enter these starved and broken pieces

I don't know I don't know I don't know. Managing to forge a "whole" work out of this mess, the operation keeps getting interrupted for long stretches of time. As always, the underlying intuition is that this is the whole, that there is nothing to wait for, here we are, etc. I withheld certain parts of the mix that I put together in May while at the Visual Studies Workshop, since I thought posting them would preempt any release of this "whole;" but now listening to what I had managed to put together, while taking account of what has been collected in the meantime, I know it will all change again. Or maybe I'm closer to the end than I'm letting myself admit. In any case, I've decided to post the significantly new parts of the bigger work here, given they will probably entirely change or be folded into a different continuum. Current misgivings annotated.
Possible Intro (1 min. 35 sec.)
well, even though it's intentionally clunky, for something that I've spent so much time on it's probably not an appropriate opening, especially since the pandering, sterile beat gives it the feel of a public radio PSA on monitoring your cholesterol.
It's the locality! (1 min. 33 sec.)
I love Williams' quote that art is not "putting sugar on cake." A crucial bit from the PennSound bytes. Exposition, exposition so . . . yawn? (one person has told me it's boring for those who already know Williams-- the core audience; evidence of constant my schizophrenia concerning who it's for and who will listen. But wait, it's not all sugar on cake, buddy!)
Have you ever been to Paterson? (2 min. 5 sec.)
Cloying? Also, when editing, I had a lot of trouble making the Carole Maso samples really sound like they fit; I still think they might be a little off, even though they provide some crucial connective material and diversity of voice (I found myself overusing Bob Perelman and Lytle Shaw throughout, so any chance I had to get other material in, I took it.)
Blocked (4 min. 31 sec.)
I think this section is the most successful at doing what I wanted the piece to be doing, a mix between informational and musique concrete elements. I do think that, as it goes on it succumbs to the banality of overused effects, which, while may have some place in a more live setting, I think falls a little flat here after a while. For some reason, I think the loops and delays and filter sweeps went on for so long because I wanted to get some particular sound bites in, but but by the time that they fade up into the mix, it already feels like they've been "said" on a subconscious level.

The Wonder Years: Carole Maso on Paterson

Novelist Carole Maso was born in Paterson, NJ and in many ways is a writer deeply informed both by the stylistic licenses Williams took, as well as by the aura of his presence in her first city. Maso talks of Wonderbread trucks, grammar school pride, Armenian silk workers, and other Patersoniana in this recent interview, again fairly unedited. I regretted later on not asking her about how she felt about the Marcia Nardi passages, especially after reading her say in another interview: “Only a college-educated white man can write enormous, sloppy, sometimes unreadable books and be labeled a genius. If a woman attempted such a project she'd be laughed or scorned or ridiculed off the scene. Or worse, ignored.” I did later see her at a reading, and we briefly talked about how Williams was canny to fess up to such power dynamics by including the Nardi letters to him, warts and all.
Maso talks about her upbringing in Paterson: (3 min. 24 sec.)
Moving through a modernist masterpiece: (4 min. 25 sec.)
Hardship in Paterson: (3 min. 9 sec.)
Paterson and Paterson: (1 min. 56 sec.)