Monday, July 18, 2005

Weekend Report!

So many happenings are still running through my mind that I couldn't begin to encapsulate all of them. Even at Zinefest yesterday I found myself becoming absent-minded from trying to recall and correlate everything.

The Saturday reading at the Medusa was awesome. Not perfect-- there were a few glitches-- but awesome all the same. A few of the readers were so striking (especially Michael Grover and Natalie Felix) that the merely good suffered in comparison. Sean Terreri; Ish Klein-- one could give out a host of accolades. Crazy Carl Robinson and Wred Fright were extremely funny. Natalie Felix stunned the audience with her strong voice, her flowing movements, her beauty. Poet Michael Grover then stunned the audience, in a different way, with the power of his voice and commitment and the clarity of his poetry. I've never seen either poet better.

The Read-Off between the Masked Professor (Frank Walsh) and the Student (Brady Russell) was filled with drama, bombast, noise, fireworks. Frank Walsh is an outstanding poet but also the greatest pure entertainer in the lit world. Brady Russell was the big surprise. He'd been quiet the entire evening-- was almost silent during the interview portion when questioned by Wred Fright. Brady's burst of verbal energy once the match began thus took everyone by surprise-- giving the Prof back as good as he got; the two combatants exchanging rhetorical blows like two literary heavyweights. I'd wager the lit world has never seen anything like it!

There were so many outstandings performances, so much noise and excitement, throughout the evening, that once headliner Jack Saunders stepped to the mic, we were all as exhausted as I seem to be today.

Thanks and kudos to all who performed or were in the audience. (I'll give the full line-up of readers and other doings in a couple days. There were a couple last-minute changes.) I'll also discuss the Zinefest-- and say more about the Read-Off-- when I can!

29 comments:

Anonymous said...

I gotta say, there were some terrific writers reading. Not everybody blew me away, but there was lots of great stuff. Your organization is bullshit but you got talented people.
Writer Who Sells Millions

Anonymous said...

I gotta say, there were some terrific writers reading. Not everybody blew me away, but there was lots of great stuff. Your organization is bullshit but you got talented people.
Writer Who Sells Millions

- Leopold said...

It's nice to hear someone say that.

However, to your second comment: If artists care about art and how it is received & seen in the world, then they have to be much more than just great artists. They have to be activists for their art and perhaps the world at large, willing to take a stand, put themselves out there and SAY something - that is what art is about if it is to have any meaning, any relationship to the lives we live. It's not enough to just 'sell millions'.

Anonymous said...

The easiest ways for writers to be activists for their art, take a stand, put themselves out there and say something is to sell copies of their work, so it can be read by a wide variety of people. Selling millions, in fact, does this. I hope the best ULA writers sell millions, and I'd never deride them for any of their efforts to do just that.
It's a shame the ULA feels differently - about work they often don't even read before judging as "part of the problem." Putting on a great event in Philly is no different from giving out an award in New York - it's publicity, in order to get your work out there - and at least the New York crowd doesn't have the audacity to claim that they're somehow "revolutionary." The ULA, instead, spends far too much time beating up on Rick Moody, or threatening Daniel Handler, or calling Dave Eggers a phony - writers who have worked their own game to get their work out there, and who try to give a hand up to writers they know and/or admire so that they, too, can get exposure. You know, just like the ULA does for its club.
Writer Who Sells Millions

- Leopold said...

Well, I agree with most of what you say, and appreciate your reasoned response. Not something we see a lot of here.

I don't really think you understand the ULA entirely, or what we do or stand for. Seems to me that you, like a lot of people, are hung up on the supposed 'gang' aspect. Dig deeper and you'll find that's not true. Attending the Philly event is a great start and it's a pleasure to know that people actually made the effort to see what we're about. Heck, I wasn't even there!

I disagree with you on some major points, though. Publicity may be publicity - I don't think we're against that. It's what's BEHIND the publicity that's different. To jump into cliches, you're telling me that, say, a benefit event for Nazism is the same thing as a benefit event for sick children? Surely you can't believe that.

I don't think that selling millions, actually, is the best way to change/support art. Pet rocks sold millions. Yu-gi-oh sells millions. Stephen King sells millions - this isn't to deride the entertainment value of these works, but they're hardly defenders/promoters or activists for art!

And the fact is, we're fighting a system that has a very limited scope of what should be even be allowed to attempt to sell millions. A lot of ULA writers, some of whom you might deem great, haven't had and aren't going to be given the chance to 'sell millions.' One of the only reasons you've heard of them is because the ULA is out ther promoting them. There's a major contradiction in saying that selling millions makes change when you can't sell millions without accepting the status quo. The ULA is fighting to amend that - to make literature more about art and entertainment than sales figures.

People get so hung up on the 'revolution' aspect of the ULA. I don't get it. You don't have to agree that we're a revolution. But our ideas and tactics are hardly commonly accepted. We are making changes. Yes the ULA is also about hype, so why get hung up over a name? Would you rather us be the 'underlooked writers kinda trying, hopefully, to make a bit of difference, if somebody would only just listen for a few moments...'?

A lot of the people the ULA attacks are people who post fake reviews for their own and friends' books, accept grants they don't need, shamelessly promote themselves and have embedded themselves in a tight little priveldged, exclusive club. They've locked up the doors to literature and then claim that it's based on merit! I question why the ULA is constantly called on merely having 'revolution' in their organization's title while established and mainstream writers aren't held to the same standard - even worse, we're lambasted for pointing it out.

MDG said...

I focus no attention on Rick Moody nor do I care what any other writer is doing. This is not about pettiness or jealousy for me. My art is a weapon against this sysetem and I am locked on to the target. If you saw me read on Saturday you would know that. M.D.G.

JDF said...
This comment has been removed by the author.
- Leopold said...

i agree with JD and MDG. I know so little about those authors and don't particularly care. The ULA must continue pointing out hypocracy and calling the 'establishment' on their bullshit however with things like the Philly event, people are now starting to actually take our writing seriously - that's what we've been fighting for. That's what the activism has been about.

Now it's time to move forward with that. We can still watch the new guard of the 'establishment', but we only limit ourselves by harping on it. We're right, we've made our point...oh yeah, and we're good writers. Let's show them the fire that feeds the train.

the MP said...

Got an email from Big Jack Saunders at 5:59 pm tho just opened it a little while ago. His mom passed away this past weekend and he found this out when he got home-- tho I dropped him and Pat Simonelli off at the Philly airport around 4:30 Sunday afternoon his flight was delayed until 1:oo am. He's on his way to Seattle and is letting go of the BULLETIN for abit.
Condolences are in order.He is to my way of thinking an amazing warrior and wise man. Meeting him and being part of and sharing in the Big Lit Event has made me a believer in the ULA if I wasn't there completely before. Karl was absolutely on about the Medusa show being historical and galvinizing on the level of the Gallery 6 Reading in SF. The quality and intensity was there and he had the insight and guts to bring it off. However I am ashamed of this city (mostly because of the local media and the pigheadedness of the rotten literary "elites" especially, as they delusionally see themselves). I'd rather not go into that NOW. The important thing was being reacquainted with the likes of Pat King, Red Fright, including King Wenclas himself, et al. and finally meeting the likes of Crazy Carl, Pat Simonelli, and especially J. D. Finch, Jackie Corely-- all genuine articles, great writers performers and thinkers, but most of all human beings with a great sense of randy life affirming "humour", down to earth but with spiritual depth-- true warriors and comrades. Great things are happening, are going to happen, man! Potter's right in his comments from last week recorded below and Karl's seconding of the drift of those comments (Guess the Writer Who Sells Millions didn't bother to read them as he would have seen his complaints about publication and distribution in fact reasonably addressed!)can in effect be constued as heading in the corect direction.
I'm tapped out but let me leave us with this consideration: the literary establishment attitude and strategies stink of Cold War mind control propoganda, 'cept supposedly the Cold War's over. (Yet the sweep of this past weekend was irresistable the beauty, craft,and integrity of those kids is evidence that old horse is in truth beaten and dead!) Think about it. But Finch's and Leopold's gist is dutifully engaged and well expressed here. We may want to step up to more take on a more critical( the use of language and the intention behind it) and even spiritual (that which quickens and grounds our art/lives) focus now that we are galvanized by the real past and present accomplishment the ULA has succeded to. It's already there in our hearts and heads and inspite of surface appearances we owe it to the people.







Remembering all the rains that came
and went almost everyday last month
the heavy handed skies turning rough
twisted our arms took away our name.
Everybody complained as if untouched
in the deepest driest docks of their heart
by what should’ve been obvious, a sign
of caution, never to separate life from art.
Almost I imagined I could by looking find
but mostly in between, especially hear
the rare spirits of those who’ve left us
whisper in the trees, playing upon the dust of
dimming afternoons unaccountable hunger
for some reassuring voice like thunder.



West View, WV 7.10.03

the MP said...

Slipped above a bit:
"beauty, craft, integrity, of those kids..."
where I mean the Zine Fest at the Rotunda!

MDG said...

Use the language with the intention behind it? Gee Frank I would have never thought of that on my own. I'm glad you're around.

the MP said...

Yeh Mike, thanks for keeping me honest. However if you read the paranthetical with both eyes open instead of just one you'll see. That is that you're misquoting me. Just generally defining the basis of criticism (in context of the ULA itself and in context of the Underground in relation to the Cold War tactics coopted and employed by the literary establishment against the Underground) per se: it's a nominal antecedent not a dependent clause introduced by the verb "to use" as you're mistaking interpreting it. No sense asking why you're so negative at this point tho. Suffice to say that negative thoughts create negative karma and negative events/things.
Here you don't care to kindly offer condolences to Jack or say anything helpful to join inthe "thread", but have to have your self destructive tantrum thrown. It makes you look foolish.
You are truly at times "asura" (Pali/sanskrit), "one who does not shine or sport". Tho there is sympathy for you, your slash and burn mindset is hard to tolerate. More importantly it's hurting and limiting your awesome poetic talent, my friend!

Emerson Dameron said...

Congratulations to everyone who participated in the show. I've never seen Wenclas this satisfied with one, so I assume it went well. My condolences to Jack Saunders.

I'm sick of hearing about Moody, Franzen and Eggers, too. But muckraking is part of the ULA's stated purpose, and there's usually something going on in the floundering lit establishment that merits a few jabs to the shoulder. I think some of the ULA's "scandals" (particularly the constant small-press infighting) are pointless, but the Moody protest, the Firecracker protest and the Amazon call-out all resonated outside the "club." I'm sure the ULA will afflict the comfortable as long as it keeps comforting the afflicted.

Most ULA critics either tut-tut Karl's antagonism (while simultaneously baiting him into further confrontation... you know, just for fun) or describe underground writers the way a classical music journal probably would've described the Ramones in 1977. Short-sighted at best.

I also saw Karl organize the Cullen Carter Benefit and see it through, which I'm sure no other alt.zines denizen would've done. He was disappointed with that show for a number of reasons, but it helped a sick man and his family. Ignoring that, while placing Eggers beyond reproach because of 826 Valencia, renders you a hypocrite.

MDG said...

Yeah but going crazy and yelling at people does not create negative anything. People are never responcable for anything they do. Of course I offer my condolences to Jack. Sorry that happened. As for the thread and being part of it, I don't trust it. Besides I am not being negative. If so only to create possative change. We're all writers here. No one will deny I was one of the best on Saturday. I leave it at that. That is what I do. My work speaks for itself.-MDG

the MP said...

Busy today getting my notes, scribblings, and especially quotes from Jack Saunders together for a followup story/feature for the "press" (there's plenty of alternative stuff around these parts anywho and ways of sticking it to the big news cabals besides) that attempts to sum up essentially and viably what has transpired over the past 4 days and of course keeping things "fresh" and hot. And thanks for the picts Mr. Simonelli: hoping to put them to good use. Of course time is of the essence. Otherwise it's: follow up, follow up, follow up. There's plenty of this over the next few weeks.
The Masked Perfesser emailed me from an undisclosed University libary computer. Claims he's hacking away at an exceptance speech and using the beautiful animatronic taliking big mouth bass he recieved as a prize donated by Crazy Karl and Wred to pleasure himself, what ever the Hell that means! Lets just hope he doesn't get arrested for public indecency before he's finished. Also the Perfesser wants it to be known that he tips his square hat to the Student who proved a formidable opponent as well as a damn good writer. Check out his stuff on www.xanga.com/BradyDale
I wish you cards had been able to hang out in Philly a bit longer. For one thing as you can see from the above comment intelligent exciting discussion is pretty thin in Gothicka these days.
But in lieu of the fact that duels to settle points of honor and weed out the dishonorable are frowned upon in our dark times, we all pull together when it matters and give it our best!

King said...

One great reading does not a victory make.
(Bad news about Jack, who's truly a great guy. Cards of condolence can be sent to him at the address which should be up for him at the www.literaryrevolution.com site.)
The Millions Writer's remarks are disingenuous, to say the least. According to him, Eggers, Moody, and Company are little different than us-- except they have access to the levers of media power, monopolistic support, huge sums of money, etc, and represent not the voice of the populace but of an insular elite within it. His argument is made of tissue paper.
I guess we should now abandon our project, fold our tent and go home at the first signs of success. All is done! Mission accomplished!
On the contrary, after our Medusa triumph, which showed we're for real; when we're in some small way ascendent, this is good reason to push our ideas further, with greater enthusiasm. Sorry, "Millions."
Re Mr. Grover: He seems to believe that poetry exists without context, outside society, with no need for an audience. By this standard, one may as well recite poetry to trees in a forest, where no one can hear it, to ensure it maintains its purity and withstands any possible taint of contamination. Literature inside a hermitage: isn't this exactly what the ULA has been battling against?
It's a contradiction to want the world changed but to take no actions to accomplish this. MDG's poems can have influence only if people hear them and hear about them. This is what the ULA does for underground writers-- expose great artists like Grover not just to the folks who were at the show, but to the many thousands who read the ULA site and this blog.
This applies to activist novelists as well. It does no good to write strong novels telling the truth about this land if they stay a secret-- if no one reads them or hears about them. The ULA is a promotional campaign. The difference between ourselves and the mainstream is that with us, writers and artists are in control-- not bean-counting corporate skyscraper suits who couldn't care less about art, only numbers. (See the MediaBistro site sometime-- ads not even for MFA's, but MBA's, which demonstrates their focus.)
The difference is also in the writers we promote.
Re: The Poster Boy of Literary Corruption. Note that on this blog I usually mention him when he does something-- such as his involvement in the National Book Awards, or his easily-shredded justification for his actions at same which appeared in The Believer magazine, or most recently his prominence in the Atlantic's current Fiction issue. I know people want to believe he's an innocent bystander who accidentally strayed into the ULA's sights; that we've made him the face of the literary establishment for sound tactical reasons, to better illustrate our campaign. The truth, though, is that Moody IS the face of the literary establishment-- he IS the establishment, as his omnipresence in arts foundations and money decisions pre-and-post ULA demonstrates.
Do we now abandon our activist campaign? With what do we replace it? Do we become like all other lit groups-- the thousands of them dutifully cranking out their lit-journals, giving readings, and otherwise making no noise?
The ULA's uncompromising attack-dog behavior is what has distinguished us from all other lit organizations-- it's what has given us a profile in the lit-world, has made us THE alternative to influential Insiders and their allies in the battle to represent the future of literature. That battle is far from over.
(The "attack" campaign is the only one of the original four legs of our strategy which was carried through, and that only sporadically. Without the "revolution" in literaryrevolution, not much remains.)
ABOUT CLIQUES AND CLUBS
The idea that the Underground Literary Alliance is just another clique, like key players in the mainstream, is nonsense. We disproved this with the Medusa show, when we presented the widest possible variety of voices and styles available. All were invited-- no one shut out. Our target audience isn't 5% of the public-- not simply an insular, well-educated elite (much less Moody's "3,000")-- but the entire population. We claim to represent the true literature of our time.
Do we want ULA writers to be popular? As we want LITERATURE to be popular, relevant to the everyday life of the society, the answer has to be, "YES!"
The ULA was designed to capture literature and the culture, and to transform society. Nothing less.
Is this too ambitious? Have we set impossible goals? Absolutely. It's what makes the fight worthwhile and what will enable us to accomplish much, if not all. We have a long way to go. The Medusa event was an early step.

- Leopold said...

Well spoken, King. The key aspect of the ULA for me is that it works for art OUTSIDE the boundaries of that art. Whether by activism, hype, blogging, attacking hypocracy, etc... In the world we live in now that is the only real way to change access to art, to change art itself. We need quality writers to back it up - our writing is the fire, but our tactics are the poker. Although I sometimes think we get carried away over focusing on a few literary low-lifes, we can never lose the activist aspect, or stop calling the establishment (even ourselves or allies) on their bullshit.

MDG said...

Excuse me. Trees did not get the meaning of that last Poem and were pissed off to see what's come of their cousin, the page. Gotta run now! Bye! Covert Poetics! X-Iled

the MP said...

Having a long and fruitful relationship with Trees (going back to Orpheus) be assured they are even equanimous toward the dog that pisses and shits on them.

Jeff Potter said...

Ah yes, poets in love... :)

One of the many cool things about the ULA is that we make noise even amongst ourselves. And even that is fruitful! Even our internal squabbles get good results, hone us into sharper artists and activists, and of course our external projects get results, too.

Compare and contrast to the dullness of everything the System does!

The Academic Cabal only stays afloat due to frickin' omerta---get the degree, get the contract, get the bully pulpit, then don't SAY A WORD or you're thru! Ha! What a buncha COWARDICE!

Look to the ULA for fresh approaches to all this. State your piece---pick your fight---let's have it! There's no reason why indy artists should or should PRETEND to get along. Art and artists need to depict and explore reality. Doing that involves hashing and clashing, friction and irritation---on paper and in life, every which way. The ULA has never shirked from any of it. Yet we also join our forces and work together as need be to create fresh new projects, to expose villany in high places, and to get attention for great work that's being kept down.

What a combination! Unbeatable!

Anonymous said...

Yeah, Eggers & Co. have access to a more powerful network. As do I. We sweated it out, sent stuff to magazines, went drinking with editors and watched our careers grow. Just like you guys. The gang at Esquire, the gang at FSG - they all started out scribbling on the outskirts. I published maybe 75 stories in magazines that make Slushpile look like the Paris Review before anyone paid attention.

Meanwhile, your king goes out of his way to denounce these guys (and NO, not just when they do something - scroll down this blog and count the Eggers, Moody disses), not to mention firing off letters to Handler, Franzen, blah blah blah. And then - guess what? - you find that the ULA doesn't have access to the network of mainstream lit. Well, duh! You can't drunkenly heckle Elissa Schappell and then complain that Vanity Fair (where she works, for a pittance I might add) would never touch your stuff. Nobody touches the work of someone who regularly insults them.

And yes, most ULA writers don't engage in this: they just write. The Philly event showed that. My point is, why do you bother having your publicity guy shoot you in the foot? Thanks to King, the ULA is most famous for insulting successful writers. He protested the National Book Award, without reading the work of any of the writers nominated, on the grounds that Moody was on the panel. That's no revolution - and it's a deep disservice to all the talented underground writers. If you really want readers, you should promote work for the sake of the work. Keep holding events that feature good writing, and are fun and unpretentious (you know, like McSweeneys did it, and the Beats before them) - and fire the guy who is clearly more interested in being an asshole than being an artist.
Writer Who Sells, Well OK, 1.5 Million

Patrick @ LitVision said...

Writer: Get a clue. I don't think many ULAers would submit to Vanity Fair and we certainly wouldn't suckup to editors to advance our careers. The point of the ULA is to find a better way for writers to get exposure.

And--say what you will about Karl or ULA tactics, but please, don't ever equate McSweeney's to the Beats again! Yikes!

Anonymous said...

If drinking with someone you like is sucking up, I guess I suck up most nights. You don't seem to understand that you're talking about writers who genuinely respect each other. You know, like the ULA does. For the life of me I can't understand why you'd be loathe to be reviewed in a major magazine - you know, one read by lots of potential readers - but whatever. I'm not picky about who reads me. Kurt Cobain changed the cover of one of his albums so it would be sold in Wal-Mart, because that's where he bought records when he was a kid. I guess he's a sellout, too.

As for the Beats and McSweeneys, the parallels are quite numerous: a handful of truly talented people, plenty of medicore hangers on, wacky readings, a lot of hype, and the invigoration of thousands and thousands of young readers. The Beats helped found City Lights Books - you know, a small publishing house with distinctive design, that many people decried as selling out the true nature of the Beats. (None of the Beats complained, though - they wanted their work out there, no matter how glossy the cover.) Yeah, I'll take Ginsburg over Eggers any day of the week, but writers like Ginsburg come along every 100 years. In the meantime the new gang'll do.

Let's say FSG offered 50 grand for a ULA anthology. You're telling me you'd turn it down, a nice-looking book of good writing that'd easily be sold coast-to-coast, in favor of reading in bars in large urban areas? I pity your revolution.

And now, if you'll excuse me, I have to go write.

- Leopold said...

Ug, there's so many things to argue with this post, but I'm too busy packing and shouldn't even be reading this.

Only thing I want to say is that if FSG, or whoever that is, thinks we're good enough to sell 50 million copies, then we don't need FSG. We could sell half that (or two times that!) on our own, do it our way and still sleep at night knowing we did it for ourselves.

Discussing 'selling out' is fairly ridiculous. Every 'successful' author is going to be accused of that at some point. Just like everyone tells us that we're 'not really a revolution'. We have priniciples, we try our best to follow them. Why would we get so riled up arguing against what other authors were doing if we 'were just like them'? There is a real, clear coherence to what we're doing and fighting here. Even if eventual success is equated to 'selling out' at least it'll be bringing work, authors and ideas to the 'mainstream' that currently don't have a chance in hell outside of the ULA.

Drinking with someone you respect is not sucking up. But trying to get in good with someone you DONT respect to get ahead (which is the only real option on the table in the current industry) IS. Frankly, the people you're suggesting we 'have a drink with' are not interested in having drinks with us, nor we with them, unless it's an open discussion free from power politics.

the MP said...

Dear Autonomaton who sells millions of samolians or goldfish or McSwindles with cheese. You have insulted the memory and the millions of tons of jism spilled in the Negro nights by the Beats by comparing the sad sacks of the McSweneyIkes to them and theirs not just once but twice. Which proves nothing but your arrogance and pettiness. I interviewed Ginsberg at length for the University City Press outta yes The Independent Republic Of Wes' Philly (when Andrew Lovatt of deaddrunkdublin.com was the editor) back in 1982, and subsequently later spoke with him again off and on when I'd catch up with him when he was back here for events and readings. Be assured, sirah, that he would have smashed you in the face with a container of kosher potatoe salad if you had face which you doan 'cause yr an anonymous caller on these open lines. McPriggies's is actually quite the antinomy of the Beats and the Auden/ New Yorker Cabal of back then which your bully pulpit in nature and insidiousness actually does resemble were't one of the main reasons the Beatitudinous Ones left NYC to regroup and get their publications and public readings rock'n'rolling Frisco way. So where is Baraka in your pages for example-- gimma a freak'n' break!
Its like APR claiming Bukowski as one of their own long after he's dead-- and famous, which they do.
The co-independent writers and poets of the ULA are the direct inheritors of the Beat hopsacking mantle and toe to toe may prove even a bit better than most of those 'niks.
The worst thing about your latest claptrap is to suggest by association that any real writer would want to go drinking with the editors of the Capital Gainsay because they liked them or even that a real writer would be sucking up to these pom- poms. A real writer or poet goes drinking 'cos they like to drink, stupid!

A Writer Who Sharpens A Million Pencils!

King said...

The Millions Writer ignores the fact that there are about a million writers out there who dutifully follow the rules, attend workshops, get their MFA's, go to seminars and expensive summer writers conferences where they get to suck-up to the bigwigs, and never get anyplace. The only reason you're discussing us at all is because we HAVE made some noise in this society.
Gee, did our crash blow our chances to get into Vanity Fair? Did we lowly ULAers really have a chance to get in before that? How long has Jack Saunders been writing and sending out his stuff-- and how many times has "Vanity" Fair written or phoned to talk about it?
Writer, you miss my main point, big-time. The fact that you're a well-read writer, and don't understand how the society you live in operates, is scary.
Context. Context! Eggers and Moody have to be put into the context of the conglomerate monopolistic machine which backs them; which surrounds their every move. (Should we examine Eggers's ties to Simon & Schuster which helped McSweeney's get off the ground?)Those who want to believe these extremely affluent writers are really the same as the writers in the ULA are seeing only the puppet show in front of them, believing in the actions of the puppets, without a thought or glance toward the stage scenery, or the puppetmaster behind the curtain.
The ULA is doing what underground writers have to do-- building alliances among ourselves. The elite do their networking usually at prep schools or exclusive Ivy League universities. They have access to connections the average writer doesn't know exists. Should I drag out the case-by-case examples I gave in my NEW PHILISTINE newsletter?
Regarding the National Book Awards. I did read the award winner, by a wealthy well-connected New York City matron. It was so bad I couldn't get beyond the third chapter/self-indulgent diary entry/whatever it was. Total crap which has already vanished in memory and importance as far as American literary history is concerned.
What you should worry about, Millions, is that, despite the enormous investment made in establishment authors from the moment they're born-- the most elite schools and even the most expensive day care centers, all they way through Columbia and Brown, and the monetary grants from foundations-- despite this, as you know, there's no way these stiffs could ever compete straight up against ULAers.
Care to put it to the test? I and other ULAers will debate the matter against any of your idols in any public forum-- hall, saloon, or open-air park-- and we'll see who wins.

King said...

(Or, in your world, we all have the same chance of becoming President as George W. Bush! After all, he just networked with his buds. . . .
Btw, I still don't know when I supposedly attacked "Handler"-- not quite sure who the dude is.)

King said...

An example of just how clueless our opponents are is the idea of these trust-fund rich kids, raised as conformists from the word go and getting their aesthetic cues from the New Yorker, sitting around their mansions and private clubs imagining they have anything to do with the Beats. Hilarious.

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