By Kevin Sampsell
“For attractiveness, honesty, sheer weirdness, and a haunting evocation of position, Kevin Sampsell is my favourite Oregon author. Ken Kesey, Chuck Palahniuk—make a few room at the shelf.”—Sean Wilsey, writer of Oh the distinction of it All
Kevin Sampsell’s A universal Pornography is a memoir, instructed in vignettes, that captures the heritage of 1 dysfunctional American relations. An extension of a 2003 “memory experiment” of an analogous identify, A universal Pornography weaves reminiscences of small-town formative years with darker threads from his family’s tale, together with incest, insanity, betrayal, and loss of life. a customary contributor to Dave Egger’s The Believer and McSweeney’s, Sampsell has written “the form of publication the place you need to thank the writer for supporting you're feeling much less on my own with being alive” (Jonathan Ames, writer of Wake Up, Sir! and The Double existence is two times as Good).
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Additional info for A Common Pornography: A Memoir
Work. If you're broke don't hesitate to ask, that would be too silly. As ever yours and see you next week. Sam RECITATION Beckett held ilie idea of the 'professional' poet in abhorrence. To him it was virtually a contradiction in terms. Craft, structure, rhythm, linguistic energy were assumed prerequisites, but poetrywas a calling, not a profession, not something you could decide to do at a certain moment. He meant what Keats meant, whose work he knew so well, when he wrote that 'if poetry comes not as naturally as the leaves to a tree, it had better not come at all'.
Another evening he'd recite the IGirl's Song' from the ICrazy Jane' sequence: I went out alone To sing a song or two ... When he came to the last lines When everything is told, Saw I an old man young Or young man old? ' The lines from 'Why Should Not Old Men Be Mad', A girl that knew all Dante once Lived to bear children to a dunce; were recited with indignation, anger even, as though personally offended. About IUnder Ben Bulben', he mentioned the original of the epitaph Yeats wrote as being 60 Hold rein.
S drawings show at the Centre National d'Art Contemporain which had just opened. In the first paragraph he began by saying how the drawings had left him with a feeling of uncertainty, how the meeting had ended in confusion; then, to Cabanne's everlasting credit, and to Sam's mollification, after writing: IFirst impression: disappointment ... , he went on to say, 'But I was wrong'; how Arikha drew like nobody else, etc. A nice day for journalism, a nice vindication for Sam - who'd been appalled at the way things turned out at that meeting.