As luck would have it

Footnotes

Hotel lautreamont

Raag leaves for paresh chakraborty

Twice under the sun

Bomarzo

Everything awake

The house of leaves

Manifestos

Florentino and the devil

Model city

Cagliostro is a lurid tale of magic and secret societies during the reign of Luis XVI, centred on the gure of the Italian occultist Giuseppe Balsamo, known under his alias of Count Alessandro di Cagliostro. The book owes its style of presentation to the example of German expressionist cinema, of the kind exemplified by The Cabinet of Dr Caligari.In the early s, Vicente Huidobroemdash;always fascin...

Cagliostro is a lurid tale of magic and secret societies during the reign of Luis XVI, centred on the gure of the Italian occultist Giuseppe Balsamo, known under his alias of Count Alessandro di Cagliostro. The book owes its style of presentation to the example of German expressionist cinema, of the kind exemplified by The Cabinet of Dr Caligari.In the early s, Vicente Huidobroemdash;always fascin...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

Model City answers its own inaugural question What was it like? in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition ...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

The House of Leaves was first published by Black Sparrow Press in Santa Barbara in 1976, and was a significant statement of intent by Nathaniel Tarn alongside his New Directions volume, Lyrics for the Bride of God which set the tone for what he wanted to achieve now as an American poet after his emigration from England. This new edition repeats the entire original volume and is revived here as p...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

In 1925, Huidobro published this collection of manifestos to consolidate his position in the avant-garde in the face of the burgeoning new Surrealist movement and also as a reaction to attacks from one Spanish critic in particular, a member of the Ultraist movement, who seemed to want to establish the Spanish avant-garde as an independent force, free of the influence of this loud, self-confident C...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...

Everything Awake was written during a dreamy, disorienting period of insomnia. In the middle of the night, I began studying Catullus, imagining that his hendecasyllabic rhythms might shush me to sleep. Instead, they prompted a series of eleven-line poems with eleven syllables per line. I was drawn to the number, via Catullus, because it felt both excessive and insufficient, just like the space of ...