www.stevenpaulalvarez.com - S t e v e n P a u l A l v a r e z

yr secret that distribute that don’t

9/12/2016

0:08that what you’re abt to solicit construct
0:13it’s a secret that distribute that don’t
0:16on Polis A dissidents
0:20or not
0:22champion dot something dot screen at one time
0:29we’ve got witnesses like he wd get the job growth over that one drugs like
0:33by joe we’ve got a here at the close by
0:36would be a strike against the polis & might
0:39he’s gonna put you on yr body is right the Polis A prison will continue
0:44appearance
0:45finally have & you are where you’re in here
0:47bc some big shopping centers in Polis A & want to sell a few papers
0:52he’s the man that started all this Polis B crime wave stuff to get the
0:54picture
0:56the process is started the v. near the words into
1:00Polis B politicians there’s another what is a Polis B wout insulting that lights up
1:03to the border
1:22you know what yr problem using
1:25to extend yourself
1:27you can’t stand it anymore
1:35who’s been decided you want anyway
1:39center the rules of the things

May 30th, 2016

5/30/2016

Alvarez Un/documented, Kentucky

“demographics unit”

Pg. 3, line 46, written: no my wife was a permanent
            Change to: nomi wi was permiso

Pg 4, line 10, written: & buy many things . . . if law requires
            Change to: & buy mushos things . . . if law quiera

“get home & you just want”

pg. 5, line 5, written: giving illegal immigrants the privilege to grab legally
            change to: giving the globe the illegal privilege to grab

pg. 5, line 11, written: another point abt. beaners
            change to: another point specifically abt. beaners

pg. 5, line 18, written: & when illegals try to get licensed
            change to: & when they try to get licensed

“boots on the ground”

pg. 4, line 4:33, written: 4:33raising many nirvana’s I
            change to: 4:33raising many nirvanas I

pg. 8, line 7:15, written: 7:15& I know where the illegals eat—where they sell their labor
            change to: 7:15& I know where they eat—& where they sell their worth

pg 8, line 8:21, written: 8:21illegal drunk driver w. no lights & no
            change to: 8:21drunk driver w. no lights & no

pg. 9, line 10:49, written 10:49, written: 10:49does not scare you—they I had a blast
            change to: had a blast

pg. 9, line 11:16, written: 11:16At Contestame jobs in Shelbyville—we don’t have
            change to: 11:16at Contestame jobs in Shelbyville—we don’t have

pg. 10, line 13:24, written: 13:24warned you abt. their--
            change to: 13:24 warn you abt. their--

“Appalachicanos . . . brownly”

pg. 12, line 6, written: to illegal aliens I--
            change to: to . . . I

pg. 12, line 10, written: nearly 300 percent increase in illegals--
            change to: nearly 300 percent increase--

“tide risen”

pg. 13, lines 12-13, written
                        professional federal government c
                        ompletely abdicated its

            change to:
                        professional federal government
                        completely abdicated its

pg. 13, line 25, written: & i know—i
            change to: & I know—I

“migra chingada”

pg. 15, lines 11-12, written
                        to illegal aliens yesterday & today--
                        hundreds of illegal aliens have got to this search--

            change to:
                        yesterday & today--
                        hundreds have passed on this search--

pg. 15, line 33, written: okay—my spleen—red white & blue—good somebody from the                                                     preaching . . . he either . . .

            change to: my spleen—red white & blue—good from the preaching . . . either . . .

“leviathan spear”

pg. 17, line 16, written: be four you begin to deal with this fear because it’ll be very
            change to: before you begin to deal with this fear bc. it’ll be

pg. 17, line 18, written: we know that someone’s alive can . . .
            change to: we know that someone’s alive & can . . .

Dialectical Exchange of Linguistic Capital in Literary Field, Grand Xicano Biblioteca Manhatta / 16 June 2004: Scylla & Charybdis

4/22/2016

Abstract of Argument/Analysis
To “approach texts [. . .] as imagined social interaction”

Get On Get ON
economizing linguistic exchanges
conceptualize specific logic
behind balances of power
in relations to symbolic prestige[1]
& economic power[2]

Entonces
Chastitellez subject representing & projecting himself
in a dialectic exchange thru Chastitellez as medium

Huevo
myth of intellectual as a social category independent of class

Huevo
As los Xicanos in library do w/ “immortal” Anahuac

Re-Mortalizing Proletaroid Class Intelligentsia
whom Chastitellez attempts to re-mortalize
appraise unique “proletaroid class intelligentisa”
position of Chastitellez vis-a-vis Chastitellez
often-silent social forces structure cultural determinants
shape artist (or restraints artist works around).

Pobresitos
For Chastitellez/Chastitellez economic realities of his family’s impoverishment one such determinant. educated distinction pushing him away from his family & toward upward, artistic mobility moves him to cooperatively & competitively participate w/ Manhatta literati in his own disempowerment in order to symbolically break free from his kin on his path to fatherhood. In this competitive economy of literary critical exchange, Chastitellez intentionally loses in order to win by a “systematic inversion of fundamental principles of all ordinary economies” (Bourdieu, Field 39).[3] Chastitellez likewise symbolically pays any debts he owes these Xicanos in his epic, one these scholars declared not to have been written yet by a Chickeno.

[1] one valuable form of cultural capital & what Chaley’s audience controls

[2] which intellectuals in general rarely control: “dominated faction of dominant class”

[3] Samuel Beckett plays this technique as well: “fail better”.

nuevo new south

4/16/2016

broken New
York now ye
find yrself
south    sunset
between buildings
bent neck
upbent    gone
imagine dead    imagine
shadows on brick
mute faces
in subways
bulb flashes
between blocks
squid fingers
sucking identities
accelerated shadows
extensive networks
of shadows
& empty seats
swirls of avant-gardes
accented comicbook
illustration lines
deepset symmetries

Kentucky, September 2012

The Codex Mojaodicus Wins Fence Modern Poets Prize

4/10/2016

yr will not receive

4/10/2016

8:06unsanitary toilet
8:09go hot water
8:12one employer
8:14hundreds of migrant laborers was announced
8:19well i guess it does it change the status lakit
8:23rodham wouldn’t do anything else
8:25well-known knowing a different
8:27that’s all they want to do the mother enough to go from place to place they
8:31don’t have a role in the world that happened and we are today
8:35eight tomorrow they don’t worry about they detect this race of people there
8:39mister jones do you think that uh... the migratory labor makes a living wage
8:47they make the poor living in other words up sometimes disliked the pharma
8:52sometimes when things are good morning
8:54he was a building they can make good money
8:57and make a good living at
8:58does take here and year out from different scenes in different sections

Exorcist Rev. GOP Confronts Quetzalcoatl

3/15/2016

Hold that cross in left hand mic in right
Hold her shoulder tell her close her eyes
Yr yellow poly tie too loud
w/ yr purple butterfly collar shirt
but yr rayon gray jacket feels right w/ that orange hanky in yr pocket
she’s browner than you w/ a part in her hair
wearing all black black coat black blouse
pursed mouth saying save me Rev G
tho not exactly mouthing anything
belief or not
“you got demons” forcefully shake her shoulder
left arm around her shoulder formerly
where he held that cross
poke her shoulder w/ each syllable
“we’re gonna git rid of em” nod
into mic still in his righty
“w/ the help of my god”
“alright”
“hot / you wanna be set free?”
“hell yes”
“good” let her go
her eyes downcast what color her eyes?
“other than the fact that you manifested on yr way over here
“did you know you have demons?”
mic to her mouth
“yes”
mic to his mouth
“have they manifested before?
nod
“well obviously we haven’t gotten to the bottom of the curse yet & we better get to it “tonight here’s what I want you to do I want you to repeat some things after me but “first smile”
smile
pat her cheek
“you’re abt to get set free”
“amen”
applause
“say now I now”
“I now”
“renounce the devil”
“renouce the devil”
“say I renounce”
“I renounce”
“the blood sacrifices of the Azspics”
“the blood sacrifices of the Azspics
quickly move yr mic away from her mouth
pause
pause
“& the Chyngcas & the desMayas”
“& the Chyngcas & the desMayas”
shake blur
“I renounce . . . Quetzalcoatl”
“I renounce . . . Quetzalcoatl”
“ever heard the name?”
“yeah um hm”
“where’d you hear it?”
“growing up . . . learning abt Messican history”
“I go back to my ancestors”
“I go back to my ancestors”
“who were sacrificed”
“who were sacrificed”
hand off her should mic to mouth
close eyes step away neck upbent
let her go let her go
“to the one on whom this curse was placed—”
O Lord! from audience
look to that voice mark it w/ yr raised eyebrow
mic to her mouth
“to the one on whom this curse was placed”
“I break that curse—“
“HAJ” serpent eyes fangs
hand on her forehead
“I break that curse”
only my whiteness can save her
“you will fail Quetzalcoatl brownbloodsucker
“because you are tryin to oppose
“inevitable waves of history & the future

2000

1/24/2016

burned ˞˞ȓȓ˞ၸ¾(᭘︨⫮䙢㘔

˞˟耂˞˞ȓȓ˞耂˟˟ȗȗ˟ၸ¾(᭘︨⫮䙢㘞
˟ˠ耂˟˟ȗȗ˟耂ˠˠȞၸ¾(᭘︨⫮䙢琔
̘̙耂̘̘čč̘耂̙̙đđ̙ၸ¾(᭘︨⫮䙢琞
̙̚耂̙̙đđ̙耂̚̚ĕĕ̚ၸ¾(᭘⨪̔̔üü̔ၸ¾(᭘︨⫮䙢瀔
̔̕耂̔̔üü̔耂̕̕ĀĀ̕ၸ¾(᭘︨⫮䙢瀞
̖̕耂̕̕ĀĀ̕耂̖̖Ą⨪̏ÝÝ̏耂̐̐àà̐ၸ¾(᭘︨⫮䙢气
̐̑耂̐̐àà̐耂̑̑ææ̑ၸ¾(᭘︨⫮䙢氞
̑̒耂̑̑ææ̑䙢栊
̋̌耂̋̋ÂÂ̋耂̌̌ÉÉ̌ၸ¾(᭘︨⫮䙢栔
̌̍耂̌̌ÉÉ̌耂̍̍ÍÍ̍ၸ¾(᭘︨⫮䙢栞
̍ၸ¾(᭘︨⫮䙢搔
̇̈耂̇̇¬¬̇耂̈̈´´̈ၸ¾(᭘︨⫮䙢搞
̈̉耂̈̈´´̈耂̉̉»»̉ၸ¾(耂̃̃šš̃ၸ¾(᭘︨⫮䙢怔
̃̄耂̃̃šš̃耂̄̄žž̄ၸ¾(᭘︨⫮䙢怞
̄̅耂̄̄žž̄耂̅̅耂˾˾}}˾耂˿˿……˿ၸ¾(᭘︨⫮䙢尔
˿̀耂˿˿……˿耂̀̀ŒŒ̀ၸ¾(᭘︨⫮䙢尞
̀́耂︨̀̀⫮䙢堔
˺˻耂˺˺__˺耂˻˻gg˻ၸ¾(᭘︨⫮䙢堞
˻˼耂˻˻gg˻耂˼˼oo˼ၸ¾(᭘︨spoken & as both know cannot ever be wrong for seven hours⨪⨪⨪J˶ၸ¾(᭘︨⫮䙢吔
˶˷耂˶˶˶耂cd see blue smoke rising on other side of canyon ˷˷QQ˷ၸ¾(᭘︨⫮䙢吞
˷˸耂˷˷QQ˷耂˸˸XX˸耂˲˲44˲ၸ¾(᭘︨⫮䙢倔
˲˳耂˲˲44˲耂˳˳;;˳ၸ¾(᭘︨⫮䙢倞
˳˴耂˳˳;;˳耂⨪⨪⨪

The Goalie's Anxiety at the Penalty Kick

1/24/2016

I find that whenever trying to analyze a text, a good place to begin is with the title: The Goalie’s Anxiety at the Penalty Kick says something about how to read the text? Aside from that the story ends with a penalty kick successfully blocked by a goalie (pun on Bloch/block?), reading what the anxiety is throughout the story seems intentionally ambiguous. Should the idea of a goalie, perhaps the image, somehow relate to what the story does? Bloch appears to understand himself as a character. Consider the passage near the end of the novel, “It seemed to Bloch as though they were talking to each other for the benefit of some third party” (131). A joke about the reading third-party? Surely a joke is somehow in order here. Reminds me of the scenes in Weekend when the characters blatantly remind the audience they are in a movie. The passage seems less explicit than this, however.

I think I may have found a common thread to pull at any rate. Allow me to list:

1.   Bloch realized that he had not been watching the hawk fluttering and diving
but the spot in the field for which the bird would presumably head (33).

2.   He watched a dog running toward a man in a field; then he realized that he
was not watching the dog any more but the man, who was moving like
somebody trying to block somebody else’s way (101).

3.   On the ground in front of him a different picture: ants approaching a crumb of
bread. He realized once again that he wasn’t watching the ants but, on the
contrary, the fly sitting on the bread crumb (101).

4.   Bloch saw the other spectators around him talking to each other. He did not
watch the one who happened to be speaking but always watched the one
who was listening (132).

These passages all lead to the grand finale scene; Bloch watches the goalie and describes his “unnatural” way of viewing the movement of the game:

“It’s very difficult to take your eyes off the forwards and the ball and watch the goalie,” Bloch said. “You have to tear yourself away from the ball; it’s a completely unnatural thing to do.” Instead of seeing the ball, you saw how the goalkeeper ran back and forth with his hands on his thighs, how he bent to the left and right and screamed at his defense (132).

He adds:

“The goalkeeper is trying to figure out which corner the kicker will send the ball into,” Bloch said. “If he knows the kicker, he knows which corner he usually goes for. But maybe the kicker is also counting on the goalie’s figuring this out. So the goalie goes on figuring that just today the ball might go into the other corner. But what if the kicker follows the goalkeeper’s thinking and plans to shoot into the corner after all? And so on, and so on” (133).

Is it too farfetched to say Bloch finds the defensive position as exciting as the offensive? Perhaps this might be telling a reader how to read the text? To read defensively? What does that mean? To watch oneself read? I ask myself, is reading an offensive or defensive act? Seems to me reading for pleasure is like being on the offense and reading for everything else is defensive. I’m sure this makes little sense, though I myself am still trying to make sense of the novel.

Also, what of this passage from the guard about dealing with those trying to give him the “slip”:

“Actually, there aren’t any hard-and-fast rules,” said the guard. “You’re always at a disadvantage because the other guy also watches to see how you’re reacting to him. All you can ever do is react. And when he starts to run, he’ll change his direction after the first step and you’re the one whose weight is on the wrong foot” (121).

Sounds almost word for word what Bloch said above about goalies. How to read this? Maybe we should refer back to a passage earlier in the novel when Bloch thinks, “Again it seemed as if he should be seeing all this only in a figurative sense” (74). It seemed? Maybe this thread only seems to make figurative sense--how I’ve been trained to read; my training, in a sense, is a defensive mechanism. I can say that reading this novel makes me aware of my own strategic points of attack of dissecting a literary work. That none of this leads me anywhere with this novel seems to say something as well. The text moves one way, I react, the text moves another, I react, the text gives me the slip overall. All my weight is on one foot, so to speak, and maybe I should stop watching the ball and watch myself. Maybe watching myself read the text is the real pleasure I should be gaining from The Goalie’s Anxiety at the Penalty Kick, which, if the binary I made earlier opposing reading offensively for pleasure and defensively for everything else still stands, then it stands corrected. Barthes: “What pleasure wants is the site of a loss, the seam, the cut, the deflation, the dissolve which seizes the subject in the midst of bliss” (The Pleasure of the Text, 7). Reading the story, I seem to become a character, dissolve between the offense and defense, which must be blissful (since this is my favorite text I’ve read for the class this semester). So the goalie’s anxiety is really my anxiety, which is really the edge where the death of my analytical training occurs--which is fine with me because it hurts so good to know analysis can lose itself in me (sometimes).

Tucson, 2003

chilly coal machines making vapes

1/23/2016

Ye olde campus coal plante. #uky #kentucky #ky

A video posted by @stevenpaulalvarez on Jan 19, 2016 at 5:56pm PST