“Most people read poetry listening for echoes because the echoes are familiar to them. They wade through it the way a boy wades through water, feeling with his toes for the bottom: The echoes are the bottom.”
Who knew fruit could be so important? Why, Adam Leith Gollner did. And that’s why he wrote, THE FRUIT HUNTERS. The Dallas Morning News thinks you should read it.
Stephen Carter’s, PALACE COUNCIL, is a novel of politics and racism — and, some might say, some savvy timing. They’re saying it’ll be the beach read to talk about this summer.
“The only other important thing to be said about Fear & Loathing at this time is that it was fun to write, and that’s rare — for me, at least, because I’ve always considered writing the most hateful kind of work. I suspect it’s a bit like fucking — which is fun only for amateurs. Old whores don’t do much giggling. Nothing is fun when you have to do it — over and over, again and again — or else you’ll be evicted, and that gets old. So it’s a rare goddamn trip for a locked-in, rent-paying writer to get into a gig that, even in retrospect, was a kinghell, highlife fucking from start to finish… and then to actually get paid for writing this kind of manic gibberish seems genuinely weird; like getting paid for kicking Agnew in the balls. So maybe there’s hope. Or maybe I’m going mad…”
SKINNY BITCH gave us nightmares us with a detailed look at where our food comes from. She’s at it again. SKINNY BITCH IN THE KITCH, tells us what to do with the food that’s not a horror show.
A punk-rocker goes sci-fi author and, apparently, knocks it out of the park with COSMOS INCORPORATED.
NIGHT SHIFT by Lilith Saintcrow gets a so-so from USA Today.
The meaning of life unexplained by Beat poet and counterculture icon Tuli Kupferberg. Tuli was friend and associate of the late Allen Ginsberg, Gregory Corso, et. al. and co-founder (with Ed Sanders) of New York’s first underground proto punk garage rock band The Fugs. He reads us a poem from Snow Job, one of his early works, circa 1950.
“My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.”
“Most people read poetry listening for echoes because the echoes are familiar to them. They wade through it the way a boy wades through water, feeling with his toes for the bottom: The echoes are the bottom.”
“This creature of the poem may assemble itself into a being with its own centrifugal force.”
“The only other important thing to be said about Fear & Loathing at this time is that it was fun to write, and that’s rare — for me, at least, because I’ve always considered writing the most hateful kind of work. I suspect it’s a bit like fucking — which is fun only for amateurs. Old whores don’t do much giggling. Nothing is fun when you have to do it — over and over, again and again — or else you’ll be evicted, and that gets old. So it’s a rare goddamn trip for a locked-in, rent-paying writer to get into a gig that, even in retrospect, was a kinghell, highlife fucking from start to finish… and then to actually get paid for writing this kind of manic gibberish seems genuinely weird; like getting paid for kicking Agnew in the balls. So maybe there’s hope. Or maybe I’m going mad…”
“My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.”
“Only ambitious nonentities and hearty mediocrities exhibit their rough drafts. It’s like passing around samples of sputum.”
AuthorScoop
