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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

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Barry Schwabsky

Barry Schwabsky is art critic for The Nation and co-editor of international reviews for Artforum. His recent books include The Perpetual Guest: Art in the Unfinished Present (Verso, 2016) and a collection of poetry, Trembling Hand Equilibrium (Black Square Editions, 2015). Imminently forthcoming is a new book of essays, Heretics of Language (Black Square Editions, 2017).

Posted inBooks

Reader’s Diary: Henry Miller’s ‘The Colossus of Maroussi’

by Barry Schwabsky July 3, 2016July 3, 2016

At some point in my teens I read a number of books by Henry Miller — though not as many as I read, at around the same time, by Hermann Hesse, despite the fact that Hesse’s books, in contrast to Miller’s, were not reputed to convey much information about sex.

Posted inBooks

Reader’s Diary: ‘In the Empire of the Air: The Poems of Donald Britton’

by Barry Schwabsky June 26, 2016July 6, 2016

When I wandered ingenuously onto the scene, Donald Britton was a young star, or so I considered him, just a few years older than me (actually a bit more than a few, it turns out — he always looked so boyish) yet somehow wiser.

Posted inBooks

Reader’s Diary: Man Ray’s ‘Writings on Art’

by Barry Schwabsky June 19, 2016June 20, 2016

Jennifer Mundy acknowledges in her Preface to Man Ray’s Writings on Art that, compared to his friends Duchamp and Picabia, he has come to be seen as something of a lightweight.

Posted inBooks

Reader’s Diary: ‘Supplication: Selected Poems of John Wieners’

by Barry Schwabsky June 12, 2016June 10, 2016

What happens when you cross the perfervid emotionalism of Edna St. Vincent Millay, she of the candle burning at both ends, with Charles Olson’s idea, distilled out of William Carlos Williams, of a projective verse imbued with “the breathing of the man who writes” (and I suppose it is very emphatically a man who writes the poetry that Olson had in mind)?

Posted inBooks

Reader’s Diary: Catherine Texier’s ‘Russian Lessons’

by Barry Schwabsky June 5, 2016June 3, 2016

It’s so hard to read a friend’s book without prejudice.

Posted inBooks

Reader’s Diary: ‘Women of Abstract Expressionism’

by Barry Schwabsky May 29, 2016May 31, 2016

We think the canon of American art of the 1940s and ‘50s is set in stone, but we’ve got a lot of looking still to do.

Posted inBooks

Reader’s Diary: Lorraine Lupo’s ‘By Way Of’

by Barry Schwabsky May 22, 2016May 22, 2016

Cards on the table: I prefer short poems to long ones, slender bodies of work to massive ones. So naturally, I consider the best way to read poetry is not in a book, but in a chapbook.

Posted inBooks

Reader’s Diary: Kristin Ross’s ‘May ’68 and Its Afterlives’

by Barry Schwabsky May 15, 2016May 13, 2016

Some thought the Arab Spring could not have happened without social media. But the necessity makes the means and not vice versa. May ’68 didn’t need Facebook. They had transistor radios.

Posted inBooks

Reader’s Diary: ‘Between Friends: The Correspondence of Hannah Arendt and Mary McCarthy’

by Barry Schwabsky May 8, 2016May 31, 2016

No one writes letters anymore, but I still like reading them — especially when both sides of a correspondence are collected between two covers. No narrative, no argument — just the mercurial yet implicit unity of a relationship. Still, I’m not sure why I picked up this book.

Posted inBooks

Reader’s Diary: Edward St. Aubyn’s ‘The Patrick Melrose Novels’ (Continued)

by Barry Schwabsky May 1, 2016May 7, 2016

When I left off last week I was halfway through this quartet of low-life-in-the-midst-of-high-life novels, dissatisfied with the series’ prelude, Never Mind, but encouraged by the relative superiority of book two, Bad News.

Posted inBooks

Reader’s Diary: Edward St. Aubyn’s ‘The Patrick Melrose Novels’

by Barry Schwabsky April 24, 2016April 25, 2016

To begin reading a contemporary novel isn’t easy, if you’re not in the habit.

Posted inBooks

Reader’s Diary: Franklin Bruno’s ‘Armed Forces’

by Barry Schwabsky April 17, 2016April 15, 2016

I keep wondering whether it’s really possible to write at length and in depth about this kind of music.

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