April 15, 2013 • 1,211 notes • channel.louisiana.dk

austinkleon:

Patti Smith’s advice to young artists

A writer or any artist can’t expect to be embraced by the people. I’ve done records where it seemed like no one listened to them. You write poetry books that maybe 50 people read. And you just keep doing your work because you have to, because it’s your calling.

But it’s beautiful to be embraced by the people.

Some people have said to me, “Well, don’t you think that kind of success spoils one as an artist? If you’re a punk rocker, you don’t want to have a hit record…”

And I say to them, “Fuck you!” 

One does their work for the people. And the more people you can touch, the more wonderful it is. You don’t do your work and say, “I only want the cool people to read it.” You want everyone to be transported, or hopefully inspired by it.

When I was really young, William Burroughs told me, “Build a good name. Keep your name clean. Don’t make compromises. Don’t worry about making a bunch of money or being successful. Be concerned with doing good work. And make the right choices and protect your work. And if you can build a good name, eventually that name will be its own currency.”

So, so good.

Oh, Patti Smith. You’re so punk rock (and so damn right).

April 15, 2013 • 66 notes • myimaginarybrooklyn
susannathinks: myimaginarybrooklyn: “Lapham’s Quarterly maps out the journeys of Pygmalion, Oedipus, Faust, and the Leviathan across classic and contemporary literature.” If you’re interested in literary cartography, you should look at David Cooper’s article Critical Literary Cartography: Text, Maps and a Coleridge Notebook. It is less about tracking specific routes, and more concerned with arguing that, “genuinely interdisciplinary geohumanities research needs to be predicated on a self-reflexive engagement with geographic thinking and practices rather than an uncritically imprecise reliance on spatial vocabularies and discourse.” He uses Coleridge’s notebooks to ground this analysis. Seriously cartography is so fucking expansive. Love the visualization. And I love the phrase “literary cartography.” Maps are endlessly useful.

susannathinks:

myimaginarybrooklyn:

“Lapham’s Quarterly maps out the journeys of Pygmalion, Oedipus, Faust, and the Leviathan across classic and contemporary literature.”

If you’re interested in literary cartography, you should look at David Cooper’s article Critical Literary Cartography: Text, Maps and a Coleridge Notebook. It is less about tracking specific routes, and more concerned with arguing that, “genuinely interdisciplinary geohumanities research needs to be predicated on a self-reflexive engagement with geographic thinking and practices rather than an uncritically imprecise reliance on spatial vocabularies and discourse.” He uses Coleridge’s notebooks to ground this analysis. Seriously cartography is so fucking expansive.

Love the visualization. And I love the phrase “literary cartography.” Maps are endlessly useful.

April 15, 2013 • 2 notes • stuffireadandloved
Do you think it’s more rigid? [re: the distinction between memoir and criticism] I don’t know. I think that Dodie Bellamy, Eileen Myles, and Chris Kraus have really radicalized a vernacular criticism that involves the self, that invokes confessionalism to some degree. Eileen and Dodie who used their blogs as incubators of their criticism. For me memoir and criticism are commingled, comorbid maybe, to borrow a term from psychiatry. Maybe this comes out of the blog, the aesthetics of it. Documenting the quotidian, and also trying to describe the highly subjective experience of confronting literature. I’m really starting to interrogate how and why I use the self in my writing, whether there’s a sense of commodifying the confessional in our current, highly public culture. Yet I think it’s really important to involve the body, the messy, undisciplined body, in our writing. I feel that’s a radical, feminist thing to do. Part of my project that Heroines came out of was a personal, intense diary, which was also about confronting what I censored, what I scratch out, what makes me not write.
Kate Zambreno interviewed by The Paris Review, “Heroine Worship: Talking with Kate Zambreno” (via stuffireadandloved)
April 12, 2013
shaker salad. #bestlunchever #food #lunch

shaker salad. #bestlunchever #food #lunch

April 7, 2013
Sundays are for recipe improv (& making a week’s worth of lunch). Today’s result: white & red quinoa pilaf with kale, Harissa, goat cheese, preserved Meyer lemons, pine nuts & white kidney beans. The verdict: amazing.

Sundays are for recipe improv (& making a week’s worth of lunch). Today’s result: white & red quinoa pilaf with kale, Harissa, goat cheese, preserved Meyer lemons, pine nuts & white kidney beans. The verdict: amazing.

April 4, 2013 • 2 notes • stuffireadandloved
We live in a World where losing your phone is more dramatic than losing your virginity. We live in a world full of people who are pretending to be something they’re not. We live in a world where entertainers make way more money than people who save lives. We live in a really messed up world so appreciate the little bit of good you do see in people. If you think faking an orgasm is bad, wait until you meet someone who fakes a relationship.

“Life, Love, Happiness: A Found Essay from the Twitterverse,” by Pablo Pinero Stillmann on Brevity.

You can read Stillmann’s craft essay “I, Twitter Curator” re: how he wrote the piece here.

(via stuffireadandloved)

April 3, 2013 • 3 notes • fsquared
fsquared: Huevos rancheros for brinner — with gluten-free pancakes? YEAH! (and YUM!) Allie shows you how in the latest fsquared post. Got to love some good ol’ experimentation in the kitchen. The latest fsquared blog is up now!

fsquared:

Huevos rancheros for brinner — with gluten-free pancakes?

YEAH! (and YUM!) Allie shows you how in the latest fsquared post.

Got to love some good ol’ experimentation in the kitchen. The latest fsquared blog is up now!

April 2, 2013 • 175 notes • stuffireadandloved
Slutty, unlikable, passive, drunk, poor decisions, doesn’t make a lot of sense, dirty, has too much sex, has sex, is probably thinking about sex, poor, brown, wrong body, wrong gender, at the wrong party, didn’t say the right kind of no, couldn’t say no, didn’t know how to try. What are we talking about, here? A book? A girl? A human body? One another? Me? It gets harder and harder to tell.
Trigger Warning” by Sarah McCarry, The Rumpus (via stuffireadandloved)
April 1, 2013 • 1 note
“Motorcycles were first revived in the 1970s with a trial program using two units for patrol of the Interstate Highway System. Cpls. Charles Bethard and Arthur McGee are seen in front of Troop 1 with their new Harley Davidson motorcycles. The program was later discontinued due to safety and utility concerns.” My pops in the ’70s, pictured in “Delaware State Police (Images of America Series).” Correction: Caption says he’s on the left, but he’s actually on the right.

“Motorcycles were first revived in the 1970s with a trial program using two units for patrol of the Interstate Highway System. Cpls. Charles Bethard and Arthur McGee are seen in front of Troop 1 with their new Harley Davidson motorcycles. The program was later discontinued due to safety and utility concerns.”

My pops in the ’70s, pictured in “Delaware State Police (Images of America Series).”

Correction: Caption says he’s on the left, but he’s actually on the right.

March 27, 2013 • 116 notes • futurejournalismproject
Media people who feel smug because they have a Twitter handle, an about.me page, and 500 friends on Facebook often seem to think there is something magical about their ability to navigate social media. There’s not. Social media is easy to use, the barrier to entry is almost zero, and it’s not at all impressive in the larger realm of what constitutes “new journalism,” or whatever it is we’re supposed to call journalism that involves the use of Big Data and interactive infographics.

Journalism skills, however – those antiquated intangibles that fusty old out-of-touch Columbia tries to teach – are non-trivial. Journalists have to be able to not only write, but to also process and synthesize complicated ideas in a short time, structure narratives, master the art of interviewing, take notes really fast, self edit, research in places where others don’t think to look, speak truth to power, ask ballsy questions that might otherwise get their teeth smacked in, construct arguments, dismantle other arguments, see through bullshit, and think on their feet. You can learn those things by yourself through hard work and experience, but it’ll take more than 40 seconds.

Hamish McKenzie, PandoDaily, So Columbia Journalism School’s new dean doesn’t Tweet. So what?

FJP: We’d argue that Twitter and this overall social media thing takes more than 40 seconds to learn but Hamish’s argument against Michael Wolff’s criticism of the Columbia J-School — and its appointment of Steve Coll as its dean — is well worth the read.

Bonus: Jihii Jolly’s Why I’m Paying for J-School.

(via futurejournalismproject)

AshleyBethard: While I agree with FJP (re: it takes longer than 40 seconds to learn social media), I also think McKenzie makes an excellent point with regard to developing journo skills.

I think this also applies to, say, creative writers who are more concerned with “Internet presence” than they are the actual work. A nugget of truth, for all writing worlds: no matter how big your Internet echo/siren call/social network, the work will, at some point, have to speak for itself.