A Single Word or Sentiment

subject/author relationship?

Kenneth Goldsmith's FaceBook post following his Brown University reading:

     The Body of Michael Brown

     In the tradition of my previous book Seven American Deaths and Disasters, I took a publicly available document from an American tragedy that was witnessed first-hand (in this case by the doctor performing the autopsy) and simply read it. Like Seven American Deaths and Disasters, I did not editorialize; I simply read it without commentary or additional editorializing. Many of you have heard me read from Seven American Deaths and Disasters. This reading was identical in tone and intention. This, in fact, could have been the eighth American death and disaster. The document I read from is powerful. My reading of it was powerful. How could it be otherwise? Such is my long-standing practice of conceptual writing: like Seven American Deaths and Disasters, the document speaks for itself in ways that an interpretation cannot. It is a horrific American document, but then again it was a horrific American death.

     I altered the text for poetic effect; I translated into plain English many obscure medical terms that would have stopped the flow of the text; I narrativized it in ways that made the text less didactic and more literary. I indeed stated at the beginning of my reading that this was a poem called “The Body of Michael Brown”; I never stated, “I am going to read the autopsy report of Michael Brown.” But then again, this is what I did in Seven Deaths and Disasters. I always massage dry texts to transform them into literature, for that is what they are when I read them. That said, I didn’t add or alter a single word or sentiment that did not preexist in the original text, for to do so would be go against my nearly three decades’ practice of conceptual writing, one that states that a writer need not write any new texts but rather reframe those that already exist in the world to greater effect than any subjective interpretation could lend. Perhaps people feel uncomfortable with my uncreative writing, but for me, this is the writing that is able to tell the truth in the strongest and clearest way possible.

     Ecce homo. Behold the man.

Happy Accident (du mal)

Baudelaire sans les mains.

     "From the very beginning I perceived I was not only far from my mysterious and brilliant model [Gaspard de la Nuit by Aloysius Bertrand], but was, indeed, doing something (if it can be called something) singularly different, an accident which anyone else would glory in, no doubt, but which can only deeply humiliate a mind convinced that the greatest honor for a poet is to succeed in doing exactly what he set out to do."
          - Baudelaire on his prose poems (in the intro to Paris Spleen).