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Burroughs... [Jan. 17th, 2012|01:50 pm]
Mariners sailing close to the shores of Tuscany heard a voice cry out from the hills, the trees and the sky: "The Great God Pan is dead!" Pan, God of Panic: the sudden awareness that everything is alive and significant. The date was December 25, 1 A.D. But Pan lives on in the realm of the imagination, in writing and painting and music. Look at Van Gogh's sunflowers, writhing with portentous life; listen to the Pipes of Pan in Joujouka. Now Pan is neutralized framed in museums, entombed in books, relegated to folklore. But art is spilling out of its frames into subway graffiti. Will it stop there? Consider an apocalyptic statement: "Nothing is true. Everything is permitted." - - Hassan i Sabbah. Not to be interpreted as an invitation to all manner of restrained and destructive behavior; that would be a minor episode, which would run its course. Everything is permitted because nothing is true. It is all make-believe, illusion, dream...ART. When art leaves the frame and the written word leaves the page - - not merely the physical frame and page, but the frames and pages of assigned categories - - a basic disruption of reality itself occurs: the literal realization of art. This is a very different direction from Duchamp, Klein and Manzoni, of appropriating everything in sight by signing it or putting it on a pedestal. Instead of appropriating by framing and signing, remove the frames and the pedestals, yes, even the signatures. Every dedicated artist attempts the impossible, Success will write APOCALYPSE across the sky. The artist aims for a miracle. The painter wills his picture to move off the canvas with a separate life, movement outside of the picture, and one rent in the fabric is all it takes for pandemonium to sluice through.

Last act, the End, this is where we all came in. The final Apocalypse is when every man sees what he sees, feels what he feels, and hears what he hears. The creatures of all your dreams and nightmares are right here, right now, solid as they ever were or ever will be, electric vitality of careening subways faster faster faster stations flash by in a blur.
Pan God of Panic, whips screaming crowds, as millions of faces look up at the torn sky:
OFF THE TRACK! OFF THE TRACK!

-- William Seward Burroughs, yesterday (emphasis mine).

It got me thinking of dear old Burroughs saying how any soul is worth saving- so the devil asking to buy yours should be seen as a compliment to be turned down-but few are worth buying.

I don't know what I mean.
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“The first product of self-knowledge is humility." [Nov. 29th, 2011|11:44 am]
[music |Take Me Home - Tom Waits]

& thank you, for second chances, deserved or undeserved, asked for or unasked for, but given without reservation, without condition, without anything but kindness.
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WAR JMM! [Nov. 11th, 2011|01:42 pm]
He's old. He's balding. He drinks his own piss. But there, the similarities with my good self end, because umpteen-time, three-weight world champion, Juan Manuel Márquez has served boxing dutifully for years, covering himself in glory (&, possibly, urine) whilst seeing off an improbable list of the world's best feather/lightweights.

At a time in life when most lower weight champs are taking beatings & racking up "RTD by" losses, Márquez has been savaging much younger blokes & collecting titles. An ill-advised step up against Pretty Boy Floyd aside (JMM's never looked good chasing down boxers), his only loss in about a thousand years is versus Pacquiao at super-feather, & before that the controversy-tinged fight with Chris John (which I've never been able to stay awake long enough to score).

Now, comes the final challenge. After their last encounter, you couldn't split PacMan & JMM with a micrometer. They hammered each other to an almost complete standstill, Pac-Man's early against-the-run-of-play knockdown & sledgehammer left hand in the tenth eking out a razor-thin victory of one point on the collected judge's cards. &, in the manner of those who bleat about the point-scoring in the first round of the first fight, the judge who made Pac the winner the second time gave the last round of the second fight to PacMan, who spent three minutes walking on to straight right hands & looking confused. Ho-hum.

This followed an 8th round where JMM's bodyshots seemed to be about to make him cry & indeed the second, where a 1-2-3 had Manny's legs doing a funny little dance the likes of which I have never seen anyone else come close to making him do.

However, since then Pac's looked, if you'll excuse the hyperbole, like a different fighter. Perhaps because he's fighting bigger dudes whose feet are encased in concrete, ever since this fight he's looked like greased lightning with a side order of nuclear devastation, against DLH, Cotto, Margarito, Hatton, Mosley, Clottey & Diaz. Two of those he's blasted clean out, two of those he's battered into submission. The rest he's zoomed around beating up like a mustachioed blur. He's appeared more versatile, more adaptable, more like someone's replaced his reflexes & nervous system with that formerly belonging to some sort of robot squirrel ninja.

He is the deserved favourite, as JMM has been eating left hands by guys who'd struggle to hit Manny with a handful of gravel. More & more Marquez has been punished & pushed to the wall, more & more he's had to grind out results using physical strength & will, as the timing fades & the combinations do not flow so freely. Never perfect in defence, JMM seems to now take heavy shots early as he gets warmed up; he tries to parry or slip, but there's a nanosecond between concept & execution, & he gets nailed so clean. Márquez has slowed so much that during the last few rounds of his points win over Diaz (in the rematch), even though his opponent wasn't putting on any pressure, his legs had that unsteady look of a guy who has gone to the well one too many times.

So, realistically even I cannot make a case for him. Despite his obsession with Manny (almost comically Herzog-like; in fact if Klaus Kinski wasn't dead & blond & German then I think he'd be ideal to play JMM in the man's biopic), I think the flesh is going to be too weak for him to get anything other than a career-high payday. He'll probably rattle Manny's cage again once or twice, but the shots that he recovered from & the danger he fought through four (& indeed seven) years ago will this time be too much, & the inexorable PacMan will move on.

But, one last time, I pay tribute to my favourite counter-punching Mexican, Juan Manuel Márquez: the man, the skills, the heart & the intricate facial hair.


Reasons to love JMM (by Me, 32 2/3):

1) Ever seen anyone make Manny's legs go like this? No. Didn't think so.

2) Textbook punching. Literally, like a demonstration of balance & poise. He looks like someone showing you how to fight:



3) Nuts as big as beach balls. He's actually been decked a shedload, to my knowledge (3 x in the first PacMan fight, once in the second, once against Katsidis, once against Floyd, twice against Norwood, once against Barrera (not counted)), but no-one calls uses him as an example of a shaky chin. Why? The Larry Holmes defence: if you deck me & I get up & beat the shite out of you, my own vulnerability proves I am actually harder than you are. So there.



4) Richard "The Secret" Williams.

5) An underrated, cruel puncher who gets every ounce of bodyweight & torque on his shots. He has no "tell" for the left hook to the ribs, dropping his bodyweight & swivelling over the lead heel with no set-up movement needed to generate power. In layman's terms, this means he brings bodyshots out when you are least expecting it, slamming into your unprepared ribs when you least expect it. No-one else has stopped Joel Casamayor, fer instance. & as I said above, no-one else has made Manny's legs do a little dance.

6) He has vile taste in blazers:



7) The most inventive combinations this side of an Enigma code-breaking machine. I mean, seriously. Watch this

8) There is not an ounce of give in the man. He never holds, he never runs, he never gets the earmuffs on with his gloves glued to the side of his head & waits for the storm to abate; he just wants to hurt you back, as soon as possible.

9) Got to admire a dreamer, who despite events wrecking his plans again & again, just keeps on keeping on, denying consensus reality, borne along on a tide of hubris! Right? Right...?



So, there you have it. I acknowledge reality & the transience of our glory days, but I shall be wearing a sombrero (possibly), waving a rainbow flag & screaming "VIVA MEXICO!" in the early hours of Sunday morning. & when I've finished doing that, I'm gonna watch my favourite fighter, maybe for the last time.

WAR JMM!
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Rapidly becoming the poetry receptacle... [Oct. 14th, 2011|04:46 pm]
[music |Sight For Sore Eyes - Tom Waits]

...but fuck you, this is for my benefit, so nyaaah-ner-ner-nernerner.

Ahem.

“I work all day, and get half drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
– The good not used, the love not given, time
Torn off unused – nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never:
But at the total emptiness forever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says no rational being
Can fear a thing it cannot feel, not seeing
That this is what we fear – no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no-one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.”
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Guess [Oct. 11th, 2011|11:49 pm]
[music |Mr Siegal - Tom Waits]

I love your eyes, my darling friend
Their play, so passionate & brightn'ing,
When a sudden stare up you send
& like a heaven-blown lightning
It'd take in all from end-to-end.
But there's more that I admire:
Your eyes, when they're downcast
In bursts of love-inspired fire,
& through the eyelash goes fast
A sombre, dull call of desire...
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State of the nation [Oct. 4th, 2011|01:49 pm]
"Brits live in hutches on a petrol station forecourt at the edge of a hypermarket car park or an airport. They seem to like it there. They eat a slurry of reclaimed meat. A few hundred yards away it’s possible to see, through the fog of diesel particulates, an eight lane road along which race the nondoms & celebrities in their SUVs, off to view their money in another country. That’s the entertainment. Behaviour is controlled by cctv & peer pressure, mediated by liars who regularly tap phones & supply the results to the police. The rules are simple. Actually, there’s only the one, & when it’s delivered, it’s delivered in a dead but somehow startled tone: if you want anything better you have to pay more. Quality of life–quality of anything–is a feature of the premium package, not the one you signed for. I don’t think you’ll find it says anywhere that you’ll actually get the thing the ad said we were selling."

–The inimitable M. John Harrison.
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Gah [Oct. 4th, 2011|12:56 pm]
[Tags|]
[music |The Tiger Lilies - Heroin & Cocaine]

Wrote a screed-length, overly involved, rambling & probably quite boring post about this weekend's Toshiaki Nishioka vs Rafael Marquez fight, touching on matters mimetic, the insularity of the American media, how Nishioka looks like a character from a Japanese Animé, the sad erosion of time on one's physical prowess, & also about living with reduced expectations & amending one's views in light of the stark searchlight of reality etc etc, & (as you can probably tell from that last clause) also contained a lot of crap relating to my own emotional & mental state of late, but thankfully the computer ate it. I even wrote a bit about the actual fight itself, which'd make a change in one of my incredibly rare fight "reports".

Which is probably for the best. I hate it when people extrapolate some fanciful link between boxing & their own personal issues, yet it's almost impossible to write about it in any other context. If a boxing match is a text (go clock the scoring of the average closely contested fight if you don't believe me), then anyone can of course read anything into it, but the disappointments, the fear, the pain & the body chemicals that it ramps up are so overwhelming that we start to search for a way to express that, to do justice to the magnitude of the thing if you like, & then we end up searching desperately for something in one's own experience to compare it with or to get closer to.

Just seems a bit cheap, is all. Two fucking boys could've died, been fucked up for life, & I try to use that to make a dodgy analogy out of my own personal life?

Thank you then, Demon of the Interwebs, for eating my post. I pray that it's not been preserved anywhere on any kind of Wayback machine or Livejournal cache.

To lighten the mood, here is something with more emotional truth than anything I could ever write: a picture of Toshiaki Nishioka's hair.



Nishioka-san is the kiddy on the left, obviously. Actually, now I think about it, there was a reasonably entertaining bit about Nishioka's footwork & how though he isn't amongst the elite of the elite in boxing his footwork makes me come great spurting jets of Gyppo jism. Pah. Should've probably edited the rest of the bollocks out & kept that bit in, ah well...
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Leeches, again [Oct. 4th, 2011|11:40 am]
[Tags|, , , , ]
[music |Toots & the Maytals, Pressure Drop]

"Hatred of other ethnic groups is in effect hatred of oneself...It is not the other we fear, we fear ourselves, we fear the changes the presence of others may impose. When I say that I dislike Jews, or Roma, or Croats-the list is endless-I am expressing the fear that under their influence, or under the influence of what they genuinely or symbolically represent, I will be forced to give up some of the convictions that matter to me. Their uprooting of my convictions, no matter how irrational, represents uprooting of my personality. And so...if I am not to change, they must be branded, isolated, expelled, and, if necessary, utterly destroyed. But a person who dislikes members of other ethnic groups, dislikes his or her own people, hence, if I announce that I dislike foreigners, I am admitting that I live in a void, stripped of anyone's love. And a person who has no love, given or offered, is no longer human, for love is what defines us in the system of nature that we inhabit."

- Leeches, David Albahari (my ellipsis).
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Thought for the day [Oct. 1st, 2011|07:03 pm]
[music |Factory Floor - Lying]

Pain is the antidote to the void.
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One day, I too hope to be able to dance like Guy Picciotto... [Sep. 29th, 2011|01:02 pm]
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