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Drumbeat plus voltage of syntax and mixed registers plus geometric scales form the acmes of Acidhouse Shakespeare and melded in the telepod are The Runaway Soul, Operation Shylock-Sabbath’s Theater and The Border Trilogy: published in the same frozen chicken market: 1990s Delighted States. These’re skyscrapers-I-enjoy-thee. For what unattempted-in-prose things they pursue. Two-thousand-six-hundred pages across four books, all that foam of ink and paper and glue smells of strong black coffee. They break the jinglers is what. A very interesting night for acidhouse which has nothing and everything to do with rave-music but one of the maddest nights for this type of poetry was 22nd of April 1992. Brodkey and Roth and McCarthy went on the razz in New York with Bloom. It’s true. They met in a whisky bar. It’s from there that Bloom telephoned Gordon Lish who said he’ll be in Hellraiser later. Reports say the writers went to the techno nightclub and started arguing because Lish said you can be both Irish and Jewish but they all dropped a red-n-black capsule of (what Americans call) molly and instead of disagreeing and dancing they huddled in a lightless corner and raved about Shakespeare’s drumbeats, taking turns to recite from Bloom’s copy of the Complete Works. Fact is the novels mentioned above inspired SHOOM’s development for the coding of the cadence comes byway of them and a tie-in with No Maggot Lonely: the generative voicewave scripted alive in my brain.
