Posts Tagged ‘ authenticity ’

Gabor Maté – Authenticity vs. Attachment – YouTube

Mongrel Coalition | Drunken Boat

Mongrel Coalition | Drunken Boat.

Against Easy Answers: Eating Pho with Dodie Bellamy

Against Easy Answers: Eating Pho with Dodie Bellamy.

Me and My Pharaoh . . . BY CHARLES BERNSTEIN [facsimile] | Poetry

Me and My Pharaoh . . .




He awoke,


fully charged. You




bring water to a horse but you can’t


make it ride. All poetry is conceptual


but some is more







Ambient difficulty leads to poetic


license. Poetry has


no purpose




that is not







You have to get over





g over. April is


the cruelest month for poetry. And May


is not much better, is




Why write in prose what you could write as easily






The poem is a crutch that allows us to think with


and throu-



h it.


Every poem must have 13 distinct frames, devices, motifs, styles, forms, or



Poetry emasculates prose.


The body: can’t live with it, can’t live without





I want to be understood,


just not by you.


Last week’s weather is worth a pound of salt, just

like the lot of  wives or the snowy pillars of  Danton.


There’s not a crowd in the sky. Familiarity breeds


content. Yesterday’s


weather is as


beyond reach as tomorrow’s


dreams. The


move away from close

reading often got drowned in the


bathwater, even if   we could never find the baby. I wouldn’t  join a poetic


tradition that would recognize me as




member. The wheel needs


to be reinvented because we’re still




I am for almost new art (gently used forms) — easier on the pocketbook and on


the b-


rain (undergarments not accepted). The only true


innovation is God’s. Others


pay cash.


This is a lie and that’s the truth.


Better truth in the shade than a lie in the sun.


The taste of madeleine ain’t


what it used to be.


(taint what it used to be)


all alone and feeling



Operators are on duty. Call now.



As dry as a bubble, as expectant as the dead


of night. Without product placement, poetry

as we know it


cannot sur-




Poetry should not be in the service of art any more than religion, ideology,

or morality. Poetry should be in the service of nothing — and not even



If  you can identify someone as gnostic they are probably




gnostic enough,


for my money.


I believe in my disbelief, have faith in my reason.


The sacred in a poem is nowhere seen and everywhere


felt. There’s


more to transgression than


ritual, but not enough


more. There is more


to liturgy than doctrine,


once in a blue







I left my purpose in my other pants.


You’re not the only paddle in the ocean, shadow in the dark, line in

the poem, lobster in the trap, pot on the stove, wheel on the truck,

letter on the keypad, scythe in the field, lever on the controls, cloud

in the sky, fruit in the tree, rat in the lab.


Reality is usually a poor copy of the imitation. The original

is an echo of what is yet to be.


Time is neither linear nor circular; it is excremental.


Beauty is the memory of the loss of time.












American poetry suffers from its lack of


uncreativity. I have no faith in faith, or hope

for hope, no belief  in belief, no doubt of doubt.


They say God is in the details. That’s

because the Devil has the rest




God is weak and imaginary — a flickering possibility. The dogma of an

omniscient and omnipotent God maligns hope and denies the sacred, as

it turns its back on the world.


God has no doctrine, no morality, no responsibility. To sin against

God is to use that name to justify any action or prohibition, whether

murder or martyrdom.


I’ve got authenticity, you’ve got dogma  …    proclaimeth the Lord.


Saying one more time:

It’s true but I don’t believe it

I believe it but it’s not so.


“My logic is all in the melting pot.”



Better an old cow than a dead

horse. Alzheimer’s:


What’s that again? So it turns out I’m


not a bull in a china shop but china in a




shop. Sometimes a penis is just a s-








In their gloom, the Jews go and come

Talking of Bergen-Belsen.


(I saw time but it didn’t return my gaze.)


My heart is like a water bucket that returns from the river


seven times full eighth




Zeno and Heraklitus are my father’s milk.


I think with the poem not thr-








it. Turns


of phrase / my stock in


trade. Negative

capability: sure.

But also



incapacity. I always


hear echoes and reverses


when I am listening to language. It’s


the field of my consciousness.


When we stop making — manufacturing,

imposing — sense then we have a chance


to find it.


A professional poet throws nothing out except the eggshells and the coffee grounds.


I think the idea is to be unoriginal but in as original a way a-

s possible.


Poets are the Pershings


of the imaginary: piercing


themselves as they perish


in spite of native ground.


I wish I was still in my pajamas.


The unironized life is not worth living.


When people tell that joke, three Jews

four opinions, what they don’t say is that two of them,

the schmucks, have the same opinion, while the third …


Ouzo something to me and it ain’t pretty.


Absinthe makes the heart gro-






“Throughout this prospectus, ‘object’ refers to the digitized file.”


Yesterday is a stone’s throw from tomorrow


& each new year a vast canvas of impossibility.


Kalip in North Folk, you’re on the air.


Stand clear of the clo-








Too much is still


not enough.



Blameless as a sheep at slaughter, am I

Guileless as the toll of tidal tug


There are no absolutes except this.


It was a veritable bow across the shot.


“Sacred means saturated with being.”



So does scared. So does scarred.



Source: Poetry (April 2014).

Panic and the city: I thought I was dying two or three times a week | openDemocracy


London’s Kilburn station resembled something like a technologically sufficient military bunker. Credit: Wikimedia Commons.

Panic and the city: I thought I was dying two or three times a week | openDemocracy.

Permission to Fail by Barry Schwabsky | The Nation


An installation view of Educational Complex (1995), Mike Kelley

Permission to Fail | The Nation.

Advice to Myself by Louise Erdrich

Advice to Myself
by Louise Erdrich

Leave the dishes.
Let the celery rot in the bottom drawer of the refrigerator
and an earthen scum harden on the kitchen floor.
Leave the black crumbs in the bottom of the toaster.
Throw the cracked bowl out and don’t patch the cup.
Don’t patch anything. Don’t mend. Buy safety pins.
Don’t even sew on a button.
Let the wind have its way, then the earth
that invades as dust and then the dead
foaming up in gray rolls underneath the couch.
Talk to them. Tell them they are welcome.
Don’t keep all the pieces of the puzzles
or the doll’s tiny shoes in pairs, don’t worry
who uses whose toothbrush or if anything
matches, at all.
Except one word to another. Or a thought.
Pursue the authentic – decide first
what is authentic,
then go after it with all your heart.
Your heart, that place
you don’t even think of cleaning out.
That closet stuffed with savage mementos.
Don’t sort the paper clips from screws from saved baby teeth
or worry if we’re all eating cereal for dinner
again. Don’t answer the telephone, ever,
or weep over anything at all that breaks.
Pink molds will grow within those sealed cartons
in the refrigerator. Accept new forms of life
and talk to the dead
who drift in through the screened windows, who collect
patiently on the tops of food jars and books.
Recycle the mail, don’t read it, don’t read anything
except what destroys
the insulation between yourself and your experience
or what pulls down or what strikes at or what shatters
this ruse you call necessity.

Abbey’s Road: Part 1

The writer and environmentalist, Edward Abbey’s Desert Solitaire is the work of a true earth-ling (ling means spirit in Mandarin), who, interconnected with his authentic core, naturally connects all the dots. Obliged to Alexander Jorgensen for this sweet sun on the face of it all interview. Part 2 is also available at YouTube. ~ DF

Jeffrey Weiss quote (on Cy Twombly’s sculptures) : “Separating the man…” « Oregon College of Art and Craft Library

Quote on Cy Twombly / Oregon College of Art & Craft Library

Janis Ian / Society’s Child