Transgressive, discursive. Sex, desire, obsession, addiction. Poems, fictions, letters. Dialogues, monologues. Secrets. Dreams. Something old, something new. More than just the usual literary fare. Urban, ironic, sarcastic, sardonic, sometimes caustic. Allegorical. These poets, dream-weavers, memoirists, fictioneers, songwriters, storytellers, seek out new, unique vernacular to tell their particular narratives. Authentic, visceral, subversive, insurgent, real. As with any good story, poem, memoir, song — only through repeated listening does the myriad levels of meaning present themselves. Read more
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.
Exceptionally lyrical, subjective, personal. Tracks of love, ecstasy, longing, sex, obsession, desire. Tracks seeking out language to describe the indescribable; also, the madness that accompanies each acceptance or denial of longing, obsession, desire; for each who wins, another must lose; the agony of grief, loss beyond consoling, but not beyond words. Good words. Bad words. Mean words. Transgressive words. Most of all — lyrical words. Passionate, rapturous, ecstatic, euphoric. Yes, love hurts. It’s the only fire we again and again allow ourselves to be burned by. Read more
The Great Culture Machine has limited definitions of what does, and what does not constitute contemporary literary culture, and in doing so, has overlooked many new hybridized, avant-garde, and experimental crossovers by innovative and pioneering musicians, artists, writers, performance artists and poets dating back decades. Three months in the editing, UG Mix #11 took into special account notions of Sprechgesang and Sprechstimme — musical terms which refer to an expressionist vocal technique between singing and speaking, though sometimes used interchangeably, when compiling the mix. So, when quite often, the resulting musical and literary hybrids crossed over into realms of poetry, narrative, and music as well as within each — again and again I put forth the idea that certainly new definitions and genres should be created, or at very least a dialogue begun towards a more inclusive notion of what is literary, especially when words leave the printed page and take flight.
The writers, poets, and artists who make up both parts of this colossal mix create in epic opposition to the status quo. They have never been comfortable with the quick labels and easy categories that the Great Culture Machine of the 20th Century have attempted to fit them into in a failed effort to make avant-garde mainstream: to turn art, literature, music into advertising. Avant-garde has never been mainstream. It rejects all conformity. It seeks to escape all control. It bursts out. Employs technology to create new works. Uses strategies borrowed or taken from each other: appropriation, falsification, insincerity, or outright plagiarism. They fuse avant-garde impulses of the last century with the technologies of the present. No longer bound by old familiar paradigms of the printed page, the 45, or even the compact disc, it morphs from gallery space to YouTube, from the social space of the poetry reading to the social space of the blog. It is the literature of absolute flux.
In true transgressive tradition, these works are wildly political, explicitly sexual, aesthetically troublesome, ethically bothersome, and socially questionable. Read more