March 22 - 23, 2008

The Velvet Years 1965-67 Warhol's Factory

Photographs by Stephen Short and Essay by Lynne Tillman

Paperback, 1995

15 cards

I have read a number of books about Andy Warhol and this book caught me by surprise. First, because I have not come across it before, and second, because of the writing and interviews. Lynne Tillman writes about Warhol thoughtful, insightful and revealing ways, with sentences oscillating between the poetic and profound, "His scavenging was emphatic, his 'lacks' not absences but presences in his work.." to forthright statements with deep resonance, "If anyone showed how weird the idea of taste is, it was Warhol." Chuck Wein plays and big role in the recent film Factory Girl, but this book shows how the Cambridge crowd he and Edie were part of fit into the Factory. This book also dispels myths of the factory. It was a quite place, sometimes, as well as rarely the site of parties.

A few excerpts from the cards:

(The two mentioned above are from page 11)

-11- "His work is difficult though, if one lets it be, just because it can easily be taken at face value. It questions what one is looking at merely by being on the wall, being looked at by you."

-(soup cans) "Even if they no longer shock, they still may surprise."

-12 "Warhol's own system relied on making a lot of a little."

- dialectical manner

-13- something to argue about

-mixer

-14 palimpsest

-15 image- not being a tortured, isolated artist

"There are those who aren't interested in Warhol's work, don't get the picture, never did or will, fine or see nothing, no qualities, in it, none at all in him."

-L. Woolf's defense of Virgina Woolf

-hyphens

"The frame is an embrace, a lover's decision, and like any embrace, something's included, something's excluded."

-17- photographs

-18 "Death is the frame with the toughest grip, with an embrace for everyone."

-memory and history

-Barthes

"No one is ordinary or everybody is, profoundly."

-29- Gordon Baldwin, "...people just improvising, what their lives are, and no one's quite sure what's expected of them."

-29-20 napkin conversations

-30 "Gee Whiz"

-film Lunch

-45- Gerard Malanga, "A people collector. His being quiet added to it."

-63- John Cale- Piero Heliczer

-sense of humor

-64- "A doer, always a doer."

-75- Donald Lyons, quoting Oscar Wilde, "I put my genius into my life, my talent into my art."

-dandyism

-83 D Lyons about Nico, mentions she was learning Bob Dylan's "I'll Keep it with Mine"

-89- Sterling Morrison, "Rather than put it off till next month, he just did it."

-93- Barbara Rubin, Bob Dylan, saving his life, motorcycle accident

-99- D. Lyons, "The Velvets were suburban. Except John."

-108- Susan Bottomly/International Velvet, "I think we cam with our own show."

-115- Jonas Mekas, "As you look at the work of any unrepeatable artist, anything that is unique like that cannot be repeated by anybody else. You cannot repeat Eisenstein or Dreyer."

February 26 - March 19, 2008

Chronicles, Volume 1

Bob Dylan

Hardcover, 2004

25 cards

One would expect Bob Dylan to be a great writer, but it is a delight that he is this good. These works shed light on Dylan, his process, his music, as well as his tussles with critics, interviewers, the public and language, and more. Hopefully there will be a volume two.

Excerpts from the cards

p. 7 Conversation with another man:

"What kind of music do you play?"

BD: "Folk Music"

"What kind of music is folk music?"

"I told him it was handed down songs. I hated these kind of questions. Felt I could ignore them."

p. 9 New York City

p. 11 description of the acts at Cafe Wha? and mention of Hubert's Flea Circus

p. 18- strumming-driving people away or drawing them in closer- "There was no in-between."

"Folk songs were the way I explored the universe, they were pictures and the pictures were worth more than anything I could say."

p. 20 (grandmother ) "...told me once that happiness isn't on the road to anything. That happiness is the road."

p. 32 "There were a million stories, just everyday New York...you'd have to pull it apart to make any sense of it." and also his comment about romance.

p. 34- On the Road and Howl- 45 records being incapable

"LPs were like the force of gravity..." staring at their covers

p. 35 "I just thought of mainstream culture as lam as hell and a big trick."

p. 36 "I was looking for the part of my education that I never got."

p. 39 "The folksingers could sing songs like an entire book, but only in a few verses."

p. 40- art books and artists

p. 42-43 (grandmother) "There are some people you'll just never be able to win over. Just let it go- let it wear itself out."

p. 45- morality and politics

-Vom Kriege Clausewitz's book- "If you think you're a dreamer, you can read this stuff and realize you're not even capable of dreaming. Dreaming is dangerous."

p. 46- "Horde your energy."

p. 52 "I never looked at songs as either 'good' or 'bad,' only different kinds of good ones."

p. 54- protest songs- "...You have to show people a side of themselves that they don't know is there."

p. 55 "Picasso had fractured the art world and cracked it wide open. He was revolutionary. I wanted to be like that."

-"I watched it intently, thinking I might not see it again."

p. 55-56- tv, destroying minds, "the three-minute song also did the same thing. Symphonies and operas are incredibly long, but the audience never seems to lose its place or fail to follow along. With the three-minute song, the listener doesn't have to remember anything as far back as twenty or even ten minutes ago. There's nothing you have to be able to connect. Nothing to remember."

p. 56 "I didn't feel the need to examine every stranger that approached."

p. 57 corduroy trousers

p. 60 Remington typewriter

p. 65 Peter Schumann, Bread & Puppet Theatre

p. 71 "Folk songs are evasive- the truth about life and life is more or less a lie, but then again that's exactly the way we want it to be."

-"A folk song has over a thousand faces and you must meet them all if you want to play this stuff. A folk song might vary in meaning and it might not appear the same from one moment to the next. It depends on who's playing and who's listening."

p. 73 T.S. Eliot poem description

-"...Nietzsche talks about feeling old at the beginning of his life... I felt like that too."

p. 77 snowy streets and NYC as a magnet

p. 79 importance of spelling

p. 80 (New York City) "Lot of walking. Got to keep your feet in good shape."

p. 84 NYPL and microfilm- language and rhetoric of newspapers

p. 85 "It's all one long funeral song."

p. 86- different concepts of time in the North and the South

p. 87 Metro Diner, near 6th Ave

p. 88 "Semantics and labels could drive you crazy."

p. 93 "Polka dances always got my blood pumping."

p. 96 "I'd never seen a robin weep, but could imagine it and it made me sad."

-Hank Williams' songs "the archetype rules of poetic songwriting."

p. 99-100 Woody Gurthrie and the box of lyrics that Billy Bragg and Wilco would record

p. 112- Archibald MacLeish- sacrifices

p. 113 1968 "the cities were in flames"

p. 115 "As far as I knew, I didn't belong to anybody then or now."

"...spokesman, or even conscience of a generation. That was funny. All I'd ever done was sing songs that were dead straight and expressed powerful new realities. I had very little in common with my generation that I was supposed to be the voice of."

-"Being true to yourself, that was the thing."

p. 118 "Privacy is something you can sell, but you can't buy it back."

p. 122 Chekov

p. 123 "The press? I figured you lie to it."

p. 133 "...though he is approaching the perilous age of 30..."

p. 146- live performances

p. 147- keeping his word with himself

p. 148 "My own songs had become strangers to me."

p. 150- lying

p. 153- crowd, cutouts

p. 155 "They came to stare and not participate."

-"...the kind of crowd that would have to find me would be the kind of crowd who didn't know what yesterday was."

-"Most music journalists had become nothing more than a public relations staff anyway."

p. 156 "My bright eyes were dull and I could do nothing."

p. 158- Number 2 and popular music

p. 163 "As long as I was alive I was going to stay interested in something."

p. 165 "A song is like a dream, and you try to make it come true. They're like strange countries that you have to enter." "You can write a song anywhere...it helps to be moving."

p. 180- New Orleans "The city is one very long poem."

p. 182- Mason Ruffner- libraries- "reading Rimbaud and Baudelaire to get his language down."

p. 189 "...but the only way to find out, it to find out."

p. 195 "When it's right, you don't have to look for it."

p. 199 small print comment

p. 200- old water tower

p. 201 "...she was never one of those people who thinks that someone else is the answer to their happiness. She's always had her own built-in happiness."

p. 202 "Sometimes you could be looking for heaven in the wrong places."

p. 220 "Sometimes you say things in songs..."

p. 221 "Sometimes the things that you liked the best and that have meant the most to you are the things that meant nothing at all to you when you first heard or saw them."

p. 226- advice from his Dad

p. 235 "I supposed I was looking for was what I read about in On the Road..."

p. 243 Flo Castner introduced him to Woody's solo music

p. 244 "...his voice was like a stiletto."

p. 245- Woody's book Bound for Glory

p. 247 (Woody) "He painted with words."

p. 265- Suze- "We started talking and my head started to spin."

p. 269- Red Grooms

p. 270- drawings

p. 272 Bertolt Brecht

p. 275 "The audience was the "gentleman" in the song."

-comparing the song to Guernica

p. 283 "Twenty-four hour news coverage would have been a living hell."

p. 284 "When December rolled around, everything slowed down, everything got silent and retrospective, snowy white, deep snow."

p. 288 Suze introduced BD to Rimbaud "Je est un autre."

March 12, 2008

Highway 61 Revisited

Mark Polizzotti

2007, paperback

6 cards and notes on back cover

Highway 61 Revisited is the type of 33 1/3 book that I love. It gets into the album, the history, the musician, the cover and more while shedding new light on Bob Dylan. Polizzotti's book about Andre Breton has been on my bookshelf for a long time since I picked it up years ago. After this book I look forward to reading his take on Breton. Polizzotti writes about Dylan as "the thinking person's rock star," and also quotes Joan Baez, "Some people are just no interested. But if you're interested, he goes way, way deep." I'm interested. Polizzotti also keys into the simple but profound workings of Dylan and songs with statements like "Every great song has one moment that stands out above the rest..."

Highlights from the cards

p. 5- opening line about gaze

"The outer photo is as much performance as the music inside"

-glowering rock stars

p. 6 "...he knows the music is good, the best he's ever made, but he doesn't expect you to recognize it and he's gearing up for a fight."

-baby stroller

p. 7- Sergei Eisenstein

"Music that still has the rare quality, after all this time, of making us hear what we want to hear."

p. 8- this record being "too good"

p. 9 "The album is a road map into new territory..."

-"As the thinking person's rock star..."

-"...it pushes one to confront is again and again..."

-Joan Baez, "Some people are just no interested. But if you're interested, he goes way, way deep."

p. 10 "...the supposed turn toward electric music was really a return"

-Dylan, "...I played all the folk songs with a rock 'n' roll attitude..."

p. 12 Dylan, "'Protest' is not my word." ... "amusement-park word"

-"...There are many sides to us, and I wanted to follow them all."

p. 13 "poetical" approach

"he not busy being born and then reborn, is busy dying"

p. 14 Harry Smith

-Greil Marcus

p. 16- Suze

Dylan to Nora Ephron in 1965, "Folk music is the only music where it isn't simple."

-vegetables and death

p. 17 and 18- painters including Red Grooms

p. 19- singing when he writes

-Al Kooper's organ playing

p. 20- Kant and Mallarme

p. 21- Freud

p. 23- Midwestern

p. 24 BD "I left where I'm from because there's nothing there."

p. 25 Bessie Smith

-flipping the record

p. 31- Greil Marcus misses...

-boredom and the writing of "Like a Rolling Stone"

-D.A. Pennebaker

p. 32- "rhythm thing on paper"

-interviews as theatrical performances

-ghost writing "Like a Rolling Stone"

p. 33 "Also rare for a chart-topping hit, the lyrics focused not on love but its opposite."

p. 35- discussion of who Miss Lonely is (makes a good case its not Edie Sedgewick who I was thinking it was)

p. 37- ultimately...

-any of the phonies

p. 38 "It's up to you to figure out who's who"

-language used in Like a Rolling Stone

p. 39- French Symbolists

-Rimbaud, "I is someone else"

p. 41- Tarantula

-"the sun is still yellow. some people would say it's chicken" from Tombstone Blues

p. 43- writing songs

p. 52- Al Kooper's organ story

p. 53- the result...

p. 55- promo copies

p. 62- did sound check at Newport

p. 63 "sellout jacket"

p. 65- "...the sound of the street..."

p. 70 Woody Guthrie

p. 71 "Woody made each word count. He painted with words."

p. 75- names famous and obscure

p. 85- magpie's nests

p. 89 his voice

p. 90 (voice) "...it exists on its own terms..."

p. 92 "Love Minus Zero"

p. 93 Chelsea Hotel

p. 94 "If he was really serious about her, she had to be unknown..."

p. 110 "...the man Dylan's listeners swore to themselves they'd never become, and with whom most eventually all grew all too familiar."

-Jones vs. Smith for rhyming

-songs on the album- "those addressed to someone...and those...that flash by like glimpses through a car's window as it speeds across this frantic carnival of a nation."

p.111 "Once we have walked into this room, it is not certain we will ever find our way out.

-"Thin Man" song he often performs live

-rhyme scheme

-"Every great song has a moment that stands out above the rest..."

p. 117 BD "My songs are just me talking to myself."

p. 128- Rimbaud's "My Bohemian Life"

p. 129 warning "stepping off the road can leave you very lost"

p. 130- Kooper playing a Hohner Pianet

130-131- Tom Thumb

p. 134- postcards, cultural memory

p. 135- circuses and carnivals and carny life

p. 144

February - March 8

My Life as a Red Furry Monster
What Being Elmo has Taught Me about Life, Love and Laughing Out Loud
Kevin Clash
2007, hardcover
7 cards

Elmo came late in my Sesame Street viewing life but I was always interested in his personality and outlook on life. Kevin Clash's love for puppet making and desire to be a Muppeteer comes through clearly in this book. While his insights are not earthshaking his points remind you what you know but sometimes forget in the midst of busy, noisy days.

Card highlights
p. 9- the phenomenon of Elmo is linked to love
"the human desire to love and be loved."
p. 10- "'I love you.' Those are magic words- basic, simple, easy to say, but as adults we often forget their power. We often forget to say them."
p. 34-35- "No matter who you are- a big yellow bird, a grouch in a can, a frog in a trench coat, or a furry red monster- you can love and be loved and find your place in the world."
p. 40- Motown music
p. 44- Elmo's laugh
"You will never see Elmo hold himself back from laughing when he feels joy, though he is always careful never to laugh at someone.
p. 49- fabric store- "whump of the bolt" and sound of the pinking shears
p. 51-52 Jim Henson
p. 52 "For a living legend, Jim was one of the most accessible and silliest men I've ever met....Jim was Kermit the Frog....Jim's main goal in life was to have fun."
p. 53- tux for a puppet
p. 86- drawing one's day
p. 87- (art with children) "It's not what you create, it is simply the fact that you are helping that child celebrate the joy of creativity."
p. 88 "Elmo gives us grown-ups the permission kids never nee to let our creative juices flow and maybe, just maybe, to reenter the world of make-believe and let some of our dreams come true."
p. 115- "Elmo knows how to see a child and not a disease or a condition. What Elmo sees is a potential playmate..."
p. 121- "Knowing when to admit you're in over your head takes courage."
p. 122- "You can't be afraid to fail, because you never know true success unless you have a flop or two (or six)."
p. 133-143 (Elmo and friends) "He looks at each meeting as an opportunity for fun."
p. 135- not being a follower
p. 145- No
p. 148 (friends) "You can keep your friends close, just by thinking of them."
p. 170- "...cooperation means more than simply being in agreement with another person. It means offering encouragement and aid, working together to resolve conflicts, compromising and sharing."
-(life as a performer) "...never been a solo act. No life ever is."
p. 177- creative element to the assignment
p. 178- "When we take the time to be creative in our teaching, chances are that we'll be more successful in engaging a child's mind."
-"Kids love to feel in control and smart."
p. 183- ask questions and admit when you don't know something
p. 188- "Dreams are fragile things, but when they've been bolstered by the support of parents and teachers and reinforced with early success, they can withstand the skeptics and take flight."
"Kids are the architects of their own dreams."
p. 199- corduroy pants
p. 205 "Even if one mind closes, thousands of others are opened up."
-moving forward

February 16 - March 8

Wanderlust

A history of walking

Rebecca Solnit

2000, hardcover

54 cards

I read Rebecca Solnit's A Field Guide to Getting Lost at the suggestion of Claire. It was a wonderful meandering, thinking, reflecting book that merged intellectual ideas about solitude with punk rock and so much more. When I came across the title of this book, the R.E.M. song Wanderlust (followed by Pilgrimage and We Walk as I read the book) came to mind as well as the German word it is. The best discoveries often come from wandering or browsing and this book was all one could hope it to be. I have a list of many more books to read as a result. Solnit wonderfully merges art, architectural and intellectual history into her discussion while keeping in mind pop culture, experience, activism and reflection. I have only lived in a few where walking for most everything was possible and I hope to return to places like that again. I knew I hated treadmills and gyms but I thank Solnit allowing me to understand the roots of both and the greater cultural implications of both.

Highlights from the cards:

p. 4 "The history of walking is everyone's history... a desk is no place to think on a large scale."

p. 5 "...thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It's best done by disguising it as doing something and the something that is closest to doing nothing is walking."

p. 6 "...it is both means and end"

p. 7 "Think of the ruin as a souvenir from the canceled end of the world."

p. 8 "It was a revelation to me, the way this act of walking...could articulate political meaning..."

-Thoreau's essay Walking

p. 9 "the sense of place that can only be gained on foot"

-people living "in a series of interiors...On foot everything stays connected."

p. 10- "It's the unpredictable incidents between official events that add up to a life, the incalculable that gives it value."

p. 10-11 erosion of public space

p. 11- "The random, the unscreened, allows you to find what you don't know you are looking for, and you don't know a place until it surprises you."

p. 13- "When you give yourself to places, they give you yourself back."

"Exploring the world is one of the best ways of exploring the mind, and walking travels both terrains."

p. 20-21- Rousseau "Reveries of a Solitary Walker"

p. 23-25- Kierkegaard

p. 24- "Kierkegaard's great daily pleasure seems to have been walking the streets of his city. It was a way to be among people for a man who could not be with them..."

p. 27 mentions George Orwell's statement "The opinion that art should not be political is itself a political opinion."

p. 33- John Napier "Human walking is a unique activity during which the body, step by step, teeters on the edge of catastrophe."

"walking begins as delayed falling"

p. 55-57- The Peace Pilgrim

p. 58- "a pilgrimage makes an appeal while a march makes a demand."

"Nonviolence means that activists are asking their oppressors for change rather than forcing it."

p. 67-68- quote at the bottom of the page- "An active line on a a walk moving freely, without goal. A walk for a walk's sake." Paul Klee, Allegorizing Drawing

p. 68 "A path is a prior interpretation of the best way to traverse a landscape..."

p. 69- moral of mazes

p. 70- Marianne Moore

-children's books

-"...sometimes the map is the territory."

p. 71- labyrinth- 1 route

p. 72- "Just as writing allows one to read the words of someone who is absent, so roads make it possible to travel the route of the absent."

p. 88- ha ha ditch

p. 90- French gardens and English gardens

p. 95- guidebooks- what to see, some how to see

p. 96- picturesque- William Gilpin

p. 106- "The poem is also a kind of atlas of the making of a poet"

p. 119- William Hazlitt, 1821, On Going on a Journey, "One of the pleasantest things in the world is going on a journey, but I like to go by myself,"

-"solitude is better on a walk because 'you cannot read the book of nature without being perpetually put to the trouble of translating it for the benefit of others.'"

p. 124- "You must be complex to want simplicity"

-Bedouins

p. 143- "What is recorded as history seldom represents the typical, and what is typical seldom becomes visible as history, though it often becomes visible as literature."

p. 149 "...the consequence of the theory that nature is supposed to make you happy is that those most desperately in search of happiness tend to show up there."

p. 158- when walking becomes marching

p. 160- rambling

-"walking is classless" (access to the land another issue)

p. 162- "Walking focuses not on the boundary lines of ownership that break the land into pieces but on the paths that function as a kind of circulatory system connecting the whole organism. Walking is, in this way, the antithesis of owning."

-"Nomads have often been disturbing to nationalism because their roving blurs and perforates the boundaries that define nations; walking does the same thing on the smaller scale of private property."

p. 167- "Walking has become one of the forces that has made the modern world- often by serving as a counterprinciples to economics."

p. 171- "Cities have always offered anonymity, variety and conjunction, qualities best basked in by walking: one does not have to go into the bakery or the fortune teller's, only to know that one might."

-"A city always contains more than any inhabitant can know, and a great city always makes the unknown and the possible spurs to the imagination."

p. 174- Sierra Club dictum, "Take only photographs, leave only footprints."

p. 175- "Streets are the space left over between buildings."

p. 176- "the ideal city is organized around citizenship- around participation in public life."

-most American cities and towns organized around consumption and production

-"Walking is only the beginning of citizenship, but through it the citizen knows his or her city and fellow citizens and truly inhabits the city rather than a small privatized part thereof."

-"Walking the streets is what links up reading the map with living one's life."

-Jane Jacobs

-"To me, the magic of the street is the mingling of the errand and the epiphany."

p. 186- Patti Smith, when asked about how she prepares for performances, "I would roam the streets for a few hours."

p. 187- Virginia Woolf, "How beautiful a street is in winter! It is at once revealed and obscured."

p. 191- Alan Ginsburg

p. 192- Frank O'Hara, about whose work reveals as Solnit says "Cities are forever sprawling lists."

-David Wojnarowicz, Close to Knives, "He writes in a collage of memories, encounters, dreams, fantasies and outbursts..."

p. 197-198- Walter Benjamin- "...Paris taught me this art of straying." The Arcades Project

p. 199-200 the flaneur

p. 202 Proust

-Baudelaire- "The poet enjoys the incomparable privilege of being able to be himself or someone else...Like those wandering souls who go looking for a body, he enters as he likes into each man's personality."

p. 204 Haussmann

p. 205- what upset people most was what he obliterated, which was "the mental map walkers carried with them and the geographical correlatives to their memories and associations"

p. 206- Benjamin on Louis Aragon's book, so exhilarating, "evenings in bed I could not read more than a few words of it before my heartbeat got so strong I had to put the book down."

-Benjamin and Franz Hessel has worked on a translation of Proust's Remembrance of Things Past

p. 210 "Parisian writers always gave the street addresses of their characters"

p. 211 Hannah Arendt "...so one inhabits a city by strolling thought it without aim or purpose"

p. 212- Guy DeBord- Psychogeography and Theory of Derive (drifting)

-Greil Marcus

p. 213 "map of your own thoughts, the physical town replaces by an imaginary city."

p. 213 De Certeau- "A city is a language, a repository of possibilities, and walking is the act of speaking that language, of selecting from those possibilities."

-"frightening possibility...post pedestrian city...risks becoming a dead language"

p. 216 Joseph Beuys "Everyone an artist."

-"This is the highest ideal of democracy- that everyone can participate in making their own life and the life of the community- and the street is democracy's greatest arena."

p. 218- "But when public spaces are eliminated, so ultimately is the public."

-"Paris is the great city of walkers. And it is the great city of revolution."

p. 229 and 230

p. 230- "A revolution is a lightning bolt showing us new possibilities and illuminating the darkness of our old arrangements so that we will never see them quite the same way again."

-Reclaim the streets

p. 231 "Stop the car, Free the city"

p. 232- walking and courtship

p. 233-234 women and walking

-"women's walking is often construed as performance rather than transport"

p. 249- 1970s census- majority of Americans suburban

p. 250- suburban home only a place of consumption

p. 251- suburb product of the Industrial Revolution

p. 255- "Political engagement may be one of the things suburbs have zoned out."

p. 260 "The body has ceased to be a utilitarian entity for many Americans, but it is still a recreational one."

-treadmill- "meant to rationalize prisoners' psyches"

p. 263- "The everyday acts of the farm had been reprised as empty gestures"

p. 264- treadmill most perverse- "simulating walking suggests that space itself has disappeared"

"disinclines people to participate in making that world habitable or to participate in it at all"

-the modern treadmill consumes power (originally could be used to power things)

p. 267 "The disembodiment of everyday life I have been tracing is a majority experience."

-Walking as art, 1960s

p. 269- Lucy Lippard- sculpture- Carol Andre, "My idea of a piece of sculpture is a road."

p. 270- Richard Long, artist from England, Line Made by Walking, 1967

p. 271- Long, "A walk expresses space and freedom and the knowledge of it can live in the imagination of anyone and that is another space too."

p. 272- Stanley Brouwn

p. 278- Las Vegas- new outpost of pedestrian life

p. 278-279- quote at the bottom of the page- Ivan Illich, "The world has become inaccessible because we drive there."

p. 283- Michael Sorkin and theme parks

p. 286- Vegas reinventing the garden and the city

-privatization

-"But the world gets better at the same time it gets worse."

p. 289 Red Rocks

-fight for free space, fight for free time

"Otherwise the individual imagination will be bulldozed over for the chain-store outlets of consumer appetite, true crime titillations, and celebrity crises."

p. 291- "The constellation called walking has a history...but whether it has a future depends on whether those connecting paths are traveled still."

p. 288-291- bottom of the page- Yoko Ono, Map Piece, 1961

p. 284-287- bottom of the page- A.R. Ammons "A poem is a walk"

p. 325-326 Sources for Foot Quotings