Robert Fitterman Boeken

Poetry. Art. Performance Studies. This special edition artist's book contains ledgers and transcriptions documenting the exchanges that occurred at Rob's Word Shop, followed by an essay by the store's Records Manager, Lawrence Giffin, and a sampling of materials collected for the store's archives."On Wednesday, May 5th, 2010, I opened Rob's Word Shop, a storefront shop where individual letters and words were sold. My shop location was 308 Bowery (the south window at the Bowery Poetry Club), and my hours of operation were Tuesday through Thursday 11:00 from May 5 through May 27. The words and letters were either chosen by the individual customers or arrived at with my assistance. I would then hand-write or print the letter, word, or phrase. Single letters were sold for 50 cents and single words for one dollar. As the sole proprietor of the store, I invited people to stop by for a chat and shop for words. All of these chats were recorded as videos and can be viewed on YouTube."--Robert Fitterman

Literary Nonfiction. Poetics. "In NOTES ON CONCEPTUALISMS, Place and Fitterman erect the first critical framework toward the understanding of conceptual writing, an emergent early twenty-first century literary movement. Elegantly parsed and carefully dissected, this work fleshes out many of the missing details proposed thus far regarding the methodologies and strategies of how to proceed with innovative writing. Both direct and oblique, NOTES is itself a self-reflexive work of conceptual writing in the guise of theory; or is it a work of theory in the guise of conceptual writing? By smartly straddling the creative and the critical, this book does twice the work toward our understanding of what it means to be contemporary"--Kenneth Goldsmith.

An English court in 1736 described rape as an accusation “easily to be made and hard to be proved, and harder to be defended by the party accused, though never so innocent. ”To prove the crime, the law required a woman to physically resist, to put up a “hue and cry,” as evidence of her unwillingness. Beginning in the 1970s, however, feminist and victim-advocacy groups began changing attitudes toward rape so the crime is now seen as violent in itself: the legal definition of rape now includes everything from the sadistic serial rapist to the eighteen-year-old who has consensual sex with a fourteen-year-old. This inclusiveness means there are now more rapists among us. And more of rape’s camp followers: the prison-makers, the community watchdogs, law-and-order politicians, and the real-crime/real-time entertainment industry. Vanessa Place examines the ambiguity of rape law by presenting cases where guilt lies, but lies uneasily, and leads into larger ethical questions of what defines guilt, what is justice, and what is considered just punishment. Assuming a society can and must be judged by the way it treats its most despicable members, The Guilt Project looks at the way the American legal system defines, prosecutes, and punishes sex offenders, how this Dateline NBC justice has transformed our conception of who is guilty and how they ought to be treated, and how this has come to undo our deeper humanity

Poetry. Written in the long shadow of 9/11, THIS WINDOW MAKES ME FEEL replaces the individual poet's response to catastrophe with a collective, multi-vocal chorus of everyday articulations. Never before published in its entirety, THIS WINDOW MAKES ME FEEL is one of the earliest examples of a long poem solely composed with repurposed web language.

A polyphonic novel of post-conceptual consciousness.

Can we see into the future to tell if we are going to be happy or rich? What does fate have in store for us? This title presents an overview of the history and forms of divination that have existed in human culture since prehistoric times. It looks at divination methods including Tarot, astrology, palmistry and other body readings, and I Ching.

Poetry. Cover illustration by Natalya Lobanova. Robert Fitterman's new book- length poem borrows its poetic form, loosely, from James Schuyler's The Morning of the Poem, to orchestrate hundreds of found articulations of sadness and loneliness from blogs and online posts. A collective subjectivity composed through the avatar of a singular speaker emerges. But the real protagonist of NO WAIT, YEP. DEFINITELY STILL HATE MYSELF. is subjectivity as a mediated construct the steady stream of personal articulations that we have access to are personal articulations themselves already mediated via song lyrics, advertising, or even broadcasters. NO, WAIT... blurs the boundary between collective articulation and personal speech, while underscoring the ways in which poetic form participates in the mediation of intimate expression."

Was lässt sich unter konzeptuellen Schreibpraktiken verstehen? Wie unterscheiden sie sich von der Konzeptkunst? Was sind die maßgeblichen formalen und ästhetischen Strategien? Wie lassen sich hybride oder ›unsaubere‹ konzeptuelle Ansätze einordnen? Welche Verbindungslinien gibt es zwischen der Appropriation und dem konzeptuellen Schreiben? Auf welche Weise ist das konzeptuelle Schreiben an eine neue Art der Rezeption gekoppelt, eine 'Denkweise', die das Konzept dem Text vorzieht? Wie hängt das konzeptuelle Schreiben mit den neuen Technologien und der zeitgenössichen Informationskultur zusammen? Der vorliegende Band versucht mit einer Zusammenstellung von Anmerkungen, Aphorismen, Zitaten und Infragestellungen Antworten auf diese Fragen zu geben. Er entstand aus einer losen Korrespondenz zwischen Robert Fitterman und Vanessa Place, je geteilten Lese- und Forschungsinteressen. Das Buch stellt keinesfalls einen fertigen Bericht dar, sondern vielmehr eine erste Annäherung, eine bewußt unabgeschlossene Sammlung von Reflexionen, die zu einer weiteren Präzisierung des Themas einladen soll.