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Re-introducing the uncanny

I saw Blair’s “re-introduction” last night on a TV2 spot last night. But I think Michael Shaw nails it with these Getty Europe shots (see the others at the link):

In defining different types of political news photos, these fall into the category I call “the re-introduction.” As if calling this out, the pictures from Getty Europe seem to barely contain their contempt for Blair, Dubya’s Iraq War doppelgänger, as his book hits the shelves.

In related news, I received a listserv email this morning reminding me of Adam Curtis’s 2002 BBC series, The Century of the Self.

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Site Maintenance

Welcome back from a long, much needed summer holiday. Unfortunately, I’ve had some admin/site maintenance problems with the site for several months which I’ve ignored until now. I believe I’ve finally worked them out. I have hardly had any time for blogging for over a year now, and certainly don’t have any to spare for meddling about under the hood. But it looks like I’ve just about got it sorted.

Daniel is working on a few pieces, including a review of Bent’s translations of Robert Gibbons. Anne also says she’s working on something tba.

As for me, I’ve been really struggling with what to do with America Adrift and just what my role should be, given all the other constraints on my time and energy. Now 6 months into my Ph.D. fellowship I’m working overtime just to keep up. I’m scheduled to present three conference papers already this semester, plus I’m teaching my first course, an MA research seminar on Obama, visual rhetoric and American culture. And I can’t confidently say I really know what I’m doing here, there or anywhere yet! I’m that lostboy drunk at AA meetings, trying to “fake it til I make it.” When I’m not working, I’m either with my family and/or working at our Colony Garden. That’s it. My wife sometimes gets worried at my ramblings on about “should have been a carpenter.” But postmodern pastoral longings and fantasies aside, I’ve got a primary job to focus on, which is the job that pays our bills. And that’s writing a dissertation, including all the other work obligations attached to my fellowship contract. Don’t laugh, but I really didn’t believe it would be this much Work!

I’ve decided that for the most part, when I do blog, I’ll be aggregating “news,” social and political commentary from around the progressive blogosphere. I’ll consider this move as a vehicle for mild (some would say toothless) political activism. But given that I’m already tuned-in and can spread some radical socialist propaganda with very little effort on my part, I figure it’s the least I can do to challenge the marching neo-liberal political forces increasingly shaping our local conversations about the US, both in Danish media and within the Danish academy. Yes, that assumes we still even have an audience!

Stay tuned, we’ll be back to our regular irregularly scheduled programming shortly.

Stuart

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Robert Gibbons på Dansk

On behalf of America Adrift I thought I’d shamelessly promote EyeCorner Press’s (Camelia Elias) latest title, Jagged Timeline by Robert Gibbons with Danish translations by Bent Sørensen.

This bilingual volume introduces the work of American prose poet Robert Gibbons to a transatlantic audience. The volume shows how multifaceted a poet he is, effortlessly exploring political, aesthetic and emotional themes, such as war, poverty, exile, work, love and the archives of Time. Presenting Danish translations of 64 of the poet’s best pieces, juxtaposed with the American original versions, the book also contains a lengthy scholarly introduction by the editor and translator, Bent Sørensen, forming the first sustained academic study of Gibbons’ work.

As our regulars know, Robert has graciously allowed us to publish a rather jagged timeline of some of his work here. Bent’s own america adrift archive can be found here, including this excellent introduction to Gibbons’ work.

Jagged Timeline is available now at Amazon!

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Via delle Buongiorno

Glistening male bodies suspended in drunken elegance, light skin and dark, calm waves shimmering in the morning of a Thursday in July, in Copenhagen. The royal palace is barely visible in the mist across the harbor, and to he honest, as a beacon of old Denmark, not visible at all. Continue reading ›

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Robert Gibbons: Travels, Tattoos, & Traumas

Travels, Tattoos, & Traumas

by Robert Gibbons

As if travel & imagined fixed destinations were cures for these dissatisfactions,
the World suddenly offered up
three Central American immigrant fugitives straddling railroad tracks
that run at a bad angle
through the City,
each carrying heavy green plastic bags balanced Old-World style,
talking & brave, even as the cop car rode past
at said bad angle keeping him from seeing them as I did, still
in my longing to get away,
but now, tempered by these wise guys & the soon-to-be-found Old Man hobo
vagabond down by the waterfront I haven’t seen since this Time
last year, sadder than practically All
the homeless I’ve noticed over the years because so utterly alone
with his stone-cold boldness not giving
in to Death.

Earlier, I had to go to town more than once, dissatisfied with what I’d witnessed
first Time round, what with all the working squares
in fine clothes on coffee
breaks leading into lunch hours, no,
& the only tanker visible, Overseas Shirley, a regular
in port, & nothing to write home about, so I returned later, instinctively
knowing the World would offer up tangential evidence
meaningful just in Time in order
to keep me going on
in language,
if not actual travel to all the places pictured in my longing, places outweighing
those I’ve already lived in, or visited,
all rushing swirling mixing Paris
with Madrid, Glasgow/Fez, Gloucester/Seville, Naples/Tenerife, Nice/Bergen,
Olympia/Santorini, Belgrade/Trenton, Berlin/Vancouver, Amsterdam/Barcelona,

whereupon I rendezvoused with the Politisa Lady licensed in Monrovia lifting
her white-water-wake petticoat & skirts to carry me
out of personal doldrums & overwhelming desire to travel in order
to mix movement with language, instead of at this solitary
desk, where the fish stone from the trek along the path to the cave at Pech Merle
stares, urging me on, or the one from under the foundation
of Winslow Homer’s house on Prouts Neck down the road here in Maine, no,
or postcards from friends sent from Hegefjell, wherever the Heaven or Hell,
or Alcimcao, Sao Paulo, Brazil, or
the White Cat asking, “Are you writing?”
from her own desk in the apartment on Boulevard St. Michel, or,
again, David, from Buenos Aries, or, again, Bent & Camelia, my constant
companion the collection of Goya etchings sent from Manchester, England,
of all places, like taking fellow teachers to see Hair
at the Wilbur in Boston in 1969, yes,
my life swirling round me with the reminder that so much has gone on before
than the Time left ahead, unless I continue to live in the moment

as hard as Eternity, & stop
worrying that I may not see the Whole World before I see the Other Side,
as I saw three Central American immigrant fugitives earlier today straddling
railroad tracks that run at a bad angle
through the City,
each carrying heavy green plastic bags balanced Old-World style,
talking & brave, even as the cop car rode past
at said bad angle keeping him from seeing them as I did
without now any longer needing immediately
Copenhagen, per se,
but preferring the poem Robert Hellman generously sent from there
in 1974 before I embarked on a number of cross-country journeys
suffering under eight-inch rain in the tent in the park in the center of Memphis,
then driving non-stop till we hit Elk City, Oklahoma,
of all places, where the first of a number of former Hollywood starlets

kept the knick-knack shop on the main drag.
My father prepared me well for the brutality of the World.
In Zihuatanejo that year, when Bernardo tried to strong-arm us out of our $40-
a-month-shack, I let nothing but body language
& a handshake speak, never to see him again.
Neruda called from Chile, but I failed in my quest to see him,
although Anna & her husband, Sonora, remembered him reading in Mexico City,
finding him afterward eating oysters alone.
Breaking lines is a waste of Time.
Break bread with me, fellow poets, brave enough not to gasp at having to give
a correct answer.
I’d swear if I could in a poem as much as I do in real life, but what’s the point, if
it’s to be read after one’s dead? Come in Veracruz, come in Oaxaca,
where Manuel is giving advice in the café, that if anyone betrays me,
even once, to cut them with scissors motioning two fingers
across the high air of Oaxaca, the cutting
of scissors, as if to say in body language,

not just in Spanish, take my word for this,
Robert, which I did, the shortcut
to dealing with all betrayals,
lures, & phonies.
Where can one go to school for an education
like that? Which is why Travel is such
scholarship. Shit, I’m sorry.
That’s rude, & uncalled for but for some reason can’t help it, the Travel secret
exposed made me do it: take Time out of classes, say no
to professors. I once tried to organize a boycott of Professor Barr from Alabama,
Phi Beta Kappa, & formerly of Harvard, who wanted
us to pronounce words exactly like he did in Linguistics 401, & had the gall once
to say the worst thing to happen in America
was the 1954 Supreme Court decision of Brown versus the Board of Education!
No shit, I heard it, & received a “D”.

Barr came into the classroom while I tried to organize the boycott against his
bullshit. What was I supposed to do, back down? Stop talking?
Fuck, no, Man!
I spoke to the shivering chickens in class looking him straight in the dropped-jaw
face.
My father prepared me well for the brutality of the World.
He carved a wooden dagger on board ship in the port of Casablanca with all the
Time in the World during his five years in the Navy in WWII, which I now
own & treasure.
It speaks to me on occasion like Manuel Avila Camacho, known as the Bad Boy
of Mexico, friend of Orson Welles,
whose house in Paris he lived in during the summer before we met in 1974,
when as attaché to President Echeverria, they planned
to meet with Nixon in DC the middle of August,
too late!

When seeing the Old Man hobo vagabond down by the waterfront covered in his
camel hair coat,
we purposefully walked in the opposite direction, knowing
ahead of Time, & from the Past, the extent of the inextricable Sorrow in his Soul.
We carried our own misery down
to Portland Wharf, where at the end of the pier at the edge of the harbor,
we had the whole place to ourselves.
She said she loved the clouds. We distinguished the distant flight of osprey
from that of gulls simply by expanse of wingspan & rapidity of wing-beat.
Can you tell I haven’t written for days?
Easily angered, but not as bad as I used to be in the lineage of Irish Warrior Poets
followed down through father preparing me for the brutality of the World,
via his Grandfather, Edward Walshe, who wrote the book,
The Mermaid of Cape Ann, which included a photo
of him atop Whale’s Jaw in Dogtown, published in 1904.

Undeclared war Olson claimed society is. Barbarism every document of history
is, according to Benjamin, along with our duty to protect anonymous
names of the dead
from continuous-victorious-powers-that-be.
Not everything is learned on the road.
Deep, deep research & study.
Reading is experience. Writing, if it’s done well, is nothing other than exactly
that: Merci, Monsieur Proust, Thanks, Hem. When one thinks about it,
there’s little difference between reading, travel, the experience
of either, if done well.
Kristeva, whose Desire in Language I picked up at Village Voice Bookstore
in Paris in 1987 has made all the difference in life.
Merde, now that I think of it, I asked for Proust’s Remembrance of Things Past
to be shipped to me from the East Coast to Long Beach
just before we crossed the border into Mexico.

Thank you, friend, it’s meant everything to me!
Why would anyone have anxiety over influence? Nothing,
but gratitude.
Sui generis? Ahhmmnn!
My desire is.
Otherwise,
don’t tell me we’re going to shape a writer in the classroom?
We’ll find out for ourselves
with a little help from our friends.
Stones, Trees, Names, our teachers. Rembrandt, deep stroke,
Goya, black depth,
Titian’s, The Flaying of Marsyas, the first painting I saw in DC,
when we moved there in 1990, where de Kooning’s Woman was
flesh made of flesh as oil paint was made for flesh.
Rothko, tomb sculpture. Francis Bacon, truncation.

Rauschenberg, all-encompassing, funneling everything into the Vortex
of the World.
Pound, not forgotten.
Celan. Li Po. Vallejo. Pavese. O’Hara, Lorca, Apollinaire, Cendrars, Ponge,
Bolaño, but where are the Brits?
I don’t know. Yeats & Synge & Lady Gregory.
Where do I go from here? If I had money, I’d be everywhere:
Aalborg, Bremen, Corpus Christi, Durban, Edinburgh, Finistère,
Galway, Helsingør, Istanbul, Jersey City, Kabul, Luvov,
again, Madrid, again, Naples, Oslo, St. Petersburg,
Quincy, Randolph, again, Salem, Toronto, Utica,
Ventura, Weymouth, Xihua, Yuma, Zagreb.
My father prepared me well for the brutality of the World.
I’m in Portland. My tattoos & traumas are my Passport
to the World.

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The Circulation of Clint Eastwood’s Image

The research group that I’m part of at Aalborg University – IrgIc (long story about the name) – just had a seminar on cultural traffic, were I discussed Clint Eastwood’s iconic presence in two different spheres: music and comic books. This is the paper I presented.

In recent years, Clint Eastwood has emerged as a darling not simply of the Hollywood industry – with no less than 10 Oscar nominations in 18 years, winning five including the Irving G. Thalberg Memorial Award for which there is no nomination – but also as the darling of left-wing, bleeding heart members of the “pussy generation” as he refers to them in his 2008 Esquire interview (Fussman, 2008). It is this perception of Clint Eastwood as having changed from a gun-carrying, vigilante-supporting, hard-ass Republican to a cuddly humanist with sensitive insight into those living on the fringes of society, which this paper will focus on.

While there are many examples of people revising their perception of Eastwood, what I find particularly interesting here, are a number of media texts which explicitly refer to Clint Eastwood and his iconic status as an actor and celebrity: the virtual band Gorillaz with two songs, “Clint Eastwood” (2001) and “Dirty Harry” (2005) and Danish comic artist Thomas Thorhauge’s small comic book Clint Eastwood (2008). These three texts circulate and so transform Eastwood’s image, typically in ways that emphasize only certain aspects of Eastwood’s career and status. Continue reading ›

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Reform and Racism(?) in Arizona

Health care reform? Check. Immigration reform? Not if Arizona can beat Obama to it. In a response to what it considers lack of action against illegal immigration, the state of Arizona has passed a new immigration law. It is now a state crime to be an illegal immigrant in AZ and legal immigrants are required to provide valid IDs if questioned by the police. Obama has spoken out against it, John McCain supports it. To those supporting it, it is a necessary measure to protect the safety of legal residents as well as jobs. To those criticizing it, it is both an attack on civil liberties and an act of racism. Hispanics interest groups have strongly opposed the measures due to fears that it would lead to police harassment of legal immigrants.

For a humorous approach to the debate check out Jon Stewart comparing the Arizona immigration law with the laws that targeted free blacks in the 1860s.

Over at Stewart’s favorite target, FoxNews, John Lott argues that the law includes provisions that will protect citizens against racism and that if you are a law-abiding legal resident you will have nothing to fear.

The law has sparked a strong reaction, not just among liberal media and Hispanic groups, but among other states as well. Even in California, another state with illegal immigration issues, politicians have argued for an economic boycott of Arizona.

It might be easier for Obama to win support for his immigration reform (when and if it comes) if Arizona becomes an example of what happens when this issue is left to the states. However, the case of Arizona also shows that something needs to be done and if national leadership is not provided, states will indeed engage extreme measures to deal with it. One of the best arguments in the discussion comes from Clarence B. Jones, former advisor to Martin Luther King, who argues that the problem is not Arizona, but Mexico. In order to solve the illegal immigration issue, poverty and security in other American countries must be addressed. He says it better than anyone else:

Let’s face it: right or wrong, the Arizona legislation is treating the symptoms of an international disease that needs much stronger medicine.

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The Supremes Circus – now with lesbians

Ah yes, another seat on the Supreme Court is up for grabs. Supreme Court Justice John Paul Stevens announced that he is retiring this summer. We all know what that means. The circus that is the Senate Judiciary Committee will be back in the head lines, and the right-wing will go all out to discredit everything Obama’s candidate has said or done. The most important question is, of course, whether Obama will nominate a moderate judge to counterbalance the supposed left-wing extravaganza of the health care reform or whether he will go for a bold, activist judge.

The Republican warning? That Obama better not nominate anyone too ideological. Republicans continue to act as if they were the majority party, threatening President Obama not to do anything without their consent. Jeff Schweitzer makes an interesting case of exposing the hypocrisy of the right-wing by revisiting the decisions of conservative justices Antonin Scalia, John G. Roberts and Samuel Alito.

GOP leaders are insisting that President Obama must nominate a moderate justice to replace retiring Supreme Court Justice John Paul Stevens; they want a mainstream jurist who will decide cases impartially. And in other news, Republicans demand that Democrats give up the White House to Mitt Romney. The second demand is obviously ridiculous but has no less credibility than the first, which is real.

Many commentators agree that Elena Kagan, Solicitor General and the former dean of Harvard Law School, is the most likely nominee. As a result they are already assessing her credentials. The opinions cover everything from Kagan as the next Earl Warren (Linda Monk on the Huffington Post) to Kagan as a potential justice that doesn’t believe in rights (New American). To make matters worse she even made the decision not to allow military recruitment at Harvard Law School. Some argue that she is a lesbian – both issues are commented on at The Daily Beast (Linda Hirshman and Peter Beinart).While Kagan is an tolerable candidate for some conservatives because she is not a judge, many will fear that she will judge in favor of gay rights just like they were certain that Sonia Sotomayor hated both men and white people.

The Nation offers an interesting list of possible contenders for the seat. Only one of their suggestions is a white male, all others are female or ethnic minorities. Is Obama supposed only to nominate minority justices because he’s a minority president? One of The Nation’s suggestions is Pamela Karlan from Stanford Law School. However, she is openly gay…Dream on, Obama!

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Teaching

Next semester I will be teaching my two obligatory seminars as required under my Ph.D. employment contract. I wanted to get these courses “out of the way” early on so that I won’t have work obligations hanging over me during my last year when I should be concentrating on my dissertation. Furthermore, it was recommended that I teach both courses during the same semester as teaching, I’m told, takes up so very much time. So here I go, two courses (BA and MA level) during semester two. I get a total of six to complete all my work obligations, take courses, do field work, publish something somewhere, and hand in a final dissertation. No sweat right? Bellow are the two course descriptions, starting with the MA, which are now published in the course catalog. I’m still working out syllabi, core texts, readings etc. so these descriptions are very much open texts. And just getting these down on paper, conceptualizing the courses and thinking through how they work within my own research agendas and how to translate that to provide meaning (and utility) for my students was hard work. And I’ve just scratched the surface. I’m sure I’ve made the right decision, for myself at least, to tackle my teaching early on and am excited about next semester and looking forward to the challenges. Your ideas and/or comments are always welcome.

“Picturing Obama: Visual Politics and Patriotic Culture in Contemporary US Society”  (KA E10)

Photo-illustration by James Porto, New York Magazine

Starting from the question, “is Barack Obama the most visible president in history?” this course explores the role of visuality in U.S. patriotic culture, paying special attention to the ways that images function persuasively as political communication and how those images reflect ongoing contestations over participation and representation in American democracy. Through a “visual culture” approach the course provides an overview of the forms of media, cross-mediation and inter-textuality that constitute contemporary US visual culture. Working within a broad interdisciplinary framework from multi-methodological perspectives students will acquire skills for conducting interdisciplinary visual research in practice. Readings will include seminal works in American studies, semiotics and discourse analysis, rhetoric, political communication, cultural theory, geography of media, and contemporary theories in the visual arts.

With a focus on shifting understandings of nationhood, transnationalism, citizenship, democracy, identity, and representations of “American patriotism,” students will learn to critically analyze political images and connect them to broader socio-political and cultural debates. Who are the image makers and what are their agendas? How do various social actors interpret, appropriate and enlist these images? How do images interact in relation to other types of texts, memories and places? What constitutes the space of democratic deliberation and how do questions of access, power, race and identity shape the public sphere and inform American patriotic culture? How are images used for remembering and memorializing; confronting and resisting; consuming and commodifying; governing and authorizing; informing and imagining? The course will be divided between theoretical readings and in-class analyses of images contextualized around key themes in American patriotic culture.

Lady Liberty Calavera by Jose Pulido

“Border Crossings: Mexican-Americans in Contemporary US Popular Culture” (BA E10)

The main goal of this course is to offer a broad and comprehensive understanding of the Mexican-American experience as mediated in and through popular culture in the United States. The study of popular culture focuses on uncovering meaning from the wide range of cultural production, from highly produced entertainment (television, radio, film, magazines, etc.) to everyday life scenarios (family custom and ritual, language, identity, etc.). Today Hispanics constitute the largest ethnic minority in the United States with 1 in every 7 Americans claiming Hispanic or Latina/o origin. People of Mexican descent are by far the largest Hispanic group, roughly 65% of all Latinos, over 30 million people representing the fastest growing population in the US. Understandably, Mexican-American culture(s) claims an increasingly important position within popular US national (and global) culture represented by a diverse range of social actors from transnational media corporations to community artists and Chicano activists.

The course places the Mexican-American experiences in a comparative perspective whereby we will survey some of the general themes in US popular culture studies through the excavation of a variety of texts ranging from Hollywood films, TV sitcoms and various news media to literary texts, music, urban graffiti, muralist artwork and online social media. We will examine the influence popular culture has on forming identity, shaping culture and as a mode of revealing, producing and reproducing ideology and political struggle. It is intended that students will develop valid concepts and generalizations regarding the contemporary Mexican-American experience, an appreciation of Chicano media and artistic practices and an understanding of the tensions between dominant cultural producers and Chicano modes of self-representation.

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Robert Gibbons: Caption & Inscription

Caption & Inscription

"Whoever Reads Bourgeois Newspapers Becomes Blind and Deaf: Away with These Stultifying Bandages!"

In the dark, after the violence, the dream strayed from that Hollywood nonsense,

& lent a hand to the project, presenting an array of sources, appropriating certain

tracts of texts & imagery. An uncommon phenomenon, although not unknown to

writers, artists, it led the way here: in 1936 Walter Benjamin hears jackboots of

Fascism marching in the background of his Letter from Paris, in which he

reports, almost jumpy, anxious, that art as commodity delivers itself over to the

enemy. He’s taking on the Third Reich in words the way John Heartfield, George

Grosz, & Otto Dix did visually. He knows that photography will have a lasting

social impact, but not without the caption & inscription, that strike fear into those

wanting total control.

~

Recently, we attended a university art exhibit, titled War & Remembrance.

Modest in quantity, powerful nonetheless. The two smallest images tore the place

down, right before my eyes. Picasso’s Untitled, from the series Sueno y Mentri di

Franco (The Dream & Life of Franco), 1937. Picasso, too, was in Paris at the

Time, accepting the position of Director-in-Exile of the Prado Museum after

Franco bombed the building rather than have contents fall into the hands of

Marxists. The Untitled image is a cry in the mode of Guernica & a companion

poem by Picasso reads, “… cries of children cries of women cries of birds cries

of flowers of timbers & stones cries of bricks cries of furniture of beds chains of

curtains… .” The other is Goya’s brutal image matching the brutality of War,

Estos es Peor (This is Worse), where the corpse, most alive, arms severed, head

holding onto the shock & awe of it all, body propped up by a sharp tree limb

piercing butthole through intestines through heart & lung to topnotch where spine

turns to neckbone.

~

Then, there’s a color photo of a blonde American female soldier handing out

candy to two children, while mothers in scarves look on from behind. The only

caption is that of place & date: Tarmiyah, Iraq, June 2008, along with the size of

the digital photograph, & the artist’s name.

———————————–


When Robert sent this to me a few days ago I was moved to tears. Earlier in the day I had been discussing the horrific scenes from wikileaks video of US military attacks on journalists and children after looking over Michael Shaw’s video stills. The progressive blogosphere was ablaze with condemnation cloaked in sighs of, oh well, what can any of us do about our dying empire gone mad!? That night, turning on the first TV channel on the remote, a DR1 newscast (the Danish PBS) was underway with the story. They then segued with a brief spot about the Obama administration’s meaningless ‘new’ PR campaign for nuclear non-proliferation. “Candy for the children!,” I replied.

This is already yesterday’s news, forgotten in the space of a few days where Glen Beck claimed Obama was abandoned by his mother for “Marxist political theory” and Sara Palin drew a crowd of 10,000 candy eating support-our-troopers. And the Southern Republican Leadership Council is being held today in New Orleans of all places, an obvious beneficiary of Republican leadership. Though Martyn Bone, who is also in the no longer so Big and Easy, claims Palin et al. are in town to hear his lecture on “casino capitalism and immigrant labor in Cynthia Shearer’s last novel.”

Today Robert sent another poem, or was it yesterday? with a personal greeting in that poetic cadence of his suggesting no salvation (sigh, what can I do?) but rather a path to redemption through text and texture in this life. “I take things slow in life in order to get things down in language good & fast, if not abruptly.” This summer I’ll ride out to the Danish West coast, far away from the sounds of marching jackboots and cyber noise. I’ll remember to take things slow and meander along the rolling dunes, gaze out West across the Vesterhavet and send my greetings with the tankers as they disappear over the horizon.

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