Library of the Last Line

Library of The Last Line Cole Lu

Thinki ng t he w o r d “some where � medit a tively a s b o t h placeh older a n d e n d s

Blind Men and the Elephant John Godfrey Saxe (1816-1887)

It was six men of Indostan To learning much inclined, Who went to see the Elephant (Though all of them were blind), That each by observation Might satisfy his mind.

The First approached the Elephant, And happening to fall Against his broad and sturdy side, At once began to bawl: "God bless me! but the Elephant Is very like a WALL!"

The Second, feeling of the tusk, Cried, "Ho, what have we here, So very round and smooth and sharp?

To me 'tis mighty clear This wonder of an Elephant Is very like a SPEAR!"

The Third approached the animal, And happening to take The squirming trunk within his hands, Thus boldly up and spake: "I see," quoth he, "the Elephant Is very like a SNAKE!�

The Fourth reached out an eager hand, And felt about the knee "What most this wondrous beast is like Is mighty plain," quoth he: "'This clear enough the Elephant Is very like a TREE!"

The Fifth, who chanced to touch the ear, Said: "E'en the blindest man Can tell what this resembles most; Deny the fact who can, This marvel of an Elephant Is very like a FAN!"

The Sixth no sooner had begun About the beast to grope, Than seizing on the swinging tail That fell within his scope, "I see," quoth he, "the Elephant Is very like a ROPE!"

And so these men of Indostan Disputed loud and long, Each in his own opinion Exceeding stiff and strong, Though each was partly in the right, And all were in the wrong!

i. a wall

ii. a spear iii. a snake iv. a tree v. a fan vi. a rope

i.  a continuous vertical brick or stone structure that encloses or divides an area of land

and he gets up as soon as power calls him.

2 singularities and multitudes in an a-harmonious composition without a composer.

3 That’s where I’m a-gonna be.

4 Deepening impression of advance (through musical leitmotif alone and its relation to visuals) 5 Paintings within paintings and books that branch into other books help us sense this oneness.

6 Picture bleaches, then whites out.

7 and of the personalities and music of Beatles is equally accessible.

8 By music, we better understand the Text as signifying [significance].

9 while we watch the rest of the world boldly go where no mortal has gone before.

10 He is about to turn darkness into light.

11 begin to understand… begin to understand even that which is inconceivable.

12 or so Pinker suggests- through our love for it is real.

13 May it long continue to spiral inward and outward.

14 they feel out the paths for the rest of us to follow.

15 better articulated on the metaphorical practices and stratified places than on the empire of the evident in functionalist technocracy.

16 How do we invent and practice both equality and ‘ethical differentiation’ (signalization) while breaking with the mechanic enslavements and social subjections of modern-day capitalism that have a dual hold on our subjectivity?

17 The fear that these media will “replace” film is extremely of the means by which video has reinvented cinema as a discourse of vanishing, of a particular modernist sensibility that finds itself always on a historical cusp.

18 in which we may recognize creatures of the information.

19 Different outputs excite the neon gas or mercury vapor causing the different colors.

20 Or the gallery itself could be removed and relocated to another place.

21 I love you and it means something and you’ll know it always did.

1

"Bifo" Berardi , The Uprising: On Poetry and Finance, 2012 Raunig and Aileen Derieg, A Thousand Machines: A Concise Philosophy of the Machine as Social Movement, 2010 3 Joshua Simon, Neomaterialism, 2013 4 Siegfried Kracauer and Leonardo Quaresima, From Caligari to Hitler: A Psychological History of German Film, 1966 5 Jorge Luis Borges, On Writing, 2010 6 Sarah Kane, Complete Plays, 2001 7 Susan Sontag, Against Interpretation, 1993 8 Roland Barthes, The Responsibility of Forms, 1991 9 Neil deGrasse Tyson, Death by Black Hole: And Other Cosmic Quandaries, 2014 10 Daniel Tammet, Thinking In Numbers, 2014 11 Jan Svenungsson, An Artist’s Text Book, 2007 12 David Byrne, How Music Works, 2012 13 Rebecca Solnit, The Encyclopedia of Trouble and Spaciousness, 2014 14 Marjorie Perlo and Craig Dworkin, The sound of poetry, the poetry of sound, 2007 15 Michel de Certeau, The Practice Of Everyday Life, 1984 16 Maurizio Lazzarato, Signs and Machines: Capitalism and the Production of Subjectivity, 2014 17 Catherine Russell, Experimental Ethnography: The Work of Film in the Age of Video, 1999 18 James Gleick, The Information: A History, a Theory, a Flood, 2011 19 Samuel Miller, Neon Techniques (formerly Neon Techniques and Handling), 1997 20 Brian O'Doherty, Inside the White Cube: The Ideology of the Gallery Space, 2000 21 Rachel Zucker, Museum of Accidents, 2009

1 Franco 2 Gerald

ii. a weapon with a long shaft and a pointed tip, typically of metal, used for thrusting or throwing

Why do they all kill themselves? as if life itself were always on the verge of becoming conventional.

3 To become revolutionary is to assign oneself a difficult, but immediate, happiness.

4 to animate it through something other than critique or defiance– perhaps as “free.”

5 Today in the developed countries it is being achieved by imposing a false standard of what is and what is not desirable.

6 Look, here we are, even now– 7 it comes: that is bliss.

8 ablaze with our care, its ongoing song.

9 and the appearance of the comet we now await.

10 will prevent psychological regression and phenomenological progression from ever coming together.

11 and presently he will ring at my door– a bigger, more respectable, more competent Gradus.

12 I just did and I am just about to tell you– 13 It was blurred.

14 – everything is there, but floating.

15 The reading ends when no one asks him to continue.

16 oracular of the heart.

17 All larf n dig deepa in2 the publik kofins.

18 as individuals and communities, in practice.

19 Rodney lives in me.

20 no death 21 beeee 22 But it is a good question.

23 as close to it as I can get.

24 and on the other side, the longing mark that is the proper name.

25 But the difference, in Gertrude Stein’s words, is spreading.

26 And now is your turn to start making history…

27 All of which must have sounded a lot like a Pavel Büchler album.

28 it is rather simply the imperative to imagine them.

29 he has never returned.

1 2

Stark, My Best Thing, 2011 2 James Wood, How Fiction Works, 2008 3 The Invisible Committee, To Our Friends, 2015 4 Julieta Aranda, Anton Vidokle, and Brian Kuan Wood, Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, 2011 5 John Berger, Ways of Seeing, 1990 6 Sarah Manguso, Ongoingness: The End of a Diary, 2015 7 Roland Barthes, The Pleasure of the Text, 1975 8 Maggie Nelson, The Argonauts, 2016 9 Jorge Luis Borges, Selected Non-Fictions, 2000 10 Jean-Paul Sartre, The Emotions: Outline of a Theory, 2012 11 Vladimir Nabokov, Pale Fire, 1962 12 Jacques Derrida, Cinders,1991 13 Peter Mendelsund, What We See When We Read, 2014 14 Roland Barthes, Image-Music-Text, 1977 15 Édouard Levé, Works, 2014 16 Ann Lauterbach, Under the Sign, 2013 17 Brian Droitcour, The Animated Reader: Poetry of “Surround Audience”, 2015 18 Marcus Boon, In Praise of Copying, 2010 19 Celeste Olalquiaga, The Artificial Kingdom: A Treasury of the Kitsch Experience, 1998 20 E. Tracy Grinnell, portrait of a lesser subject, 2015 21 Sharmila Cohen and Paul Legault, The Sonnets: Translating and Rewriting Shakespeare, 2012 22 Paul Chan, Selected Writings 2000-2014, 2014 23 Alan Loney, The Books to Come, 2012 24 Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, 1984 25 Marjorie Perloff, Unoriginal Genius: Poetry by Other Means in the New Century, 2010 26 Ann VanderMeer, The Time Traveler's Almanac, 2014 27 Craig Dworkin, No Medium, 2013 28 Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions, 2005 29 H. G. Wells, The Time Machine, 1895

1 Frances

iii. a long limbless reptile that has no eyelids, a short tail, and jaws that are capable of considerable extension; a treacherous or deceitful person

1 seen

in her decisive and funereal beauty the sex appeal of the inorganic?

2 it will require an ecology not only of real things but of images as well.

3 Let it go. Let it all out. Let go. Burn.

4 OH! How long it is, the path that leads to my girl!....

5 Death awaits me 6 and I couldn’t tell if it was blood or water—I let everything drift away.

7 it seemed an impossible idea ever to show him the door.

8 The next day, I left the bathroom.

9 Is to visit other islands…

10 tomorrow it will rain in Bouville.

11 “I’ll grow a moustache,” he decided.

12 all the boundless admiration which I bear in my heart for the one who has done the most for my spirit– the foremost Englishman of my time– and which I will continue to bear in my heart until death bursts it.

13 I don’t write anymore.

14 And they were triumphant.

15 So unlike the logic of the lamp.

16 Their silence, black and complete.

17 because races condemned to one hundred years of solitude did not have a second opportunity on earth.

18 where he could go– and was surprised when he heard himself, looking at his feet stepping into black sandals, say that he felt “grateful to be alive.”

19 Nothing happens next.

20 I walked into the river up to my neck and walked out on the other side of the raft, cooler.

21 We shall devote to them a future work.

22 insofar as certain third terms– however volatile or disturbing– baffle the oppressive forces of reduction, generality, and dogmatism, they deserve to be called sweetness.

23 Somebody is living on this beach.

24 What we will do with it

25 and

there’s been perhaps a pouring rain, or factory smoke, an aging wind and winter air, and everything is gray.

26 Oh! Raise it up from this grievous depth.

27 It retains this symbolic value in Moby-Dick, which was written a thousand years later.

28 Applause like rain.

29 as that which we have yet to know.

A. Reines, Preliminary Materials for a Theory of the YoungGirl, 2012 2 Susan Sontag, On Photography,1977 3 Chris Cheney and Amy Lawless, I Cry: The Desire to Be Rejected, 2016 4 Martial Raysse, How the Path is Long, 2012 5 Edouard Levé, Suicide, 2008 6 Azareen Van der Vliet Oloomi, Fra Keeler, 2012 7 Franz Kafka, The Metamorphosis, 1915 8 Jean-Philippe Toussaint, The Bathroom, 1985 9 George Oppen, Of Being Numerous, 1968 10 Jean-Paul Sartre, Nausea, 1938 11 Jean-Paul Sartre, The Wall, 1939 12 Hugo von Hofmannsthal, The Lord Chandos Letter, 2005 13 Ágota Kristóf, Yesterday, 1997 14 Miranda July, No One Belongs Here More Than You: Stories, 2008 15 Mary Jo Bang, Louise in Love, 2001 16 Gary Shteyngart, Super Sad True Love Story: A Novel, 2011 17 Gabriel Garcia Marquez, One Hundred Years of Solitude, 2006 18 Tao Lin, Taipei, 2013 19 Zachary Schomburg, Fjords Vol. 1, 2012 20 Rebecca Solnit, The Faraway Nearby, 2014 21 Jean-Paul Sartre, Being and Nothingness, 1993 22 Maggie Nelson, The Art of Cruelty: A Reckoning, 2012 23 David Markson, Wittgenstein's Mistress, 2006 24 Dorothea Lasky, ROME: Poems, 2014 25 William H. Gass, On Being Blue: A Philosophical Inquiry, 1975 26 Ludwig van Beethoven, Beethoven's Letters, 1972 27 Jorge Luis Borges, The Book of Imaginary Beings, 1970 28 Miranda July, The First Bad Man: A Novel, 2015 29 Tanja Baudoin, Frédérique Bergholtz and Vivian Ziherl, If I Can't Dance: Reading/Feeling, 2013

1 Tiqqun,

iv. a woody perennial plant, typically having a single stem or trunk growing to a considerable height and bearing lateral branches at some distance from the ground person

exquisite tenderness. We are all we have.

2 But the idea of the spectacle as something to be acted out and absorbed still hung in the air long after the last spectator had gone home to sleep.

3 And this is a recipe for politics, not quietism– a Left that can look the world in the face.

4 a dangerous class that no longer let its time be stolen.

5 Of course the ashes are no longer here. Wind carried them from the gorse and the waves took them away.

6 It is in this light that a postscript can function as a paratext, born in the age of mechanical reproduction and refashioned by the technologies of the digital era.

7 then takes it away.

8 Firmly clutching his knife, which he perhaps would not know how to wield, Dahlmann went out into the plain.

9 THE NOVEL THAT WRITES ITSELF 10 the history of forms.

11 For every second of time was the strait gate through which the Messiah might enter.

12 the only true object of study in linguistics is the language, considered in itself and for its own sake.

13 that is, simultaneously all the places, those of the seller, the buyer, and the auctioneer.

14 Of remembrance, whispers out of time.

15 Of something remembered of time.

16 to the point where they have liquidated those of magic.

17 It is both gesture of fulfillment and promise.

18 And they are right.

19 we used to renew what was depleted, now we try to resurrect what is gone.

20 Sol LeWitt no longer needed to observe closed orders, but could embrace subjectivity, openness, incompleteness– and the uncategoriseable.

21 aftermath rather than aftermarket, as they try to persevere in the face of our present-day onslaught of catastrophes as usual.

1

22 For,

after all, we must be our own heroines.

The film runs out. Black leader, music, credits.

24 he had not been able to access the trans-semiotic of the white Sonata and red Septet…

25 The contemporary hero is not Lucifer; he is not even Prometheus; he is man.

26 This dialectic is the core of the Whitmanian sublime.

27 my words became visible for a moment.

28 by his very effort to turn his life into literature.

29 I’m directly defecting to that planet’s rings.

30 Even “bad” books, if they function in that way, are gifts that need never be returned.

31 x y

23

Jo Bang, Apology for Want, 1997 Ashbery, Three Poems, 1972 3 Marta Kuzma, Pablo Lafuente, and Peter Osborne, The State of Things, 2013 4 Gerald Raunig, Factories of Knowledge, Industries of Creativity, 2013 5 Chris Kraus, Where Art Belongs, 2011 6 Triple Canopy, Corrected Slogans: Reading and Writing Conceptualism, 2013 7 Jessica Baran, Equivalents, 2013 8 Jorge Luis Borges, Ficciones, 1944 9 Allen Ruppersberg, Allen Ruppersberg: and Writing, 2014 10 Roland Barthes, Elements of Semiology, 1977 11 Walter Benjamin, Illuminations: Essays and Reflections, 1969 12 Ferdinand de Saussure, Course in General Linguistics, 1986 13 Jacques Derrida, The Post Card: From Socrates to Freud and Beyond, 1987 14 John Ashbery, Self-Portrait in a Convex Mirror: Poems, 1990 15 Paul Legault, Self-Portrait in a Convex Mirror 2, 2016 16 Walter Benjamin, Reflections: Essays, Aphorisms, Autobiographical Writings, 1986 17 bell hooks, Yearning: Race, Gender, and Cultural Politics Yearning, 1990 18 Susan Sontag, Regarding the Pain of Others, 2004 19 Kenneth Goldsmith, Uncreative Writing: Managing Language in the Digital Age, 2011 20 Clive Phillpot, Booktrek, 2013 21 Lane Relyea, Your Everyday Art World, 2013 22 Kate Zambreno, Heroines, 2012 23 Chris Kraus, Aliens & Anorexia, 2013 24 FĂŠlix Guattari, The Machinic Unconscious: Essays in Schizoanalysis, 2010 25 Maurice Merleau-Ponty, Sense and Non-Sense (Studies in Phenomenology and Existential Philosophy), 1992 26 Michael Warner, Publics and Counterpublics, 2005 1 Mary

27

2 John

28

Elizabeth Bishop, The Complete Poems: 1927-1979, 1983 Alexander Nehamas, Nietzsche: Life as Literature, 1987 29 Eileen Myles, I Must Be Living Twice: New and Selected Poems 1975 – 2014, 2015 30 Martin Jay, Essays from the Edge: Parerga and Paralipomena, 2011 31 Vito Acconci, Language to Cover a Page: The Early Writings of Vito Acconci (Writing Art), 2006

v. a device, typically folding and shaped like a segment of a circle when spread out, that is held in the hand and waved so as to cool the person holding it by causing the air to move

Some of the doors in this building are made from solid oak.

2 In the shadow cast by the abandoned skyscraper that was The Corrector’s Custom Pre-Fab House, a dirty tent is pitched. The glow of a computer screen emanates from inside.

3 We go, but not before snagging a few willing hussies from the Catholic school down the block. We do like virgins, you know.

4 For a while I was meaner in the clinches, not so easy to fool. There are some things I just won’t forgive.

5 The prose of business must express itself in the poetry of life.

6 Dictionary.

7 Chance at exhausted debut.

8 The point of writing– of my writing, at least– is to travel forward under the guise of traveling backward.

9 “Forever what?”

10 Ken ultimately wants ‘a little more of that intimacy, and the possibility of sex.’ That also describes the act of reading for me, in so many ways.

11 Bolt us to the hood of your traveling machine and take us on the road again.

12 He feels empty, and he stares without interest at the tiny black speck and the Alps.

13 But I know precious little of elsewhere.

14 I am dead I will kill you 15 of the gurgle and the cry 16 in relationship to the reader’s final adjustment of the text] 17 You find no one inside.

18 Irregularly place six to seven matcha green tea marshmallow cubes on the wasabi mascarpone cream.

19 Now my lecture has ended, and I am free, and happy, as I was meant to be.

20 suspended in some eerie frozenness adjacent to a thaw so consequential it exceeds its words like love but weirdly keeps losing its feeling for existence.

21 ((when the sun disappears 1

22 it

just happens to be the most excruciating pain I have ever felt in my entire life, and it feels really good.

23 Now only time is wild.

24 go away 25 I love summer, the luxury of poetry, gin and tonic, quinine lost in juniper 26 And perhaps this is the most important thing art can say.

27 She put the lamp upon the floor, spread the paper flat; and began to show me the words she had written, one by one.

28 that thing, that once it’s begun attains a life of its own, and you don’t know where it will go.

29 I should like to end this book by looking toward the aesthetics of wonder and future possibilities that such an intersection might constitute for SF cinema.

30 it’s all a carrier, a vector, an edifice of us.

31 Please do not leave any of these forms/ containers outside the classroom, in the halls, or in your locker.

32 he made the dark paintings of the chapel into vehicles of light.

Vorhees, Weather Critic: Volume 3, 2016 Lieberman, The Corrector's Custom Pre-Fab House, 2015 3 Wednesday Black, How to Train Your Virgin, 2015 4 Lynne Tillman, Weird Fucks, 2015 5 César Aira, Dinner, 2015 6 Aaron Kunin, Cold Genius, 2014 7 Geoffrey G. O'Brien, People on Sunday, 2013 8 Wayne Koestenbaum, My 1980s and Other Essays, 2013 9 Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), 1977 10 Kathy Acker and McKenzie Wark, I'm Very into You: Correspondence 1995--1996, 2015 11 Katherine Dunn, Geek Love: A Novel, 1983 12 Alan Lightman, Einstein's Dreams, 1993 13 Srikanth Reddy, Facts for Visitors: Poems, 2004 14 Zachary Schomburg, The Book of Joshua, 2014 15 Wayne Koestenbaum, The Pink Trance Notebooks, 2015 16 Paul Legault, The Other Poems, 2011 17 Frederick Seidel, Ooga-Booga: Poems, 2006 18 Jennifer Sigler and Leah Whitman-Salkin, Pierre Herme: The Architecture of Taste (Incidents), 2015 19 Mary Ruefle, Madness, Rack, and Honey: Collected Lectures, 2012 20 Dana Ward, The Crisis of Infinite Worlds, 2013 21 Sueyeun Juliette Lee, Solar Maximum, 2015 22 Charles Yu, How to Live Safely in a Science Fictional Universe: A Novel, 2011 23 Lisa Robertson, Cinema of the Present, 2014 24 William H. Gass, Eyes: Novellas and Stories, 2015 25 Ben Fama, Fantasy, 2015 26 Frank O'Hara, The Collected Poems of Frank O'Hara, 1995 27 Sarah Waters, Fingersmith, 2002 28 Chris Kraus, Video Green: Los Angeles Art and the Triumph of Nothingness, 2004 29 Vivian Sobchack, Screening Space: The American Science Fiction Film, 1997

Ander Monson, Letter to a Future Lover, 2015 Paper Monument, Draw It with Your Eyes Closed: The Art of the Art Assignment, 2012 32 Sheldon Nodelman, The Rothko Chapel Paintings: Origins, Structure, Meaning, 1997

1 Chris

30

2 Justin

31

vi. a length of strong cord made by twisting together strands of natural fibers such as hemp or artificial fibers such as polypropylene

It was time for the lyric fallen back into teeming branches or against the solid trunk gasping.

2 Happiness 3 such strength 4 Close without saving.

5 The triumph of the reproductive revolution will have reshaped the post-Darwinian fitness landscape beyond all recognition– hence my (tentative) prediction that the biology of suffering and senescence is destined to pass into evolution history.

6 Going going gone.

7 The challenge of an illiterate.

8 The moon glimmers in the brown channel.

9 All right then, let me try to rephrase. When I was alive, I aimed to be a student not of longing but of light.

10 My body is washing dishes and it’s in pain. My body is on hold with California Blue Cross Blue Shield and it’s in pain. My body is dancing and it’s in pain. My body is skyping Beth and it’s in pain. My body is taking a shower and it’s in pain. My body is riding BART and it’s in pain. My body is politely saying no and it’s in pain. My body is reading a book ad it’s in pain. My body is at work and it’s n pain. My body is writing this and it’s in pain. My body is walking to meet you and it’s in pain.

11 It wasn’t a match, I say. It was a lesson.

12 ‘“Don’t let that computer freak anywhere near cage,” said the cockney zookeeper. “That tiger ‘ates ‘em, ‘ell tear ‘im apart.”’

13 I dedicated these fragments to the daughter whose father kicked her ass the airport on Easter Sunday.

14 Come! I’m tired of thought.

15 So I wouldn’t have to face this terribly immediate association I have of beauty with death 16 People die in this war, but the ideas cannot be erased.

1

17 the

condition even of reading, is this crisis, this crisis of literature, this uncanny, undecidable author.

18 recapture the reversibility of good and evil, of the human and the inhuman.

19 To never arrive implies never arriving ever.

20 he is happiest to be by himself, creating his own worlds by recording and reflecting upon the images of this one, and holding them up as mirrors and makes for the deepest cultural memories and desires of the histories we live.

21 These wins are too numerous to mention.

22 Every so often in the evening I am unsettled by small, fleeting memories that are perhaps authentic.

23 “Now let go of this morbid attachment to things.”

24 But that’s what matters in an ordinary saturated with affect’s lines of promise and threat.

25 Everything remains to be used.

26 The ahead is again.

27 Doris? I said, no 28 of the systems that hung us through.

29 The world before cell phones, all present time, blaring and proud, before the road drops off into pure sky.

30 To once again catch sight of the stars.

31 I can imagine the voice telling her she can stop.

32 We must both be here in this world in this life in this place indicating the presence of.

33 “We both thought it was all over.”

34 Whether it will do that or not, we’ll see.

35 Now I can watch dance for pleasure.

Robertson, Occasional Work and Seven Walks from the Office for Soft Architecture, 2011 2 Lia Romeo and Nick Romeo, 11,002 Things to Be Miserable About, 2009 3 Jen Bervin, Nets, 2003 4 Ed Atkins, Ed Atkins: A Seer Reader, 2015 5 Ingo Niermann, Solutions 247-261: Love, 2013 6 Jenny Jaskey, Haim Steinbach: Travel, 2014 7 Ágota Kristóf, The Illiterate, 2014 8 Sarah Howe, Loop of Jade, 2015 9 Maggie Nelson, Bluets, 2009 10 Amy Berkowitz, Tender Points, 2015 11 Claudia Rankine, Citizen: An American Lyric, 2014 12 Georges Perec, Species of Spaces and Other Pieces, 2008 13 Wayne Koestenbaum, Humiliation (2011) 14 Oscar Wilde, THE CRITIC AS ARTIST: With Some Remarks Upon The Importance of Doing Nothing, 2014 15 Paul Legault, The Emily Dickinson Reader: An English-to-English Translation of Emily Dickinson's Complete Poems, 2012 16 Rebecca Solnit, Men Explain Things To Me, 2015 17 Andrew Bennett, The Author, 2005 18 Jean Baudrillard, Passwords, 2011 19 Fernando Pessoa, The Book of Disquiet, 2002 20 Catherine Lupton, Chris Marker: Memories of the Future, 2004 21 Edward Abbey, One Life at a Time, Please, 1988 22 Jorge Luis Borges, Collected Fictions, 1999 23 Mary Jo Bang, The Last Two Seconds: Poems, 2015 24 Kathleen Stewart, Ordinary Affects, 2007 25 Jessica Baran, Remains to Be Used, 2010 26 Mary Jo Bang, Elegy: Poems, 2009 27 Corina Copp, The Green Ray, 2015 28 Karen Weiser, Or, The Ambiguities, 2015 29 Eileen Myles, The Importance of Being Iceland: Travel Essays in Art , 2009

1 Lisa

Dante Alighieri, Inferno: A New Translation, 2013 Eve Kosofsky Sedgwick, A Dialogue On Love, 2000 32 Claudia Rankine, Don't Let Me Be Lonely: An American Lyric, 2004 33 Masha Tupitsyn, Love Dog, 2013 34 Sylvère Lotringer and David Morris, Schizo-Culture: The Event, 2014 35 Sylvère Lotringer, Schizo-Culture: The Book, 2014

30 31

"Library of the Last Line�

a fort gondo production, 2016. courtesy of the artist, Cole Lu. # of an edition of