…and to all you other cats and chicks out there, sweet or otherwise, buried deep in wordy tombs, who never yet have walked from off the page, a shake and a hug and a kiss and a drink. Cheers!
What if this young woman, who writes such bad poems, in competition with her husband, whose poems are equally bad, should stretch her remarkably long and well-made legs out before you, so that her skirt slips up to the tops of her stockings?
What is this thing called a kiss? French, tongue, soul, chaste, motherly, fatherly, brotherly, sisterly, ass, genital, Judas, trembling, rough, hesitant, sweet, soft, wet, dying, fevered, good-night, farewell, burning, and chocolate.
They want politics and think it will save them. At best, it gives direction to their numbed desires. But there is no politics but the manipulation of power through language. Thus the latter’s constant debasement.
The maimings of love are endlessly funny.
All I do know, for certain, after 53 years in this business, is that writers who sincerely think that their language can represent reality ought to be plumbers.
It is no wonder lesbians love women.
Notable American Women gives us, with great panache and in eerie detail, a world that is cruelly reasonable within the near-religious limitations of its weird laws and customs. It is a book as unique as it is wonderfully strange.
Rapacity plus taste is a formidable combination, since it so often passes for intelligence. One pities the artist in a world of such predators, all of whom are deeply engaged in the arts too.
On Being Blue celebrates both language and that which it represents and carefully draws our attention to that difficult middle ground on which the writer finds himself in lifelong struggle to join the two without sullying or smearing the clarities of either.
Art cannot save anybody from anything.
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