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The Worst Book I Ever Read
 
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The Worst Book I Ever Read [Paperback]

The Unbearables (Author), Ron Kolm (Editor), Carol Wierzbicki (Editor), Alfred Vitale (Editor), Shalom Neuman (Editor, Illustrator), Jim Feast (Editor), Tim Lane (Illustrator), David Sandlin (Illustrator), Dan Freeman (Illustrator), Michael Kasper (Illustrator)
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Book Description

June 10, 2009 1570271992 978-1570271991 First
Seventy-seven contributors from New York City's downtown bohemian beat offer the most searing, scandalous and scurrilous denunciations of fellow wri8ters ever to appear in print! Innovative, free-form and traditional literary reviews of texts from the Bible and James Joyce's Ulysses to Borges, Calvino and David Sedaris, from Luc Sante, Peter Lamborn Wilson, Jim Knipfel, Carl Watson, Richard Kostelanetz, David Ulin, Sharon Mesmer, and many more. Profusely illustrated with dozens of images and with 16 pages of full-color art.

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Editorial Reviews

Review

The Unbearables bare all; they are unbearably smart, unbearably talented, and unbearably lively but here are the Unbearables at their highly bearable best. It s a pleasure to find out what this group finds unbearable in such an engaging manner. --Samuel Delany, author of Dark Reflections

From stapling together issues of the National Poetry Magazine Of The Lower Eastside at CBGBs in the mid 80s, to the publication of the Unbearables, Crimes of the Beats, Help Yourself! and now The Worst Book I Ever Read anthologies, the Unbearables have doggedly held onto their collective ideal, punk irreverence, and endless store of creative energy. It s like the Disneyfication of downtown New York never happened. --Brandon Stosuy, editor of Up Is Up, But So Is Down

The Unbearables are a bunch of cranks, crackpots, malcontents, misanthropes,ass-pains and brain-aches. Bless their sour pusses. --John Strausbaugh, author of Sissy Nation and Black Like You

About the Author

The Unbearables are a downtown New York City drinking collective with a writing problem. This is their fourth anthology with Autonomedia, following the inaugural Unbearables anthology, Help Yourself! (a send-up of self-help books), and Crimes of the Beats.

Product Details

  • Paperback: 416 pages
  • Publisher: Autonomedia; First edition (June 10, 2009)
  • Language: English
  • ISBN-10: 1570271992
  • ISBN-13: 978-1570271991
  • Product Dimensions: 8.5 x 6.6 x 0.8 inches
  • Shipping Weight: 1 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #1,895,035 in Books (See Top 100 in Books)

More About the Author

Ron Kolm (born 1947) is an American poet, editor, activist and bookseller, based in New York City. Kolm came to New York in 1970 and got a job at the Strand bookstore, where he worked with Tom Verlaine and Patti Smith.

During this period he became friends and colleagues with a group of writers who would come to exemplify the "Downtown" scene of the 1970s and 80s ("Downtown" in this context means anything below Fourteenth Street in Manhattan). In 1985, Kolm, Bart Plantenga, Mike Golden, Max Blagg and Peter Lamborn Wilson founded the Unbearables, a loose collective of poets and artists based on the precepts of Hakim Bey, as set forth in his seminal book, TAZ (Temporary Autonomous Zone). They took their name from a short story by Mike Golden. Their first reading series was at the Life Cafe in the East Village. They later read or performed their work at the Poetry Project at St. Mark's Church in the Bowery, Gathering of Tribes and the Bowery Poetry Club. Their usual targets are literary cliches, which they attempt to deconstruct with humor.

Kolm has been one of the editors of their anthologies: Unbearables (1995), Crimes of the Beats (1998), Help Yourself! (2002) and The Worst Book I Ever Read (2009) all published by Autonomedia. Kolm's own publications include The Plastic Factory (1989, Red Dust), Welcome to the Barbecue (Low-Tech Press, 1990) and Rank Cologne (P.O.N. Press, 1991). His work can also be found, along with the other Unbearables, in the Outlaw Bible of American Poetry (Thunder's Mouth Press, 1999), and in Up Is Up, But So Is Down: New York's Literary Scene, 1974-1992 (New York University Press, 2006). He has collaborated on a novel, Neo Phobe, written with Jim Feast (Unbearable Books, 2006).

Historian Robert Siegle describes Kolm as "an editor and facilitator for magazines and presses as well as a writer of fiction and poetry" who "carried boxes of little magazines around to bookstores, passed around copies of new work, and connected people" in general, noting that "wherever we look along the networks that hold together the diverse creative talents who constitute this cultural revolution, we find Kolm." (Suburban Ambush, Johns Hopkins Press, 1989)

The Ron Kolm papers (some 35 cartons of correspondence, notebooks, objects, chapbooks, signed first editions and runs of literary magazines) were purchased by the Fales Library at New York University, where they now reside. The Finding Aid to the Ron Kolm Papers is available online: The Ron Kolm Papers

The Unbearables, who presently include writers Jim Feast, Carol Wierzbicki, Bonny Finberg, Carl Watson, Thaddeus Rutkowski, Jill Rapaport, Mike Topp, Michael Carter, Shalom Neuman and many others, continue to publish and perform in a variety of configurations and venues.

 

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4 of 5 people found the following review helpful:
5.0 out of 5 stars The Worst Book I Ever Read To Con Artists, July 10, 2009
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This review is from: The Worst Book I Ever Read (Paperback)
The Unbearables have been known for pulling the Persian rug out from under the literary establishment. Their newest anthology, then, The Worst Book I Ever Read, where each of the Unbearable contributors, self described as `poetic terrorists,' are given the opportunity to eviscerate a dearly despised book promises to be bloody. Indeed, the centerfold, displaying, according to its introduction, "a few of the many ways a `bad' book can be deconstructed," shows several `bloody' images and blood can at least be inferred in nearly all of them. The play, of course, is on the deconstruction. What's the difference between deconstruction and destruction? Somewhere in between, there's a con.
What you begin to realize while reading the worst book is that rather than pulling the Persian rug out from under these worst books, it's rolling out the red carpet. It does this not in a cheap tabloid sense where bad publicity boosts fame, but in a sneakier way. First of all, it must be said that no blanket claims can be made about this book. Each contributor approaches the theme differently, and the books attacked range from the usual suspects to books you've never heard of, to books you wouldn't think of, to books that don't exist. While there is rhyme to the anthology's organization there's no reason to read it by order of appearance. But be careful with what you skip. A piece on dictionaries taught this inexperienced dictionary buyer a valuable lesson, and Nicosia and Vitale's footnotes are not to be skipped. The individual character of each contribution promises a different experience each time you approach the book. That being said, over the course of reading you do start to see, if not a pattern, a notion that collects some amount of steam. The thing you begin to notice is that these books are the worst not necessarily because of any deficiency but because of their tremendous power. The worst books have the power to make a not-very-wonderful man rise to the occasion, to cause natural disasters while reading, to end relationships, to hurt and eat you, to teach you the power of "bad" words, to give birth to doppelgangers, to ruin you on movies that could have been horrible in their own right instead of being horrible by comparison, to win Pulitzers in spite of themselves, to inspire a creative rancor. Most of all, the worst books have the power to live on after their death/destruction--the first page of the book is the worst book's tombstone.
We've still to deal with the title. The anthology declares itself The Worst Book... If it would seem that we go from bloody terrorism to humbly, self-deprecating testament to the power of literature even at its worst, the con doesn't end there. The power of literature, as clearly displayed by those worst books is a dangerous power, and The Worst Book as a title goes from self-deprecation to usurpation of that dangerous power of worst books. The bloody terrorism returns and we realize the carpet is red for a reason. "A final aporia," Zummer offers in "I Play My Guitar The Way I Want," "once again, it is often the case that the very worst books that one reads also open onto, and even reside among, the very best." The Worst Book takes this to its very extreme. The best of literature resides in literature at its bloody worst.
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1 of 2 people found the following review helpful:
5.0 out of 5 stars triple negative, September 4, 2009
This review is from: The Worst Book I Ever Read (Paperback)
Welcome to the Labyrinth of multiple negatives. Books so bad they're
perfect for the pillory populate the latest Unbearables Anthology, a
lavish production whose reach tries strenuously to exceed its grasp; but
nobody grasps like an Unbearable. The world is their oyster and it isn't
easily digestible.
Even without counting graphic artists such as David Sandlin, Kaz, and
Ken Brown, over 70 contributors take pot shots at the books that bother
them, and they don't waste time on trash. Each takes a tangent off the
concept and few look back, that's not how they roll. Some state their
premise clearly like a survey response or an assignment, others go after
imaginary titles (Jerome Sala) or their own work (Ron Kolm). The work is
at its most enjoyable when core members wallow in self-mythologizing,
inventing characters out of each other. bart plantenga turns in a
novelesque tale of proofreaders driven too far, Mike Randall paints the
Unbearable Big Fish as "relentlessly cruising the shallow water for
talent that will cough up some `edgy' material for less than scale."
Tribulations of the writer's life are the one keen constant.
Despite some targets being hit more than once, like the Bible, James
Joyce, and the Chicago Manual of Style, no two entries are alike. Some
of the Beats are back for another drubbing, along with their parasitic
hangers-on, taken out by Gerald Nicosia and Mike Golden, while Henry
Darger and Barbie hide behind Gertrude Stein. Lit popstars like Sedaris
and Chabon, icons like Ballard, Borges, Mailer and Calvino are roasted
through, more for being distracting or disappointing than execrable.
By digging into the books that have riled them up, this pack of
writer/proles has levitated a pungent Pentagon of provoking prose out of
a hole greater than some of its parts.


Kevin Riordan
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