Archive | August, 2014

P. Inman reading at Koch-Dupee Poetry Series, Columbia University, NYC in 2012

24 Aug

Follow this LINK

Inman: what they say

23 Aug

Hardly anything seems strange enough anymore—“reality. as. a. normative. effect,”—at least P. Inman still works the front lines. With evidence shimmer, no things but in letters & space & punctuation, political paying off perforation. This arranges tantalizing raw (& V-effected) materials for us to construct (& live in) a life, a milieu. With zero bluster—”language.larger”—contra code everywhere, a clip-o-matic audacity & atomic redlining to thrill. Syllables leave their lipstick as synonyms for individual letters. Cuts the each, so let’s go watch cells divide—“of. someone. / else’s. dictionary.”—as decompression “leaked. agency.” for “language. without. a. channel.” Not to complacently cooperate with a fetish or impress with imagery & optic sugaring, not to wield massageish ‘content’ to represent something already built, an institutionalized titanic humanizing the pin-ups or invoice behavior as contentment as containment. The already is uninhabitable. Let’s de boss!

Bruce Andrews

Inman’s “Tenth Prose” at

22 Aug

Follow this LINK to read

Inman: what they say

21 Aug

Inman writes books that Hollywood cannot option. Craig Dworkin

P. Inman interviewed by The Other Room at Bury Text Festival 2009

20 Aug

P. Inman’s Written 1976-2013 one month off…

19 Aug

if p then q and P. Inman have been working hard over the last four years to compile all of P. Inman’s books, published between 1979-2012, into a single volume, along with some rarities too. The book will be published on September 19th 2014 and comes with an incredible introductory essay by Craig Dworkin.

Each day we will post links and information about, Inman, a poet Michael Golston describes as ‘the most radical writer of the last forty years’

Philip Terry’s Advanced Immorality reviewed by Daniel Marc Janes at Dead Ink Review

12 Aug

Philip Terry’s fantastic if p then q book Advanced Immorality is reviewed in a recent edition of Dead Ink.

In the autumn of 2013, la quenelle swept France. Authorities were aghast as teenagers saturated Facebook with quenelle photos; when a French West Bromwich striker performed the gesture in celebration, his contract was terminated. While many of its practitioners pleaded ignorance,the gesture’s true significance was obvious. Left hand perched on the right shoulder, right arm extended diagonally towards the ground – it was clearly the number seven, one of the most significant numbers in the work of Raymond Queneau.

This allusion to the ‘S+7 method’, a quintessential Oulipian device in which every noun in a text was replaced with the seventh noun after it in the dictionary, was too much for the conservative authorities, anxious, even after seventy years, to preserve the time-honoured union of form and content. François Hollande, a devotee of US formalist Mark Schorer, told a press conference: ‘The Oulipian character of the quenelle could not be denied.’ This was true: the very name quenelle dates back at least to Georges Bataille, who was the first of many of Queneau’s contemporaries to pun on the similarity between the poet’s name and the poached dumpling beloved of the Lyonnais. However, the politicians’ measures were too late: the Kraken had been unleashed. After years of Balzacian realism in French literature, the youth were clamouring for mathematical strictures and phonetic play.

If only.