By Andy Warhol
Conceptually targeted, hilarious and scary, often called “pornography” within the big apple occasions e-book Review’s unique evaluation and as a “work of genius” in Newsweek’s, a: a singular is the suitable literary manifestation of Andy Warhol’s sensibility.
In the past due sixties Warhol got down to flip a alternate booklet right into a piece of father paintings, and the end result used to be this stunning account of the famously influential workforce of artists, superstars, addicts and freaks who made up the manufacturing facility milieu. produced from audiotapes recorded in and round the manufacturing unit, a: a unique starts with the brilliant Ondine popping numerous amphetamines after which follows its characters as they communicate with encouraged, speed-driven wit and minimize swaths throughout the golf equipment, espresso outlets, hospitals, and whorehouses of 1960’s big apple.
"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 bad issues and make lousy feedback. Ondine is an East Village prima donna, a hoarder of gossip and finery and orgies and medication. he's filthy, yet he's humorous ... The characters symbolize the unusual new classification, untermenschen prefigurations of the technological millenium"
-- Robert Mazzocco manhattan assessment of Books "
A paintings of genius" -- Newsweek
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Additional resources for a
In fact, the ‘pleasant and delectable’ aspect of the journey is entirely of a private nature, since the abiding memories preserved through inscription are associated with the ‘singular pleasure’ of being able to ‘recount those things which we haue seene, quietlie & in our chambers, without any trouble of iournie, or toile of bodie’. 1 In 1634, William Wood published an account of New England that promised on its title page to ‘enrich the knowledge of the mind-travelling Reader, or benefit the future Voyager’.
Playgoing thus provided a ludic departure from work and the domestic routine, serving a similar purpose (albeit for a shorter duration) to modern sightseeing. It shared a structural affinity with idle travel: everyday routine is suspended and for two or more hours, playgoers are transported from their familiar surroundings to an unfamiliar time or place (Caesar’s Rome, a sultan’s court), only to have normality restored at the conclusion of playing. And, like modern tourism, playgoing is almost exclusively an activity of the masses.
The experiences of both Coryate and Lipsius share something with the experiences attributed to the tourist by MacCannell and Urry. ’ and ‘the places wherein diuers famous battels haue beene fought’, or in seeing ‘the house, where Plinie dwelt, the countrey wherein the famous Virgill, or the renowmed Ouid was borne’, Coryate and Lipsius (respectively) allude to objects which deserve the tourist gaze because they are extraordinary; and their extraordinariness is based on their historical or literary associations, just like ‘the building in Dallas from which president Kennedy was supposedly shot, or the vicarage in Haworth, Yorkshire, where the Brontës lived’ (Urry 101).
a by Andy Warhol