Friday, 18 August 2006

On Planes

For those of us who fly trans-Atlantic - as I did yesterday - the thought that "criminals" from Britain, essentially bright young militants from middle-class families, were - in ultra-code-red fashion - intending, any day now, to set off liquid bombs on ten flights, mid-air, mid-Atlantic, en route to New York, LA, or Washington, DC - well, the thought is horrifying; and, had it happened, the crime would have been mass murder, and unforgivable.

What K-H Stockhausen unfortunately uttered in 2001 is now, in a sense, true - these crimes do not have to happen, to have impact - that is, as the odd German composer said at the time, the Twin Towers massacre was greater than art - for its power. Like the best - and worst - conceptual artists, this new band of 24 (plus the five on the run) have out-Hirsted Hirst - they merely conceive of a terrible thing, and behold - every plane traveller in the world is transformed, into a denuded creature, clutching a plastic bag, without water, hair gel or books; mothers must taste of their own breast milk to prove it is not poision. They have made us travellers less opaque.

http://www.guardian.co.uk/terrorism/story/0,,1842411,00.html

Monday, 14 August 2006

He Made It Strange

50 years ago today, Brecht, pictured here, the greatest political writer of the 20th century (and yet arguably the one with the worst hair cut) died.

Viva Bertolt!

http://en.wikipedia.org/wiki/Bertolt_Brecht

Friday, 11 August 2006

Poem by Nathaniel Tarn

Eyewear is very glad to be able to feature a poem from such a fine poet as Nathaniel Tarn, pictured above. It first appeared, in print, in The Poker, edited in Boston by Dan Bouchard of MIT and then in the book Recollections of Being from Salt (2004). It seems all-too relevant again today.

Tarn is a poet, translator, critic, anthropologist. He has led a distinguished literary and academic career studying and/or teaching at the Universities of Cambridge, Paris, Chicago, London, SUNY Buffalo, Princeton, Pennsylvania, Colorado and Jilin (P.R.C.). Among some 35 books are The Beautiful Contradictions (Random House); Lyrics for the Bride of God (New Directions) and Selected Poems: 1950-2000 (Wesleyan).

He was founding editor of Cape Editions & Cape Goliard, London-New York, in the late Sixties. He lives near Santa Fe, New Mexico.


from: War Poems Yet Again

3] The Asphyxiation

Needful, while it is taking place,
that the process be invisible
both to the executioner and to the victim.
"For now, let’s say the victim is your honor,
the judge-role done with and the robe burned.
Guerilla war is universalized: the whole world
is the menace now, we see the enemy
at every gatepost: our law alone is
liberation." Kerchief, or gag, whatever,
to be as black as blackest ink,
whole face as well covered in tulle,
this black of course – as in those plays
where scene-shifters don black to sign “invisible.”
Interrogator, interrogators, to be most normal folk
such they could be exchanged for any other folk
and no one, [none, no one], would ever be
so much the wiser. Sitting
most days in offices, filing bland duties
like mostly paperwork and such banality.
All this though all the prisons melted down:
the world may witness we are white as sheep.
No one in town to know the difference
one way or either. So that, to go to town, to greet
one’s friends implies the occultation of the strangled
scream inside the throat that swallowed gag or kerchief
in the act of living. And you say “fine,” yes, “fine thanks,”
[“fine” again and always “fine”] until the end of publication.
“How are you doing this fine morning?” “-Fine, how are you?”
the language plumbs the depths of idiocy
hoping you all and sundry will make “enjoy your day.”
The eye of judgment sits the Adam’s apple,
continues unrecorded in any document.
And you go home to swallow time
as if, on the first day, you’d swum the sea
to find on coral reef the last of judgment
with throat now free of all encumberment
since you had mastered the asphyxiation.


poem by Nathaniel Tarn

Tuesday, 8 August 2006

I saw the Farine Five Roses / in red

The Montreal Gazette does not usually share the same opinions as I do, but one of their editorial leaders for today - "Long Live Farine Five Roses!" - is right up my alley (or should I say narrow urban transit route?).

As the editorial writer says: "It's easy to dismiss the passing of industrial symbols as no great loss. They are neither great art nor great architecture. But they are humble monuments to the working world of thousands ... they deserve a place in our hearts, if not on our skyline."

The FARINE FIVE ROSES sign - a giant, neon-lit series of letters in red retro style - pictured here - has stood over the Bonaventure Expressway for 60 years and is in some ways as iconic for Montrealers as the HOLLYWOOD of LA; sadly, the company that owns and illuminates the sign has sold the trademark to another company, and so, to save money, and avoid advertising a competitor's brand, has switched off the power, rendering the great tall words dark in the night. As the Gazette suggests, Smuckers can still improve by re-lighting the historic sign.

The same sort of thing happened in Budapest, a visual-historical voiding, where the important, and retro-classic BUDAVOX sign was finally torn down. That sign was the title inspiration for my first collection (DC Books, 1999) - the sign can be seen on the cover. BUDAVOX was several stories high, and very beautiful, of its modernist period. Budapest closed many of its cinemas, or tore down a lot of its Deco and Modern neon signs at the turn of the millennium, to renew its city; such changes are often later profoundly regretted.

There are a few scenes in Miami Vice (one on the Argentina-Paraguay border) and again in Cuba, where Mann zooms in on, or features in the background, signs (one is a huge eye, the other the name of an Art Deco hotel) that herald the semiotic, ironic and iconic value of such signs, such letters. As the poet W.C. Williams, and the painter Charles Demuth, had it: "I saw the figure 5 / in gold" - one of the most beautiful phrases - and paintings - in 20th century modern art.

http://www.metmuseum.org/toah/ho/11/na/ho_49.59.1.htm

Sunday, 6 August 2006

Portrait from Hydra

Poet and artist Henry Denander (who sketched me on Hydra I now discover) has recently posted a new portrait of yours truly on his site, see below.

And yes, it features my Alain Mikli eyewear.

www.henrydenander.com

Saturday, 5 August 2006

Visual Pleasure and Miami Vice

Adorno once said he never left a cinema without feeling less humane; Seneca warned against the visual pleasures of violent blood-sports and crowd spectacles.

Michael Mann is clearly no respecter of Seneca or Adorno, having tossed us several dozen bodies to enjoy seeing employed in illicit activities, in his latest auteur-voyeur semi-classic, Miami Vice.

First, I confess to having enjoyed Audioslave on the soundtrack - but feel the sound in the sight and sound helix that is film was severely cropped here - what was MTV-cops is now more like illegal-downloads-intercepted - so songs dribble in, as if Tubb's iPod was low on juice.

The truth is, no one films the surface of things as well as Mann in legitimate cinema; and no one else explores the circles of hell bad men travel to work each day through - Bogota Unreal City - with such cerebral venom in the veins: half the film is Crockett and Tubbs (re-enacted like mannequins by stars of the day) being patted down, escorted and forced to swagger like Mephisto on Meth.

Mann is also great at presenting villains you want to see get shot in the head: he focuses on one Neo-Nazi's eyebrow pimple so many times it beckons for ballistic removal. What faces his villains and Feds possess! - each tell s a Carver story if Carver had done time in San Quentin - and Ciaran Hinds - late of Munich, has the best.

The final sequence channels Iraq small-arms-fire: the tinny pop and snap of the guns, and then the heightened endless chatter of the Uzis, and the random silence, is eerie and masterful.

Gong Li (pictured) and assorted women in peril, the go-fast boats and splendind planes put one in mind of pseudo-Bond, and heighten one's awareness that this is really just pitch meeting madness: Soldier of Fortune Meets GQ; Mann does surface tension, but is less good at the wake churned up by speed's brute passing - the hospital sequences are bland and naive.

The best sequence features the kingpin and Gong Li planning their business/perfidious week while reading the latest Wall Street Journals scattered across their massive bed in some deep jungle overlooking fifty major waterfalls, while stock info darts across the screens installed in the Xanadau-style bedroom; it is in this Shakesperean scene of men and women so evil they represent a challenge to the alternative, as lightning flashes beyond the fronds, we expect C. Kane's parakeet to screech.

ANNOUNCING THE EYEWEAR PRIZE FOR THE 21 BEST POETRY BOOKS OF THE 21 CENTURY

THE EYEWEAR PRIZE FOR THE 21 BEST POETRY BOOKS OF THE 21ST CENTURY, IN ENGLISH is a one-off major international award, to be judged by...