Monday, November 24, 2003
Sunday, November 23, 2003
Huzzah! reading reports popping up everywhere: Kasey on Mytili Jagannathan and Rodney Koeneke and Stephanie on Manguso/Davis/Edgar. I'd try to keep up my end, but it looks like the U of C reading series has gone into hibernation until February, which means that I might actually have to leave Hyde Park to hear some more readings. Shudder.
Tuesday, November 18, 2003
At last, my report on the Notley reading...I know you've all been holding your breath.
So I'm on my way over to the Alice Notley reading last Monday and I get a call from Li Bloom, who I'm supposed to meet up with. Turns out Li's fallen victim to the Chicago highway tangle, literally at a fork in the road and not knowing which way to go. (I had this horrible image of Li sitting in her car in the middle of a highway median, cars whizzing by on either side, horns sounding.) I end up talking her all the way down from the Loop to the South Side, having her make U-turns in the middle of Lake Shore Drive and who knows what else, standing in the middle of 59th St. waving my cup of coffee to flag her down. (Weird moment of standing there talking to each other on cell phones while looking at each other through her car window.)
Even as she was trying to find her way down here, Li was thoughtful enough to ask me for my whole life story and give me part of hers. (Insert "strangeness of meeting someone you only know from their blog and how you know them but don’t really know them" riff here.) She told me it was the first reading she’d been to in a long time—I sympathized, having grown up in the same suburban enclave she now inhabits. But meeting her was just delightful—all energy and enthusiasm and poetry.
Really, though, most of this came afterwards, since by the time we got into the building the reading was about to start. Eirik Steinhoff of the Chicago Review introduced Notley and praised her a number of times for being part of no school and free of dogma, which always makes me a little suspicious—a little like "fair and balanced," if you know what I mean.
But that’s no fault of Notley’s. When she took the podium I was struck by how utterly different the atmosphere of this reading was than the last time I saw her at Lone Mountain in SF—that was a huge auditorium, more or less packed, with a sort of rock-star atmosphere and a who’s-who audience that made me a little queasy. The room here in Chicago was full, too, but that meant 60 people—both more and less intimate. People were there to hear Notley, but not necessarily because they knew her.
Notley’s certainly not a ranter at the mike, but she is, in her own way, a consummate performer. Stepping up to the front, she leaned back and kind of framed the podium with her hands like a director lining up a shot, then told us that explanations of anything would be reserved for her talk the following day; right now, she said, "I’m going to perform."
Listening to her made me think a bit of the low, rich, "thrilling" voice of Daisy Buchanan in Gatsby--but while Daisy’s voice is full of "money," Notley’s seemed more to be verging on tears, as if it were being held up in the lower registers by a suppressed sob. That’s a bit dramatic, but maybe appropriate to the material Notley was reading.
Part of what made me feel a bit like an outsider at the Lone Mountain reading was, in fact, Notley’s material—she read extensively from Disobedience, whose diaristic quality, allusions, and inside jokes seemed to delight those already familiar with her and her work, but it gave me that feeling I get when reading some of the more insiderist work of the New York School—like I wasn’t being invited into the conversation, sparkling and brilliant as it was.
The quality of this reading was utterly different—at one point I leaned over to Li and said that Notley in SF had been more "upbeat," though that wasn’t quite the right word. Her reading in SF was haunted by death—her brother’s, her husband’s—but not obsessed with it; here, it was as if she were down in the grave and trying to dig her way out: "I have come from another form in the ground." She read almost entirely from new work, serious and driven by rage and grief, with titles like "They Are All Dead Today" and "Decomposition"—the last, perhaps, an apt term for a project of writing one’s way out of death.
Perhaps the sense of a project in progress is what gave the reading its feeling of unity. Like Disobedience, the new poems were often animated by dream imagery, particularly that of the "dark woman," both archetype and self-portrait. The dominant tone was less elegiac than unflinchingly and viscerally memorial, the language of a present consciousness wounded by death: "You have left a bloody corpse in my bed…No one in a small town should have a pauper’s grave…I loved someone who died…My mind isn’t safe."
Yet Notley would hardly be Notley if there weren’t some sparkle of wit in the pain—a "funereal repartee," as she put it. The "world drug, the beauty drug" may be an opiate, but it’s an irresistible and even natural one.
And the intrusions of the public world of politics and war—characteristics of Notley’s recent work that have led some to read her as a powerfully political poet—were also in evidence, though less conspicuously than in Disobedience. One poem, "Ballad," which alternated quotes from Dick Cheney with images of elegy and dream, seemed formulaic, with Cheney’s rhetoric too easy a target; more powerful were the moments when public language asserted itself deep within the personal, linked with the stasis of death: "The president comes into every part and stops it."
Afterwards I’m talking with Li and this guy comes up and introduces himself—it’s Chuck Stebelton, who’d emailed me a few weeks back to let me know about a few good Chicago reading series (which were threatening to burgeon, egads, into a "scene"). Pretty soon we’re all talking about blogging and how weird it is to meet people who you’ve only met as blogs and how can we get everybody in Chicago blogging and…well, you get the idea. Watch out for that New Prairie School.
So I'm on my way over to the Alice Notley reading last Monday and I get a call from Li Bloom, who I'm supposed to meet up with. Turns out Li's fallen victim to the Chicago highway tangle, literally at a fork in the road and not knowing which way to go. (I had this horrible image of Li sitting in her car in the middle of a highway median, cars whizzing by on either side, horns sounding.) I end up talking her all the way down from the Loop to the South Side, having her make U-turns in the middle of Lake Shore Drive and who knows what else, standing in the middle of 59th St. waving my cup of coffee to flag her down. (Weird moment of standing there talking to each other on cell phones while looking at each other through her car window.)
Even as she was trying to find her way down here, Li was thoughtful enough to ask me for my whole life story and give me part of hers. (Insert "strangeness of meeting someone you only know from their blog and how you know them but don’t really know them" riff here.) She told me it was the first reading she’d been to in a long time—I sympathized, having grown up in the same suburban enclave she now inhabits. But meeting her was just delightful—all energy and enthusiasm and poetry.
Really, though, most of this came afterwards, since by the time we got into the building the reading was about to start. Eirik Steinhoff of the Chicago Review introduced Notley and praised her a number of times for being part of no school and free of dogma, which always makes me a little suspicious—a little like "fair and balanced," if you know what I mean.
But that’s no fault of Notley’s. When she took the podium I was struck by how utterly different the atmosphere of this reading was than the last time I saw her at Lone Mountain in SF—that was a huge auditorium, more or less packed, with a sort of rock-star atmosphere and a who’s-who audience that made me a little queasy. The room here in Chicago was full, too, but that meant 60 people—both more and less intimate. People were there to hear Notley, but not necessarily because they knew her.
Notley’s certainly not a ranter at the mike, but she is, in her own way, a consummate performer. Stepping up to the front, she leaned back and kind of framed the podium with her hands like a director lining up a shot, then told us that explanations of anything would be reserved for her talk the following day; right now, she said, "I’m going to perform."
Listening to her made me think a bit of the low, rich, "thrilling" voice of Daisy Buchanan in Gatsby--but while Daisy’s voice is full of "money," Notley’s seemed more to be verging on tears, as if it were being held up in the lower registers by a suppressed sob. That’s a bit dramatic, but maybe appropriate to the material Notley was reading.
Part of what made me feel a bit like an outsider at the Lone Mountain reading was, in fact, Notley’s material—she read extensively from Disobedience, whose diaristic quality, allusions, and inside jokes seemed to delight those already familiar with her and her work, but it gave me that feeling I get when reading some of the more insiderist work of the New York School—like I wasn’t being invited into the conversation, sparkling and brilliant as it was.
The quality of this reading was utterly different—at one point I leaned over to Li and said that Notley in SF had been more "upbeat," though that wasn’t quite the right word. Her reading in SF was haunted by death—her brother’s, her husband’s—but not obsessed with it; here, it was as if she were down in the grave and trying to dig her way out: "I have come from another form in the ground." She read almost entirely from new work, serious and driven by rage and grief, with titles like "They Are All Dead Today" and "Decomposition"—the last, perhaps, an apt term for a project of writing one’s way out of death.
Perhaps the sense of a project in progress is what gave the reading its feeling of unity. Like Disobedience, the new poems were often animated by dream imagery, particularly that of the "dark woman," both archetype and self-portrait. The dominant tone was less elegiac than unflinchingly and viscerally memorial, the language of a present consciousness wounded by death: "You have left a bloody corpse in my bed…No one in a small town should have a pauper’s grave…I loved someone who died…My mind isn’t safe."
Yet Notley would hardly be Notley if there weren’t some sparkle of wit in the pain—a "funereal repartee," as she put it. The "world drug, the beauty drug" may be an opiate, but it’s an irresistible and even natural one.
And the intrusions of the public world of politics and war—characteristics of Notley’s recent work that have led some to read her as a powerfully political poet—were also in evidence, though less conspicuously than in Disobedience. One poem, "Ballad," which alternated quotes from Dick Cheney with images of elegy and dream, seemed formulaic, with Cheney’s rhetoric too easy a target; more powerful were the moments when public language asserted itself deep within the personal, linked with the stasis of death: "The president comes into every part and stops it."
Afterwards I’m talking with Li and this guy comes up and introduces himself—it’s Chuck Stebelton, who’d emailed me a few weeks back to let me know about a few good Chicago reading series (which were threatening to burgeon, egads, into a "scene"). Pretty soon we’re all talking about blogging and how weird it is to meet people who you’ve only met as blogs and how can we get everybody in Chicago blogging and…well, you get the idea. Watch out for that New Prairie School.
Sunday, November 16, 2003
And just when I was wondering if Chicago was ever going to open its brawny arms to the blog: I walk into a restaurant this afternoon and see this week's Chicago Reader and there's Bookslut, right there on the front page. There's even a picture.
Sorry. Something like a blog breakdown over the past week--I dunno, every time I thought about posting my cursor would hover over the link to Blogger and then just slink away.
It's just been a tough week. No personal, political, or poetic spins to be put on it.
I still owe you all a report on the Notley reading. I have a notebook full of stuff. Stay tuned.
It's just been a tough week. No personal, political, or poetic spins to be put on it.
I still owe you all a report on the Notley reading. I have a notebook full of stuff. Stay tuned.
Sunday, November 09, 2003
I'll be there--and it looks like Li will too, so we can meet at last! A veritable blogfest. Oh, and Notley's pretty good too.
*************** ALICE NOTLEY ****************
at the University of Chicago
Monday, November 10, 5:30 p.m. (Classics 10): Poetry reading
Tuesday, November 11, 4:30 p.m. (Wieboldt 408): "My Lines"
A reception will follow the reading on Monday.
********************
Known as one of the most important voices in the second generation of The New York School, Alice Notley is author of more than 20 books of poetry, including The Descent of Alette (1996) and Disobedience (2001), which won the Griffin International Poetry Prize for 2002. She has published an autobiography, Tell Me Again (1982), and works also as a painter and collage artist. In 2001, she received an Academy Award from the American Academy of Arts and Letters and the Shelly Memorial Award from the Poetry Society of America. She lives in Paris, France.
*************** ALICE NOTLEY ****************
at the University of Chicago
Monday, November 10, 5:30 p.m. (Classics 10): Poetry reading
Tuesday, November 11, 4:30 p.m. (Wieboldt 408): "My Lines"
A reception will follow the reading on Monday.
********************
Known as one of the most important voices in the second generation of The New York School, Alice Notley is author of more than 20 books of poetry, including The Descent of Alette (1996) and Disobedience (2001), which won the Griffin International Poetry Prize for 2002. She has published an autobiography, Tell Me Again (1982), and works also as a painter and collage artist. In 2001, she received an Academy Award from the American Academy of Arts and Letters and the Shelly Memorial Award from the Poetry Society of America. She lives in Paris, France.
Tuesday, November 04, 2003
Good Lord. Those of you anywhere near Stanford can hear Billy Collins, Robert Creeley, Eavan Boland, Michael Davidson, and Thom Gunn read all in the space of this next week.
Tomorrow: Thom Gunn, the Lawrence and Nancy Mohr Visiting Poet, will hold a colloquium, Wednesday November 5, at 11am in the Terrace Room, Fourth Floor, Margaret Jacks Hall, Stanford English Department.
Friday and Saturday: Poetry and Politics: Black Mountain and Others, at the Stanford Humanities Center. Robert Creeley, Eavan Boland, and Michael Davidson read Friday at 8 p.m.
And Billy Collins will read on Monday (8 p.m., Cubberley Auditorium) and talk on Tuesday (11 a.m., Terrace Room, English Department). I'll be the guy in the front row wearing the moth-eaten "IMPEACH BILLY" T-shirt.
Tomorrow: Thom Gunn, the Lawrence and Nancy Mohr Visiting Poet, will hold a colloquium, Wednesday November 5, at 11am in the Terrace Room, Fourth Floor, Margaret Jacks Hall, Stanford English Department.
Friday and Saturday: Poetry and Politics: Black Mountain and Others, at the Stanford Humanities Center. Robert Creeley, Eavan Boland, and Michael Davidson read Friday at 8 p.m.
And Billy Collins will read on Monday (8 p.m., Cubberley Auditorium) and talk on Tuesday (11 a.m., Terrace Room, English Department). I'll be the guy in the front row wearing the moth-eaten "IMPEACH BILLY" T-shirt.
Monday, November 03, 2003
I missed William Fuller reading up in Winnetka, but when I saw he was reading down here at the University of Chicago I hardly had any excuse. Of course, I always think that 20-minute walk to campus will take about 5, so I left late and spent the whole walk saying to myself, "No poetry reading ever starts on time..."
The reading was on the first floor of Classics, in a longish lecture hall with just enough vintage woodwork to make me remember I wasn't in California anymore. (The equivalent reading space at the Stanford English department has a big plate-glass window with a view of red tile roofs and the foothills behind them. I suppose this is just a sign that I spend too much time during readings staring off into space.) A solid turnout--I'm guessing at least 30 people--though I have no idea how that ranks for Chicago poetry crowds.
I must say that I knew nothing of Fuller's work before the reading, apart from a piece or two I'd looked up online. I'd seen a lot of mentions, locally and on the Poetics list, of his new book, Sadly, enough to pique my curiosity but not enough to really tell me about his work. In short, I was a pretty clean slate.
In a lot of cases, it may be that attending a reading is absolutely the worst way to be introduced to a poet's work. Listen to a tape of Wallace Stevens reading sometime and you'll know what I mean. I guess this is particularly true of experimental writers whose work is dense, textual, very much on the page--there are obviously some who are consummate performers (Bernstein, Silliman) but it often doesn't seem to come naturally. Maybe this is true of Fuller, and on the page I would find his work deeply engaging. From where I was sitting, though, it was difficult to get in.
One of the first things we were told about Fuller is that he's worked for Northern Trust for twenty years. But this wasn't just a "poet day job" thing: it came up repeatedly, as it became evident that Fuller's poetry is very much of the workplace. While that may conjure up the spectres of Philip Levine or Dana Gioia, Fuller's project is a lot closer to that of somebody like Bernstein (and, to a somewhat lesser degree, Silliman): an interest in the discourse and language of the contemporary workplace, particularly in its more extreme forms of jargon. In Bernstein this is often played for laughs or parody, but there's also a cutting sense of the ideology of that language, the way in which it veils, justifies, numbs.
I think Fuller represents the next step in engaging that language--a kind of surrender to, even embrace of, its headlong rush. Beginning a poem called "Profitability Death Spiral," Fuller noted that his co-workers (who are apparently aware of his poetic vocation) will occasionally bring him particularly prime examples of finance jargon. "If you have enough of these sources," Fuller remarked sardonically, "you don't even have to write the poem."
I think anyone who's worked with any kind of linguistic material that seems to be endlessly self-proliferating and mechanized--whether it be computer-generated text, pop media, Google poetry--gets that feeling sometimes, and doesn't quite know how to feel about it. To my mind the most successful poetry of this sort manages somehow to hack out a critical position within or against the discourse it grows out of. Bernstein or Ashbery may occasionally read like a technical manual, but there's a zaniness and verve that both makes it possible to keep moving forward and allows one, possibly, to laugh oneself outside of ideology for a moment.
Seen in this light, Fuller's poetry seemed too, well, earnest, even didactic. In mining business language for poetry, Fuller takes its poetic quality too much for granted. In this sense maybe the apt comparison isn't Charles Bernstein but Susan Howe--more specifically, Howe's faith (following Pound and Olson) that the fragments of the historical record, its language, may yield up some transcendent quality if put under enough pressure. Fuller mixes in a fair amount of Howean historical material, 16th- and 17th-century primarily, but rather than fragmenting it remains discursive, fusing into a single stream of language--an effect heighted by Fuller's headlong reading style, with little space between words and sentences. "Basic objects leap into the sea, which revives them with doctrine."
I can't help but contrast the title of Fuller's Sadly with that of Lyn Hejinian's Happily. In reading, at least, Fuller does seem to use language sadly, carried along on the flow of information, earnestly trying to make sense of it all, but capsized on each successive wave. I don't see Hejinian's happiness, the pleasure of engagement and play, those brief moments of freedom before being carried under again.
The reading was on the first floor of Classics, in a longish lecture hall with just enough vintage woodwork to make me remember I wasn't in California anymore. (The equivalent reading space at the Stanford English department has a big plate-glass window with a view of red tile roofs and the foothills behind them. I suppose this is just a sign that I spend too much time during readings staring off into space.) A solid turnout--I'm guessing at least 30 people--though I have no idea how that ranks for Chicago poetry crowds.
I must say that I knew nothing of Fuller's work before the reading, apart from a piece or two I'd looked up online. I'd seen a lot of mentions, locally and on the Poetics list, of his new book, Sadly, enough to pique my curiosity but not enough to really tell me about his work. In short, I was a pretty clean slate.
In a lot of cases, it may be that attending a reading is absolutely the worst way to be introduced to a poet's work. Listen to a tape of Wallace Stevens reading sometime and you'll know what I mean. I guess this is particularly true of experimental writers whose work is dense, textual, very much on the page--there are obviously some who are consummate performers (Bernstein, Silliman) but it often doesn't seem to come naturally. Maybe this is true of Fuller, and on the page I would find his work deeply engaging. From where I was sitting, though, it was difficult to get in.
One of the first things we were told about Fuller is that he's worked for Northern Trust for twenty years. But this wasn't just a "poet day job" thing: it came up repeatedly, as it became evident that Fuller's poetry is very much of the workplace. While that may conjure up the spectres of Philip Levine or Dana Gioia, Fuller's project is a lot closer to that of somebody like Bernstein (and, to a somewhat lesser degree, Silliman): an interest in the discourse and language of the contemporary workplace, particularly in its more extreme forms of jargon. In Bernstein this is often played for laughs or parody, but there's also a cutting sense of the ideology of that language, the way in which it veils, justifies, numbs.
I think Fuller represents the next step in engaging that language--a kind of surrender to, even embrace of, its headlong rush. Beginning a poem called "Profitability Death Spiral," Fuller noted that his co-workers (who are apparently aware of his poetic vocation) will occasionally bring him particularly prime examples of finance jargon. "If you have enough of these sources," Fuller remarked sardonically, "you don't even have to write the poem."
I think anyone who's worked with any kind of linguistic material that seems to be endlessly self-proliferating and mechanized--whether it be computer-generated text, pop media, Google poetry--gets that feeling sometimes, and doesn't quite know how to feel about it. To my mind the most successful poetry of this sort manages somehow to hack out a critical position within or against the discourse it grows out of. Bernstein or Ashbery may occasionally read like a technical manual, but there's a zaniness and verve that both makes it possible to keep moving forward and allows one, possibly, to laugh oneself outside of ideology for a moment.
Seen in this light, Fuller's poetry seemed too, well, earnest, even didactic. In mining business language for poetry, Fuller takes its poetic quality too much for granted. In this sense maybe the apt comparison isn't Charles Bernstein but Susan Howe--more specifically, Howe's faith (following Pound and Olson) that the fragments of the historical record, its language, may yield up some transcendent quality if put under enough pressure. Fuller mixes in a fair amount of Howean historical material, 16th- and 17th-century primarily, but rather than fragmenting it remains discursive, fusing into a single stream of language--an effect heighted by Fuller's headlong reading style, with little space between words and sentences. "Basic objects leap into the sea, which revives them with doctrine."
I can't help but contrast the title of Fuller's Sadly with that of Lyn Hejinian's Happily. In reading, at least, Fuller does seem to use language sadly, carried along on the flow of information, earnestly trying to make sense of it all, but capsized on each successive wave. I don't see Hejinian's happiness, the pleasure of engagement and play, those brief moments of freedom before being carried under again.
Thursday, October 30, 2003
Please come to a reading and lecture at the University of Chicago this week by:
*************** William Fuller ****************
Thursday, October 30, 5:30 p.m. (Classics 10): Poetry reading
Friday, October 31, 1:00 p.m. (Classics 10): "Restatement of Trysts"
A reception will follow the reading on Thursday.
********************
Drawing equally on Buddhist sutras and country blues, William Fuller's latest book, Sadly (Flood, 2003) derives compassion from its ironic vision. Quick and sometimes elusive, his poems observe fluctuations in economic markets, the weather, and human consciousness. In the Chicago Tribune, Maureen McClane has described Fuller's "dense, elliptical mediations," writing that his "luminous images…consistently marry the cerebral and the sensual." Fuller lives and works in Chicago.
*************** William Fuller ****************
Thursday, October 30, 5:30 p.m. (Classics 10): Poetry reading
Friday, October 31, 1:00 p.m. (Classics 10): "Restatement of Trysts"
A reception will follow the reading on Thursday.
********************
Drawing equally on Buddhist sutras and country blues, William Fuller's latest book, Sadly (Flood, 2003) derives compassion from its ironic vision. Quick and sometimes elusive, his poems observe fluctuations in economic markets, the weather, and human consciousness. In the Chicago Tribune, Maureen McClane has described Fuller's "dense, elliptical mediations," writing that his "luminous images…consistently marry the cerebral and the sensual." Fuller lives and works in Chicago.
Wednesday, October 29, 2003
Two bleary-eyed blogless days filled with job apps. I don't recommend that 4:55 p.m. sprint to the post office when you haven't eaten anything all day, or the frantic run to Office Depot (around the corner, thank god) ten minutes before closing time to rub paper samples looking for the right one to match the stuff you've already got. What was scary was that I was not the only one there rubbing paper--there was another similarly bleary-eyed guy picking up all the paper I'd put down.
Choke poetry seems to have gagged its last. It was a good run. Thanks to all who coughed something up.
Choke poetry seems to have gagged its last. It was a good run. Thanks to all who coughed something up.
Friday, October 24, 2003
Hey bloggers: go academic...
Panel on Weblogs
Popular Culture Association/ American Culture Association Conference
at San Antonio, April 7-10, 2004
This panel seeks papers from bloggers either analyzing some aspect of the culture of blogging or presenting critical and informative personal narratives about blogging. Presenters need not be academics, and graduate students are welcome.
Please email jchaney@iusb.edu a short abstract (one paragraph) and brief biographical note by November 10, 2003.
Joseph R. Chaney, Chair
Computer Culture Area
SW/Texas PCA/ACA
Department of English
Indiana University South Bend
(574) 237-4870
fax: (574) 237-4538
Panel on Weblogs
Popular Culture Association/ American Culture Association Conference
at San Antonio, April 7-10, 2004
This panel seeks papers from bloggers either analyzing some aspect of the culture of blogging or presenting critical and informative personal narratives about blogging. Presenters need not be academics, and graduate students are welcome.
Please email jchaney@iusb.edu a short abstract (one paragraph) and brief biographical note by November 10, 2003.
Joseph R. Chaney, Chair
Computer Culture Area
SW/Texas PCA/ACA
Department of English
Indiana University South Bend
(574) 237-4870
fax: (574) 237-4538
Gary Sullivan answers my question about flarf and Googlism:
There was a brief period on the flarflist when everyone found Googlism and threw in funny searches, like "bad poetry" or "great poetry." The one I remember best, of course, is:
Googlism for: flarf
flarf is come festival in florida
flarf is officially over for this year
flarf is the faery cast
flarf is held at quiet waters park
flarf is over
flarf is come festival in florida flarf is officially over for this year flarf is the faery cast flarf is held at quiet waters park flarf is over
flarf is come festival in florida
flarf is officially over for this year
flarf is come festival in florida flarf is officially over for this year flarf is the faery cast flarf is held at quiet waters park flarf is over posted by
flarf is appealing
flarf is the faery cast
flarf is the oversized fleece/flanal blue striped/plaid shirt jacket thing that jessie stole for me from thrift junction yesterday
flarf is over
... although, the last time I saw it done there were fewer lines.
Mostly, I like to edit Googlisms, when used. So the above would be more like:
flarf is come festival in florida
flarf is officially over for this year
flarf is the faery cast
flarf is held at quiet waters park
flarf is the oversized fleece/flanal blue striped/plaid shirt jacket thing that jessie stole for me from thrift junction yesterday
flarf is over
There was a brief period on the flarflist when everyone found Googlism and threw in funny searches, like "bad poetry" or "great poetry." The one I remember best, of course, is:
Googlism for: flarf
flarf is come festival in florida
flarf is officially over for this year
flarf is the faery cast
flarf is held at quiet waters park
flarf is over
flarf is come festival in florida flarf is officially over for this year flarf is the faery cast flarf is held at quiet waters park flarf is over
flarf is come festival in florida
flarf is officially over for this year
flarf is come festival in florida flarf is officially over for this year flarf is the faery cast flarf is held at quiet waters park flarf is over posted by
flarf is appealing
flarf is the faery cast
flarf is the oversized fleece/flanal blue striped/plaid shirt jacket thing that jessie stole for me from thrift junction yesterday
flarf is over
... although, the last time I saw it done there were fewer lines.
Mostly, I like to edit Googlisms, when used. So the above would be more like:
flarf is come festival in florida
flarf is officially over for this year
flarf is the faery cast
flarf is held at quiet waters park
flarf is the oversized fleece/flanal blue striped/plaid shirt jacket thing that jessie stole for me from thrift junction yesterday
flarf is over
Thursday, October 23, 2003
Which makes me wonder: how do flarfers feel about Googlism? It seems like there's something of the same thing going on there, like a tech-geek version--the results, at least, often don't look that different from my own pale attempts at the genre. Of course, I presume Googlism is the result of some kind of automated process, which flarf flirts with but doesn't completely embrace...I guess.
Both The Wily Filipino and Gabriel Gudding pointed my attention to Googlism on "choke," part of which Gudding was kind enough to send to me:
Googlism for: choke
choke is offered in pressure
choke is on you
choke is the result of 13 years of continuous research and development
choke is on you last aired on
choke is a damn fine novel
choke is no exception
choke is the major
choke is also equipped with a set screw to lock the setting in place and avoid its movement due to vibration
choke is pulled open can be adjusted by bending the "u
choke is about taking the next step
choke is getting a mixed reaction from critics and fans alike
choke is what you might call a man's man
choke is the story of a young man named victor mancini
choke is pretty complete
choke is brilliant and extremely funny
choke is strangely familiar
choke is a documentary that follows three fighters as they prepare for the 1995 vale tudo fighting championship in tokyo
choke is considered modified with as small as
choke is to minimize the rf loss caused by the resistor
choke is a stab in the eye to anyone with
choke is very low
choke is one of the few worms to spread via instant messenger services
choke is usually late summer or early autumn
choke is quite high
choke is a replacement choke tube precision made of stainless steel
choke is a tru
choke is to reduce the air intake into the carburetor
choke is simply a tapered constriction of the gun's bore at the muzzle end
choke is no different
choke is a monthly magazine
choke is great for targets less than 20 yards
choke is a humane form of control that offers the advantages of a
choke is eminently memorable
choke is blued and designed to shoot either lead or steel shot
choke is ported
choke is an apologetic novel in which chuck palahniuk
choke is designed to close off the outlet spout of a bulk bag thereby allowing the partially emptied bag to be easily removed from the
choke is a constriction in the end
choke is placed subsea it has been designed to cope with all the conditions it is likely to encounter without
choke is a bilateral carotid choke
choke is
choke is equivalent to multiple turns of wire inside "their" choke
choke is king
choke is a difficult decision
choke is a
choke is glad to be back in canada
choke is a technique applied against the throat that cuts off or restricts the flow of air to the lungs
choke is an effective
choke is a critical
choke is situated at the pipeline inlet at the wells
choke is pcu divided by the square of the rated current
choke is called a "cylinder bore" and delivers the widest spread
choke is a worm which attempts to send itself through the msn messenger instant messaging program
choke is in open position
choke is leaking
choke is housed in a miniature surface
choke is constant and hence it is
choke is changed often without proper cleaning
choke is simple
choke is to pass
choke is food impaction within the esophagus
choke is perceived to be
choke is a terribly simple little thing
choke is very effective it can also be dangerous
choke is a caucasian male
choke is to build it directly into the fountain tube by compacting clay around a former known as a nipple
choke is up to the challenge of holding that pattern as tight as it should be at 40 yards
choke is in closed position
choke is watching with great interest to see if anadarko can finally realize the potential in the undervalued and underdeveloped upr strip
choke is to a shotgun
choke is very fast and very powerful
choke is made from 0
choke is very important to maximise your scores at the various disciplins
choke is on the chassis upperside
choke is the degree of constriction at the muzzle end of the barrel
choke is also a definite recommendation to all those not
choke is a fixed one or is it removeable? i use
choke is used
choke is a measure of the opening
choke is held too long
choke is 1k
choke is manufactured by shyam electronics
choke is the latest novel by stuart woods
choke is used when the engine is cold
choke is told from the point of view of a dropout medical student
choke is closed
choke is minimum
choke is like he throttle
choke is one that is often misunderstood
Googlism for: choke
choke is offered in pressure
choke is on you
choke is the result of 13 years of continuous research and development
choke is on you last aired on
choke is a damn fine novel
choke is no exception
choke is the major
choke is also equipped with a set screw to lock the setting in place and avoid its movement due to vibration
choke is pulled open can be adjusted by bending the "u
choke is about taking the next step
choke is getting a mixed reaction from critics and fans alike
choke is what you might call a man's man
choke is the story of a young man named victor mancini
choke is pretty complete
choke is brilliant and extremely funny
choke is strangely familiar
choke is a documentary that follows three fighters as they prepare for the 1995 vale tudo fighting championship in tokyo
choke is considered modified with as small as
choke is to minimize the rf loss caused by the resistor
choke is a stab in the eye to anyone with
choke is very low
choke is one of the few worms to spread via instant messenger services
choke is usually late summer or early autumn
choke is quite high
choke is a replacement choke tube precision made of stainless steel
choke is a tru
choke is to reduce the air intake into the carburetor
choke is simply a tapered constriction of the gun's bore at the muzzle end
choke is no different
choke is a monthly magazine
choke is great for targets less than 20 yards
choke is a humane form of control that offers the advantages of a
choke is eminently memorable
choke is blued and designed to shoot either lead or steel shot
choke is ported
choke is an apologetic novel in which chuck palahniuk
choke is designed to close off the outlet spout of a bulk bag thereby allowing the partially emptied bag to be easily removed from the
choke is a constriction in the end
choke is placed subsea it has been designed to cope with all the conditions it is likely to encounter without
choke is a bilateral carotid choke
choke is
choke is equivalent to multiple turns of wire inside "their" choke
choke is king
choke is a difficult decision
choke is a
choke is glad to be back in canada
choke is a technique applied against the throat that cuts off or restricts the flow of air to the lungs
choke is an effective
choke is a critical
choke is situated at the pipeline inlet at the wells
choke is pcu divided by the square of the rated current
choke is called a "cylinder bore" and delivers the widest spread
choke is a worm which attempts to send itself through the msn messenger instant messaging program
choke is in open position
choke is leaking
choke is housed in a miniature surface
choke is constant and hence it is
choke is changed often without proper cleaning
choke is simple
choke is to pass
choke is food impaction within the esophagus
choke is perceived to be
choke is a terribly simple little thing
choke is very effective it can also be dangerous
choke is a caucasian male
choke is to build it directly into the fountain tube by compacting clay around a former known as a nipple
choke is up to the challenge of holding that pattern as tight as it should be at 40 yards
choke is in closed position
choke is watching with great interest to see if anadarko can finally realize the potential in the undervalued and underdeveloped upr strip
choke is to a shotgun
choke is very fast and very powerful
choke is made from 0
choke is very important to maximise your scores at the various disciplins
choke is on the chassis upperside
choke is the degree of constriction at the muzzle end of the barrel
choke is also a definite recommendation to all those not
choke is a fixed one or is it removeable? i use
choke is used
choke is a measure of the opening
choke is held too long
choke is 1k
choke is manufactured by shyam electronics
choke is the latest novel by stuart woods
choke is used when the engine is cold
choke is told from the point of view of a dropout medical student
choke is closed
choke is minimum
choke is like he throttle
choke is one that is often misunderstood
Mystery Choker Revealed...
I thought Michael Magee's fingerprints were all over this one, but now he's come clean.
I thought Michael Magee's fingerprints were all over this one, but now he's come clean.
Wednesday, October 22, 2003
From Sean Serrell, who says: "I hope the choke-wagon isn't so full it can't accommodate one more." Hey, there's plenty of room--jump on.
Choke Tubes/Chuck P.’s Choke/Kickin’ JC’s ‘nads
Until recently, everyone thought that by funneling a wad into a smaller stream under pressure, the spread could be concentrated at a distance onto a target. This cut-away illustrates the patterns produced by replacing the old "funnel choke" with a patented wad retarding system which stinks of either conspiracy or revolution, I can't tell which:
Go talk swearwords about God
You all will die, stupid humans.
Bye slut, go talk shit about me.
(Call me a 'psychophatt')
When people ask "What would Jesus not do?" I will have a clever response for them based on something I have done. What would Jesus NOT do? Disgusting Post Modernism, however I must point out that Jesus did in fact assault people. The most common hold is from the front with both the assailant’s hands around your throat. Since the two handed front hold is the most common, it will be the best to learn how to escape. Every man has had a sister, mother, wife or girlfriend that has mentioned "kicking a man where it hurts." The most important thing is to run away once you are free. Never stick around to see if your attacker is going to get up.
Choke Tubes/Chuck P.’s Choke/Kickin’ JC’s ‘nads
Until recently, everyone thought that by funneling a wad into a smaller stream under pressure, the spread could be concentrated at a distance onto a target. This cut-away illustrates the patterns produced by replacing the old "funnel choke" with a patented wad retarding system which stinks of either conspiracy or revolution, I can't tell which:
Go talk swearwords about God
You all will die, stupid humans.
Bye slut, go talk shit about me.
(Call me a 'psychophatt')
When people ask "What would Jesus not do?" I will have a clever response for them based on something I have done. What would Jesus NOT do? Disgusting Post Modernism, however I must point out that Jesus did in fact assault people. The most common hold is from the front with both the assailant’s hands around your throat. Since the two handed front hold is the most common, it will be the best to learn how to escape. Every man has had a sister, mother, wife or girlfriend that has mentioned "kicking a man where it hurts." The most important thing is to run away once you are free. Never stick around to see if your attacker is going to get up.
Three Chokes from Gary Sullivan
Did You Mean To Search For: Chokes?
(a "B" side for Tim)
SiStAh! WhEaH yOoH bEeN!
hAcVeNt TaLkEd ToOh YoOH InNaH cHoKeSs
LoOoOoNnNNgGgGg TyME!
cowerkers are kewlness...gotsta love them...when i came home
lenlen asked me if i wanted to go dolly's house
so yeah we went there...had chokess ppls...
i hAvE sHoRt HaiR nOw, LiKe uP tO mAh sHoULdErS
plus, since there was chokess amounts of people
the noise level must've been pretty loud
iTs LaYeReD LiKE tHaT
ShOOtS..DiD yOOH EvEr FiNd OUt aBoUt DaT jOb ThInG? ...
HoW yOOH bEeN?
CHOCKINGG (Outtakes)
Chockingg, chockinng, chockiing, chockking, choccking, choocking, chhocking, cchocking, chockerr, chockeer, chockker, choccker, choocker, chhocker, cchocker, chockinf, chockinh, chockibg, chockimg, chockung, chockong, chocjing, chocling, choxking, chovking, chicking, chpcking, cgocking, cjocking, xhocking, vhocking, chockign, chocknig, chocikng, chokcing, chcoking, cohcking, hcocking, chockigg, chocknng, chociing, chokking, chccking, coocking, hhocking, khocking, chockee, chocket, chockwr, chockrr, chocjer, chocler, choxker, chovker, chpcker, cgocker, cjocker, xhocker, vhocker, chockre, chocekr, chokcer, chcoker, cohcker, hcocker, choceer, chokker, chccker, coocker, hhocker, khocker, chockin, chockig, chockng, chocing, chcking, chockk, chocck, choock, chhock, cchock, chocke, chockr, chocer, chcker, chocj, chocl, choxk, chovk, chpck, cgock, cjock, xhock, vhock, chokc, chcok, cohck, hcock, chokk, chcck, coock, hhock, khock, chck. chockingg, chockinng, chockiing, chockking, choccking, choocking, chhocking, cchocking, chockerr, chockeer, chockker, choccker, choocker, chhocker, cchocker, chockinf, chockinh, chockibg, chockimg, chockung, chockong, chocjing, chocling, choxking, chovking, chicking, chpcking, cgocking, cjocking, xhocking, vhocking, chockign, chocknig, chocikng, chokcing, chcoking, cohcking, hcocking, chockigg, chocknng, chociing, chokking, chccking, coocking, hhocking, khocking, chockee, chocket, chockwr, chockrr, chocjer, chocler, choxker, chovker, chpcker, cgocker, cjocker, xhocker, vhocker, chockre, chocekr, chokcer, chcoker, cohcker, hcocker, choceer, chokker, chccker, coocker, hhocker, khocker, chockin, chockig, chockng, chocing, chcking, chockk, chocck, choock, chhock, cchock, chocke, chockr, chocer, chcker, chocj, chocl, choxk, chovk, chpck, cgock, cjock, xhock, vhock, chokc, chcok, cohck, hcock, chokk, chcck, coock, hhock, khock, chck.
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womann blowjlb rree fr e pidture blowiob blpwjob bolwjob blowjobb
ow joh low chokung bllow chokiing lbow ob blpw cchoking
c oking c hoking cnoking blow jbo chpking glow jon chokiny
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jo b perm hcoking jjob choking chokung chokjng choknig aperm
movoes c oking pictur e pictuure chokimg m ovies
jobw moviss chking mov es b ow pictu re moviws
v deo yays jkb vi eo ree ideo frer gwys videoo vixeo gaye
vid eo npeg video agys asuan as an cideo chokking gasy asiaan
iny chokimg phhotos ojbs choikng jogs bblow pen is peniss mpeg
chokong chkoing chking hotos pyotos jbs pjotos tniy choknig bllow
bl ack pictu es back cboking pivtures bliw lictures choiing blwck
chiking bllack blpw pixtures pussy chokingg pi tures pictu res
nuses aadults nudees adu ts job moviees blo w adultts sdults movues
adjlts blos chhoking movjes cgoking chokin g nhdes nud s aults chokking
panites choing witb pamties gkrl iob gidl choking moive whits jjob
chokijg pantie s blo chhoking pahties movi e mov ie w ith chooking wbite
anateur nyde moviw amateu kobs amageur choki g pictire amteur pictue
plst po t poat picturs jbos mo ie picyure picgure mobie mofie chokking nide
galleriew gallerues bw ga lleries chok ing hardcorw hardcoe gall ries fere galleris
chokihg feee falleries chokinng chokung h ardcore chokking choing gqlleries
f ree frde pissung chokung p ic chokint pizsing bow ppissing pi c ic gay piv gsy
fere pising hob pisskng pc jpb pjssing pidsing pissinb bllow chokking blpw oic
Did You Mean To Search For: Chokes?
(a "B" side for Tim)
SiStAh! WhEaH yOoH bEeN!
hAcVeNt TaLkEd ToOh YoOH InNaH cHoKeSs
LoOoOoNnNNgGgGg TyME!
cowerkers are kewlness...gotsta love them...when i came home
lenlen asked me if i wanted to go dolly's house
so yeah we went there...had chokess ppls...
i hAvE sHoRt HaiR nOw, LiKe uP tO mAh sHoULdErS
plus, since there was chokess amounts of people
the noise level must've been pretty loud
iTs LaYeReD LiKE tHaT
ShOOtS..DiD yOOH EvEr FiNd OUt aBoUt DaT jOb ThInG? ...
HoW yOOH bEeN?
CHOCKINGG (Outtakes)
Chockingg, chockinng, chockiing, chockking, choccking, choocking, chhocking, cchocking, chockerr, chockeer, chockker, choccker, choocker, chhocker, cchocker, chockinf, chockinh, chockibg, chockimg, chockung, chockong, chocjing, chocling, choxking, chovking, chicking, chpcking, cgocking, cjocking, xhocking, vhocking, chockign, chocknig, chocikng, chokcing, chcoking, cohcking, hcocking, chockigg, chocknng, chociing, chokking, chccking, coocking, hhocking, khocking, chockee, chocket, chockwr, chockrr, chocjer, chocler, choxker, chovker, chpcker, cgocker, cjocker, xhocker, vhocker, chockre, chocekr, chokcer, chcoker, cohcker, hcocker, choceer, chokker, chccker, coocker, hhocker, khocker, chockin, chockig, chockng, chocing, chcking, chockk, chocck, choock, chhock, cchock, chocke, chockr, chocer, chcker, chocj, chocl, choxk, chovk, chpck, cgock, cjock, xhock, vhock, chokc, chcok, cohck, hcock, chokk, chcck, coock, hhock, khock, chck. chockingg, chockinng, chockiing, chockking, choccking, choocking, chhocking, cchocking, chockerr, chockeer, chockker, choccker, choocker, chhocker, cchocker, chockinf, chockinh, chockibg, chockimg, chockung, chockong, chocjing, chocling, choxking, chovking, chicking, chpcking, cgocking, cjocking, xhocking, vhocking, chockign, chocknig, chocikng, chokcing, chcoking, cohcking, hcocking, chockigg, chocknng, chociing, chokking, chccking, coocking, hhocking, khocking, chockee, chocket, chockwr, chockrr, chocjer, chocler, choxker, chovker, chpcker, cgocker, cjocker, xhocker, vhocker, chockre, chocekr, chokcer, chcoker, cohcker, hcocker, choceer, chokker, chccker, coocker, hhocker, khocker, chockin, chockig, chockng, chocing, chcking, chockk, chocck, choock, chhock, cchock, chocke, chockr, chocer, chcker, chocj, chocl, choxk, chovk, chpck, cgock, cjock, xhock, vhock, chokc, chcok, cohck, hcock, chokk, chcck, coock, hhock, khock, chck.
lesbiana named ledbians cuoking lesbias lesians lesbiaans esbians
chojing lesibans girk lesnians chokking lesbianz lesbianx
blowmob pofn mvoies moviees pifture mocies pi cture chokiny ipcture
womann blowjlb rree fr e pidture blowiob blpwjob bolwjob blowjobb
ow joh low chokung bllow chokiing lbow ob blpw cchoking
c oking c hoking cnoking blow jbo chpking glow jon chokiny
dohor blo w mo vie jovie chokiing eperm joh blpw bblow mpvie
jo b perm hcoking jjob choking chokung chokjng choknig aperm
movoes c oking pictur e pictuure chokimg m ovies
jobw moviss chking mov es b ow pictu re moviws
v deo yays jkb vi eo ree ideo frer gwys videoo vixeo gaye
vid eo npeg video agys asuan as an cideo chokking gasy asiaan
iny chokimg phhotos ojbs choikng jogs bblow pen is peniss mpeg
chokong chkoing chking hotos pyotos jbs pjotos tniy choknig bllow
bl ack pictu es back cboking pivtures bliw lictures choiing blwck
chiking bllack blpw pixtures pussy chokingg pi tures pictu res
nuses aadults nudees adu ts job moviees blo w adultts sdults movues
adjlts blos chhoking movjes cgoking chokin g nhdes nud s aults chokking
panites choing witb pamties gkrl iob gidl choking moive whits jjob
chokijg pantie s blo chhoking pahties movi e mov ie w ith chooking wbite
anateur nyde moviw amateu kobs amageur choki g pictire amteur pictue
plst po t poat picturs jbos mo ie picyure picgure mobie mofie chokking nide
galleriew gallerues bw ga lleries chok ing hardcorw hardcoe gall ries fere galleris
chokihg feee falleries chokinng chokung h ardcore chokking choing gqlleries
f ree frde pissung chokung p ic chokint pizsing bow ppissing pi c ic gay piv gsy
fere pising hob pisskng pc jpb pjssing pidsing pissinb bllow chokking blpw oic
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