Author: dig

  • patience, proportion, privacy

    Adam Gopnik on American sophistication.

    “Sophistication seems a shared longing more than a set style; it’s the desire to see the world shine brighter than it does while still knowing that all the light that shines from it is the light we bring to it. In a darkening time, maybe it isn’t so shabby an aspiration.”

    Also, on the shape of certain scandal. “that liberty required privacy to flourish” via Bernard Constant

    “The Constant reproach to the Königsberg case is that candor and confession can become cruelty by another name. The categorical Kantian, in turn, warns that the cult of privacy can shelter abuse, protecting the powerful from the scrutiny that might expose what they have done. The Prussian within us wants to force everything into the open, insisting that anyone with nothing to hide should be willing to put everything on display. Our inner Parisian wants to protect twilight concupiscence, believing it essential to civility. Between Prussian and Parisian lies a permanent argument of our moral modernity, unresolved and probably unresolvable. We can try to recognize malfeasance while resisting malice, but doing so requires patience, proportion, and case-by-case judgment—qualities made nearly impossible by the modern media, already emerging in Königsberg in the form of newspapers and helping to fuel the scandal there.”


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    AG2026_1178175aa
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    AG2024_1100041a

    SUSTAINING ALTERNATIVE WORLDS: ON COMEDY AND THE POLITICS OF REPRESENTATION A roundtable discussion with Lauren Berlant, Sianne Ngai, and Alenka Zupan?i?, moderated by the editors (Texte zur Kunst)

    Can’t Take a Joke, An interview with Lauren Berlant by Charlie Markbreiter. (The New Inquiry, )

    Comedy Has Issues, Lauren Berlant and Sianne Ngai, Critical Inquiry Volume 43, Number 2

  • Past Continuous

    The Met’s show on Jackson Pollock and Lee Krasner has reignited all sorts of debates about male genius, domestic labor, the artistic canon, and marital dues. Our chief art critic Johanna Fateman assembled three venerable critics—Julia Bryan-Wilson, Jarrett Earnest, and David Rimanelli—to share their thoughts, and they didn’t pull their punches. (Cultured)

    Lee Krasner, Past Continuous, 1976, oil, gouache, charcoal and paper collage on canvas, in 3 parts. Sothebys.

  • What really connects words and things?

    It was a November night of wind.
    Leaves tore past the window.
    God had the book of life open at PLEASURE

    and was holding the pages down in one hand
    because of the wind from the door.
    For I made their flesh as a sieve

    wrote God at the top of the page
    and then listed in order:
    Alcohol
    Blood
    Gratitude
    Memory
    Semen
    Song
    Tears
    Time.

    God’s List of Liquids, Anne Carson

    Glass, Irony, And God (p.52), 1995.


    What really connects words and things?

    Not much, decided my husband
    and proceeded to use language
    in the way that Homer says the gods do.
    All human words are known to the gods but have for them entirely other meanings
    alongside our meanings.
    They flip the switch at will.

    My husband lied about everything.

    The Beauty of the Husband: A Fictional Essay in 29 Tangos (2001) via Newyorker.

  • a hand rest in shadows

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    AG2026_1222152a

    Dancing kneeling reaching out, letting   

    a hand rest in shadows.

    Legacy, Amiri Baraka

  • Utopia is made of poems

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    IMG_20230915_193613_HDR

    Bernadette Mayer’s Utopia is made of poems / Utopias that aren’t so much imagined re: ideas of perfection as they are built with particular friends and her associations with them (her intimacies with them) in mind. This is incredible to me, that utopia could never have anything to do with perfection and everything to do with attention to the dynamic shades of closeness / that blistering blossom.

    THIS IS MESSY, WE’RE NOT SORRY: Elegant Mire with Carrie Lorig, v. 1 by Cassandra Troyan (2015)

  • seemed wide enough to hold all our days

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    IMG_20230926_082828_HDR, Paris 2023

    … when we were younger
    and he was still alive, when morning could yawn
    until afternoon, heavy plates of eggs
    with roasted potatoes by the window
    where Bowery seemed wide enough to hold
    all our days, and anything would happen.

    Page One, Joannie Stangeland


    Light clarity avocado salad in the morning
    after all the terrible things I do how amazing it is
    to find forgiveness and love, not even forgiveness
    since what is done is done and forgiveness isn’t love
    and love is love nothing can ever go wrong
    though things can get irritating boring and dispensable
    (in the imagination) but not really for love
    though a block away you feel distant the mere presence
    changes everything like a chemical dropped on a paper
    and all thoughts disappear in a strange quiet excitement
    I am sure of nothing but this, intensified by breathing

    Poem, Frank O’ Hara


    Le langage des fleurs by Charlotte de La Tour, 1819. 2023

    Les fleurs parlent. Leur langage original permet de dire, sans un mot, l’amour, l’amitié mais aussi le désespoir, le regret, et bien d’autres sentiments. Cet ingénieux mode d’expression fut véritablement codifié au xviie siècle en Perse, où l’arrangement symbolique d’un bouquet (sélam), discours de parfums et de couleurs mêlés, formait une sorte de message secret. Diffusé en Europe par la vague romantique, ce langage fleuri devient un genre littéraire prisé : plusieurs dictionnaires et guides de conversation florale paraissent alors. (Klincksieck éditions).