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Flasher: A Memoir [Tsaurah Litzky] on conzooganessdesc.ml *FREE* shipping on qualifying offers. in Flasher, Tsaurah Litzky writes with brio, wisdom, insight, and humor.
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Writer, poet, and performer, Tsaurah Litzky is an accomplished author with many chapbooks, erotica, and anthology entries under her belt. Flasher: A Memoir is part lyric essay, part reminiscence, part short story collection, and part sitcom. It is the story of an almost archetypical artist, driven by intense passion and consumed by carnal desires. Throughout Flasher , the protagonist seeks an endless stream of pleasure, meaning, and companionship, and space enough for herself and for her art.
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But, at all stages, she finds disappointments, despite finding many drinks, drugs, men, and yoga positions. Yet, inspiringly, she never gives up — she always gets back up and tries again. That is what will keep you reading — to see how she gets back up. Descriptions of many scenes, both sexual and not, are technical.
The tone, overall, can feel detached, almost clinical as it relates the facts of the scene. When he does not perform, he suffers from lack of ''a space to sign his name. If you're famous you're everywhere all at once,'' and if poor Rat Man, that ''mental orphan,'' is not everywhere he ''doesn't belong anywhere. Paul West is fascinated by the process of Rat Man's ''heartsick improvisations. Paul West takes us through the development of Rat Man's rat act.
First he uses live animals, then dead animals, then inanimate objects which, like the dead ones, he moves so that they appear alive - a rat lesson in the distance between the real and its representation. Having solved or exhausted one problem the artist moves on to the next. If he doesn't have a problem he invents one.
Klaus Barbie, the Nazi war criminal, is returned to Paris from Bolivia. Rat Man recognizes, in a newspaper, the face of his particular Boche - ''the un-thinkable'' human, the one who ordered that particular burning.
Flasher by Tsaurah Litzky
Now the problem is how to live in the same world in which the Boche is alive in the Bolivian sunshine, or maybe in a Paris jail, waiting for his Nuremberg. Rat Man is not good at research; the facts are not what his art is made out of.
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He takes his latest ''rat'' - it's his mother's fox fur piece, as soft as his mother's hair, and one of the few objects rescued from the fire - puts it into a baby carriage rescued from a garbage dump, and ''wheels his vengeance'' through the streets of Paris. What vengeance? Rat Man is confused.
go here It probably wasn't Bolivia. Maybe Peru, and that jail wasn't in Paris, but in Lyons. Anyway it wasn't the right Boche. The right Boche will never be found. Rat Man's performance ''grows ornate. His imagination, too, is a poor specimen. It fails to cooperate with anybody else's logic or presumptions. It does not, finally, turn improvisation into art, and it will never turn ''indignation into revenge.
If this late day and age still require proof that it's not the hard news in the papers, but self-celebrating prose, that faces our hardest facts, we put in evidence the deadly seriousness of Paul West's ''Rat Man of Paris. But there is a thing that such prose does not do, at least not in our day and age - and as fellow writers we worry a lot about it: Paul West gives us Rat Man's imagination, his ache, his mutilated acts of vengeance, but he does not give us Rat Man.
He writes, ''How extraordinary: our minds loll in two states, ably transporting words into things and things into words,'' only he refuses to let his words condense into that thing we would experience as Rat Man's bulk, Rat Man as ''a character. We understand, we nod our heads up and down, and keep right on wanting to have what we have always wanted - events. Aristotle advised his poets to stop with the excessive language when it has to be understood that something is occurring.
That bullet, for instance, that someone shoots at Rat Man in the middle of the book: it connects with its target flesh - an event if ever there was one, or would be, if Paul West did not prevent it.
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He disintegrates the bullet and the occurence back into that excess of language. It's not that he fails to heed Aristotle's advice. He refuses. He wills not to let us have an event. If we want story - and I'm saying that we do - that we are in want of story as of daily bread when we don't get it - we know where to go.
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We know where our stories have gone. They've been leeched away from the best writing of our time, tied into plastic baggies and shipped off to soap opera.
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We can turn it on and turn it off, and hurry back to Rat Man's conclusion. Sharli has taken Rat Man away from Paris and domesticated him.
She gives him a child and now Rat Man has a stake in the future, a tender place in the world; and he elaborately improvises its survival against the horror to come. West, who was born in England in and has lived in this country off and on since , is the author of some 20 published books plus ''three or four unpublished ones sleeping away in steel containers''.