Duke & JillFrom Ron Kolm
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Duke & JillFrom Ron Kolm
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“Ron Kolm's Duke & Jill stories are classic illustrations of appealingly casual criminal ingenuity at work in a society where everybody has too much of nothing, either materially or spiritually. They remind me of Denis Johnson's doom-flecked narratives as well as my favorite Buster Keaton movies. Even if the time and place of their setting is gone with the wind, their anarchic spirit is still a breath of fresh air.” --Gary Indiana, author of I Can Give You Anything But Love.
Duke & JillFrom Ron Kolm - Amazon Sales Rank: #750549 in eBooks
- Published on: 2015-09-07
- Released on: 2015-09-07
- Format: Kindle eBook
Duke & JillFrom Ron Kolm From the Back Cover "Ron Kolm's Duke & Jill stories are classic illustrations of appealingly casual criminal ingenuity at work in a society where everybody has too much of nothing, either materially or spiritually. They remind me of Denis Johnson's doom-flecked narratives as well as my favorite Buster Keaton movies. Even if the time and place of their setting is gone with the wind, their anarchic spirit is still a breath of fresh air." --Gary Indiana, author of Utopia's Debris: Selected Essays and Last Seen Entering the Biltmore: Plays, Short Fiction, Poems 1975--2010 "Take the bumbling antics of the Keystone Cops, season with a pinch of Bonnie and Clyde, add in some not-so-gentle satire of East Village funk, top with a generous helping of a kind-of-a-love story and you have the comedy of errors that is Ron Kolm's, Duke & Jill. His sometimes street smart, more often street un-smart characters use their wits to survive the changes in their East Village neighborhood--and survive they do, in spite of all the setbacks they get themselves into and out of. Kolm handles his characters and their misadventures with just the right touch, moving from vignette to vignette with an effortless ease that belies the skillful deftness of his writing. It's all there, and extremely well executed indeed."--Susan Sherman, author of Nirvana on Ninth Street and The Light that Puts an End to Dreams. "You probably knew Duke and Jill at some point. They might have lived down the hall from you back in the day. Maybe you didn't like them, or maybe you did. Maybe they scored for you, or you for them. Poet and literary impresario Ron Kolm represents this classic East Village trouble couple with the deadpan élan of a bohemian raconteur looking back from the other side of nowheresville. Kolm's spare, but evocative scenarios always end in a fated punctuation point that leaves the reader laughing while crying while wondering, perhaps, just why this sad species of ours has gained the earthly prominence it has." --Carl Watson, author of Hotel of Irrevocable Acts and Backwards the Drowned Go Dreaming.
About the Author Ron Kolm is one of the founding members of the Unbearables literary collective, and an editor of several of their anthologies: Crimes of the Beats, The Worst Book I Ever Read and The Unbearables Big Book of Sex! Ron is a contributing editor of Sensitive Skin magazine and the editor of the Evergreen Review. He is the author of The Plastic Factory and the co-author, with Jim Feast, of the novel, Neo Phobe. A collection of his poems, Divine Comedy, was published by Fly By Night Press, and a new one, Suburban Ambush, came out from Autonomedia. He’s had work published in Live Mag!, Gathering of the Tribes, the Poetry Super Highway, Urban Graffiti, MungBeing and the Outlaw Bible of American Poetry. Ron Kolm has worked in many of the signature independent bookstores of New York City over the years: The Strand, St. Mark’s Bookshop, Shakespeare & Co, and currently, Posman Books. Kolm’s papers were purchased by the New York University library, where they’ve been catalogued in the Fales Collection as part of the Downtown Writers Group.
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Most helpful customer reviews
2 of 2 people found the following review helpful. Equal parts funny, heartbreaking and unpredictable By Bud Smith A stellar collection of linked short stories. Equal parts funny, heartbreaking and unpredictable. This book reminds me of Fan Man by William Kozwinkle and Rontel by Sam Pink. The narrative swirls around a revolving commentary on the foot traffic society of the buzz saw city, and lays out whelping doses of poetry you won't be able to look past.I wrote the introduction to this book because I liked it so much.
1 of 1 people found the following review helpful. at least not on the scale that artists like Ron remember it By James H Duncan When I first met Ron Kolm and began listening to him read his Duke & Jill stories at various venues around NYC, it struck me how these dynamic street-urchins and drug-popping trouble magnets could almost be comical and cartoonish in today’s hyperactive, click-bait, irony-infused culture, if mishandled by the wrong author. Because tales of old-school New York and its widespread filth, crime, and bumming around are as much a fantasy to today’s city dwellers as anything Disney could create. However, getting to know Ron really helped drive home the fact that these stories are authentic New York slices of life, offered without any sort of wink-and-nod exploitative subtext...and yet perhaps they are also fantasy tales of a their own sort, stories of what once was and will never be again, at least not on the scale that artists like Ron remember it.These stories are funny without being cartoonish. They’re shocking and raw without pandering or going over the top. They’re revealing in how much one had to struggle to get by in New York when one COULD struggle AND get by in New York. And I don’t mean struggle as in the train took forever getting to work and the Starbucks line was too long and one homeless guy last week asked you for change. I mean selling your few possessions on a blanket on a street corner and going home to a bombed-out shell of a building to find someone stole what little else you had and on your way home from buying a new door lock you get mugged of that too. That’s a struggle, but people like Duke and Jill got by, and had crazy tales to tell, and drank too much, and were gritty and real and funny and tragic.A book like Duke & Jill is important to read and share with fellow artists and writers struggling to get by. I highly recommend it.(Full review originally posted at Hobo Camp Review)
0 of 0 people found the following review helpful. Counter Culture: On "Duke and Jill," by Ron Kolm By Michael Lindgren For years I have been clamoring for a book that collects all of the hard-to-find Duke and Jill stories of my friend and mentor, the downtown writer and poet Ron Kolm, and finally I have been obliged. Thanks to Bud Smith and his Unknown Press, these iconic tales of the East Village of yore are now snugly in place between two paperback covers.Some background is in order. Ron Kolm is perhaps best known as one of the co-founders of the Unbearables, a loose literary collective of writers and poets who take their founding principles from a grab-bag of postmodernist dicta, including the literature of constraint and the concept of the temporary autonomous zone: a scruffy tribe of proudly low-rent situationists. Kolm himself came to New York in 1970, worked at the Strand alongside Patti Smith and Richard Hell, and made a name for himself as a poet and editor of the downtown scene’s burgeoning literary underground. Along the way he started writing, almost as an afterthought, a series of comic riffs based on the misadventures of a pair of scruffy anonymous losers he had come to know in the bars and seedy squats around St. Mark’s Place, then a festering hub of the East Village’s proto-punk scene.The resultant stories seeped out gradually by installments, appearing in such now-legendary periodicals as Between C and D and Public Illumination Magazine. Separately, they were amusing, ribald, scabrous slices of life on the margins in a city that has now vanished. Taken collectively, they represent not only a cultural document of major historical importance but a startlingly fresh set of urban parables, a group of surreal micro-narratives whose gruff wit and anarchic energy remain strikingly appealing.“Duke and Jill do drugs,” goes the now-famous opening of the first tale. “They live on the corner of Avenue A and 10th Street, in a mostly burnt-out building… Bad things keep happening to them.” The cunning parody of the sing-songy rhythms of a children’s primer establishes the tone of sardonic whimsy that will run through the tales collectively, as well as establishing a subtle irony. Duke and Jill really are children, as it turns out, not in the Rousseauvian countercultural utopian mode'—'hippie platitudes come in for constant mockery and contempt in these stories'—'but in a far harsher sense. Their lives are dominated by the child’s self-absorption, by an essential amorality and inability to postpone gratification. Epistemelogically, Duke sees the world around him not through the child’s eyes of wonder and beauty, but as an alien terrain full of threats and menaces; he is no more able to plan or work or conceive of consequences and results than a child, and as a result his world is a whirling grotesquerie of drug-addled catastrophe.The vitality of the book’s recording of a very specific time and place in the history of urban bohemia also transcends that of the mere historical. A central tenet of Kolmean aesthetic theory, which I intend to treat more fully in a series of future monographs, is the concept of witness, an idea that Kolm shares, however unlikely it may seem, with certain religious and spiritual traditions. The true writer, Kolm feels, writes not out of a desire to express himself, but rather in response to an uncentered but compelling sense of obligation, a duty to record the emotional contours of the narrative landscape in a kind of supra-categorical imperative. However sordid and unseemly Duke and Jill’s existence, it somehow still demands documentation'—'and that gives the stories their radical authority. Kolm is fond, in conversation, of praising a piece of vivid writing as having “the stink of reality,” a quality he bestows as a compliment. Duke and Jill have the stink of reality to spare.And it is this authority, in turn, that establishes these stories as the truest reflection of their zeitgeist that we are likely to have. The deeper into the new millennium we get, the more the period these stories document'—'that is, the early 1980s'—'begins to sink into a hazy, sepia-toned reverie that is quite at odds with the reality of the time, with its violence and despair and fraud and paranoia. Even many of the participants or survivors of the era, one notices, are hard-put to resist romanticizing the period or speaking of it in nostalgic generalities. This is part of why the Duke and Jill stories remain so bracingly corrective and relevant. Duke and Jill are the farthest thing possible from rebels or revolutionaries; they are lazy, untalented, larcenous, petty thieves and criminals, and Kolm is ruthless, even gleeful, in documenting their greed and fecklessness. The stories have no redeeming morals, no pat endings'—'and despite the conclusion’s elegiac tone, which echoes Joyce’s “The Dead” as surely as the beginning references children’s literature'—'no future. That is their beauty, and their doom.
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