Slowscan #44 LP now available from Sea Urchin:
Takehisa Kosugi – New York, August 14, 1991
This recording orginally appeared on cassette as part of the Slowscan Fluxus Anthology box set in 1994. About the recording Takehisa Kosugi wrote:
The music was performed by myself, solo, recorded live at my former apartment in New York City. For this performance I used:
– Pre-recorded environmental sounds (birds in the city of Ferrara, Italy)
– Live broadcasting sounds from W.EBS radio, New York
– A plastic bottle in which a small microphone was installed for picking up sounds of my voice and other sounds
– An audio generator for electronic sounds
– Sound effectors including a time/delay machine and pitch shifter
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New Sea Urchin chapbook:
George Bacovia – Furnace
Cuptor, subtitled Iulie (=July) was first published in 1906 in the literary journal Romanul literar and republished as part of Bacovia’s renowned compilation Plumb ten years later. The dark and morbid imagery of the poem make it an example of Romanian Francophile Symbolism, which was influenced by Baudelaire and his translations of Edgar Allan Poe. Having been taught German at an early age, Bacovia was not only familiar with Baudelaire and Edgar Allan Poe but also with Friedrich Nietzsche and other precursors of German Expressionism. Furnace is then as much a Symbolist as an early Expressionist poem. The poem, now handsomely published in the series of Sea Urchin chapbooks, is a cruel love song carrying whiffs of putrefaction under a sledgehammer sun. Furnace is an instant heat stroke.
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New in our Moloko Print catalogue:
Brion Gysin‘s Let the Mice in was first published by Dick Higgins’s Something Else Press in 1973. In his editor’s note to that edition Jan Herman wrote that the book brings together texts written in the early 1960s and photographs to document part of literary history, notably the use of cut-ups as a writing method. Cut-ups can be traced back to the Dadaists but were re-invented, elaborated and popularised by Brion Gysin and his friend William Burroughs in Paris in the early 1960s. Their first cut-ups were published in Minutes to Go, a collaboration with Sinclair Beiles and Gregory Corso, which was published by Jean Fanchette’s Two Cities Editions in 1960. Herman explains that the cut-up as a literary method is clarified in Let the Mice in and that the book can be considered a companion to its earliest publications. Let the Mice in contains essays, actual cut-ups, photos, poems and works by Gysin and his friends that not only document a now famous aspect of literary history but most of all give insight into the skein of avant-garde, semi-scientific, magical and psychedelic influences that lay at the heart of Gysin’s artistry.
Ralf Friel’s Moloko Plus press has now published a facsimile of the original 1973 edition of Let the Mice in and has extended it with a foreword by Douglas Field and extra photos of Gysin. This hardcover edition of Gysin’s manual, beautifully designed by Robert Schalinski, is another valuable contribution by Moloko Plus to the study of cut-ups and their literary importance.
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New from Counter Culture Chronicles:
Dutch writer and poet Hans Plomp was born in Amsterdam in 1944. After having read Dutch Language and Literature and having briefly held a position as a Dutch teacher, Plomp dropped out to become an active member of the Dutch Provos and to turn to writing in the mid-1960s. His first novel, De Ondertrouw, was published in 1968. In the 1960s and 1970s Plomp developed into one of the Dutch pioneers of psychedelia and experimented extensively with LSD and other mind-altering drugs, experiments which he would later capture in the manual Uit Je Bol, which he wrote together with Gerben Hellinga. Plomp and Hellinga were also the two driving forces behind the artists’ colony Ruigoord, which has managed to survive under the smoke of Amsterdam since 1973. At Ruigoord Plomp has organised the annual literary festival Fiery Tongues for many years. Plomp’s prose, travel journals and poetry have been published extensively in Dutch, most notably by publishing house In de Knipscheer, Haarlem.
The Counter Culture Chronicles cassette Intrepid Traveller contains readings, in English, by Plomp of selections from his books Revolvers lijkt me overdreven (1987) and India, heilig & hels (2009). The cassette comes with a signed A4 broadside of Plomp’s poem Ira, a cosmic homage to Plomp’s friend and fellow traveller Ira Cohen.
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New from Ragged Lion Press/Counter Culture Chronicles:
Joel Oppenheimer (1930-88) was an American poet and newspaper columnist. Originally from Yonkers, NY, Oppenheimer was briefly educated at Cornell University and the University of Chicago before enrolling in 1950 at Black Mountain College, where he studied with poet Charles Olson. He left Black Mountain in 1953 without having taken a degree and settled in New York to work at a print shop while continuing to write poetry. His first publications were The Dancer (1951), The Dutiful Son (1956), The Love Bit and Other Poems (1962) and the satiric Western drama The Great American Desert, which was the first production of the Judson Poets’ Theater in 1961.
Oppenheimer became the first director of the Poetry Project at St Mark’s Church in-the-Bowery in 1966. Reviewing Oppenheimer’s biography Don’t Touch the Poet in 1999, Stephan Delbos noted that “His great theme was love: requited and otherwise, domestic and wild. The poetry combines tenderness with the chatty intellectualism of the New York avant-garde, by way of Black Mountain’s Occam-sharp line breaks and diction.” The compilations In Time, The Woman Poems and New Spaces: Poems, 1975–1983 were all written when Oppenheimer was director at St Mark’s (1966-84), but he was better known for the columns that wrote for the Village Voice during that period. Oppenheimer also authored Marilyn Lives! (1981) about Marilyn Monroe, and The Wrong Season (1973) about the New York Mets. He died of lung cancer in 1988 at the age of 58.
The cassette On Occasion, the third joint release by Ragged Lion Press and Counter Culture Chronicles, contains a lively poetry reading by Oppenheimer at Allentown Community Center in 1977. The recording of this 40-minute release as well as the portraits of the poet that are included as a J-card and three laser printed inserts, come from the archive of beat documentalist Allen DeLoach. Order now →