Wednesday, March 27, 2024
Tuesday, March 26, 2024
Monday, March 25, 2024
Sunday, March 24, 2024
Thursday, March 21, 2024
Wednesday, March 20, 2024
Tuesday, March 19, 2024
Reminder: Online Interview March 26, 9:00 pm Eastern Time
9-10pm Eastern Time.
I will discuss philosophy and literature, International Authors, the Emanations anthology series, and my novels, especially the Invisible Tower trilogy. I think I might read from Tally-Ho, Cornelius!
Jean-Paul L. Garnier of Space Cowboy Books will conduct the interview.
Free.
Please click HERE to register for access.
And please spread the word.
Monday, March 18, 2024
Sunday, March 17, 2024
Clark Ashton Smith Bookplate Design
Seller's description:
ORIGINAL ART BY CLARK ASHTON SMITH. Smith's Design for his own bookplate, ink on paper, 5 ¼ x 5 inches, titled EX LIBRIS CLARK ASHTON SMITH, Signed "CAS" lower right corner. Depicts a strange clawed monster bearing what looks like Smith's own face (a self-portrait?) along with a typically weird flower against a backgroud of hills. Small pinholes at corners, on small hole (by the monster's foot). Very good condition. Unique, and rather amazing. This item came from Smith to Roy A. Squires; Squires used it as the cover image for his Catalogue 7, BEYOND THE BIBLIOGRAPHIES. Unique Items for Collectors who are Not Satisfied with Mere Completeness (Circa 1973), an offering of mostly autographs, manuscripts and association copies of books, mostly pertaining to HP Lovecraft, Clark Ashton Smith and the Lovecraft Circle. Curiously, the bookplate was not listed for sale in the catalogue; evidently Squires "liked it too much". We agree with him: this is a remarkable piece, certainly one of my all-time favourite pieces of CAS artwork, now offered for sale. $2950.00
It looks like the piece has been sold. Please click HERE.
Saturday, March 16, 2024
Friday, March 15, 2024
Proving Grounds or: How I Still Don't Worry About the Bomb But Maybe Should
Proving Grounds by Jean-Paul L. Garnier, Cholla Needles Arts & Literary Library, 2023.
We don’t hear much about nuclear proliferation and nuclear wars. If we do, the specter of nuclear war remains an abstraction because it is presented as an ancillary concern to matters that are more central to the committee-written political narratives that these days pass for journalism. Vladimir Putin comes to mind, where the nuclear saber-rattling attending the Ukraine conflict remains a vague bit of stage scenery set well behind Putin’s stalking persona, intentions, lawlessness, and so on. The “monster” is not nuclear war so much as a politician who is defying the will of the “true” international order as defined by the elites controlling that order, and who are competing with the elites that "monster" represents. But nuclear war is itself a monster, and maybe in the consideration of the human condition and the fragility of civilization, we should not lose sight of what nuclear weapons are and what they can do.
As a child of the 1960s, and then as a witness to the successful anti-nuclear movements of the 1970s, I think by the time I was in my late-teens I had become accustomed to the feeling that the threat of nuclear war was a thing of the past. Pink Floyd's pulling the nuclear fear rabbit out of the hat in The Wall (1979) was passé and dull. The dragon had been slain. By the 1980s, even the sometimes-alarming emotions concerning Ronald Regan’s nuclear saber-rattling seemed rather quaint. After all, that fear “long ago” had been drowned in the laughter produced by Stanley Kubrick’s Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.
There was some further worry in the early 2000s when India and Pakistan were squaring off, and I only vaguely recall Donald Rumsfeld flying over to the Indian subcontinent to remind the Indians and the Pakistanis that nuclear war was not an option. Throughout that episode I had assumed, as if it was a given fact, that the human race was thoroughly sane in this matter, and that nuclear war would never occur. Maybe I was right.
Perhaps this is why that among our contemporary cultural artifacts there is a paucity of expressions serving to remind us of the horror of nuclear weapons and nuclear war. Jean-Paul L. Garnier’s Proving Grounds helps to fill this gap. A slim, cleverly illustrated, classic paperback-size production, this new book reminds me of the excitement and “relevance” characterizing Marshall McLuhan and Quenton Fiore's very “mod” and remarkably dynamic collaborations: The Medium is the Massage and War and Peace in the Global Village. Garnier’s slim volume presents us with 29 poems, each accompanied by a detailed, black and white photograph of a nuclear explosion. It has a historical feel—a sort of mal du pays for the atomic age and 1950s science fiction; the combined effect of reading the poems and viewing the fiery images produces curious impressions. Here are contemporary manifestations of Charles Baudelaire’s flowers-of-evil aesthetic refracted through the lens of our memories of the atomic age and the strange (and relatively unexplored) lens of considering such weapons over three generations later in the 21st century.
The recent Godzilla Minus One is a strong reminder of what nuclear war means, and how even the most militaristic of societies can transform and abandon war as a means of pursuing foreign policy and then re-direct its energies to the purpose of improving peoples’ lives. The wonderful success of that film suggests that nuclear weapons and nuclear war is a subject that we must continue to consider; it is a subject that still, and with good reason, haunts us in profound ways.
In that spirit, Garnier’s Proving Grounds is a healthy reminder that nuclear weapons are antithetical to civilization, notwithstanding their psychological effects, i.e. frightening whole populations into compliance of one kind or another. Nuclear weapons remain unacceptable, and we must continue—notwithstanding our sense of security and our sense of the continuum of civilization—to not only overcome the threat of nuclear war, but to also free ourselves from these weapons entirely.
Click the cover image
to view the Proving Grounds Amazon page:
Thursday, March 14, 2024
Funny, but is it on the mark?
Credit: Existential Comics |
Are these good
characterizations? Is this Wittgenstein's place in Western Philosophy?
It's a fair beginning.
Nevertheless, Wittgenstein's activity underscores the point that the task of philosophers remains important because the credulity attending metaphysical speculation and unfit/unsuitable language is an on-going problem that must be reviewed and analyzed by philosophers specializing in grammatical analysis. The sense of new scientific and philosophical propositions driven by on-going technological change, institutional corruption and new political shibboleths requires steady and careful review.
Wednesday, March 13, 2024
Tuesday, March 12, 2024
Online Interview, March 26
9-10 Eastern Time.
I will discuss philosophy and literature, International Authors, the Emanations anthology series, and my novels, especially the Invisible Tower trilogy. I think I might read from Tally-Ho, Cornelius!
Jean-Paul L. Garnier of Space Cowboy Books will conduct the interview.
Free.
Please click HERE to register for access.
And please spread the word.
Monday, March 11, 2024
Sunday, March 10, 2024
The renowned political logic of General Ursus: the simple (i.e. understandable) exaltation of a brutal ideo-metaphysical foundation as justification for organization and policy, an inviolable theory of ape and human nature, sensitivity to prevailing distinctions among the social classes, a steady application of emotional excitation--all underscoring an acute and usable institutional awareness
Saturday, March 9, 2024
Are abstruse painting titles utterances?
Herman de Vries - V69-02 (1969) |
Assuming painting titles are not propositions, then what are they?
If abstruse painting titles are utterances, how do we describe such utterances?
How do we respond to such utterances?
Are our descriptions of these titles utterances? If so, what does that say about our responses to such titles?
Are our remarks concerning paintings qua paintings themselves utterances?
Friday, March 8, 2024
If abstruse painting titles were propositions, then_____?
Max Ernst - Some Animals are
Illiterate (1973)
Thursday, March 7, 2024
Dada feels nothing...
Tristan Tzara - “To make a
Dadaist Poem” (1920)
Take a newspaper.
Take some scissors.
Choose from this paper an article the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that make up this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And
there you are—an infinitely original author of charming sensibility, even
though unappreciated by the vulgar herd.