Spaltung #2 is Here!

The second issue of the APG's poetry magazine, Spaltung, is finally assembled! The magazine is in the form of a envelope containing various unattached items including a cover by Niko Vassilakis; writings by Derek Beaulieu, Christophe Casamassima, Rachel Daley, Audacia Dangereyes, Bill Friend, Jeff Harrison, Halvard Johnson, Josh May, Mark Prejsnar, ek rzepka and Hugh Tribbey; vizpo chaplets by Repugno, vizpo objects by Allison Rentz; and a CD-ROM holding a reading of Koulongo proverbs by
Ouattara Yaoua Anziata & Rebecca Ashley, sound poetry by David Braden, Brian Howe and the APG, and a movie by Sandy Baldwin. Yep, it's a multimedia extravaganza.

For a copy send $5 in cash or equivalent in chattel to Spaltung, 1511 McLendon Ave., Atlanta GA 30307.

1 comment:

  1. I bought a copy of SPALTUNG wed. night at the 'two poems' langharm polyvocal splosion,(an event which fulfilled its promissary primary & des.troy.ed my illusory ( i ) thru earholes thresholed broken open on an unnitt'd auraldown upecho, avec millier coup de tonnerre, end the end it was realism what woon reality, that is; the poem speaking the poet/the poet speaking the poem.bothduo & more.the living of language thru the language of living.such the breaths felt as thunder before lightning strike : (i) was struck.

    Now, i will attempt a short review of SPALTUNG no.2 : an envelope to hold, unsealed and open, rubberstamped postghostmark as postale novatio anew in the loosening of leaves.As the pages remain unbound, this allows active binding to other spines such as to the onlooker, a'tingle atoppa readers spine rests mind which mines unlined signs to signifry each single page held in hands.This loose leafity eliminates most note of the usual hierarchical aspects associated with anthological gatherings via the actual independence of each page; the lack of page numbering also assists in the overthrow of hierarchy - this liberation gives the reader an equality also, allowing for a self-construction of any sequential interaction one would desire.

    Into the actual innards :

    The cover art,by Niko (Nico?) Vassilakis,is apropos especial for this issue of 'pagine in libertà' : a vispo littera fractae echoing the Badiou quote on coverpage flipside, "Language cannot induce existence, solely a split within existence." The Vassilakis piece induced this reader to the scissors, to enact the "split within existence" via cutting each of the 18 blocks from which to form an ontypological i-ching of sorts, allowing the reader/viewer a multitextimage of interpretive assemblings and reassemblings.Altho the piece is titled "one", after cutting, you end up with a set of 9 pairs - each block of which contains at least two fragments of letters, except 1 pair which depicts a strong angle from an unknown letter fragment.I was struck with how through fragmentation of the typographic anatomy, that the partial letterforms seem to indicate the importance of their curve-strokes,arcs and stems,emphasizing their exopictoriality - just as each word in a sentence has a vital role in the creation of a semantic construct, so too do all the little bits of a sololonely alphabetic character.The given tesserae herein present a permutable tile mosaic from which its graphicacy induces a texstasy of one on one on one on one on one.1.

    In "still life with lillies", Bill Freind takes to task that trad mainstream quietpo over-reliance on the everpopular first person singular, sighting his scope on the fixity of 'I',as he says in the explanatory note : "...providing a point of stability every bit as fixed as Descartes' Cogito" and his assessment that it's "esentially reactionary" seems correct.The gathering of this I horde is from the lines and pages of the idiopo itself and the recontextual results from nabbing the singular en masse & placing them into a plurality provides for an interesting poetic concept.Streams of perpetual I's in action of varying idiocentric operation and in altering sequence of viewpoints - I piling upon I until that supreme uncountable noun,the original authorial I, is under erasure.This strategy of I-multiplication is very effective : not only does it erase authorial I, but replaces it with a refigured pronoun - the alloauthorial I. Being forced to morph from pressure of coexistence sets the stage for this essential identity shift : the straight slash of letterform dashed throughout a polyvocal narrative,redefining itself as each I goes by.Finally ceding what small space it occupies (yet also the immense breadth of its hardwon ultimate singularity from ages of usage) to this exercise which successfully lifts all fixity of the reverberating I, displacing the uno with muchos and in turn prompting the exchange of the idios kosmos for the koinos kosmos. [ego eimi.] [ego eimi!] [eimi ego?] [pou ime?] [πού είναι ι]
    ]ex machina![

    Within the dual hovering orbits of an unlidded optotypographic bicameralism lays a liminal point watching for response, acting as a thrust to threshold thru a discrimination experiment in 'just noticeable difference':"The Eye thE eyE" by Josh May instigates an ocular jockeying inwhich saccadic fashion jumps flash backnforth between the switchgaze of such twintexting.The tension of this splitting is complimented by the scleral white blankspace,the orbular appearance of the text itself and the lines "eye with lashes/eye with crudely drawn mediated" sitting as so in pupillary position with staring central glare.Looking upon the field "saw less onto thou little doubt" and duo doth say as dosed notes isn'ting the usual readers four fixations per second thru comparative questions of sight seeing something: and "this thing" given in careful attention "doesn't change the abovestatement" but instead "this thing this thing" in dna coil allows an "(onto) wid(th) string (in) this swirled continue (to)" unfold inthru reader receptioner.Eye for an eye as it were : the eye eye engages readers eye thus becoming eyes.

    Whew. It's quite difficult for me to operate inna critical mode,altho still somewhat playful,the critical response requires much concentration and an ability to "gather the fruits" with an approach to the text in close readings.Altho it can be argued of critical response that it attempts to concretize the unconcretable or simply peg a pigeonhole as if each bird had its own (w)hole,i think the role of the engaged wreader & the wresponse thereof is an essential exercise as to which travel the understandings to an unarrivable arrival or simply sailsaway the specifity of ones own skull.It's a bit exhausting and time-consuming to be pressed with such matters and that's why i haven't gotten very far in my "review",but as i continue wreading, i will further my written response until the whole of #2 is refracted back thru my particular lens...i feel it's "poetic duty" in the tradition of peer review and the fact it can be daunting for me will only aid my developmental leaping.(springboard)

    ((lighthigh highlight))