BWAHAHAHAHAHAHAHA!
BWAHAHAHAHAHAHAHA!
From The Writer’s Almanac
:
Nathaniel Hawthorne’s The Scarlet Letter was published on this date in 1850 (books by this author). He didn’t expect the book to sell well, although he did feel that “some parts of the book are powerfully written.” As it happened, the book was an instant best-seller, selling 2,500 copies in 10 days. The Scarlet Letter was one of the first mass-produced books in America, and it was likewise distributed quickly, so more people were reading it at once and talking about it. The word of mouth drove sales of the book, a relatively new phenomenon at that time. The second edition, a run of 1,500 copies, sold out in just three days.
…the Time Inc. Reading Program issued a reprint of Graham Greene’s The Power and the Glory, complete with an introduction from the editors of Time. Here ’tis. Apparently, Greene was also well acquainted with suicide. Anyway, it’s all pretty remarkable.
Nick Ripatrazone, poet, writer, Korrektiv guest blogger, and interviewer extraordinaire at The Fine Delight, recently got interviewed himself.
This just in:
We are pleased to report that your poem, “Thanksgiving 1987,” has been selected to appear in an anthology edited by Jill Peláez Baumgaertner. This book, Imago Dei: Poems from Christianity and Literature, will be published by Abilene Christian University Press in 2012. The anthology is a collection of the best poems that have been published over the past sixty years in Christianity and Literature.
These little beautiesare more popular than Margaritas in Mexico.
The players take to the garden, return again
To ancient themes, to nature’s patient agonies
Impressing stone and wood with active energies.
Meanwhile, the city clings low to shimmering swells
Of ground fog rising in scarves from the cooling Kidron
And wrapping fingers around the ancient walls.
The city sees a change while upturned palms burn
For ash. No small wonder, really, for Gehenna
Where there’s little significance to the olive,
Where trees that hang a heavy harvest dim the grove,
The flowering night shade of their candelabra,
The branch-work that threads like a path through the garden.
And crouched in a stone cage is one with a greasy shine
Spilling out everywhere – an almost cat-like
Creature threatening in its silence to devour
With hemp’s crush the segments of an hour like children
In springtime, a creature wound up and tense to strike
The torrid springtime itself in its highest hour.
It was darkness rolling troubled stones in silence.
The harvesters rang out with toil from the field.
The workers at the presses also came with jars
Of clay that brimmed over product thick with a year’s
Devotion – spilling none, counting plentiful yield,
And selling birthright for a silver tuppence.
Drying up the river through the temple
Crying a name as yet unknown
It was a rampant season for making history;
An empire in mid-life and overripe with fruit –
The labor and betrayal pierced to the bitter root
The heroes plucked as heirlooms from the flames of Troy
And scorched on beaching ships that burnt without succor
Until drenched in Pax Romana’s sweetest liquor.
In fired chalices formed from stolen frontier gold,
Oil unmixed with wine rises to the surface,
Contained by art’s own unmitigated pressures;
The wilding shadows thrown by torchlight in palace
And temple rush headlong with violence, furious
At time’s atrocities committed by young and old.
An ignorant eroticism makes quick gains
Among the royalty who, following the masses,
Begin to sing of arms while Brutus and Cassius
Are ghosts, deleted Latin on a page, the veins
That course the marble tombs of Caesar’s whitewashed stone,
Even as Pompey’s Pharsallus blows dust and bone.
With bruised olives drying up, refused in a pile;
With only the fires to keep away the flies –
Now’s the time all sorrow ends; mystery beneath
The toga’s folds begins a pagan rehearsal –
Redemption speaks of prefects, governors, prelates
Who suffer through their days with fortune’s reversal
To dance the hours, hours of office, out of breath –
And trumpet credit to death’s triumphs, their debits.
Such hours are for the scrolls of pagan dramatists.
One egregiously comic moment in a garden
Is enough to bereave a wife and her children.
In this, glory’s power cannot enlist the just,
Nor pretend to compensate with porched solitude:
The shades of earthly majesty are pumice-smoothed –
Lacunae scripted on a double-sided scroll;
A buffo’s dumbshow for eternity – perfect
Empire. But roles and lines for governorships have been
Exchanged before the clock, and so they will again –
For this that is now is not as it ever shall
Be: The stone rolls to cure patience or sour product.
Thus better frontiers by time’s margin will maintain
The autumn’s golden bough, as its glitter rattles
The ravaged, tattered foliage in a sacred wood
Where eyes are cross-beamed and dream of a bleeding rood
That drips with critical sweat and crucial oils.
A sponge is daubed to rarify the galling pain.
Drying up veins sloughing off to dust
Crying a shame as yet unknown.
The laden branches bending low to earth are soiled
This spring by imperfection and excess, all told
In the waft of ripeness and waiting press of fruit;
The gentle fructification tendering both root
And branch; the steel that touches wood; all such will catch
The ripened globules where the stem and tree attach –
And drying up, tapped and sapped, crying night at noon,
All shadows are realized now and released at once –
A snapping twig alone tells the coming of time
To press upon and squeeze out oil like tears, and soon
Embrace the price of love. (With untested endgame,
Cagey death attempts to whisper its own sentence.)
Drying in the sun the clay cracks
Between words written, only unbreathing
The garden took, embraced and held its own harvest;
With greed, it cradled a cup of spill. The press is full
Of leopard’s agony blazing lightning, unblessed
By its stony heart’s wish for miracles in clay,
And brought to life in the perfect turmoil of soul,
Bringing back to life the holy rest on the last day.
Official hands are washed – courts are covered purple –
The prophetic dreams are drenched in acrid night sweats:
“Forbearance,” whispers the child in plainest glory.
Friends sleep, awake, and sleep again…. Such ignoble
Hours, such holy hours – even for the governor. He,
Informed his sleepless wife is having fits and starts,
Beholds no truth in man: “It is void as silence,
This dream I’ve had, my love. It is numb as violence –
Please, my dear, forebear…. I fear a certain horror
Stations itself above an unbloodied altar…”
Unbreathing, he makes no reply. (The fact of love
Is incomprehensible. That is cruelty enough….)
The groan of wood and stone’s cavitation wakes the wife
Of the governor with trouble’s dawning doubt;
Oil for the millwheel of Caesar’s rounded empire
Extracting seasoned elements of earth, air, and fire,
Onward, these of nature, to the work and thought
That hateful tempests will drown in daylight’s first grief.
Drying in the sun the flesh crackling
Cries a name
The olive’s small significance begins to grow.
The sun is rising like a greasy silver coin
Smoke-smutted in the pitch of a pine-tarred torch.
Its shady light smears the air. A temple’s porch
Of aimless souls cluster in windless Palestine
Like cooling sweat beading a spent and dormant brow.
Lies in flame
Only flesh soon knowing.
Yet wretched human measures by no accident
Conspire in equity with their natural element
To breed a further conspiracy among men –
As nature contracts fact and deed, so the season
Will take a timely toll even on divinity
With death in shadows, caged in perfect agony.
The mourning-doves are rising, wailing
Before the eastern coming of the sun
The hour stumbles across the dawn, paling,
One among a million practiced for this one.
Such intersected mornings are failing
The philosophers. Their ancient days are done
And mourning-doves are rising, wailing
Before the eastern coming of the sun
The spent and purchased currency of light returns
As green and swelling olives cluster to complete
The seasonal curses that calendars repeat
Since Adam’s parental coinage. Day overturns
The cage – a newly conceived empire’s loose at last
But at the cost of thirty parts silver broadcast –
Destruction’s seed is thrown into a conflagration,
Where each germ shivers minute schisms of the one,
The true, the wholly apocalyptic day star;
No golden idol melted down, but a suffering act
Contracted to nothing, dangling free and clear
Until darkness at noon breaks its contract
With existence. In untethered reminiscence
Of Babylon days, the world is unable to speak.
Incessant stone thunders out the insistent creak
Of lumber pressing flesh. In its tumescence
The fruit is crushed, mangled, but unable to free
Itself from the weighty wood of its parent tree.
The torch’s midnight smoke and ashy grit will keep
The winging chorus of flies from softly singing
Too close to tempt his ear. Their chary cataract
Of sound and fury augur thunder’s cardiac
Arrest in rent precinct vistas; with a tearing song
Of fabric, light divides the temple’s pallid drape.
Abstracting death from its sagging weight, the world’s flesh
Is driving steel into wood:
…sabachtha’ani!
A voice is calling Elijah, a voice quaky
And translating death from the tongue’s Hebrew anguish,
A poem of lightning reciting the psalmist’s groan
In empty space – where grace oozes blood like ozone
And breathes its life into crumbling scrolls.
Inspired,
God becomes a wound,
As from a wounded word
Consonants grow vowels.
As silence yields a human sound.
From Forbes.com – right down the road, in Alvin, Texas, check this out:
In early November, Condé Nast received an “Electronic Payment Authorization” form by email at its offices in … New York. The form appeared to have been sent by Quad/Graphics. The form requested that Condé Nast direct payments for Quad Graphics to the Quad Graph Account, and provided account information. Condé Nast filled out the form and returned it by facsimile from its offices in … New York to the facsimile number provided in the form. Following Condé Nast’s receipt of the “Electronic Payment Authorization” form, Condé Nast started making payments for Quad/Graphics bills by ACH transfer from a Condé Nast account with JPMorgan Chase Bank in New York to the Quad Graph Account.
For the rest of the year–and, the lawsuit says, after that one email–Condé Nast Wired $8 million to Quad Graph.
Then, on December 30, the lawsuit says, someone at Quad/Graphics–the actual printer–contacted someone at Condé Nast asking why Quad/Graphics hadn’t been paid by Condé Nast since mid-November. That triggered a few alarm bells, including what must have been, at Condé Nast, a WWD moment (“What? What? Damn!”).
Read the whole thing: Conde Nast Paid $8 Million to Scammer Who Sent One Email

A nod to Kierkegaard and Walker Percy: existentialist tomfoolery, political satire, literary homage, word mongering, a year-round summer reading club, Dylanesque music bits, apocalyptic marianism, poetry, fiction, meta-porn, a prisoner work-release program.
Søren Kierkegaard
Walker Percy
Bob Dylan
Betty Duffy
Charlotte was Both
I Have to Sit Down
The Onion
The Fine Delight
First Things
Dappled Things
All Manner of Thing
Gerasene Writers Conference
Scrutinies
Transcendental Musings
The Ironic Catholic
DarwinCatholic
Inside Catholic
Catholic and Enjoying It
Catholic Radio International
Bad Catholic
Universalis
Is My Phylactery Showing?
Quotidian Quintilian
The Lion & The Cardinal (Daniel Mitsui)
Babes in Babylon
Fort o' Tude
Ellen Finnigan
En pocas palabras
William Wilson, Guitarist Extraordinaire
Godspy
Godsbody
Conflicted in early life between his desire to be a weatherman for local community access cable stations and a man who wears pants in July, JOB took the middle road and now writes poems between every waking moment. [Read More …]
All you need to know is that I'm a lady, understand?
Behave yourselves accordingly. [Read More …]
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This Just In: Books/Reading/Publishing Not Dead
From the latest fabulous edition of McSweeney’s Quarterly Concern:
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