1. Spent my brunch money on Carl Sagan.

    Spent my brunch money on Carl Sagan.

  2. mythologyofblue:

    Emily Dickinson wrote on small pieces of paper, whatever was on hand.

    [See also: The Gorgeous Nothings: Emily Dickinson’s Envelope-Poems
    by Jen Bervin & Marta Werner]

    +

  3. whitneymuseum:

    John Kelsey, Depesrsion, Impoetnce, 2012. 

    Kelsey repurposed found language from spam emails for these “poems,” which he presents on paper featuring the old Whitney Museum insignia, the eagle. The lists of names indicate the emails’ senders, the titles are drawn from the subject lines, and the “stanzas” consist of the seemingly random, cut and pasted content of the messages. 

    Bottom right photograph by Tyko

  4. Encouraging words from Anne Carson’s Antigonick. Not.

    Encouraging words from Anne Carson’s Antigonick. Not.

  5. Basketball Poetry Memes, part 6. Moloch! Moloch!

    Basketball Poetry Memes, part 6. Moloch! Moloch!

  6. Basketball Poetry Memes, part 5. Emily meets Shaq.

    Basketball Poetry Memes, part 5. Emily meets Shaq.

  7. Basketball Poetry Memes, part 4. LeBron meets Allen.

    Basketball Poetry Memes, part 4. LeBron meets Allen.

  8. New Bio for Masthead?

    [Rebecca Bates] was known for [her] athleticism, tenacious defensive approach and sub-par free-throw shooting.

  9. Basketball Poetry Memes, part 3

    “This is just to say / I have taken / the jump shots / that were in / the game plan…” (WCW)

  10. Basketball Poetry Memes, part 2

    “Good benches make good Lakers.” (Frost)

  11. Basketball Poetry Memes, part 1

    “[Derrick Rose] has collapsed!” (O’Hara)

  12. Kylie Minogue’s first video was straight up Lynchian.

  13. Painter Sangram Majumdar invites Guernica to his studio to view a few in-progress paintings and learn about his process. Watch the rest of the visit here.

  14. whereisbushwick: I just published incredible pieces of video art from Syria in Guernica Mag. Check it out, whoa… Written by Bruce Wallace. 

    whereisbushwick:

    I just published incredible pieces of video art from Syria in Guernica Mag. Check it out, whoa… Written by Bruce Wallace. 

  15. Guernica Daily: Tom Bissell: Solitude at the Fault Line of Literary Culture ——— excerpt: Guernica: You write that you have a “high tolerance for people who regard things that offend them as injustice,” and that’s one of the ways—there are a few—that you set yourself up as giving people a fair shot when you intend to criticize them. You’re interested in letting people’s own side of the story be a story, even when it’s wrong. Tom Bissell: Yes. It’s not a mistake that the kinds of people that I write about in the book—almost all of them, are fiercely confident. In Tommy Wiseau’s case (the director of The Room) so confident that he seems to be another life form altogether. I find people who are very certain about their beliefs fascinating and really compelling, and also somewhat repulsive. With the Underground Literary Alliance—the group that I was writing about when I noted that “high tolerance”—I tried to give their arguments as fair a shake as I could, and ultimately, find them to be, kind of frustratingly vulnerable to the temptation of authoritarian thought and rage and an inclination to think the worst of anyone that disagrees with them. I thought that the kinds of things that they were worried about were worth worrying about, and it was a shame that they couldn’t worry about them in a more productive way. In the case of someone like Robert Kaplan, who I did my best to intellectually assassinate in the essay on him in the book, his confidence about his beliefs, and what he called “the essential goodness of American Nationalism,” had turned a writer who is obviously a smart guy, and a brave guy, into something that veered dangerously close to a literary fascist. Not a political fascist, but a literary fascist. And I think Kaplan’s not all that different from a lot of the people that I write about in the book. When your confidence in in your own views as an artist, or in your own politics, becomes so high that you seem to forget that there’s another side, that’s where my interest turns to opposition.

    Guernica Daily: Tom Bissell: Solitude at the Fault Line of Literary Culture

    ———

    excerpt:

    Guernica: You write that you have a “high tolerance for people who regard things that offend them as injustice,” and that’s one of the ways—there are a few—that you set yourself up as giving people a fair shot when you intend to criticize them. You’re interested in letting people’s own side of the story be a story, even when it’s wrong.

    Tom Bissell: Yes. It’s not a mistake that the kinds of people that I write about in the book—almost all of them, are fiercely confident. In Tommy Wiseau’s case (the director of The Room) so confident that he seems to be another life form altogether. I find people who are very certain about their beliefs fascinating and really compelling, and also somewhat repulsive. With the Underground Literary Alliance—the group that I was writing about when I noted that “high tolerance”—I tried to give their arguments as fair a shake as I could, and ultimately, find them to be, kind of frustratingly vulnerable to the temptation of authoritarian thought and rage and an inclination to think the worst of anyone that disagrees with them. I thought that the kinds of things that they were worried about were worth worrying about, and it was a shame that they couldn’t worry about them in a more productive way.

    In the case of someone like Robert Kaplan, who I did my best to intellectually assassinate in the essay on him in the book, his confidence about his beliefs, and what he called “the essential goodness of American Nationalism,” had turned a writer who is obviously a smart guy, and a brave guy, into something that veered dangerously close to a literary fascist. Not a political fascist, but a literary fascist. And I think Kaplan’s not all that different from a lot of the people that I write about in the book. When your confidence in in your own views as an artist, or in your own politics, becomes so high that you seem to forget that there’s another side, that’s where my interest turns to opposition.