Afterword for The Slush Pile Strikes Back! by Frank Walsh

The recently released Underground Literary Alliance anthology received a nice review from one of the contributors, Tom Hendricks.  Also, Frank Walsh kindly wrote an afterword for it.  It is below:

"Its not a coincidence that once was that, neither a serial in a one of a kind series that, trending accidents, matters, nor likewise the former ULA lteraryrevolution dot com crash side swiping CBGBs or Columbia University on Harlem’s broken back post-Miller Theater public free-the- beats event horizon, for even the NYPD officers summoned for against us by the U guffawed and gainsaid with our literate guerilla theater demonstration outside the academic wrought black iron main gates, right up against the hoods, where still probably unreal estate big bank vultures satanic Mills Theaters broadside north Broadway (and really, the very same entities were found to be bulldozing for redevelopment Israeli and Palestinian working class hoods coincidentally),post- perhaps post-post Modern dried out literal neoliberal arts PHDs and snarky a-creative writing workshop MFA money mill hacks, bury the last cool pop remains of Ginsberg and our beaten up, now privatized, “HOWL”; but a synchronicity, presently that’s It.

Is meant to have said, that of gutter presses way back in the French Revolutionary underground linotypes, Payne, say, the old printer’s devil, in deep, along with unborn Buchner awaiting his part swathed in a miasma of neo-Kantian star dust, seeding. from apposite times, the far off red glare of the yet to arrive crude Akirema the Fewed, uncannily so, unless believed in by both sides that swallow from the purple goblet Kool-Aid TV commercials burst through a Wall Street even if unconscious. As if forty years could actually feel like one Summer day long or else, its meant to say that at least a week and a half before us, this past Memorial Day hollow day, when and where a Minneapolis—of all place mats-- police-state Thugee thug with little help from friend goons, committed to a publically recorded assassination, successfully of resident citizen GF, an authentic, already hard way seasoned advanced guard front had begun to push up—societally, mass culturally --- from the Aut, raving punk poet, and personal Zeen small-press movements--out of a seemingly current fallow sub-underground into a lightning lit revolutionary Open Field, synchronicity or not.

“’De Sade liberated from the Bastille in 1789, Baudelaire on the barricades in 1848, Courbet tearing down the Vendôme Column in 1870—French political history is distinguished by a series of glorious and legendary moments which serve to celebrate the convergence of popular revolution with art in revolt.’” And recently at most two late daguerreotype or early photographs recently dug up show Arthur Rimbaud in a Paris irregular uniform toting a long rifle La Commune, 1871 at attention upon the dais of the broke up Vendome Column. In the Imperialist, neo-colonialist, World Wars/Revolutions, industrial workers of the world union 20th century, “’… avant-garde artistic movements took up the banner of revolution consciously and enduringly. The political career of André Breton and the surrealists began with their manifestoes against the Moroccan war (the ‘Riff’ war) in 1925 and persisted through to the Manifesto of the 121, which Breton signed in 1960, shortly before his death, denouncing the Algerian war and justifying resistance. May 1968, when student/youth and the French workers nearly pulled off a popular Revolution: “’… the same emblematic role was enacted once again by the militants of the Situationist International. … ancestry of both Cobra and Lettrism can be traced back to the international Surrealist movement {or in our AFTERWORD bastardized basket case in point, the break down of the mamby pamby, post and post post Mod, academic deconstructualist, bourgeois snarky vapid populist mainstream literature and art hooked to a corrupt capitalist cronyismatic MIC publishing, distribution, and promotion corporate monopolized gangstar racket right here and now }, whose break-up after the war {or prey tell 911 in the same year the ULA was begot } led to a proliferation of new splinter groups and an accompanying surge of new experimentation and position-taking. The si { which was just what the ULA and its shifting meta-cooperative qualities was able to keep in motion for 8 or 9 years }”’…it brought together again many of the dispersed threads which signaled the decay and eventual decomposition of surrealism. In many ways, its project was that of re-launching surrealism on a new foundation {but again in this slice of this era, beginning social cultural “permanent revolutionary” resurgence in practicum, is just that…}… stripped of some of its elements (emphasis on the unconscious, quasi-mystical and occultist thinking, cult of irrationalism) and enhanced by others,{…likewise…} within the framework { for example: this THE SLUSH PILE STRIKES BACK! dedicated to Steve Kostecke, the NEW POP LIT project/hep hyperzeens, the one and only MUSEUMOF POETRY, the POETSUNIONUS so called, are up and running on the barricades }”’… of cultural revolution.’”

[take NOTE]: the reconditioned quotes in this Afterwords segment are by Peter Wollen, @Peter Wollen

One’s as well as that of the Afterwords prioritized intention is to point out that each and every writer, poet, essayist is a person and not yr usual individualist as the readers will discover in the act, for themselves. Besides that, though the readers should in fact infer as much, every part and parcel of this Afterwords is infused with the contention that Contemporary Modernism, but in a mondo gonzo kind of manner that is best represented by the late great Hunter Thompson, is alive and still going on in a contemporaneous way so that way is the quality world wide permanent social cultural revolution as Trotsky and Breton in 1938 manifests it in the quote below:

"True art, which is not content to play variations on ready-made models but rather insists on expressing the inner needs of man and of mankind in its time—true art is unable not to be revolutionary, not to aspire to a complete and radical reconstruction of society."

Check out the anthology here!