Simon Taylor

. . . the sacred—the cut off (etymology: sacer, “the power, being, or realm understood by religious persons to be at the core of existence” that is cut off, set off or apart, restricted . . . “to have a transformative effect on their lives and destinies.” [source]) . . . the sacred shot = the mystery of the

1. Mario Levrero 2. Bodhi Linux 3. while we’re on the subject of books (Levrero), Michel Houellebecq’s Annihilation . . . hang on, why “too obvious”? 1. because you can tell it from the outside 2. see? from the bodies mine is in proximity to, 3. how close I am . . . however,

Neill Duncan (see “for Neill” here): In a funny sort of way, the Primitive Art Group opened my horizons musically, but in other ways it made me narrow-minded. . . . We were doing this edgy music and that other stuff’s so straight. Everything else was shit. We had that attitude. We

e.e. cummings: It is with roses and locomotives (not to mention acrobats Spring electricity Coney Island the 4th of July the eyes of mice and Niagara Falls) that my “poems” are competing. They are also competing with each other, with elephants, and with El Greco. Every time I read

Yes, it’s true. At last we have it. Not a policy from Minister for Arts, Culture and Heritage (something new, something divided and something colonial), but, for this “unique and intoxicating mix that is [or has been] rooted in the past but [is] constantly evolving and surprising”, what the

Wright explored his own “dark landscape,” describing two experiences that lay behind the creation of the novel. The first–an encounter with the “strangely familiar,” an idea that recurs throughout the book–took place in Chicago, shortly before his grandmother’s death in 1934. … he read a book that “miraculously