Poetry. Asian American Studies. BLIPSOAK01 is a creative endeavor not only in the use of the page as more than a backdrop for words. Lin plays with the effects that the visual placement of words has on the reader, adding an extra dimension to already fascinating poetry.
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Tan Lin is the author of Lotion Bullwhip Giraffe (Sun & Moon Press, 1996), BLIPSOAK01 (Atelos, 2003), ambience is a novel with a logo (Katalanché Press, 2007), Heath (Plagiarism/Outsource) (Zasterle Press, 2009), Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking [AIRPORT NOVEL MUSICAL POEM PAINTING FILM PHOTO HALLUCINATION LANDSCAPE] (Wesleyan University Press, 2010), and INSOMNIA AND THE AUNT (Kenning Editions, 2011). His work has appeared in numerous journals including Conjunctions, Artforum, Cabinet, New York Times Book Review, Art in America, and Purple. His video, theatrical and LCD work have been shown at the Marianne Boesky Gallery, Yale Art Museum, Sophienholm Museum (Copenhagen), Ontological Hysterical Theatre, and as part of the Whitney Museum of American Art's Soundcheck Series. Lin is the recipient of a Getty Distinguished Scholar Grant for 2004-2005 and a Warhol Foundation/Creative Capital Arts Writing Grant to complete a book-length study of the writings of Andy Warhol. He has taught at the University of Virginia and Cal Arts, and currently teaches creative writing at New Jersey City University.
The author of the acidly neo-dada Lotion Bullwhip Giraffe (Sun & Moon 1996) here offers a poetry that is, on the one hand, designed to be "very very easy and relaxing at the synaptic level," and on the other, works as a mammoth study of the "lateral" page break—forcing a line of poetry, often in the middle of a word, across the gutter of a verso-recto spread. Lin's concept of "Ambient Stylistics" (explored by Brian Kim Stefans in his recent "A Poem of Attitudes" from Fashionable Noise) here gets exhaustive treatment, with the book's Brownian motion allowing everything from "Byzantine legs" to "A halo" that "barks an allusion to water." After a few pages, one gets the feel that what shows up in the work probably correlates directly to whatever the poet happened to see at that moment, on the Web, out the window, or within his rather detached emotional registry, and that the work is boring on purpose. In a book where one might spend a few minutes contemplating how "photos" become "hotos" or how "data points do not p" gets extended by "lay off each other," Warholian boredom makes the book's rather ordinary formal properties stand out more starkly (or soothingly). Probably the most ironic take on stoner aesthetics ever imagined and put into print, this book lazily flips the bird to poetry, mainstream and avant-garde alike, in favor of "The local-grow of nothing-slow.... A hallway of po-po."
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