#tim conley

[pookiestheoneliveson]

Tim Conley

[mostlymonk]

Bemsha Swing

 MAST /\\\

 Tim Conley – electronics, guitar, keys Dan Rosenboom – trumpet Gavin Templeton – bari sax Jonah Levine – trombone Billy Mohler – bass Nigel Sifantus – drums

[mostlymonk]

Oska T

MAST /\\\

Tim Conley – electronics, guitar, keys Dan Rosenboom – trumpet Gavin Templeton – bari sax Jonah Levine – trombone Billy Mohler – bass Nigel Sifantus – drums

[mostlymonk]

Friday the 13th

MAST /\\\

Tim Conley – electronics, guitar, keys Dan Rosenboom – trumpet Gavin Templeton – bari sax Jonah Levine – trombone Billy Mohler – bass Nigel Sifantus – drums

[theblackestofsuns]

Useless Joyce (2017)

Tim Conley

University of Toronto Press

[maast]

[actionbookspress]

THIS WEEK we're highlighting an incredible 574 page anthology (containing many gorgeous explosions of writing and color) of international modernism ranging from 1910 to 1939 co-edited by Jed Rasula and Tim Conley. Burning City: A Metropolitan of Modernity (Action Books, 2012) is organized not just according to the cities which inspired the texts--Paris, Cracow, Buenos Aires, and so on--but according to such icons of the modern urban experience as "Cineland," "Music Hall," "Electric Man." Burning City makes a new contribution to anthologies of both poetry and modernism by its thematic focus on city life, by its inclusion of poets from languages and nationalities seldom represented in standard US surveys, and by its preservation of the typographic versatility of the feverishly innovating period. Lucas de Lima writes, "Like Walter Benjamin's Angel of History decked out in drag, Burning City improvises its own becoming, its own lip-synching of urban refrains amid the broken glass of modernity. By wrestling literary tradition from its encrustation within borders, lineages, and hierarchies, the poems themselves blaze as a band of soot-faced children who, having fled their parents and homes, now get to dream and scheme together in 'bundles of jubilant flesh [...] on the great night of pyrotechnical scorching desires' (de Torre)."

"Burning City: In Review," The Volta "In essence, then, Rasula and Conley present an argument: the best way to grapple with the complex phenomenon of urban modernity in international poetry is to see it as a kind of music, exhibiting harmony at times and cacophony at others, developing one theme for a while and switching gears (sometimes roughly) to another. The editors here define “poems” quite broadly: the anthology treats excerpts from Virginia Woolf’s Mrs. Dalloway and James Joyce’s Ulysses and Henry Miller’s Tropic of Cancer as prose poems and includes works by Ilarie Voronca and Andor Sugar which appear to function more as visual art than as poems. By thus casting so wide a net, they risk including work that would be of interest only to the narrow specialist or work that is merely representative rather than remarkable, but this risk mostly pays off and their having taken it allows the reader a fuller and richer impression of the great technical and thematic variety which can reasonably be gathered under the rubric of 'metropolitan modernity.'" "Burning City: Editor's Choice," BOMB Magazine "Burning City is divided into a number of poetically titled sections addressing topics such as modes of communication, airplanes, entertainment (especially the circus and cafés/cabarets), film, electricity, and nighttime, with small clusters of related poems within each section (e.g., odes to cocktails—'Oh mixologic cryptogram / It’s the Manhattan-Cocktail!' writes Alfred Richard Meyer—in the section 'Parade of the Eccentric'; and to the telephone—'Rrin, rrinn, rrrrrin! / Electric convulsion / dreams in the tone of the phone,' declaims Pedro Olmedo Zurita—in 'Electric Man')." "The Avant-Garde Canon: Barry Schwabsky Reviews Burning City and I Burn Paris," Poetry Foundation "All the more astonishing, then, that this big, complex piece of publishing has been undertaken by a small press like Action Books. One would have thought this kind of project to be the preserve of the university presses—Imagining Language was an MIT product, for instance — but apparently these days such things depend less on institutions than on the heroic efforts of a few individuals. Action Books had long since won my admiration for its publications by contemporaries like Aase Berg, Lara Glenum, and Kim Hyesoon, but Burning City puts the press on another level altogether." Originally 35 dollars, copies of Burning City: Poems of Metropolitan Modernity are now available for only 25 dollars.