“Well, I have no relationship to her. I’ve never met her. And as for her work, I came to it too late probably for it even to have been an influence, which fills me with despair. I am merely a big fan. She is a great artist, alive and among us, and still writing as well as she did at the start—if not better, which is really saying something, since if you look again at Lives of Girls and Women, her first book, you will see it is a masterpiece, not like any other first book I can think of offhand. (You will also find in it many of the elements of Love of a Good Woman and other later fiction—the obsession with drowning, the allure and menace of men, the erotic moment as narrative pivot and the glimpses of wickedness that only the young are able to act upon to save themselves; the middle-aged must attempt to endure, make do, compromised and complicitous, with what they know.) Her later fiction is quite bold structurally—its handling of time is fearless and satisfying and not to be imitated. She seems over and over again to be writing a kind of ghost story. She is also witty and cruel (that is, unblinking) and painterly. Although she writes of the provinces, she is the least provincial writer I can think of. I’m not sure that this is always understood about her.”
Outside, it is starting to rain. The beach dog is still out there, playing at the edge of the water, entertaining himself with a piece of floating wood. Richard opens the door; the dog hears it and rushes up the steps and into the house, as if to say, I’ve been waiting all day for you to invite me in.
"I don’t have a cleaning lady," Richard tells the dog. "Be mindful."
"Kibble," Richard writes on the grocery list
Great passage from the less great This Book Will Save Your Life by A.M. Homes.
“I’ve always admired pop music, because I think it’s the modern post-industrial folk music. Everybody can join in, you don’t have to be a specialist. You can sing along with it. But there’s not much room in pop music for all the things I want to do. It’s a bit like food: I like all kinds of interesting food, but in the end, I can just sit down with an egg sandwich and really feel great.”—
Larry Gus is the moniker of musician/composer Panagiotis Melidis. His new record Years Not Living is out now on DFA and it is rad! Check it out on Spotify or iTunes.
Read more about Panagiotis’ disciplined, detailed compositional processes in this fascinating piece from DummyMag.
Panagiotis, my dude - I feel you! Organizing samples can get hectic! I have gone down some compositional routes that are similar to your multi-step writing methods and I dig your organization. Jam on, jam strong, homey.
I was asked to run a workshop on chip music (organised by Novak as part of a programme of events called Open City) in 2009 . The workshop was with a group of young people (I think the average age was about 14 yrs old). It was a two day thing. I took in about 10 gameboys running LSDJ and demoed the software, they picked it up surprisingly fast. I was also in the lucky position of having a music graduate as my assistant (if you ever stumble across this post get in touch.) Working as a team we unpicked and arranged Terry Riley’sin C (which is available under a creative commons share alike 2.5 license).
Rather than have this piece vanish, it felt important to give it a place here, So I have uploaded it. Click play at the top of this post and listen. The age of the young people involved should not detract from what you expect from the work. There was some magic that happened over the course of the workshop and the performance of the final work.
Luckily someone was taken by surprise and documented the event here:
The first time I stumbled upon this band, unknown to me as part of a festival in 2008, was a pure and spiritual experience. I saw them twice more that same week, bought one of their discs and then have since forgot about them. An isolated flirtation, locked in time. Returning to them now, they’ve put out a bunch of stuff since. So great.