Flasher: A Memoir by Tsaurah Litzky — review by Mark McCawley

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Flasher: A Memoir


by Tsaurah Litzky


review by Mark McCawley


flasher coverFlasher: A Memoir
by Tsaurah Litzky
Long Shot Productions (September 14, 2013)
Amazon Digital Services, Inc.
£3.98 UK, $ 6.31 CAN, $6.12 US

Flasher: A Memoir [Unabridged] [Audible Audio Edition]
by Tsaurah Litzky
Narrated by Dina Pearlman
Audible, Inc. (September 15, 2013)
£13.64 UK, $17.96 CAN, $17.46 US

Tsaurah Litzky’s erotic memoir, Flasher, is a transgressive tour de force — a journey of personal transformation, self-examination and sensual self-discovery. The story of a one-time hippie love pirate, slum goddess, Ruby Tuesday of the 1960s who mutates into a blossoming writer on the Lower East Side art scenes in the 1990’s. When Litzky meets a sculptor who designs fetish-wear at a New Years Day party, her life changes, becomes an intrinsic consideration of the values and costs of love, friendship, and sexual freedom, as well as the underlying importance of family — both real and inherited.
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AltrOck / Fading Records Releases (2013) — review by Mark McCawley

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AltrOck / Fading Records Releases (2013)


review by Mark McCawley


NotAGoodSignCOVERNot a Good Sign is a project by AltrOck/Fading Records and some bands’ members of the label. Marcello Marinone, Paolo «Ske» Botta and Francesco Zago, after a successful collaboration in Yugen and Ske, proposed a new blend of their musical attitudes. The result was an ominous, fascinating sound melting vintage keyboards, powerful guitars and voice, supported by a compelling rhythmic drive. In 2011, Botta and Zago began to write the music, and Zago provided the lyrics. Soon, Gabriele G. Colombi and Alessio Calandriello, from La Coscienza di Zeno, also joined the band. The drummer Martino Malacrida completed the line-up in 2012. In the following two tracks — “The Deafening Sound of the Moon” and “Afraid To Ask” — many will recognize the Old Prog School sound from the 70s, albeit in a modern key, with a pinch of hard-rock and psych. Resonant vocal melodies and lyrics complete the band’s melancholy but colourful imagery:
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The Geographical Rewriting of Memory by bart plantenga

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The Geographical Rewriting of Memory


bart plantenga

Listen to Wreck Travel Memory as you read 

It all begins with some lit fuse, an old jingle for Palisades Amusement Park you’re still able to sing along with [“shows & dancing are free”], or the snap of a finger, the way she used to from the edge of the bed with a smirk, some glance of exposed warm skin holding the aroma of sun tan lotion, the sea lions in Central Park Zoo that remind you of Salinger – & reading Salinger on the 1979 F-Train & meeting Sylvina. I used to be a foot messenger & would pass through the zoo when it was rundown but free & I would talk to the animals between deliveries. [The old zoo serves as the final destination in BEER MYSTIC.] Or maybe its some vintage news report from the 1968 Chicago Riots, or an email from an old flame you came to NYC with from Ann Arbor who is wondering how you’re doing, or a sound – in my case, the sound bites here included, plus a few elusive bars from “Funk #49” by James Gang. Or is it Paloma taking photos of turtles in Central Park because she remembers my touching stories about my turtle “Spotty” when I was 10 & how the neighbors released him & I was heartbroken. “Was that what Spotty looked like?” she kept asking.

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Urban Graffiti Mix #13

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Urban Graffiti Mix #13 by Mark Mccawley on Mixcloud

Transgression. Pushing boundaries. Territories. At times, obliterating them. Sarah de Leeuw — poet and human geographer — examines and explores the territory of human sexuality in her excerpt from ‘Geographies of a Lover‘ from NeWest Press. Tsaurah Litzky celebrates her own sensual transgressions in her excerpt from the memoir, ‘Flasher’ from Audible Books. Ron Kolm invites various Unbearables to recite poems from his new book of poetry, Divine Comedy, from Fly By Night Press at A Gathering of the Tribes Gallery. Max Blagg recites an except “Mugshot” from his novel, ‘101 Nights’, at The Gershwin Hotel.

John C. Goodman — in conversation with John Wisniewski

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John C. Goodman


in conversation with John Wisniewski


concretepoetryWhen Urban Graffiti first decided to conduct interviews with notable independent underground writers, artists, and publishers — John C. Goodman, editor of the ezine ditch, was among those who initially came to mind. Launched in August, 2007, Goodman singlehandedly created a site showcasing Canadian avant-garde poetry, along with representatives of international avant-garde poetry, and made it more accessible, gathering under the tagline, “poetry that matters”, some of the most exceptional avant-garde poetry being created. I invite you to enjoy “John C. Goodman — in conversation with John Wisniewski” — another in an ongoing series of evocative and probing conversations with contemporary experimental, transgressive, and avant-garde writers, artists, and publishers. ~The Editor

John Wisniewski: Where did you publish your first poems?

John C. Goodman: I first published in a local literary magazine called Hammered Out run by a friend of mine, Frances Ward. I was also fortunate enough to land some work in a few hand-made micro-press magazines. From there I began submitting to online magazines and since then, except for a few print publications, have pretty much published everything online.

I also did some self-publishing. I would read at open mics whenever I could and I made up a series of little chapbooks so I would have a book to read from and to sell. I charged a couple of dollars and sold one or two at every reading. I remember one memorable evening when I sold five. My first commercial poetry book was published by Raymond Farr’s Blue and Yellow Dog Press in Florida, and then I had another published by Alec Newman’s Knives Forks and Spoons Press in the UK.
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