Vol 3.2
Baptize yourself in the promise that every moment might ring with the ecstasy of leftovers fitting just perfectly into a takeout carton.
The story of Saint John’s Abbey Church is thus a kind of creation myth: an origin story that illustrates the advent of a new symbolic language, formed by the dialogue between liturgical and architectural forces, and forged for an uncertain moment of rapidly-emerging modernity.
There’s a line that says, “my mother looked better alive.” I was having a conversation with Donald and “we look better alive” just kind of spilled off my tongue.
His voice bends and gurns beneath their insuperable burden and yet can only articulate its ignominy since it finds furrowed in each caesura a clinamen: an irreducible chink in its cage that may turn its convulsions into a tarrying.
Mattia’s unafraid of repetition; she knows it constitutes us and forms our habitus, and that it also creates structure for other, less visible parts embedded around its scaffold—repetition as performance of self, something you wake up and enact every day.
The forms demand to be reckoned with. Reverb, a new project of St. Louis artists and curators, works on these themes. Inside Bunker 3, artists confront the site’s history of violence and explore the disturbed state of the forest.
As a reader, it’s flattering to be let in: to understand that the writer is playing with expectations, starving you a bit of plot, feeding you a ton of side dishes instead of a meat and potatoes dinner.
It is an anti-elitist, capaciously democratic argument against the disfiguring mystifications that turn labor into commodities and art into the purchase of a privileged few.
I used to chug margaritas at nightclubs and whisper to blonde women. I was a large man and the mirror caused pain. I was married at the time, which makes these memories doubly shameful.
The shadow plane
points perilously
in the direction of
human love.
Is literature political? How about can literature use activists? If they are people too, I guess it can.