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The book of Nothing. For those who likes to write and for whose who doesn't like to read.
A Library Journal Best Book of 2022 in Short Stories A collection of twelve powerful and moving new stories from one of Ireland's most celebrated writers.
Is a blank page really blank? Beloved poet Alberto Blanco pulls back the curtain and illuminates all of the elements hidden in a single piece of paper: the tree it was made from, the rain and sun that allowed the tree to grow, and the people that created it. An enlightening read for readers young and old, it soon becomes clear that a blank page contains the whole cosmos. In The Blank Page, world-renowned Mexican poet Alberto Blanco inspires children and adults to keep looking deeper, to never take things at face value. Charming illustrations by Rob Moss Wilson portray a world that slowly comes to life in a single sheet of paper: first the tree, then the forest, then the people are discovered, revealing the whole interrelated ecosystem of our world. As Blanco says: "Where nothing happens, there is a miracle we are not seeing."
Read the book that Donald Trump called “a great book for your reading enjoyment!” The most exhaustively researched and coherently argued Democrat Party apologia to date, Reasons to Vote for Democrats: A Comprehensive Guide is a political treatise sure to stand the test of time. A must-have addition to any political observer's coffee table. *** Lefty lawyers require that we state the book is mostly blank and contains precisely 1,235 words.
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33”, Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.