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Contents:
  1. Body Sweats - Modern Literature and Culture Research Centre (MLC) - Ryerson University
  2. MIT Press Books Sale!
  3. Co-Authored Article: “‘Arabesque Grotesque’: Toward a Theory of Dada Ecopoetics”

Prynne made a second debut in with Kitchen Poems , re-birthing himself as an avant-garde poet. It has four short quatrains, and is one of only half a dozen poems in which the lines are not all lined up straight to the left-hand margin.

Body Sweats - Modern Literature and Culture Research Centre (MLC) - Ryerson University

Denise Riley 's collection of essays Impersonal Passion: Language as Affect Duke Univerity Press, begins: 'There is a forcible affect of language which courses like blood through its speakers. Language is impersonal: its working through and across us is indifferent to us, yet in the same blow it constitutes the fibre of the personal. Following the publication of her Selected Poems in Reality Street Editions , no further poetry of Riley's appeared for several years.

In she published Time Lived, Without Its Flow Capsule Editions , a meditation on how perception of time is changed by the trauma of sudden bereavement. Many of the poems are themselves art objects, decorated in red and green ink, adorned with sketches and diagrams, presented with the same visceral immediacy they had when they were composed.

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Yet very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. I Am a Beautiful Monster is the first definitive edition in English of Picabia's writings, gathering a sizable array of Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator. In the s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks.


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Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance.

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Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines. The essays and artist statements in this volume explore this synergy's continuities and breaks with past poetic practices, and its profound implications for the future During this time she developed the sensibilities that were to shape her life and work: her sexual experimentation, her explorations of gender and androgyny, her unconventional use of artistic source materials, and her interest in urban life as creative inspiration.

Berlin was the first of many stops on her path as an artist and writer. She returned to Berlin in to find the city changed by the war. Unhappy there, she traveled to Paris, where she stayed for a year and a half before her death, most likely suicide, at Out of all of her homes, New York City was the most important for her literary production.

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Freytag-Loringhoven moved among its artistic and intellectual circles, befriending, for example, the photographer Berenice Abbot, the poet William Carlos Williams, and the Dada artists Marcel Duchamp and Man Ray. Her head: shaved and occasionally shellacked in striking colors like vermillion red.


  • Satans Little Acre;
  • Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven;
  • Co-Authored Article: “‘Arabesque Grotesque’: Toward a Theory of Dada Ecopoetics”.
  • Quicksilver Sweat (The Julius Brook Investigations Book 1)?

Her makeup: yellow face powder, black lipstick, and an American stamp on her cheek. Her jewels: utilitarian, mass-produced objects like teaspoons as earrings or large buttons as finger-rings. Her accessories: tomato cans and celluloid rings adorning her body; the hem of her skirt decorated with horse blanket pins. An electric battery taillight decorates the bustle of her black dress in imitation of a car or bicycle … a wooden birdcage around her neck housing a live canary; five dogs on her gilded leash as she promenaded up Fifth Avenue.

For Freytag-Loringhoven, life was a work of art ignited by the everyday act of walking down the street. Clothing was animated into performance, the body transformed into a palette, movement turned into a language, the banal turned into the extraordinary.

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Co-Authored Article: “‘Arabesque Grotesque’: Toward a Theory of Dada Ecopoetics”

It was with this uncompromising attitude that Freytag-Loringhoven took her pen to paper and wrote for The Little Review. To show the hidden beauty of things—there are no limitations! Only artist can do that—.