As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
In a review of The Brain Harvest, Ken Nash’s first story collection, artist Clare Le Couteur describes a typical Nash story thus: “You turn it over again in your hands, like a wooden puzzle. You can figure out how it comes apart and fits back together, but still can’t seem to fit it in your … Continue reading
As Iain Sinclair has observed, Makin’s “writing is that it is. This is prose you must learn to experience before you begin to interpret […] the pages in their beautiful and delirious abstraction are ordered poetry.” Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” … Continue reading
Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” and dealing with the processes of passing, disappearance, & death. As David Vichnar has observed (see here), Makin’s is writing born out of “the obsession of the I that wants to die without ceasing to be I.” … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” and dealing with the processes of passing, disappearance, & death. As David Vichnar has observed (see here), Makin’s is writing born out of “the obsession of the I that wants to die without ceasing to be I.” … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
Richard Makin’s Work continues the “work” of Mourning by taking stock of “the minutiae of the view, the dissenting details,” and dealing with the processes of passing, disappearance, & death. As David Vichnar has observed (see here), Makin’s is writing born out of “the obsession of the I that wants to die without ceasing to be I.” … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
We at Equus Press are proud to announce the planned publication (in late 2019) of Richard Makin’s Work, a piece accompanying (in its newly rewritten form) Makin’s Mourning (Equus Press, 2015). Work thus both precedes (its previous version published by Great Works in 2006) and follows Mourning, continuing the “work” of Mourning by textually reckoning and coming to terms with “the minutiae … Continue reading
Prague Dadaist Melchior Vischer (1895-1975; for more info see here and here) was a prominent figure in early 20s Prague’s artistic scene. After serving briefly in WW1 and then graduating from Charles University, Vischer worked as a theatre critic for the major daily Praguer Presse, where he was an early champion of the work of Franz … Continue reading
PRAGUE DADA & THE REVISIONIST POLITICS OF INTERWAR AVANT-GARDISM It is a frequently repeated assertion that Dada, like the Plague of 1348, passed the City of a Thousand Spires by – an assertion given credence by the few commentaries & ripostes published by the likes of Roman Jakobson & Karel Teige between 1921 & 1926, … Continue reading
“This is not real life. This is not fiction. This is not a novel. This is not an exit.[…] This is not a dream. This is not a pipe. This is not a love song.” (19) It is always way easier to say what things aren’t than call them what they are – as negative … Continue reading
Tristan Tzara’s lecture, delivered in March 1946 in Prague, is introduced with an apology for “the Munich betrayal” and French political participation in it. Tzara then presents a thorough reflection on the birth and development of the Dada movement. Emphasising the feelings of frustration of the 1914-1918 war generation, he shows how “Dada was born … Continue reading
SUBTEXTS (Prague: Litteraria Pragensia Books) is an a-temporal book. In his introduction to it, David Vichnar posits an almost century-long discussion of the possibilities, or rather the impossibilities of the avant-garde(s) facing the ever-new neo-avant-gardes in their original a-temporal context. So, we get it from the start that SUBTEXTS leans heavily on their contemporary context(s).
“The Combinations ranks on my Holy Shit-O-Meter! in close proximity with Ada, or Ardor, by Vladimir Nabokov and Against Nature, by Joris-Karl Huysmans.” Karl Wolff gives the National Book Critics Circle treatment to Louis Armand’s THE COMBINATIONS (excerpted from a 5-part review originally published by Driftless Area Review)
Richard Makin is an extraordinary artist, easily the most insubordinate, bad-boy writer working today. He cares not a lick about narrative or character or other such theories that any child can understand. He scorns your traditions and conventions, which are useless nonsense anyway. What have you been going on about again? Oh, that old-hat stuff … Continue reading
František Halas (1901—1949) was one of the most significant Czech lyric poets of the 20th century, an essayist, and a translator. He was self-taught, without higher education. After 1921 he started publishing in the communist newspapers Rovnost and Sršatec, and together with Bedřich Václavek co-edited the avant-garde magazines Pásmo and Fronta. In 1926 he became … Continue reading
The Combinations truly is a contemporary book that: falls into the category of Maximalist Literature (a new addition to the list for people into that) since this is a book of (the good kind of) excesses and, runs in the line of fun-having absurdity, anxiety & conspiracy centred novels that Pynchon’s name is attached to.
Equss Press is delighted to announce the forthcoming publication of two new titles, Natural Complexions by D. Harlan Wilson and GlassHouse by Louis Armand, two important works by two contemporary innovators.
JIŘÍ FREJKA (1904-1952) was a theatre director and theorist, who made his debut in 1923 with his own parodic variety show Kithairon. In early 1925, he co-founded (with Jindřich Honzl and E.F. Burian) the Theatre of the Youth (Divadlo mladých), which in October that year became the Liberated Theatre (on Karel Tiege’s advice, after Alexander … Continue reading
Walter Serner was born into a Jewish family as Walter Eduard Seligmann on January 15, 1889 in the Bohemian spa town of Karlovy Vary (Karlsbad at that time). His father, Berthold Seligmann, owned the town’s major newspaper, the Karlsbader Zeitung, for which Walter wrote an arts column. In 1909, he graduated from the gymnasium in Kadaň … Continue reading
Bedřich Václavek (1897-1943) was a Czech Marxist aesthetician, literary theorist and critic. In the 1920s, as a Devětsil member, he was an early advocate of poetism, with emphasis on proletarian art. In the 1930s, he was active as a spokesman for the Left Front movement where he developed his theory of socialist realism. During Nazi … Continue reading
Adolf Hoffmeister (1902-1973) was a Czech writer, journalist, playwright, painter, caricaturist, translator, diplomat, lawyer, and traveller. In 1920 he became the youngest co-founder of the Devětsil art group. In 1922 he made the first of the many journeys to Paris, where he regularly met with the international arts scene, many of whose representatives he would interview … Continue reading
Jiří Voskovec (1905-1981) was a Czech actor, writer, dramatist, and director who became an American citizen in 1955. Throughout much of his early career he was associated with the Liberated Theatre, which he co-directed with fellow actor and playwright Jan Werich. He immigrated to the US in 1939 and again in 1948 with the onset of … Continue reading
Equus Press is starting a mini-series of articles which bring first-ever English translations of primary and critical texts to do with the under-explored topic of Prague Dada. This instalment combines three articles published between 1925 and 1927: “Dada Creative”, on the strenghts of German dada, by prominent literary critic Bedřich Václavek, “Dada and Surrealism”, a … Continue reading
DAGGER 1 The sun fell down on California. Inside a large beach villa, lights flared. The place belonged to Pete Dagger, all‐star American writer. Dagger was among the biggest of the writers, perhaps the largest of the era. He was a top multi‐millionaire popular artist who was loved by the critics. He was huge with the academics, who sucked from … Continue reading
*Republished courtesy 3AM Magazine ‘Valorised by the Situationists as a demographic of urban drift and a manifestation of the “no work” ethos, this sub-proletariat is the very opposite of anything that could be called a movement let alone a class, and is perhaps better considered according to the sense of Bataille’s l’informe : that non-category of … Continue reading
