Ever wanted to read nine poems about Lana Del Rey songs? You’re in luck, because I wrote nine and they’re here at boringrain.com.
Many thanks to Nitsuh for helping me with this.
LOVE LIKE WIND
There is infinite heat
The more people you trap in one blanket the more heat there can be
It’s important to gather as many people around you as you can
The nubby surface of this blanket smells like body hair
It’s sort of the color of my skin so I can get in it
And feel basically like a droopy version of me
People like it when you are sexy and fun
Oh yeah things are getting interesting
We are alone
Now let’s glamp like it
Popsickle, two-day Brooklyn literary arts festival kicked off at Forgotten Works Studio in DUMBO on Saturday afternoon. Poetry and prose readers sponsored by the city’s reading series and literary journals began at 1 p.m. to a crowded, sauna-like reading space.
omg so today 1 of my favorite poets & people trisha low posted a link to something so INCREDIBLE !!! the text of the poem “love song” which i had otherwise never seen before & thought was unppublished. it appears in tom raworth’s infolio, a publication recently archived on jacket2 through the continued incredible efforts of danny snelson & his staff. much love to everybody for making my day!
I look wicked sleepy but here I am reading Sommer Browning’s poem “How long does it take to get to a funeral?” from her book Backup Singers, which is out now.
I don’t mind being adrift for a while, but I don’t read poetry strictly for the experience of becoming unmoored.
—John Darnielle on reading poetry in general, and on reading Berryman specifically, over at FSG.
In the clearing I stand,
a boxer! Putting all your shit
in boxes, dragging the boxes
to this stupid clearing.
—excerpt from “live rust” by michael robbins, over at LARB for national poetry month
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Birds of Lace is truly heroic; this needs to be funded.
In (further) celebration of Live Through This' 20th anniversary, a bonus track: the real “Rock Star,” replaced at the very last minute by “Olympia” because of certain lyrics about Nirvana. This has always been one of my favorite Hole songs. It's one of the most honest, unadorned lyrics Courtney Love has ever written, free of the flowers and milk and bodily fluids and pageant queens that ruled the rest of the album, seething with sarcasm about the jealousy-disguised-as-principled-superiority successful artists have to absorb from their less successful counterparts. Thematically, that puts it very much in line with the rest of the album, although its shiny, jangly, California guitars (also sarcastic, to my ears) make it a bridge to Celebrity Skin. Listening to it again this week, it’s the big sigh — audible for a reason, obviously — Love lets out before launching into the Nirvana verse that gets me. Like she knows she’s getting herself into trouble, saying something she shouldn’t, but she’s just got to unburden herself anyway.
"Barrel of laughs, Nirvana" is amazing. Also, "We are not who we fuck" — twenty years later, she’s still not free from this.
I really enjoyed the voice of Fatty XL. A voice which Niina Pollari, [Tytti] Heikkinen’s translator, describes as coming from thousands of specific google searches, which Heikkinen curates. Pollari describes Fatty as ‘an oversharer and an awful fuckup, completely concerned with appearance, substance abuse and adding to her collection of sordid sexual encounters; she is unwilling to learn and unconcerned with growing as a character,’ all of which makes her electric and compelling. Pollari continues, ‘all of her myopic observations are sourced from the teen girl monologues of blog culture, but Heikkinen curated a single, dimensional voice out of bloggy Google sludge.’ This transcendent young girl is reminiscent of Tiqqun’s Theory of the Young-Girl, a philosophical text on the commodity of the ‘young-girl’ in late capitalism, and an obvious counterpart to Fatty XL. Fatty XL behaves as capitalism desires the young-girl to behave. When Tiqqun state that ‘Capitalism has made particular use of the Young-Girl in order to extend its hegemony over the totality of social life,’ it is as though they had Fatty XL in mind.
—Sorry to quote such a long chunk! But this is from Laura Ellen Joyce’s super-extensive piece on several books from Action: The Warmth of the Taxidermied Animal, Pop Corpse, and The Parapornographic Manifesto.
1. Jessica Rabbit
Jessica Rabbit is a glamour gal.
She has bright red hair and I never knew a redhead before.
When we watched Who Framed Roger Rabbit in the family room, my father paused and rewound the scene where Jessica Rabbit’s boobs bounced.
Jessica says “I’m not bad, I’m just drawn that way”.
I met a little girl named Jessica after that and told my friend about her.
"Does she have red hair?" my friend asked.
She didn’t. “Yes,” I said, not wanting to let go of the idea that a future Jessica Rabbit was out there.
2. Geena Davis
One time at school, I filled out a worksheet that asked me what celebrity I would trade places with.
I wrote down Geena Davis.
Geena Davis seemed like a girls’ girl, with her square jaw.
She was well into her thirties by the time I wrote her name down.
I had watched her in A League Of Their Own, the baseball movie about women.
The movie also has a sexpot character, but I liked Geena Davis best.
I told my best girl friend at school about this movie.
I asked if she would come to my house and watch it with me, but the movie was a rental and got returned.
3. Alanis Morissette
I bought a copy of Jagged Little Pill.
I collected magazine clippings of Alanis Morissette and put them into a frame, like a collage.
I learned this craft from my friend who did it with JonBenet Ramsey pictures.
Sometimes I got the pictures from magazines I stole from the library.
Sometimes I rifled through people’s recycle bins for magazines; this I always did alone.
I also ordered two photos of Alanis Morissette from the back of a magazine. I liked magazines.