In this time of manic-depressive 401(k)s and topsy-turvy markets, it seems best to squirrel away your money under the mattress and to file away your foreclosure notices and unpaid bills at the dump with the junk mail for credit cards and insurance plans. One could argue that the current financial instability stems from a shift in reading material from The Female Eunuch to The Wall Street Money Machine, from a pursuit of utopian dreams to cold, hard dollars. That would be easy and, like all easy answers, is probably wrong. I have a friend, with a sophisticated knowledge of economics, who sees Reagan as a symbol of all that is Right in the world. He has the supply and demand curve tattooed on his bicep. No peace and love symbols for him. So maybe it is true that we are currently suffering from a long, painful hangover caused by the 60s.
All I know is that, like the copies of A Female Eunuch and Steal This Book, the Horatio Alger stories and Get-Rich-Quick Manuals of the 80s are now bankrupt and residing at the dump. I see this as an indictment of the economic culture of the MTV decade. The decade of DeLoreans, Milken, Boesky, Gordon Gecko, and junk bonds. Greed, like Lust and Gluttony (the sins of the 60s as well as the 80s), ends up at the dump. (Miami) Vice is trash.
Like many of those who grew up in the 80s, I have Grassian skeletons in my closet associated with political rallies chanting, "Bush and Quayle are going to carry the Keystone State/That's the big story of 1988!!" A high school friend of mine, whose grandfather was a Socialist candidate for President in the McCarthy 50s, bought me a T-shirt that said, "Tan, Rested and Ready: Nixon in '88." I wore the T-shirt not fully knowing the relationship between Nixon and McCarthy. My friend, undoubtedly, did. The joke was on me. It was a sick joke to be sure, one that Lenny Bruce would have told to an audience of undercover police in a smoke-filled nightclub.
Over the years I have grown not to dislike Reagan, but to distrust him, along with my apprehension of Marx, Mondale, and Mussolini. All across the spectrum, I cannot view politics with rose-colored glasses. I see nothing but management, manipulation, and money (What else is there to see, unicorns and rainbows?). Maybe it is not the ideologies of the 60s or 80s or those of any decade, but this general mistrust, that is the cause of the current instabilities. Pulling the covers over your head, with your mattress crammed full (or if you are lucky, half full) of life savings, and sleeping a troubled sleep is probably not the answer. Neither is throwing up your hands in surrender and throwing away the past in the dump. Surely, there has to be something of intellectual and spiritual worth there to recycle. Or maybe not. Quite possibly there are still half-remembered dreams to believe in, but then again, maybe it is time to wake up, get out of bed, walk away from the dump, and truly and completely start over.
JB



MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
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MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
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MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
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