By Andy Warhol
Conceptually detailed, hilarious and scary, often called “pornography” within the manhattan instances e-book Review’s unique evaluation and as a “work of genius” in Newsweek’s, a: a unique is the appropriate literary manifestation of Andy Warhol’s sensibility.
In the overdue sixties Warhol got down to flip a exchange e-book right into a piece of father paintings, and the end result used to be this extraordinary account of the famously influential workforce of artists, superstars, addicts and freaks who made up the manufacturing unit milieu. produced from audiotapes recorded in and round the manufacturing unit, a: a singular starts off with the superb Ondine popping numerous amphetamines after which follows its characters as they speak with encouraged, speed-driven wit and minimize swaths in the course of the golf equipment, espresso retailers, hospitals, and whorehouses of 1960’s new york.
"A new type of pop artifact" -- Library magazine
"Hellish hymns from Amphetamine Heaven, the vox populi of the Velvet Underground ... those everyone is witty and they're grand, they do poor issues and make lousy feedback. Ondine is an East Village prima donna, a hoarder of gossip and finery and orgies and medicine. he's filthy, yet he's humorous ... The characters signify the unusual new type, untermenschen prefigurations of the technological millenium"
-- Robert Mazzocco manhattan evaluation of Books "
A paintings of genius" -- Newsweek
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Yet the book has in fact been made public; its intriguing complexities and commanding tone of authority can be expected to secure for it a wide circulation. And if the present state of criticism is correctly described by Frye as 'a mystery-religion without a gospel' whatever that means - this volume might easily com e to be regarded as the gospel long awaited. This metaphor of religion is used advisedly: because the book strongly implies a tendency to find in literature a substitute for religion, and in criticism a substitute for literature.
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29 And the Mariner's prayer must often have been repeated in those long nights: The Mariner and the Albatross 25 o let me be awake, my God! Or let me sleep alway. At the height of the Mariner's suffering and loneliness, sleep and dream become central ideas. It is noticeable that the Mariner, like Coleridge, does not regard them as necessary concomitants. The Mariner, it is true, hears the 'two voices in the air ' while he is asleep; but he recognises them as being merely voices so that the tempo of the verse does not race as it did when he sighted the spectre-bark.