Alice Bag, Megan Dymond, and Chase Holiday at the Stardust Ballroom photographed by Jenny Lens, 1978

I wish I could

pull a devil mask over

my face. To be in-

visible & assertive,

to scare the hell

out of you. When

you pat my hand

take me all wrong,

make me squirm.

Memento Mori

Ann DeWitt on Annie Leibovitz’s Photographs of Susan Sontag

In Greek mythology Proteus was able to change shape with relative ease—from wild boar to lion to dragon to fire to flood.  But what he found difficult, and would not do unless seized or chained, was to commit to a single form, the form most his own, and carry out his function of prophecy. 

— Marvin Israel, Birthday Card to Diane Arbus, 1971

In 1973, Susan Sontag said of the nation’s increasing obsession with photography, “Kodak put signs at the entrances of many towns listing what to photograph.”[1]  Sontag’s own life could have populated a town and had its very own sign.  But in 1973, America’s focus was on other landscapes.  As Sontag notes in On Photography, photographers, laymen and otherwise, were capturing images of a once hidden middle-America through the scope of the photographic lens.  The American family was embracing the photo album with a catholic philistinism, reclaiming Nature as well as the nature of time in a “program of populist transcendence.”[2] It had been that way, says Sontag, ever since the construction of the Transcontinental Railroad, when the camera rode the rail West.  Like so many of Sontag’s essays on aesthetics—rife with literary comparisons and insistent on bridging the gap between literature and the “craft based arts”—here Sontag stakes photography’s evolution with Whitman: “Nobody would fret about beauty and ugliness, he implies, who was accepting a sufficiently large embrace of the real, of the inclusiveness and vitality of actual American experience.”[3] “The United States,” Whitman offered, “themselves are essentially the greatest poem.”  Sontag interprets the work of Walker Evans and Diane Arbus through a similarly optimistic intersection: “All facts, even mean ones, are incandescent in Whitman’s America—that ideal space, made real by history, where ‘as they emit themselves facts are showered with life.’”  It was photography’s job to demystify the ordinary lives people already led behind closed doors.

Read More (via believermag​)

"I’ve always considered the whole Writing Practice idea as yet another example of some poets’ insufferable egotism, a total guy thing, like they think they’re such geniuses their shopping lists should be bronzed. Would these guys consider a woman blogging about her heartbreak as part of a serious writing practice? I doubt it. Is my refusing to consider this blog Real Writing an internalized misogyny? My posts are too slight, to femmy, too sloppy (I’m a compulsive reviser), too easy."

- Dodie Bellamy

Laurie Weeks: Making Magic Out of the Real

  • KS: I love how the line “This pot was strong. And Jane’s hair was many, many things” sums up the hilarious melodrama of young, unrequited love. Did you have to tap into some old memories to write this?
  • Laurie: I use everything but I’m not interested in simple recitation of autobiographical occurrences that issue from a supposedly static reality because for me anyway that’s not helpful, it almost blinds me. I want to dive into mystery. Since birth I’ve craved all things psychedelic, the energy and beauty of it. The pleasure. It’s not so much that I “tapped” into old memories but rather that my body, my entire being, is an unstable field of experiential data—faint scenes, the voices and words of everything I’ve seen or read, the knots of confusion where language struggles for interpretive control of sensation and perception, and I’m writing from within that field to explore and contest the numbness, narrowing of vision, the mandated destruction of imagination that turns one into an abstraction to oneself. An obedient one. Simply, for example, by trying to pin you down to a single, fixed identity based on artificial categories of hierarchy and value that discipline and punish according to the needs of power.

This essential title is available again and this time around the proceeds benefit Maximum. Pick it up here.
Second printing of this previously sold-out title! “Punk is a moving target”: Punk is an unwieldy object of study—because of fictions that circulate as truth, absences in archives and the questionable subject of recovery, and the passage of “minor” details into fields of knowledge. A conversation about the politics of methodology, and historiography, of subculture. 32 pp., 4.5”x 6.5”.

i think i’ve posted this before, but i recommend it if you haven’t read it. golnar + mimi are two heroes of mine.


hey! we r currently takin submissions for our third issue! come thru with ur illustrations, photography, stories, poetry, diary entries that u dont mind us invading, whatever it is u want to share. 
we r especially looking forward to hearing abt ur back to school experiences or advice or photography havin to do wit school, college, etc. here are the guidelines and dont be scared to ask any questions if u have any! stay hydrated, stay glowy. 

yh come thru and/or boost this thank u

From the author: “Lady Teeth was my first attempt at making a 24 Hour Zine Thing zine. It’s a 24 page, 1/4 sized ine about family & love, about living a weird nomadic life & trying to convince my former self to keep her head up. Lady Teeth is a time capsule to my future self showing where I’ve been.

"From Lady Teeth #1:
'It's exciting when you realize you aren't a complete fuck up & sometimes things that happen in your life didn't happen entirely because you suck. For so many years I thought everything was my fault. I was so hard on myself (I still am) & so hard on everyone else (I try not to be) when I finally realized sometimes the universe just has other plans for you.

"I’ve spent a lot of time trying to understand why things happened the way they did in my life, trying to pin-point where I went wrong or whatever when really, some stuff was out of my hands (my marriage). Not that I don’t take responsibility for my life & my actions but I realize now that the saying "everything happens for a reason" isn’t complete bullshit."

Order here from Pioneers Press

There is music that makes you nostalgic and then there is music that makes you feel a longing for the past that is something else. And there is music that makes you remember things about yourself that you had forgotten -

— Sarah McCarry, from “fuck off get free we pour light on everything”

When you are a woman or a girl or female no one says to you, “Look, artists who are great take without asking, and take and take and do not apologize” because when you are a woman or a girl or female, the only thing you are supposed to take is a lot of other people’s shit. No one says to you, “Be sure you are strong enough to take and not apologize and keep going when the taking leaves you nothing to go back to.” Be sure you are strong enough to steal and live alone with what you’ve made yours.


Alexis Gross Photography

From Henry and June — Anaïs Nin