The Iron Whim is an intelligent, irreverent, and humorous history of writing culture and technology. It covers the early history and evolution of the typewriter as well as the various attempts over the years to change the keyboard configuration, but it is primarily about the role played by this marvel in the writer's life. Darren Wershler-Henry populates his book with figures as disparate as Bram Stoker, Mark Twain, Franz Kafka, Norman Mailer, Alger Hiss, William Burroughs, J. G. Ballard, Jack Kerouac, Hunter S. Thompson, Northrop Frye, David Cronenberg, and David Letterman; the soundtrack ranges from the industrial clatter of a newsroom full of Underwoods to the more muted tapping and hum of the Selectric. Wershler-Henry casts a bemused eye on the odd history of early writing machines, important and unusual typewritten texts, the creation of On the Road, and the exploits of a typewriting cockroach named Archy, numerous monkeys, poets, and even a couple of vampires. He gathers into his narrative typewriter-related rumors and anecdotes (Henry James became so accustomed to dictating his novels to a typist that he required the sound of a randomly operated typewriter even to begin to compose). And by broadening his focus to look at typewriting as a social system as well as the typewriter as a technological form, he examines the fascinating way that the tool has actually shaped the creative process.With engaging subject matter that ranges over two hundred years of literature and culture in English, The Iron Whim builds on recent interest in books about familiar objects and taps into our nostalgia for a method of communication and composition that has all but vanished.
you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome / you are a man / you are a little confused / you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome . . . Apostrophe is: a) a figure of speech in which a person, an abstract quality or a nonexistent entity is addressed as though present b) a poem written in 1993 in which every sentence is an apostrophe c) a
The Iron Whim is an intelligent, irreverent, and humorous history of writing culture and technology. It covers the early history and evolution of the typewriter as well as the various attempts over the years to change the keyboard configuration, but it is primarily about the role played by this marvel in the writer's life. Darren Wershler-Henry populates his book with figures as disparate as Bram Stoker, Mark Twain, Franz Kafka, Norman Mailer, Alger Hiss, William Burroughs, J. G. Ballard, Jack Kerouac, Hunter S. Thompson, Northrop Frye, David Cronenberg, and David Letterman; the soundtrack ranges from the industrial clatter of a newsroom full of Underwoods to the more muted tapping and hum of the Selectric. Wershler-Henry casts a bemused eye on the odd history of early writing machines, important and unusual typewritten texts, the creation of On the Road, and the exploits of a typewriting cockroach named Archy, numerous monkeys, poets, and even a couple of vampires. He gathers into his narrative typewriter-related rumors and anecdotes (Henry James became so accustomed to dictating his novels to a typist that he required the sound of a randomly operated typewriter even to begin to compose). And by broadening his focus to look at typewriting as a social system as well as the typewriter as a technological form, he examines the fascinating way that the tool has actually shaped the creative process.With engaging subject matter that ranges over two hundred years of literature and culture in English, The Iron Whim builds on recent interest in books about familiar objects and taps into our nostalgia for a method of communication and composition that has all but vanished.
you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome / you are a man / you are a little confused / you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome . . . Apostrophe is: a) a figure of speech in which a person, an abstract quality or a nonexistent entity is addressed as though present b) a poem written in 1993 in which every sentence is an apostrophe c) a
Guy Maddin is Canada's most iconoclastic filmmaker. Through his reinvention of half-forgotten film genres, his remobilization of abandoned techniques from the early history of cinema, and his unique editing style, Maddin has created a critically successful body of work that looks like nothing else in Canadian film. My Winnipeg (2008), which Roger Ebert called one of the ten best films of the first decade of the twenty-first century, has consolidated Maddin's international reputation. In this sixth volume of the Canadian Cinema series, Darren Wershler argues that Maddin's use of techniques and media that fall outside of the normal repertoire of contemporary cinema require us to re-examine what we think we know about the documentary genre and even 'film' itself. Through an exploration of My Winnipeg's major thematic concerns - memory, the cultural archive, and how people and objects circulate through the space of the city - Wershler contends that the result is a film that is psychologically and affectively true without being historically accurate.
Poetry. FIDGET is Kenneth Goldsmith's transcription of every movement made by his body in a period of thirteen hours. Originally commissioned by the Whitney Museum of American Art as a collaboration with vocalist Theo Bleckmann, FIDGET attempts to reduce the body to a catalog of mechanical movements by a strict art of observation. The stress of this rigorous exercise creates a condition of shifting reference points and multiple levels of observation that inevitably undermines the author's objective approach, and the trajectory of the work begins to change. Kenneth Goldsmith is also a visual poet and music critic.
Toronto's CN Tower has fallen into the lake. The city is crowded with refugees from the US. Michael and Ruth Racco's dad has, in a rash of road rage, perpetrated the Backhoe Massacre. And, in the middle of it all, little Jimmy Hardcastle has, in the fountain of a suburban mall, walked on water. As helicopters chop the air over Toronto and a paranoid America slides into fascism, kids from south of the border collide with kids from north of the border and, over lattes, ruminate on new possibilities. Your Secrets Sleep With Me is a frenetic, ruthlessly hilarious critique of power and politics. Brilliant, absurd, incisive and fun, this caffeinated novel will take you on a doomed search for the place where you end and everything else begins. But you will not be alone. Shhh. Don't worry. Your secrets sleep with us.
These four plays - White Mice, Who Shot Jacques Lacan?, Radio Rooster Says That's Bad and Over - written by Darren O'Donnell for his theatre company, Mammalian Diving Reflex, will challenge your politics, your ontology and everything you hold to be safe, stable and sacrosanct. Inoculations documents O'Donnell's progress through the past decade, from the first presentation of Over in 1993 at Buddies in Bad Times Theatre's Rhubarb! festival to 2000's highly acclaimed, Dora-winning presentation of White Mice at Toronto's Theatre Passe Muraille. Covering subjects as diverse as racism and the light spectrum, these plays are provocative, innovative and riotously funny - as entertaining to experience on paper as on stage.
Dynamic Fair Dealing argues that only a dynamic, flexible, and equitable approach to cultural ownership can accommodate the astonishing range of ways that we create, circulate, manage, attribute, and make use of digital cultural objects. The Canadian legal tradition strives to balance the rights of copyright holders with public needs to engage with copyright protected material, but there is now a substantial gap between what people actually do with cultural forms and how the law understands those practices. Digital technologies continue to shape new forms of cultural production, circulation, and distribution that challenge both the practicality and the desirability of Canada's fair dealing provisions. Dynamic Fair Dealing presents a range of insightful and provocative essays that rethink our relationship to Canadian fair dealing policy. With contributions from scholars, activists, and artists from across disciplines, professions, and creative practices, this book explores the extent to which copyright has expanded into every facet of society and reveals how our capacities to actually deal fairly with cultural goods has suffered in the process. In order to drive conversations about the cultural worlds Canadians imagine, and the policy reforms we need to realize these visions, we need Dynamic Fair Dealing.
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