante.
Charley est un homme au volant et il a passé beaucoup de temps sur les routes avant que Kerouac s’y mette (mais celui-ci ne conduisait pas) et, ainsi, il est solidement campé sur ses deux jambes :
" La création nous reproduit en double
à travers des éternités de sang et de savoir
de néons synchrones avec des lumières de tableau de bord
pirouettant dans toute une vie électrique. "
(de " Toi, regarde autour de toi ")
" Aujourd’hui, les autoroutes ne sont que des voies secondaires
et aucune ne suit ma propre voie. "
(de " Cette manie de rire au revoir ")
" Son esprit rouillé roule dans un pick-up
Jupiter hors sono
électro-corps précambrien
la banquette arrière pleine de canettes de Bud. "
(de " Les alambics crachotent séparément ")
" Fais du stop depuis la zone grise
Vire du côté de la route vers le sud
Sors du sud imaginé quelque part
En direction de la Gadoue du delta
Là où le coton est pur
Et où la chemise à pois clapote dans le vent "
(de " Lierre ")
… et ça continue sans arrêt, pour se terminer par " Poussière meurtrie " :
" Je me souviens du Kansas où tout étant mort et parti pour de bon
se muait en un tableau de bord presque éteint
avec la lumière verte et douce et des bouts de métal
pour garder les enfants d’un monde écroulé. "
Charley sait. Il sait de quoi il parle. Il vient d’une longue tradition de fileurs de coton et d’avaleurs de rails. Il a regardé dans toutes les directions et d’innombrables fois scruté ces champs où il a traîné quand il était môme, où " les fleurs des couronnes sauvages ne poussent plus " et où " le vent dans l’herbe chasse au loin les années ", et " (…) quelle solitude dans les ombres là où ils parcourent la vaste route ! ".
Avec Charley au volant de la poésie et moi sur le siège de droite, je ne voudrais pas d’autre route.
GERARD MALANGA: EAT NOT THY MIND Charles Plymell Glass Eye Books / Ecstatic Peace Library
EAT NOT THY MIND
Charles Plymell
Glass Eye Books / Ecstatic Peace Library
by Gerard Malanga
Right from the get-go, Charles Plymell gets off the first shot in a spree of rhythmic vibrations in "The Theory of Wounded Dust" that betters even Ginsberg's early thrusts. And so Eat Not Thy Mind is a modest display in size only (29 poems packed into 34 pages), filled with BIG cautionary tales of doom and destruction and memories of planet Earth the way it used to be in more innocent times with waves of glowing wheat stretching as far as the crow flies in those dreams of Kansas. I read this cozy little book cover to cover aloud to Ravel's soothing "Gaspard de la Nuit" like in some scopitone flurry as if looking out a car window with Charley at the steering-wheel.
"Bend down America and kiss the asphalt, you voted for it" is just one sheering line that shoots from the hip. "…successes too long/continued is assuredly a prologue to disaster" is another, and so greed pops up here and there as Charley talks the Wall Street Journal lingo, so those suit-and-tie guys can understand fully out on their lunch hour in the glaring light.
Charley's a car man, and has been very much on the road before Kerouac was driven round (he didn't drive), as he is so solidly on his feet:
Creation lets us duplicate ourselves
through the eons of blood and science
synchronized neon and dashboard lights
in pirouettes of electric life.
(from "Look Around You")
Nowadays highways are byways
and not one going my way
(from "Get Used to Saying Goodbye")
His rusted spirit rides in a pick-up truck
Jupiter unplugged
Electro-body Precambrian the backseat full of Bud.
(from "The Stills Flick Separately")
Hitch a ride from the gray area
Take a bend in the road going south
Out of South Bend somewhere imagined
To the Delta dirt where the cotton is pure
And the polka dot shirt flies in the wind
(from "Ivy")
…and again, with the ending to "Wounded Dust":
I remember Kansas where everything dead and gone
became a faded dashboard with the soft green light
and scrap metal beheld the children of a ruined world.
Charley knows. He comes from a long tradition of yarn-spinners and rail-riders. He's looked in all directions endless times to those fields where he's traipsed as a kid where "Flowers for the wildlife wreath grow no more" and "the wind in the grass waves away the years" and "…it's lonely in the shadows when they cross the open road."
With Charley behind the steering-wheel of poetry and me in the front-seat beside him I wouldn't have it any other way.
Charles Plymell
Glass Eye Books / Ecstatic Peace Library
by Gerard Malanga
Right from the get-go, Charles Plymell gets off the first shot in a spree of rhythmic vibrations in "The Theory of Wounded Dust" that betters even Ginsberg's early thrusts. And so Eat Not Thy Mind is a modest display in size only (29 poems packed into 34 pages), filled with BIG cautionary tales of doom and destruction and memories of planet Earth the way it used to be in more innocent times with waves of glowing wheat stretching as far as the crow flies in those dreams of Kansas. I read this cozy little book cover to cover aloud to Ravel's soothing "Gaspard de la Nuit" like in some scopitone flurry as if looking out a car window with Charley at the steering-wheel.
"Bend down America and kiss the asphalt, you voted for it" is just one sheering line that shoots from the hip. "…successes too long/continued is assuredly a prologue to disaster" is another, and so greed pops up here and there as Charley talks the Wall Street Journal lingo, so those suit-and-tie guys can understand fully out on their lunch hour in the glaring light.
Charley's a car man, and has been very much on the road before Kerouac was driven round (he didn't drive), as he is so solidly on his feet:
Creation lets us duplicate ourselves
through the eons of blood and science
synchronized neon and dashboard lights
in pirouettes of electric life.
(from "Look Around You")
Nowadays highways are byways
and not one going my way
(from "Get Used to Saying Goodbye")
His rusted spirit rides in a pick-up truck
Jupiter unplugged
Electro-body Precambrian the backseat full of Bud.
(from "The Stills Flick Separately")
Hitch a ride from the gray area
Take a bend in the road going south
Out of South Bend somewhere imagined
To the Delta dirt where the cotton is pure
And the polka dot shirt flies in the wind
(from "Ivy")
…and again, with the ending to "Wounded Dust":
I remember Kansas where everything dead and gone
became a faded dashboard with the soft green light
and scrap metal beheld the children of a ruined world.
Charley knows. He comes from a long tradition of yarn-spinners and rail-riders. He's looked in all directions endless times to those fields where he's traipsed as a kid where "Flowers for the wildlife wreath grow no more" and "the wind in the grass waves away the years" and "…it's lonely in the shadows when they cross the open road."
With Charley behind the steering-wheel of poetry and me in the front-seat beside him I wouldn't have it any other way.
lundi 13 septembre 2010
dimanche 12 septembre 2010
Georges Laughead: Artist Malcolm McNeill: On Beat Writer William Burroughs, The Unspeakable Mr. Hart Comic Series, Ah Puch Is Here Graphic Novel, and London 1970s Art Scene
In Beats In Kansas: The Beat Generation in the Heartland by Georges Laughead :
Read the whole interview at http://www.vlib.us/beats/malcolmmcneill.html
For more of William Burroughs and Malcolm McNeill art work, see: Ah Puch Is Here or Malcolm McNeill site.
George Laughead | WWW Virtual Library @ http://www.vlib.us/
The Unspeakable Mr.Hart, Malcolm McNeill © 1970 with William Burroughs
Interview by George Laughead, August 2007
Emmy award winning artist Malcolm McNeill worked with Beat Generation author William S. Burroughs during the early 1970s in London. Much of that work remains unknown. Malcolm was "born and educated in England. Started working with Bill Burroughs in 1970 on comic series The Unspeakable Mr. Hart while at Hornsey College of Art in London. Moved to the US in 1974 to complete graphic novel Ah Puch is Here (aka, Ah Pook is Here). Lived in New York for twenty plus years. Worked as a live action/effects director for television for fifteen years. Now lives in Los Angeles. Just finished a book about his working relationship and friendship with Burroughs, including artwork from the various collaborations." [Note: Manuscript of Malcolm's book, Observed While Falling: Bill Burroughs and Ah Puch, made me read all day long -- interview was result. GL
Read the whole interview at http://www.vlib.us/beats/malcolmmcneill.html
For more of William Burroughs and Malcolm McNeill art work, see: Ah Puch Is Here or Malcolm McNeill site.
George Laughead | WWW Virtual Library @ http://www.vlib.us/
Fantagraphics Acquires Lost William S. Burroughs Graphic Novel
http://www.fantagraphics.com/index.php?option=com_content&task=view&id=4763&Itemid=95
Written by Eric Reynolds
Thursday, 09 September 2010
FANTAGRAPHICS ACQUIRES LOST ‘GRAPHIC NOVEL' BY WILLIAM S. BURROUGHS & ARTIST MALCOLM McNEILL
SEATTLE, WA, SEPT. 9, 2010 --- Fantagraphics Books is proud to announce the acquisition of the only graphic novel written by — and possibly the last unseen work of his to be published — the innovative Beat writer and Naked Lunch author, William S. Burroughs. This lost masterpiece, Ah Pook Is Here, created in collaboration with artist Malcolm McNeill in the 1970s, will be published in the summer of 2011 as a spectacularly packaged two-volume, hinged set, along with Observed While Falling, McNeill's memoir documenting his collaboration with one of America's most iconic authors.
Ah Pook Is Here first appeared in 1970 under the title The Unspeakable Mr. Hart as a monthly comic strip written by Burroughs and drawn by the British cartoonist and painter Malcolm McNeil in the English magazine Cyclops. When the publication folded, Burroughs and McNeill decided to develop the project into a full-length, Word/Image novel (the term "graphic novel" had not yet been coined). Burroughs was 56 at the time, McNeill 23.
More at http://www.fantagraphics.com/index.php?option=com_content&task=view&id=4763&Itemid=95
Written by Eric Reynolds
Thursday, 09 September 2010
FANTAGRAPHICS ACQUIRES LOST ‘GRAPHIC NOVEL' BY WILLIAM S. BURROUGHS & ARTIST MALCOLM McNEILL
SEATTLE, WA, SEPT. 9, 2010 --- Fantagraphics Books is proud to announce the acquisition of the only graphic novel written by — and possibly the last unseen work of his to be published — the innovative Beat writer and Naked Lunch author, William S. Burroughs. This lost masterpiece, Ah Pook Is Here, created in collaboration with artist Malcolm McNeill in the 1970s, will be published in the summer of 2011 as a spectacularly packaged two-volume, hinged set, along with Observed While Falling, McNeill's memoir documenting his collaboration with one of America's most iconic authors.
Ah Pook Is Here first appeared in 1970 under the title The Unspeakable Mr. Hart as a monthly comic strip written by Burroughs and drawn by the British cartoonist and painter Malcolm McNeil in the English magazine Cyclops. When the publication folded, Burroughs and McNeill decided to develop the project into a full-length, Word/Image novel (the term "graphic novel" had not yet been coined). Burroughs was 56 at the time, McNeill 23.
More at http://www.fantagraphics.com/index.php?option=com_content&task=view&id=4763&Itemid=95
William S. Burroughs' lost graphic novel coming in 2011
http://latimesblogs.latimes.com/jacketcopy/2010/09/william-s-burroughs-lost-graphic-novel-coming-in-2011.html
The long-lost graphic novel by William S. Burroughs and Malcolm McNeil will be published in 2011, Fantagraphics announced Wednesday. The Seattle-based publisher will release "Ah Pook Is Here" in a package with McNeil's memoir of working with Burroughs, "Observed While Falling."
The project began with a Burroughs-and-McNeil collaboration in the 1970s on the comic strip "The Unspeakable Mister Hart," which appeared in the British magazine "Cyclops." The magazine folded, and the two decided they wanted to turn their work into a full-length project -- at the time, Burroughs was 56 and McNeil was 23. What they conceived was so new that they weren't sure what to call the form, and settled on "a Word/Image novel." They worked for seven years but never found a publisher.
Fantagraphics, which included some spectacular images from the book in its announcement, describes the story of "Ah Pook Is Here":
Creating a "Word/Image novel" was pretty futuristic too.
-- Carolyn Kellogg
Photo: William S. Burroughs photographed by Allen Ginsberg in 1991. The photo is on exhibit at the National Gallery of Art in Washington through Sept. 19. Credit: Allen Ginsberg via MCT
The project began with a Burroughs-and-McNeil collaboration in the 1970s on the comic strip "The Unspeakable Mister Hart," which appeared in the British magazine "Cyclops." The magazine folded, and the two decided they wanted to turn their work into a full-length project -- at the time, Burroughs was 56 and McNeil was 23. What they conceived was so new that they weren't sure what to call the form, and settled on "a Word/Image novel." They worked for seven years but never found a publisher.
Fantagraphics, which included some spectacular images from the book in its announcement, describes the story of "Ah Pook Is Here":
John Stanley Hart is the "Ugly American" or "Instrument of Control" -- a billionaire newspaper tycoon obsessed with discovering the means for achieving immortality. Based on the formulae contained in rediscovered Mayan books he attempts to create a Media Control Machine using the images of Fear and Death. By increasing Control, however, he devalues time and invokes an implacable enemy: Ah Pook, the Mayan Death God. Young mutant heroes using the same Mayan formulae travel through time bringing biologic plagues from the remote past to destroy Hart and his Judeo/Christian temporal reality.McNeil's story of working with Burroughs on the project is sure to be interesting. "Fictional events in the text would materialize in real life. Very specific correspondences, not just similarities," he told the website Big Bridge in 2008. "Such events might suggest that things are already in place and that with the right combination of words they can be made to reveal themselves ahead of time. That's what Bill's 'Cut ups' were about: 'Cut the word lines and the future leaks out.'"
Creating a "Word/Image novel" was pretty futuristic too.
-- Carolyn Kellogg
Photo: William S. Burroughs photographed by Allen Ginsberg in 1991. The photo is on exhibit at the National Gallery of Art in Washington through Sept. 19. Credit: Allen Ginsberg via MCT
vendredi 10 septembre 2010
Galerie Ecritures : Vernissage
La Galerie ECRITURES présente les planches originales de Braise 1 et Braise 2
du 24 septembre au 24 octobre, nous vous invitons à venir rencontrer les auteurs
le 24 septembre à partir de 18 h
BRAISE
Une nuit, dans un orphelinat comme il en existe tant, Prune réveille son grand-frère Janus, effrayée par une étrange musique. Qui peut bien jouer de l’instrument à une heure aussi tardive ? Comme envoûtés, les enfants se lèvent et suivent cette mélopée qui les conduit vers l’extérieur. Le musicien, élégant chat noir du nom de Braise, aura tôt fait de séduire les bambins en manque d’affection par ses délicieux discours et ses promesses du plus beau des présents : une maman douce et aimante. Mais un avenir bien noir leur est promis, comme le constate la petite Prune, la seule à ne pas s’être laissée embobinée par le matou beau parleur et les bonbons à foison…
Conte noir et cruel, cette histoire concoctée par Bouton et Fortier, nouveaux venus dans le monde merveilleux de la bande dessinée, séduit d’emblée par un style littéraire d’une rare qualité. Par un langage soigné qui ne lasse de surprendre, entre figures de style et néologismes témoignant d’une constante créativité, le personnage de Braise intrigue autant qu’il émerveille. Cultivant le mystère sur ses motivations, il se fait le héraut de cette lointaine marâtre, elle aussi difficile à cerner.
Ne ménageant en rien l’irrépressible envie du lecteur d’en apprendre davantage sur les intérêts de chacun, les auteurs n’éclairent qu’à moitié l’univers fantasmagorique dont ils détiennent les clés. Le dessin de Cédric Fortier, au bel encrage puissant et expressif, donne à ce premier épisode (sur quatre) un véritable dynamisme, qui rend l’histoire palpitante et attachante. Relevant d’une belle assurance, le dessin aide à se plonger dans une ambiance où des couleurs franches, utilisées à bon escient, n’ôtent pas aux planches un ton résolument obscur et inquiétant.
Braise joue sur ses nombreuses particularités pour se distinguer de la masse, aidé dans cette tâche par une couverture qui ne manque pas d’attirer le regard. Les lecteurs qui oseront franchir le pas en seront récompensés par la découverte d’une histoire au charme plus qu’évident.
Galerie Ecritures
1 rue Pierre Petit
03100 Montlucon
mercredi 8 septembre 2010
rustytruck/deucecoupe : featuring the work of Robert Philbin and Charles Plymell
featuring the work of Robert Philbin and Charles Plymell (part 3)
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