So I became interested in what I could learn from acting when I was writing Emptied of All Ships and Pasolini Poems because I developed and inhabited these two different personas; James the sailor and Pasolini himself. I used some of Augusto Boal’s Games for Actors and Non-actors, and would dress a certain way, listen to certain music, to get myself into “character.” But it was to sit at my desk to write, a performance for myself to access the language for the page. None of what I was doing was being documented as part of the texts, but at the time I really needed the page to be a place where I could be the man I wanted to be. Up until I wrote Hyperglossia, I wanted to be textually male, and then in that work things get all inclusive (pan- would have been an apt prefix as well as hyper-). Eustace is folding all living things into the dead self. I just read from Ida at an event celebrating Stein, who continues to awe. The sentence holds just as much promise as the line break. The project of his old age is reading all thirteen volumes of the journals of Lewis and Clark. On Killing examines the concerted effort of the military to increase firing rates among frontline riflemen. Reportedly only about 15 to 20 per cent of them pulled the trigger during World War II. Grossman suggests that many who did fire "exercised the soldier's right to miss". Displeased, the US army set out to redesign its combat training to make firing your weapon a more reflexive action. The military (and most police forces) switched to realistic, human-shaped silhouettes, which pop up and fall down when hit, and later added video simulators for the most recent generation of soldiers raised on VR. This kind of conditioning – Grossman calls it “modern battleproofing” – upped the firing rate steadily to 55 per cent in Korea, 90 per cent in Vietnam, and somewhere near 100 per cent in Iraq. What time is it? Happy hour. “If you get in an accident and lose your leg, it’s actually because god planned this for you, and he wants you to learn something from it.” A little nausea is truly human. This process of addition and subtraction mirrors certain concepts developed by a philosopher Myles mentions in passing, Manuel De Landa. In Inferno, she refers to his War in the Age of Intelligent Machines, which begins with a “robot historian” from the future, desirous of understanding its own origins, who looks back and sees a confluence of turbulent flows. For the moment it’s not raining and off-coast in pods the gray whales parade south. The mirror is one-way and there’s no way to be sure which side you’re on, but so what? Go on making faces anyway, but be sure, now and then, to check your hand before your face, if just to say Wheaties. Raya Dunayevskaya, to whom we owe the best that has been written on the Notebooks, rightly pointed out that “there is no way for us to know what Marx intended to do with this intensive study”. One need not be a card-carrying prophet to know in advance that this undeveloped work on underdeveloped societies will be developed in many different ways in the coming years. But here is something to think about, tonight and tomorrow: With his radical new focus on the primal peoples of the world; his heightened critique of civilization and its values and institutions; his new emphasis is on the subjective factor in revolution; his ever-deeper hostility to religion and State; his unequivocal affirmation of revolutionary pluralism; his growing sense of the unprecedented depth and scope of the communist revolution as a total revolution, vastly exceeding the categories of economics and politics; his bold new posing of such fundamental questions as the relation of man and woman, humankind and nature, imagination and culture, myth and ritual and all the “passions and Powers of the mind.” Late Marx is sharply opposed to, and incomparably more radical than, almost all that we know today as Marxism. At the same time, everyone who understands Blake and Lautréamont and Thelonious Monk will know that this is no mere coincidence.
[Note: Sources: JBR; Stacy Szymaszek, as quoted in “Queering Art, According to Stacy Szymaszek and Jess Barbagallo”, at Harriet, 17 Jul 012; Brad Zellar, “Oh, my stars”, at Your Man for Fun in Rapidan, 17 Jul 012; Nan Levinson, “Mad, bad, sad: What really happens to US soldiers”, as seen at wood s lot, 17 Jul 012; Nada Gordon, “Softening the Blow at the Terror of the Heart of Existence”, at Ululations, 17 Jul 012; Craig Epplin, “Assemblage Required”, at The New Inquiry, 17 Jul 012 (on Eileen Myles); Richard O Moore, “from d e l e t e, Part 2”, at Poetry Foundation; Franklin Rosemont, “Franklin Rosemont: Karl Marx and the Iroquois”, at Association of Musical Marxists, 17 Jul 012 (“Franklin Rosemont delves into Marx’s Ethnological Notebooks and examines their significance and relevance for today's communist movement.”)]