Joe Brainard was born on March 11, 1942, in Salem, Arkansas, and spent his childhood in Tulsa, Oklahoma. He is the brother of painter John Brainard. [2] The question of the poem seems to be whether one belongs to that former group or the latter, and by ending with lines like “why others feel” [emphasis added], “sparring and pins are all you have,” and “the earth cannot make its way towards you,” Klink’s poem suggests a powerful isolation and detachment from the sensual natural world: … And wonder. Why others feel I remember how disappointing going to bed with one of the most beautiful boys I have ever seen was. … Brainard’s text becomes a perpetual writing prompt—creating a series of potentially endless revisionary, remixed, and extended works employing the formula. The writer Georges Perec did just that, in a book that, more than An Attempt at Exhausting a Place in Paris, speaks to the documenting of place and time: not just three days in a series of cafes across from a fountain, but a lifetime in fragmentary bursts of symbols.

Uno per uno, i cosiddetti libri fondamentali della nostra epoca saranno dimenticati, mentre la piccola, semplice gemma di Joe Brainard è destinata a restare. Paul AusterI remember that the four sentences written on the pediments of the Palais de Chaillot were composed specially by Paul Valéry. The book is a time capsule, a beautiful and candid catalog of one person’s memories, however fleeting. Incorporated into those recollections is documentation of how people dressed—some styles are still worn today, while others were passing trends that are relegated to fashion history. They all share Brainard’s funny, insightful and accessible style. Michael Lally of The Village Voice agreed: “Joe Brainard’s memories of growing up in the ’40s and ’50s have universal appeal. He catalogues his past in terms of fashion and fads, public events and private fantasies, with such honesty and accuracy and in such abundance that, sooner or later, his history coincides with ours and we are hooked.” What follows are a selection of favorites: I remember that Audie Murphy was the most decorated American soldier of the Second World War and that he became an actor after having played himself in a (mediocre) film recounting his heroic exploits.

The repetition of “I saw” transforms the speaker into a witness, both to the difficulties facing South Carolina (crumbling schools, shuttered mills, homes for sale) and to the potential of those South Carolinians and, by extension, America. In this way, the speaker becomes not just a witness but an oracle, seeing what America is and what it could be. the form is regarded as both poem and/or prose and/or either/neither, and I love writing that plays with or maybe ignores categories, and simply enjoys being good writing. I don’t remember (good for surfacing secrets and lies and subtexts and regrets and all that other good story stuff) After embarrassing yourself with your unhip taste in music, you can ask your students to volunteer songs with anaphora and have them share sample lyrics on the board. Once students realize that this is a technique they see in their daily lives, it’s not hard to encourage them to use it in their work. Brainard, στα οποία θα επιστρέψω στο μέλλον, υπάρχει και ένα δεκασελιδο εισαγωγικό σημείωμα του Paul Auster, καλογραμμένο και κατατοπιστικό, από το οποίο θα παραθέσω τα παρακάτω λόγια με τα οποία συμφωνώ μέχρι τελείας.For beginning students, anaphora can be used to demystify poetry, to encourage concrete details rather than abstractions, to combat “I can’t think of anything else to write about” syndrome, and to encourage bolder experimentation with metaphor. For more advanced students, using anaphora reinforces these skills as well as encourages thinking about the overall structure of a poem and the importance of knowing when too much is enough. Dinner tonight at “The Gibson House.” (Steak). And too much wine. (Depending on how you look at it.) I remember" is een uniek literair tijds- en egodocument dat Joe Brainard in verschillende stadia schreef tusseen 1969 en 1973. De eerste verzamelde uitgave dateert van 1975 een laatste herpublicatie in het Engels volgde in 2012. I remember when I had a job cleaning out an old man's apartment who had died. Among his belongings was a very old photograph of a naked young boy pinned to an old pair of young boy's underwear. For many years he was the choir director at church. He had no family or relatives.

In Perec’s hands, “I remember” becomes a sort of challenge, reflecting the way in which these memories, as a whole, can only belong to one person in total—Georges Perec. There will be overlaps and moments of parallel between author and reader, but the sum of the parts can only be collected in Perec’s notation of these memories. In Perec, we see how culture can become a gap in the sympathy of our memories. Indeed, it is much more difficult to find an appropriate sample from this work, as the entries form a series of declarations that are so specific as if to be without meaning to an outsider. where you bang on the catatonic piano the soul is innocent and immortal it should never die ungodly in an armed madhouse Me parece que todos encerramos en lo más profundo de nosotros mismos vergonzosos recuerdos similares a los aquí recogidos en la creencia de que nadie más los tiene o de que nadie podría comprendernos.I remember, when a fart invades a room, trying to look like I didn’t do it, even if, indeed, I didn’t. … By 1964, Brainard had already had his first solo exhibition and was ensconced in a circle of friends that included Frank O'Hara, Kenneth Koch, Alex Katz, Edwin Denby, Larry Rivers, Fairfield Porter, James Schuyler, Jane Freilicher, Virgil Thomson, John Ashbery, among many others. He also began a relationship with Kenward Elmslie which lasted much of his life, despite having other lovers. [ citation needed] He found much success as an artist, until he removed himself from the art-world in the early 1980s. [ citation needed] He devoted the last years of his life to reading. Mean, awkward, fond, gentle, equable, comforting: this seems the right, modest register to use in talking about nice art. What’s remarkable, then, is how, when you’re in the right mood, Brainard’s writing can seem to give you all you need. His Collected Writings closes with a paragraph found in his papers after he died. Brainard titled it “January 13th,” and it ends this way:

Though this is a less strict imitation, the exercise still encouraged the student to use anaphora to create cohesiveness in the poem. Her closest placement of “Some see” occurs at the beginning and the end, a move that helps her close up a poem that ambitiously tries to describe our universe and our relation to it, the “all-knowing splash of stars.” The I Remember form that has been adapted by other writers. Georges Perec’s I Remember, published in the UK by Belgravia Books, serves as an interesting point of comparison. After reading that book I discovered that Perec added a Oulipan constraint of including only things that other people could remember too. This adds a certain emphasis on public rather than personal history that makes his version at times feel more like a list of bald facts, which perhaps explains why I felt less connected to it emotionally. Its tone feels more detached (and at times even a bit name-droppy). Forty years after it was written, I was also unfamiliar with many of those specific names and events too. I was unfamiliar with some of Brainard’s references as well, but somehow they get swept up in the warmth and wit of his tone, or are explained in context, so I never stumbled or drifted.E che ritmo, che fluire… sì, c’è musica, c’è danza... sono ripetizioni, sono liste (ah!), sono variazioni… e perché no, le ripetizioni pittoriche di Warhol (Brainard è stato anche artista visuale), e, certo, anche la madeleine proustiana. Joe Brainard's I Remember is a literary and artistic cult classic, praised and admired by writers from Paul Auster to John Ashery and Edmund White. As autobiography, Brainard's method was brilliantly simple: to set down specific memories as they rose to the surface of his consciousness, each prefaced by the refrain "I remember:" "I remember when I thought that if you did anything bad, policemen would put you in jail." La prima cosa che voglio e devo ricordare è che non avevo mai sentito parlare di Joe Brainard fino a quando il mese scorso ho ricevuto in dono questo piccolo gioiello: un doppio regalo, dunque.