written slurped at amtrak’s 49er dining car may 2015 chicago to new york 24 hours 45 minutes

Historically locked and loaded the believers breeding decadence sway the line to navigate synonyms and antonyms. Political and social dialogue masked in leisure, so far from Calvinist conception of the self. Intelligibility of the world becomes a game of recognizing duality, confronting it to slash the form. I think of differences in affirmation and alienation // of autonomy and heteronomy // stupidity and ignorance // evidence and truth // self-disclosure and availability // informational and intuitive // silence and noise. We find each pair shares an assertion that undercuts relativism. Practical identity of an object unhinges without the reverse adequatation. Acknowledgement of the other side’s the intersubjective process needed to distinguish objectivity — in anything. To brush against a concrete object slashes the conceptual abstraction.

Because of this: Decadence becomes damn difficult to define. It depends on from which side you’re experimenting on and searching to understand, whether you’re mapping deliberate directions on an atlas or unrecognizing of landscapes, of clothing, of the self, lost. Because of this, decadence’s easy to define: it plays on, with, and to the individual. It becomes more than Husserl’s interactive coincidence. Forget it to recall,

Identity produces objectivity; hence today’s contempt decadence’s resurgence and revival. What better climate for the creator to frolic or paralyze, the condition of socio-politcal extremity’s the perfect time to deconstruct …or reassemble?

Today, we must consider Richard Braughtigan’s The Wild Birds of Heaven — daddy boasts of debt but good credit
— or we must consider Larry Salander’s sales — the elite’s de rigueur purchasing —
or we listen to Shawn Greenlee: Live March 15, 2013 — the clothing and the self we assemble under nudity —
or we think of Chanel Number 5 in May 2015 — NYC pop-up flaunting century-old scent under a trendy rouse —
or we might consider the following selective : [ words + syntax unedited, only  unreal removed]


Sue’s Marriage Might Be Failing

slurped  at amtrak’s 49er dining car
may 2015
dinners and noise
my wife makes it a last minute thing with sardines
we’re sitting at this table
it’s christmas
“it means something to you
doesn’t it”

you buy —
i buy perfume i buy i buy, you don’t get
free gift of a thing — a gift is uh
you, don’t get pleasure out of it i, get pleasure out of
actually i understand that
i purchase things and feel good

if you don’t purchase things to feel good
then you’re just a decorum
i could tell you what i’d buy for Sue

We’ve gotten lax on birthdays
and when i say we i don’t mean we i mean i
there are times i forget cards and things like that
and there are times You forget things like that
and i should ‘member
in my memory sight cause
my mother celebrates my birthday for one month
not one day

i just, it’s all fine
i like gifts giving gifts

another thing is you close a deal with a watch and money
and wanting to spend or you’re up for betting
but you’re in Minneapolis for work and you should go on the plane to get home
and you think i shoulda i shoulda i coulda got it all + got it through the door
you’re always betting


ill tell you what drives me crazy
what will shock you
it’s a point
in a clothing store, a coat store
if its 29 dollars or 139 dollars if it’s something like that
buy the damn thing
i know the color i know the buttons
there’s four
Sue will love it
she’ll accept it — with
she wants them anyway
she walks away

she looks at them she likes them she walks away
i say, do you like the shoes?
‘they’re nice”
fifteen years ill buy 80 pairs
but Sue,
Sue buys no pair

she’d have four pairs without me
i pay attention
to weather conditions and weather driven
shoes they’re wearing
i’ve seen from here down gym shoes and thought
look at this
yeah, look at this
they’re wearing their account
on their bones
out the shop

so i go home and i have a gazillion boxes and packages and boxes
and i go look under the tree and there’s a bunch of anchovies and
pencil erasers
and i mean really
under the christmas tree i don’t care where when you grew up
you put a lot under your tree
wrap each little thing individually
no splitting
of the money
go to christmas eve and two families
with lottsa
blankets and horses
and food
and presents
presents that move
no body even knows
the presents
the presence of presents
+++++++ +++++++ +++++++ +++++++ +++++++ +++++++ +++++++ +++++++

Pain, sex, pop, madness, death are all excess the self, body, beauty, mind, life.

But also,

Pleasure, abstaining, obscure, sane, birth are all excess as well.

The reality is, that all’s illusory. Sue’s husband needs materialism between himself and others to “feel good” and he looks at appearance to judge a false truth:

they’re wearing their account
on their bones
out the shop

or the individual object disguised to hide the true nature under the wrapping:

you put a lot under your tree
wrap each little thing individually
no splitting

If unwrapped the mask drops. But unmasking to explore fulfillment won’t ever reach fulfillment. The container has no backstage in which everything is clear, no theocratical backstage. The object is it. The person is it. The interplay of how to approach it remains.

Creating becomes the condition of the self. Restlessness and exhaustion whacks the artist acting as nihilist. Being-toward-death is exactly the same structure as being-with-others. To be with others detracts you from the ability to be alone — on your own — but at the same time people are needed to reveal to you who you are through affirmation or denial, which is why you cannot be who you really are with or without them. So the product of the alienated man is the object that’s worthy to explore.

Like in glass blowing, a Chihuly piece could take a week to finish, and years to know how to do it in the first place. Consider the intense, technical skill to make work in glass blowing. But watch how effortlessly glass falls from the flick of a wrist into the river to bob away from the creator.

Nietzchean view’s that art’s designed to serve life didn’t stop in the post-modern timeline. Stephen King’s On Writing fights for this tooth-and-nail contextualized with today’s artistic flirtation tendencies with perhaps. alcohol or opium or cocaine addictions.

So decadence is prevalent, whether we look with wonder or contempt, we look to objects and productions to indicate a stance or position. We need to travel far with our work to the absurd and the meek to the kinetic, so long as we move as far from stasis as possible. To cease objective values through subverting ceremonies and rituals that define man. At least, that’s one side of a decadent perception on being in the world. The creator’s take on it mens little in comparison to the work produced.

The through subversion of We to DH Lawrence in wonder or Sharon Olds in contempt, or
addiction conte P
discussion. middle ground of this.

Decadence needs the indecency of ignoring the is to detract you from the capacity to be on your own make work that succeeds in the half-wild, half-indecent



with wrapping paper to under wrappings to to individual disguised to

through appearance,


Heard there’s a hot revival of a Chicago Magazine

NEWS RELEASE:  Another Chicago Magazine makes a comeback.
November 7, 2017
Forty years after it began as a modest booklet of student work, and more than two years after its last print issue, Another Chicago Magazine has reinvented itself as an online-only publication. Issue #55 is out, featuring an interview with George Saunders after his Booker award. (“When I was young I really thought if you just wrote the right book, you could stop evil in its tracks.”)
It continues its recent affinity for publishing non-realistic fiction with Ben Loory’s fairy tales for adults, and Dan Moreau’s interweaving of the real and speculative in “The Palaces of Saddam Hussein.” Poet Jennifer Conlon asks a question that sounds familiar: “Why Did ____ Join If They Knew What They Were Signing Up For?” and Eliza Nichols translates a section of Franco-Somali author Patrick Erouart-Siad’s memoir of life with his mother in colonial Djibouti.
Chicago painter Joyce Polance contributes a striking image of a woman with a belt made of penises, with the evocative title, “Coup.”  Her paintings also accompany the poems.
Inline image
Editor of the new ACM is S.L. Wisenberg, who was nonfiction editor of the print magazine. Dan Gonzalez, former fiction editor, is managing editor. Former fiction reader Betty Scott now edits the fiction, and Matt Wood is nonfiction and digital editor. The poetry editor will be named soon. Kevin Coval is the free-ranging talent scout. The magazine includes an economy editor, Corbin Hiday, who will explore large societal questions.  
In the 1990s and the beginning of the 2000s, ACM was run by a stable group of editors, led by poet and biography Barry Silesky. Fiction editor was Sharon Solwitz, and Wisenberg joined as nonfiction editor. Simone Muench was longtime poetry editor. Under Silesky, the magazine became known for work that was both edgy and political in form and content. The online issue includes four prose poems by Silesky.
In its four decades, ACM has published writers from Charles Bukowski to Samantha Irby. It published early work by Jenny Boully, Ira Sukrungruang, and Kathleen Rooney, as well as a piece by a Chicago visual artist just beginning his writing career: David Sedaris. The magazine also published a chapter of Mira Bartok’s “The Memory Palace” her first book for adults, before the best-selling memoir was published.
Other notable writers whose work have appeared in ACM are Sterling Plumpp, Robin Hemley, Julie Marie Wade, Michael Martone, Ander Monson, David Trinidad, Richard Cecil, Joshua Marie Wilkenson, Achy Obejas, Alan Cheuse, Joe Meno, Jim DeRogatis, Cris Mazza, Maxine Chernoff, Stuart Dybek, James McManus, Virgil Suarez, Albert Goldbarth, Shelley Jackson, Ryan Van Cleve, Paul Hoover, David Ignatow, Campbell McGrath, Beth Ann Fennelly, Patrick Somerville, Amelia Gray, Lindsay Hunter, Jac Jemc, Halle Butler,  Stephen Motika, Aaron Burch, Thomas McGrath, and Brigit Pegeen Kelly. And more and more. In addition, the magazine has included interviews with many literary luminaries, including, Amiri Baraka, Allen Ginsburg, Carlos Fuentes, Aleksandar Hemon, and Grace Paley.
The next submission period for the semi-annual magazine will be January 1-June 1, 2018. The magazine also includes and welcomes reviews and review-essays of books that explore social issues and politics, as well as literary works. It plans to include a wide-ranging blog to explore art and ideas.
Recent editors have included Matt Rowan, Jacob Knabb, and Caroline Eick. Rowan led ACM to deliberately expand its fiction beyond mimesis to include metafiction and slipstream literature.
The magazine was recently part of the independent publisher Curbside Splendor but has returned to independence. It is not affiliated with a university or other organization.
Information: S.L. Wisenberg, Slwisenberg@sbcglobal.net; 773-909-8702