I’ve decided to do this with discipline and in good faith.
— Alexander Herzen
— “The Title of This Book” from The Friday Book: Essays and Other Nonfiction by John Barth
For Baraka, Coltrane epitomizes the jazz aesthetic process: he is the destroyer of Western forms. For example, in ‘Nature Boy’ from The John Coltrane Quartet Plays Chim Chim Chere… Coltrane takes a weak Western form, a popular song, and murders it; that is, he mutilates and disembowels this shallow but bouncy tune by using discordant and aggressive sounds to attack and destroy the melody line. The angry black music devours and vomits up the fragments of the white corpse.
For Baraka, Coltrane is a beautiful philosopher because he ventured to shatter and twist and finally eradicate Western structures. Baraka says of Coltrane’s destructive art, ‘He’d play sometimes chorus after chorus, taking the music apart before our ears, splintering the chords and sounding each note, resounding it, playing it backwards and upside down trying to get to something else. And we heard our own search and travails, our own reaching for new definition. Trane was our flag.’
"— The Poetry and Poetics of Amiri Baraka: The Jazz Aesthetic by William J. Harris
First in a potential series of writings appropriating the Reading-Response Paper format as a literary form.
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I don’t have much faith in the “reading response paper” form as the worthwhile learning tool it is advertised to be. Certainly I recognize its intended value; the good sense of its hypothetical purpose. That is, it’s reasonable to expect students to demonstrate in writing what they gleaned from a reading assignment. Unfortunately this theory and the classroom/ homework dual-reality do not match. In practice the routine nature of syllabus-directed class readings, the predetermined trajectory through a schedule of ideas, affords the honest student too little self-determination to actualize meaningful scholarly exploration of the topics he or she signed-up for a given course of interest to penetrate in the first place. I speak only from personal experience. Genuine intellectual engagement with the subject at hand is, on some level, inevitably compromised. And without genuine intellectual engagement the response paper lapses from a viable learning device into a rote regurgitation of cheaply-earned facts. Little learning achieved.
Putting aside this skepticism, in a legitimate bid to work within the confines of the assignment form as I understand it, let me “respond” to one of the articles from Tuesday. I can summarize what Harris said, if need be; the first half of the article struck me as a very basic—though essential—introduction to the terminology and parameters of apocalyptic literature. Most of it was news to me. Happy to receive it. Eschatology, pseudonymity, those typical parameters observed in texts working within the apocalyptic tradition. Et al. These facts are helpful, interesting, useful. Harris then examines the Hebrew bible’s Book of Daniel, plugging in the model he described in the first section to exemplify the Book as a prototypical apocalyptic work.
How do I respond to these facts? I found them interesting. Harris’s choice of Daniel as a straightforward realization of stated apocalyptic tenets is apt, logical, correct. So: everything he said made sense to me. On a deeper level of personal reaction, the frank academic portrayal of the dubious circumstances under which much of Judaism and Christianity coagulated only reminded me of the vital ridiculousness of these religions as institutions. The academic characterization of how these religions portray their deities only reminded me of how asinine those portrayals are, to me.
This write-up, while half-joking in its opaque tenor, is not bullshit. Certainly less bullshit than many of the feigned-earnest response papers you will receive from my fellow students, many of which do not and cannot honor the theoretical earnestness of the response paper form. As discussed earlier, this will be because the legitimacy of the response paper form implodes when deployed in the field. But that ultimate failure presumes first the intellectual curiosity and second the intellectual honesty of a given student, a precondition about which I find myself feeling increasingly cynical (when it comes to many of my fellow students).
I’m afraid we have now reached exponentiating tangential intersections with the entire problematic higher education endeavor, American society in general, intrinsic conflicts of the human experience, and beyond. That is, an ever-widening black hole of problem. Do not despair; all any of us can do in a predicament such as this is rely on the good theoretical sense and sound intentions of the response paper form. How else to avoid all nihilistic oblivion?
Don’t mistake me for a Nietzsche sheep, or the bad kind of philosophy major, or anyone hyper-theoretically inclined as a means to an amoral end. I merely aspire to honesty for the sake of existential pragmatism.
You need not publically call me out on this paper in class tomorrow morning; I would be too tired to do anything but react with crippling anxiety. Certainly I don’t want my classmates to resent me so early in the semester, this to be only our third meeting.
One wedge of orange smashed against the floor
of a plain lowball: do not.
One perfect sugarcube laid gingerly at the center,
deconstructed until implausible.
Inoculate with Angostura bitters until lightheaded;
pulverize mess until mush.
Quick one-two slap of seltzer: make sure to leave
a mark.
Plug with ice bits.
(For color): one amber shot of fine Kentucky bourbon;
reload; fire.
Two sugar-pickled cherries on a cedar spear—scuttle gently,
knowing what you gain and what you lose.
From behind your lapel produce something sharp.
Stir.
Include others only if you empathize the ineffable
angle of their nature.
Include yourself only as empathy runs dry.
Be polite unless you have the blues.

The illusion of eye contact begins in the throat. That is, two sets of eyes looking on one another. That is, the dramatic miscarriage of rhetoric. The types of eyes matter, but then, the eyes could belong to anyone. That is, anyone with eyes. And then you have light. Eyes and light matter. Of course this is the case. Darkness—the absence of lightness—and eyes. The illusion of eye contact begins in the dark.
The postmodern implementation of irony means dead-on-the-page, a perpetual vapidity. But New Sincerity is foolhardy, immediately canceled-out by its prime self-delusion. Postmod irony is amoral, New Sincerity is immoral. Which is more egregious?
If we’re reaching the end of the end of the line for art, the same necessarily goes for civilization. It appears, as the spiral of human progress tightens, inducing quicker revolutions and thus exponentiating chaotic momentum, that God was a deist who flushed the toilet and walked away. Except both God and the postmodern condition exist only in our minds. Then what? Human descent into self-ravaging psychosis? An entire species falling, over millennia, into ever-thickening exhaustion? Metaphors include: the black hole, the feedback loop, mathematical notions of infinity, Plato’s Ouroboros, and this cosmic purple toilet.
What does it mean that the world is simultaneously always getting better and worse. In the material sense a freer, more comfortable existence for more individuals than ever before; meanwhile a treacherous existential crisis… oblivion in the wake of the demise of religion. General malaise like never before, but everyone has a cell phone.
What made David Foster Wallace hang himself?