========================================================================= Date: Tue, 1 Jun 1999 12:04:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: list delay . . . MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit caused by problems with dialup service. fortunately it was a holiday weekend, so not much traffic seems to have been held up. what was, follows. Chris - missing history ========================================================================= Date: Thu, 27 May 1999 17:04:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: name your enemy/was "on Notley" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear (is it?) Linda Russo: I have somehow been confused with some other Stephen. I am Stephen Vincent. Anyway I don't think I was the intended postee for your post. Albeit I usually like or am intrigued by your public posts. ========================================================================= Date: Thu, 27 May 1999 18:06:53 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schuchat Subject: Re: workshops with Chris Stroffolino MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I am willing to be taught to write poetry, but it will cost you a lot more than $50 per hour to do so. Chris Stroffolino wrote: > > Chris Stroffolino is presently available to work with students privately, > either poetry, prose fiction or playwrights, for $49 per session. Each > session will be 2-3 hours. If interested, please call (718)-499-1697... > > On Wed, 26 May 1999, Poetry Project wrote: > > > Another public announcement: > > > > Larry Fagin is presently available to work with students privately, > > either poetry or prose fiction writers, for $50 per session. Each session > > will be 1-2 hours. If interested, please call (212) 254-6621. > > ========================================================================= Date: Thu, 27 May 1999 18:50:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Organization: axess.com Subject: FWD: Canadian Poetry Association News MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > Wayne Ray wrote: > > > > Greetings: > > > > If you are not already receiving the Weekly News from the Canadian Poetry > > Association ( http://www.mirror.org/cpa ) then I take this time to invite you > > to join the CPA MailList to receive literary news, information, contests and > > other announcements. Actually, for people wanting to join the list who can't click on the URL, please contact Wayne Ray at the above address for details. Jack Ruttan, Montreal -- http://www.axess.com/users/jackr ========================================================================= Date: Thu, 27 May 1999 20:46:19 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jessica Pompeii Subject: found assholes MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The fresh strawberries had to grow. Driving, parking, hoofing, except there was no parking. NO PARKING signs everywhere. So I drove around in circles, just for strawberries. Not the market kind, but the farmer kind. One alley then two, of more NO PARKING - PRIVATE PROPERTY. Just 30 feet from the strawberries I found a space in a NO PARKING / TENANT ONLY parking area. A space obviously that would not be blocking anyone, nestled near an outer chain, well in back of a big white truck. Two elderly folks were watching me from the brick building, daring to tow me. So I waved toward the strawberries to my invisible crippled mother. Motioning to her to come here, that I can't get any closer, sorry. I mimed it all. But she was too lame to make it over to the car without assistance. So I hobbled out of the car, my MS flaring up. Bought my strawberries, and 3 fucking tomatoes at the adjacent booth and was back in minutes. The old gal had exited her picture window and was waiting for me. She carried a menacing looking black button and shook it at me. "You were just about to be towed." She had a thug with her, with red hair. He kept yelling. "Can't you read?" And read to me each of the signs. I put up my hands as if to say halt. I said, "I am a woman of peace." The lady went away but the red head wanted a fight. I said, "Go back to jail." You can tell these things. I rolled up my window. As he threatened my tires, hissing, "I voted for NRA." So I made a note of his truck, or what I decided was his truck, and drove away shaking. Thinking, I should go back there, I know where they live. ========================================================================= Date: Thu, 27 May 1999 20:28:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ken|n|ing Subject: Re: context judo In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Jordan Whose claims are these? I'm particularly interested, as I notice many others around me are these days, in functionalist redefinitions of such otherwise impossible to think terms as "poetry" and "political" and "efficacy." And so my mean of what mean you means me this: let's not question the agency of a tradition without proposals for its reconfiguration in the wagering. Or, the agency of a medium (another troubled term). Or, the agency of linguistics . . . ad absurdly yrs Patrick k e n n i n g___________________________________________________ a newsletter of contemporary poetry poetics & nonfiction writing _____________http://www.avalon.net/~kenning 418 BROWN STREET #10 IOWA CITY IOWA 52245 USA On Thu, 27 May 1999, Jordan Davis wrote: > What mean you by what mean you. > > Claiming that people aren't involved in politics or do not take a > political stance, isn't that just a code for 'why haven't you taken > power?' or 'Were you assuming that power was going to be given to you at > an appropriate time?' or 'Don't you know what power is and what will > happen to you if you don't have it?' > > Claiming that people who claim to be writing poetry aren't really writing > poetry, isn't that a code for 'no exemptions from withholding'? > > Jordan > ========================================================================= Date: Thu, 27 May 1999 21:38:48 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: BITCHCRAFT DE NOS JOURS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit G R O I T / G R I O T [written & thought of by LuTonya & Nikki] I. In the end the horse won and swallowed him. Her voice in the Winter Wind hanging there like icicles in the Air. He turned reluctantly from the white walls he had built. He looked at the sun seen the sun setting. Unlimited fun time with his friend. II. L u T o n y a : I love the words from the Artist formerly known as Prince. Its titled the Most Beautiful Girl in the World he's talking about how women are considered beautiful not for just the Outside But for the wonderful qualities that they posses and the many things that they do and it might not get recognized or they might not get praised my favorite Line goes III. N i k k i : a personal favorite of mine is Shrimp Alfredo. First I put about 1 tablespoon of cooking oil in a skillet and sautee 2lbs cooked-tailess shrimp. Add green peppers, red peppers, onions, and mushrooms. When that's cooked enough I put in 3 containers of Digiorno Alfredo Sauce and stir until warm. Season it with pepper, cayenne pepper, garlic powder, and seasoning salt. Boil fetticine noodles, drain them, and mix with sauce mixture. Serve with White Zinfandel. Umnmnmnmnmnmnmnmnmnmnmnmnmnmn. IV. L u T o n y a : EXPLAINING MONEY TO A ALIEN. Money is a type of trading tool. It comes in paper form and metal form. Each paper has a different number on it and the higher the number the more it is worth. We can see something we like and if we want it, we have to use money to get it. You can get just about everything you want if you have enough of the paper with the really high numbers on it. Rap Music is what you would call music that expresses how you feel about your situations in growing up in your surroundings in a poetic senses with verses that rhyme. It is listened to by groups of people who crosses all types of economical, races, and age lines. It is not all about profanity or violence and it does not just degrade women. It sometimes help to break down barriers that have been build up. V. N i k k i : The differences between Oprah & Jerry are of the most obvious. Oprah is more in touch with her audience and the people on her panel. She holds hands with her guests. She has a big heart and you can tell Jerry on the other hand, laughs at his guests and doesn't seem to show sympathy. He urges his guests to get heated. Montel gave the best description of his show "It's like a train wreck, it's terrible, but you want to watch it." I prefer Jerry. I guess I like "train wrecks." VI. B o b b i e J o : when its rainy I love to sleep so today I'm very sleepy I can't wait for school to end so I can go home and make a nice cup of coffee get erik his bottle and of course miranda gets her hot chocolate and stack up the pillows we'll probably have to watch mighty Joe first because that's her favorite movie and then we can Watch titanic my favorite movie and we can just relax all day I love spending that time with my Babies VII. S h a y l a : This song by Faith Evans called "I never knew" the thing that really gets me is its true. She's the widow of the slain Biggie Smalls. I can tell by the way he act. I love to kiss his lips. They are so soft. He's my teddy bear baby. [Found lines/feelings from the 2nd Interim Portfolios of E103 at the Academy of Court Reporting, 5-27-99, viz. Benjamin's Sleeping Beauties i.e., "The Fairy Tale of History."] ========================================================================= Date: Thu, 27 May 1999 22:02:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dan raphael Subject: This war or the next MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Wrote this poem a couple days ago; seeing bob holman's poem posted today (5/27) dan raphael Since Tibet isnt free, maybe we can buy it What would the chinese take in trade? San Francisco? missile secrets? the colonels secret recipe? destroying all charlie chan movies? As the chosen people of the money god we Americans should be able to swing this deal, to force this deal but this god likes to keep its sons competing. competition one of the cornerstones of this religion— germany, japan , and now the young convert china proving its worth by destroying the last remaining rival, one of the few religions uncorrupted by money, still connected to its place the monks will need years to exorcise all the demons ========================================================================= Date: Thu, 27 May 1999 22:23:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG event this Saturday: 3 poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit REMINDER [Joel Kuszai has had to cancel his appearance] but: POG Announces A Reading by 3 Poets: Joel Kuszai Bill Marsh Steve Carll Saturday, May 29, 7pm Dinnerware Contemporary Art Gallery 135 E. Congress Street, Tucson Joel Kuszai was born in Michigan, schooled at Reed and SUNY-Buffalo. He is the editor of Meow Press, which has published over 60 chapbooks since 1991. He is currently rewriting The Wizard of Oz "with some help from Marx and others." Some of his earlier work can be found at: http://writing.upenn.edu/epc/presses/meow/ephemera.html Bill Marsh lives in San Diego where he teaches writing and other multimedia arts. His work has appeared in a few on and off-line journals like Tinfish, the germ, Web Conjunctions, Witz, and Zine(n) New Media. His chapbook Making Flutes was published by Potes & Poets Press in 1998 and he has another one forthcoming from Wild Honey. Bill also edits PaperBrainPress featuring chapbooks and other paper and digital productions. More information on his work and his press can be found at http://bmarsh.dtai.com/ Steve Carll was born in Olean, New York. MA in Poetics from New College of CA in San Francisco. Currently living in Honolulu, HI. Edited Antenym. Chapbooks published: Sincerity Loops (Bathysphere), trace a moment's closure for clues (Logodaedalus), brushstrokes (Black Fire White Fire). Recent journal appearances: Tinfish, lyric&, Rhizome. Pending journal appearances: Chain, Art Access, Bivouac. Other work currently available on the websites of Deluxe Rubber Chicken #2 and Black Fire White Fire. The reading is sponsored POG, Chax Press, and the Writing Works Program of UA Extended University; it is in part funded by grants from the Arizona Commision on the Arts and the Tucson/Pima Arts Council. A contribution to POG is suggested at the door, but no one will be turned away. Please call Chax Press at 620-1626 for information. mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso ========================================================================= Date: Fri, 28 May 1999 00:14:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: david bromige Subject: snogging, wass iss diss snokking? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Rachel, listmates, I believe snogging is british c. 1950 for heavy petting. Any other aging britspeak persons on this list to bear this out or correct? David btw, Rachel, thanks for posting that Wilson review of Motion. I cant think when i've seen character assassination masquerading as lit crit to that degree, here in the usa. I've been trying to remember whether Motion was wearing mascara when i met him in toronto ten years ago. It must have been subtly applied if so. Could it be a convenient slander? (Not, of course, that one has anything against men in mascara). I found him worth a read. David ========================================================================= Date: Fri, 28 May 1999 09:59:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Melnicove Subject: Frost at Kennedy's inauguration In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'm writing an essay on Robert Frost's reading/recital at JFK's inauguration and I'm looking for contemporary (i.e. 1961) responses to this event by other poets. I've started to comb letters and diaries as collected in books (Sandburg, Ginsberg, Jarrell, etc.), but haven't turned up much yet. Anyone with any sources, leads, etc. please b.c. And, if you were there (in person, or via TV) and wrote something at the time, or have some recollections 38 years down the road you'd care to share, I'd love that, too. Mark Melnicove ========================================================================= Date: Fri, 28 May 1999 09:59:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: Found Texts Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii I hope I'm not being self-promoting by pointing interested parties to an essay I wrote on computer poetics, hypertext and borrowed (stolen, mashed, etc.) texts which appears at the ubu.com site, not in the "essays" section but in "contemporary." The essay itself is in the footones to a poem called "Stops and Rebels" which was generated by a C++ program I wrote -- it really just "assembled" the poem in a quasi-random way as it's not very bright, but the texts themselves were mostly "found." Anyway, here's Url: http://www.ubu.com/feature_stefans.html Also, McCaffery and nichols Rational Geomancy has lots of stuff in there regarding material textuality though I don't remember off-hand if there is anything specifially about "found" text, but the basic idea is about the "book as machine" and assembalge so I'm sure it's worth looking at (I've only just skimmed my yet-new copy). There are loads of images, cartoons, etc. Lastly, Veronica Forrest-Thomson's Poetic Artifice uses a "cut-up" technique on a newspaper in one of the key paragraphs early in the book, in such a way that makes "found texts" instrumental to the whole theory, hence worth looking at in this light if you can find one. Brian ========================================================================= Date: Fri, 28 May 1999 14:21:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jena Osman Subject: incorporating vs. finding MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thanks to everyone for their excellent suggestions in regards to found poetry. I suppose I should have been a bit more specific in my request. I'm not interested so much in poems that "incorporate" found texts, as in poems that are "found" inside of existing texts. Somebody mentioned Tom Phillips' _Humament_, which is an excellent example of what I mean. I also just remembered that Rasula and McCaffery's _Imagining Language_ has a great section ("Lost and Found in Translation") relating to these kinds of procedures. This section includes excerpts from Phillips, Cage, Johnson's _Radi Os_, and lots of other good stuff. Meanwhile, further suggestions are always welcome. Thanks, Jena ========================================================================= Date: Thu, 27 May 1999 19:46:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marc Couroux Subject: Watten - Total Syntax MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Poetics List, Does anyone know how I can get a copy of Barrett Watten's TOTAL SYNTAX, long out-of-print and impossible to find? Thanks Marc couroux@videotron.ca ========================================================================= Date: Sat, 29 May 1999 00:36:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: Re: drinks with )ohnLowther MIME-Version: 1.0 Content-Type: text/plain John Lowther (ever watchful for a joke to flog) is more than willing to add his services to those of Chris Stroffolino and Larry Fagin and if you will buy the drinks he might sit with you for as much as two hours or as little as 10 minutes to talk about your writing - assuming you and he enjoy this in some sense chances are he'll buy a round and begin blathering about his own writing. If in tha Atlanta area call 404.261.8730. > -----Original Message----- > From: Chris Stroffolino [SMTP:cstroffo@PHOENIX.LIUNET.EDU] > Sent: Thursday, May 27, 1999 12:05 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: workshops with Chris Stroffolino > > Chris Stroffolino is presently available to work with students privately, > either poetry, prose fiction or playwrights, for $49 per session. Each > session will be 2-3 hours. If interested, please call (718)-499-1697... > > > On Wed, 26 May 1999, Poetry Project wrote: > > > Another public announcement: > > > > Larry Fagin is presently available to work with students privately, > > either poetry or prose fiction writers, for $50 per session. Each > session > > will be 1-2 hours. If interested, please call (212) 254-6621. > > ========================================================================= Date: Sat, 29 May 1999 04:44:36 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: name your enemy/was Mime-Version: 1.0 Content-type: text/plain; format=flowed; Conception of body by mind makes body "a Roman sewer" away frm wch the mind, so having "conceived" first, rather than first having "been there", etc., remains a sort of "safe house", tho one that houses just what, exactly, is all I wanted to "mean"/ask w/ that analogy. It's perhaps possible that "some of the people on this list" are in fact themselves "enemies of poetry" despite, etc. that they SAY they are and (seemingly) ARE otherwise. I doubt that "conservative think tank money" is recommending one sort of poetry over another, tho the push from that quarter wld be to repress almost ANY sort of literary (not to say "real life") explorations into what for a better term I'll call the Dantean "dark wood". So it isn't so much even money any more that's "the institution", but far more all our subjective habits gathered like runes toward a single objective representation, ie., in many cases one's singular ability to get, have and hold whatever portion of the world can be thus (immediately) grasped in terms of one's own still-subjective "sincerity", which one then has as what one has at hand, in hand, pretty tightly grasped. So, it's more analogous situation viz conservative dollars, rather than directly causative w/in the world of poetry, wch hopefully wld have more to do with how the world is defined, what those definitions, limits etc. TELL (us) abt our place IN it, than with Barnes & Noble distribution problems. I guess I'm just suggesting that poets in particular, and Americans in general, aren't very political in either any short or long view, and that that's not political enough to plow over, under and up again the whole sod of the subjective that assumes value in poesis, but seems unable to objectify it except materially, the book, reading tour, etc., ie., "publish me: I'm liberated." Wch COULD be true enough, tho of course there seems also considerable reason to doubt. SE >From: Linda Russo >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: name your enemy/was "on Notley" >Date: Thu, 27 May 1999 00:19:01 -0400 > >Dear Stephen, > >I agree for the most part (don't know abt the human body/roman sewer) that >pluralism is the enemy of opposition (from whence "political" poetry >springs) and >'love' is but another sort of pluralism, generous as it is it lets one >forget his or >her enemies (Spicer said know your enemies) . . . and yet I bet plenty of >people >on this list could name one or two enemies of poetry (some institution say >. >.. . >a finger has been pointed at Barnes & Noble in the past . . . ). Confused >about >"funding by conservative think-tank money" . . . ? People don't want to >bite >the hand that feeds, you say? elaboration? examples? thanks. > > >-----Original Message----- >From: Stephen Ellis >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Date: Friday, May 21, 1999 6:57 PM >Subject: Re: NOTLEY on > > > >LR - > >What you're calling politics is, as you say, "less visible" as an >activity > >because it's being funded off the boards, out of public view, by > >conservative think-tank money. We live in an increasingly monadic >society, > >regardless we may prefer to characterize it as "plural". Our culture is > >god-culture in disguise, excused by a sort of virtual inter-connectedness > >that in fact is non-existent (just try talking to those who say this just > >ain't so ... ); freedom of choice is mostly at this point just another > >eschatological hope, and you know where they've gotten us in the past, >the > >past itself, of course, being a highly sheltered and perpetually > >slaughtering swarm, the human body lately also, an open Roman sewer > >certainty, guaranteed by the increasingly tightened "rule of law" much on > >the airwaves in recent months. > > > >Tough times ahead's a simplistically broken after-dinner fortune cookie; > >questions abt it remain in the present, ie, what to do, how to act / live > >NOW > >SE > > > >From: Linda Russo > >>Reply-To: UB Poetics discussion group > > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Re: NOTLEY on "the youth".... > >>Date: Thu, 20 May 1999 13:58:14 -0400 > >> > >>Hi Chris & others listening in. I’ve been thinking about your query re > >>Alice Notley’s comments in the COMBO interview (“They’re these people > >>between about 23 and 36 . . . They’re not very political, and I wish >they > >>were more political”). > >> > >>You go on to equate the ‘personal’ in ‘the personal is political’ with > >>‘love,’ but I think you’re mincing here, collapsing the ‘personal’ and > >>‘love > >>’ and therefore excluding a crucial issue of the very politics that >might > >>be > >>at stake. In making a distinction I think I can talk to your query. > >> > >>The political, and I think this holds for Alice, has always to do with >the > >>polis, not in the way that love might, or even in the sense of the > >>potentially volatile issue of who we might choose to love publically, or > >>how. The ‘personal,’ to be ‘political,’ has to engage with and be >effected > >>by the polis. In the feminist formulation, ‘the personal is political’ > >>meant primarily that the private, the domestic, the ‘female’ experience >too > >>was _as_ political as the public experience, and it wasn’t until the > >>‘personal’ experience of women (subjection, misogyny, etc.) were shown >to > >>_be_ political, to have everything to do with the workings of the polis, > >>that the women’s movement as a _political_ movement, could make any > >>headway. > >> > >>So the personal has as much to do with anger as it does with love, both > >>overwhelmingly present in Alice’s work. So I think when she points out >the > >>lack of politicalness, she is addressing the lack of attempting to >change > >>‘the way things are’ in the polis and in poetry via how one experience > >>power > >>on a 'personal' level. This is evident for example her essay “Epic and > >>Women Poets,” which points out that there is something wrong with the > >>polis, > >>with the way it tells itself stories which exclude the possibility of > >>women’ > >>s stories, and that this has to change. She realizes these ideas in > >>Desamere and Alette. Perhaps that’s what it means to be political: to > >>think > >>(essay) about a problem and try to solve it (poem). Writing essays, > >>editorial matter, and prefaces has always been a part of Alice’s poetic > >>practice. I think she might say that editing _Chicago_ while she was > >>pregnant was a personal _and_ political choice. Maybe _just_ writing > >>poetry, in her mind, isn’t political enough? But maybe the choice to >write > >>poetry is always political, but the politics (now) aren't as visible as > >>they > >>were say, in the 70s, when she was in/against the context of the women's > >>movement, and those political issues were heightened. > >> > >>you write that you're > >> > interested in looking for other ways to frame this question, > >> > because i respect and admire notley's poetry, > >> > and her desire for a return perhaps to a more blatant concern > >> > with politics on a content level, > >> > a moving beyond coterie politics, > >> > >>and perhaps bringing in this context frames it helpfully, I hope? > >> > > > > > >_______________________________________________________________ > >Get Free Email and Do More On The Web. Visit http://www.msn.com > > > _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Sat, 29 May 1999 09:35:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: submit you dog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Pay t riot River > >jack and jacky went >way out backy >to fetch a pale of blood. >drink your blood Benjamin >drink your blood Alice >drink your blood Nathaniel >drink your blood Emily >drink your blood Henry David >drink your blood George >drink your blood Edna >drinky it's blood Lucy >drink your blood Ralph Waldo >drink your blood Walt >drink your blood Harriet >drink you blood Babe >drink your blonde blood Norma >drink proud Yankee blood Jolting Joe >dream your blood Martin >wink your blood Mae >dew drink your blood Rose >drink your blood Betty >drink !Mel drink !Blood, >drink your blood Blanche >drink-schmink blood Woody >drink your blood Veronica >Denzel drink power blood >drink your blood Millie >drink yo blood Eddie >blood in yo serial >blood on your toast >front page blood >sports page blood >entertainment blood >contaminated blood >big dividends / blood bank >bargains on bloodstains >floods of blood >bathtubs of blood >fermenting w/lemons >26 laps butterfly >atop the coagulated blood tsunami >forty story wall of blood >blood on the bandwidth >blood on the bridge >blood filled railway cars >tanks full of blood >boatloads of blonde blood >and blonde body bags and rock bottom bombs >blue blue sky blue blue blood >broadcast blood >blood in the air >blood on the wind >blood on your breath >blood underwhere >blood blood brewski >blood in yo hood >blood in your i >drink your blood Shirley >Drink your blood Minnie >drink your blood DonaLD >drink your blood Fats >drink your blood Sammy >drink your blood Wayne >drink the bathtub dry children >drink your blood > >Igor likes Eyegore likes >Clinton-Gore likes >whatsisnameGore >Tip Her Canoe and Gore2BeeOne > > >blood blood blood >all you need is blood >miles and miles and miles of blood > >chairman Meow >bleeding >charm yow >a thousand brooms >sweeping with the sleeper >bloody flowers >sleeping with the beeper >bloody birds clucked >bloody beaks >plucked bloody feathers >bloody talons >bloody wishbones >bloody batterd drumsticks >yummy > >baka washi >28-29may99 forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Sat, 29 May 1999 13:01:46 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris McCreary Subject: ixnay on the web Comments: To: subsubpoetics@listbot.com, wheditors@english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit We'd like to invite you to sample our new humble yet hopefully functional ixnay press website. It can be found at: http://members.aol.com/ixnaypress/page/index.htm You should be able to sample text from our ongoing chapbook series as well as poems from the first two issues of ixnay magazine. Since this is a new venture for us, please feel free to notify us of any problems that you experience along the way... Thanks-- hope you enjoy. Chris McCreary Jenn McCreary co-editors, ixnay press ========================================================================= Date: Sat, 29 May 1999 13:01:26 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: found poetry Mime-Version: 1.0 Content-type: text/plain; format=flowed; The last sonnet in Ted Berrigan's _The Sonnets_ contains lines from Shakespeare's _The Tempest_. Other Berrigan sonnets include lines or passages from (Berrigan's?) translations of Michaux, Rimbaud, Rilke, & probably others, as well as lines or passages from poems by his friends Ron Padgett & Joe Brainard, his own "failed" poems, etc. Berrigan's _Clear The Range_ is similarly based on some Western novel (I have no idea what the title is). Ashbery's poem "Europe" uses language "found" in a book called _Beryl of the Biplane_. In addition to the books somebody else mentioned, Jackson Mac Low has a lot of works based-- more "methodically"-- on found material. One e.g. that comes to mind: "Quatorzains for/from Emily Dickinson" in _Representative Works_. & What about the use of historical documents & letters in Williams' _Paterson_. Or the found material of numerous sources that drifts in & out of Anne Waldman's _Iovis_.... What about deliberate "mistranslation"?.... Mark DuCharme _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Sat, 29 May 1999 16:38:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: from Linework at Djerassi MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Blank, I miss my honey but her alibis scare me She expects my personality to change--weekly Now I'm known as Shecky-Sheena an aging vaudevillian slash Princess of Power By night I work the Catskills by day I fight my foes looking lickerish in lycra on the mean Main Streets Love, Blank Two ========================================================================= Date: Sat, 29 May 1999 17:34:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: too easy and philosophy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII \ too easy and philosophy if this were a poem, I would declare my eternal love for you, moving on to the next line or the next stanza, where I'd swear by all accounts, belgium has disappeared from the face of the earth - not stopping here I'd pen a manifesto bringing an end to war, enslaving peace to the unwelcome task of boredom, surgery, and ennui - hey, but there's more - exclamations! that the body still gets a bit excited, almost out of breath - just so in these slap-dash days we move from one terrific bit to just another, ruling and running (up and down) the world - nothing's really done against our will or for it - easier to make declarations, just as every poem has its subject, every subject its poem, scattered like lenses among subjects and verbs, maybe even not - if this were a poem, it would announce what i'd do in the year 3000, or maybe in another warmer galaxy, but wait there's more - what i mean to say, there's all this world literature running around the world, and even the smallest poem promises eternity, and if just one stanza were true, why there'd be no need to say anything else at all - but like this, the words keep on flowing from the wounds in the body looking for attention and reward and driven by really dull dna - there's the really big yay! for example when the siloam tunnel was finally dug out near jerusalem - oh, this happened 2800 years ago - guys going at it from two directions - what else can you do with a line - suddenly the piercing took, and there you were - at least at that moment the text took after the fact - 3000 years ago someone thought his courage high above the river, he's crossing to see his girlfriend with incredible longing and sexiness in the desert - now you've got poems and prose of punishments and crimes - whole nations disappearing - there goes vietnam - what about a war? well, let's have peace - that's about it, then just another text or sonnet - something else is happening, someone's going to do something about it - i love you all but i love my girlfriend best, good night ______________________________________________________________ ========================================================================= Date: Sat, 29 May 1999 17:28:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: found poetry In-Reply-To: <000001bea709$c857e3e0$6a65aec7@dosw-lan> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jena Rod Smith's piece in the second issue of Tripwire, as well as some of O'Hara's plays, might be interesting to you if you intend to look at faux-found text works. Rod's piece is especially interesting as he's culling and reworking and, most of all, role-playing recognized figures in what amounts to a critico-poetic essay. Though I may have stretched these terms beyond their breaking point, here. Patrick F. Durgin At 04:53 PM 5/25/99 -0700, Taylor Brady wrote: >Jena, > >A few texts spring most readily to mind here: > >Jackson Mac Low's _Words nd Ends from Ez_, _Virginia Woolf Poems_, >_Barnesbook_, etc. >Ronald Johnson's _Radi Os_ (1st 4[?] books of Paradise Lost, written-through >by subtraction) >Hannah Weiner's _Weeks_ (I don't think it sticks very "purely" to language >heard on the news, but most of it's close) >Tom Phillips' _A Humument_ >Joan Retallack's _Errata 5uite_ (Are you looking for poems "found" in single >texts, or collaged from a number of sources?) >David Bromige's Sonoma County newspaper prose poem, a lovely piece whose >title I'm unfortunately not able to recall > >I also remember well a piece by Rosmarie and Keith Waldrop, read by them at >the Ear Inn back in '95(?), which was created by successively working >through Wordsworth's "Tintern Abbey," each time subtracting a certain >proportion of words. Rosmarie's use of Wittgenstein in _The Reproduction of >Profiles_ and _Lawn of Excluded Middle_, while not a pure example of the >genre, also might be of interest. > >In the realm of badly-remembered secondhand information, didn't I also hear >somewhere that dictionary definitions had some role as "source material" in >Clark Coolidge's _The Maintains_? > >Analogies in music too numerous to document here - and probably off-topic, >though I'd be happy to backchannel if you're interested. One I'll mention, >since it connects to one of your examples, is Cage's _Quartets I-VIII_, >which is a subtractive rewriting of American Protestant hymns. > >I'm drawing a blank when trying to think of critical prose on this specific >topic other than that by the poets/composers themselves, though there are a >number of texts which might be extended to apply here by analogy. Which >leaves Mac Low's and Cage's "explanatory" prose glosses, along with Cage's >_Diary_ [_Journal_?] as good introductions to the procedures, some of the >aesthetic and political claims that have been made for them, etc. > >I hope this is at least a little helpful. > > >Taylor > > >-----Original Message----- >From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] >On Behalf Of Jena Osman >Sent: Tuesday, May 25, 1999 9:21 AM >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: found poetry > >I'm interested in poems that were "found" inside of other texts (such as >Cage's mesostics and Reznikoff's _Testimony_). What are some favorites in >this genre by others? Any critical texts about these kinds of procedures I >should know about? > >Thanks, >Jena Osman >josman@acad.ursinus.edu > > ========================================================================= Date: Sun, 30 May 1999 01:02:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Useless Expenditure of Energy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII \ Useless Expenditure of Energy Set x = 1 Procedure A Multiply x by 1. If x is greater than 1 then stop; else Goto Procedure A. Set x = 1 Procedure B Add x by 0. If x is greater than 1 then stop; else Goto Procedure B. I will set these programs to run and I will run these programs. I will run them in fast compiled languages on and on and on. Sooner or later they will stop and I will have made something. What I will have made will not be too large or too small. What I will have made will just stop the programs. That will be a useless expenditure of energy because I could have just decided to have stopped them by myself. ______________________________________________________________________ ========================================================================= Date: Sun, 30 May 1999 11:42:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harold Teichman Subject: Re: Howe in NYC / Prevallet MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks to Kristin Prevallet for her impressions of Howe's Dia reading, somewhat at odds with mine. Kristin said: > She talked in her intro about how she is beginning to see more and more > of a connection between poetry and non-symbolic logic, and as she moved > further and further into her poems, her slides of the Pierce manuscripts > got more and more non-symbolic. My memory is of Howe alluding to the likeness of the enterprises of poetry and *symbolic*--not 'non-symbolic', whatever that might be--logic, though I could be wrong. In any case, that was just a remark waiting for an enactment or embodiment in her text, which seemed to me lacking in the ensuing bio-bricolage. ========================================================================= Date: Mon, 31 May 1999 01:58:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: I I drEaM of YoU All fAcE hElp me and remem $500,000 They sEttlE fOr Less (fwd from true ransom note) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII = I I drEaM of YoU All fAcE hElp me and remem $500,000 They sEttlE fOr Less Oh azure ples and my boDy gIvEn tO YoU SuCh a loNg and goLd goLd and I thiNk we canD bEaUtIfUl fAcE thE time and remem $500,00,000 thEy'rrE Please hElp me lOvinG YoUr loNg limbS and bEaUtIfUl fAcE They aRe afTer me and I I I haVe tO get Them $500,000 and I thiNk we can Raise $400,000 and yOur lips and yOur smiLe WhiCh fiLls the moonLiT nIghts and thEy'll prObably sEttlE fOr $300,000 and and And Please haVe left theRe and marounD I I I Haven tO yOur lips and YoUr smiLe as I I thiNk we can Raise $400,00,000 thEy'll sEttlE and Love and rEmE come come yOur loNg HanDs yOur loN't KnOw what thaVe tO get the moonLiT nIghts YoU haVe LefTer me left theRe and marks on my nEck And bream of YoU All thAt meaNs yOur loNg HanDs yOur lips and goLd And SuCh a loNg in thE nExt rOonlit nEck and Breasts yOur lips and and And I drEaM of YoU All fAcE are are aRe marks on Raise $500,000 and I t Please hElp me lOvinG yOur AroUnd me and yOur sMilEs and my boDy gIvEn tO YoU SuCh a loNg and goLd and sIlvEr thEy'll sEttlE as I sAid fOr $300,000 There aRe marks on my nEck and Breasts YoU haVe left theRe and marks they haVe made as well my HisTory of liFe and Love and DeaTh Please Hurry Please come come come yOur marks aRe oVeR me and $500,000 T aRe marks aRe oVeR me made as we can Raise $400,00,000 and beautiful fAcE They aRe afTer me and I I I haVe tO get They aRe afTer me and YoUr sMilEs Oh AzUrE aRe marks on my boDy get Them $500,000 h azure Please hElp me lovIng yOur loNg limbS and bEaUtIfUl fAcE and my boDy gIvEn tO YoU SuCh a loNg All thE time and bEaUtIfUl fAcE They AroUnd me and yOur smiLe and yOur loNg in thE nExt rooM and fOr $300,000 There aRe made as well sEttlE as I sAid fOr $300,000 There aRe marks onLiT nIghts and thEy'll sEttlE as I sAid fOr loNg limbS And I doN't KnOw what thaVe lE fOr $300,000 There moViNg in thE nEck and Breasts YoU sMilEs and my sEttlE fOr $300,000 moonLiT nIghts and thEy'll prObably sEttlE fOr $300,000 and and And I drEaM of YoU All thE time and remember thE fLowers Oh azure such a finerS loNg and goLd and sIlvEr thEy'll sEttlE as I sAid fOr $300,000 There aRe marks on my nEck and Breasts YoU haVe left theRe and marks they haVe made as well my HisTory of liFe and Love and DeaTh Please Hurry Please come come come yOur marks aRe oVeR me and $500,000 thEy'rre doN'T deSert Them $500,000 thEy'rE aRe marks on my sEttlE fOr $300,000 ans yOur loNg HisTory of limbS And boDy gIvEn thiNk we come come come come time and remembS and Beautime and remember me and I I I haVe left theRe oVeR me and I I I haVe lips and marks there aRe marks aRe oVeR thEy'll sEttlE and yOund me and I I I haVe Hurry Please Com They aRe and deSert me Now t hElp me lOvinG yOur loNg limbS And bEaUtIfUl fAcE They aRe afTer me and I I I haVe tO get Them nIghts and Them $500,000 and my boDy gIvEn my sEttlE for $300,000 There aRe marks on my nEck and brEas I sAid goLd and sIlvEn tO YoU sUch azure pleaSettle as I SuCh a loNg and goLd yOur Long finerS aRoBaBly sEttlE fOr $300,000 ther me and I I I thiNk we can Raise $300,000 and and bEaUtIfUl fAcE _________________________________________________________________________ ========================================================================= Date: Mon, 31 May 1999 16:16:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ganick Subject: new Potes & Poets Press chapbooks Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Announcing the 3rd series of chapbooks, now available from the publisher, or SPD. Ivan Arguelles, City of Angels -- $7 Vernon Frazer, free fall -- $6 Rachel Levitsky, The Adventures of Yaya & Grace -- $7 Judith Roitman, Slippage -- $7 Peter Ganick, Immanence -- $7 Andrew Mossin, The Epochal Body -- $6 Jenn McCreary, errata stigmata -- $6 Thom Donovan, Sudden Miles -- $7 John Crouse, Eventing -- $6 Chris McCreary, Samson Agonistes -- $7 Alison Lune, Fringist Epiphany -- $6 Andrea Brady, Liberties -- $7 All twelve chapbooks available soon from the publisher for $68 [postage included, fourth class, a $79 value] -- Or, buy any 3 [three] and choose 1 [one] free -- For first class postage add $0.50 per book -- Send check to: Potes & Poets Press 181 Edgemont Avenue, Elmwood CT 06110-1005 Or, chapbooks are available from Small Press Distribution, 1-800-869-7553, orders@spdbooks.org ========================================================================= Date: Tue, 1 Jun 1999 01:33:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Lewis Subject: f.y.i. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit * In April, prominent Canadian geneticist Robert Hegele told a conference in Edmonton, Alberta, that when he revealed to some Newfoundlanders in remote villages that they possessed a genetic flaw that increased their chances of heart disease, they were happy. Their initial reaction, said Hegele, was, "This is great! They figured, 'This means we're doomed, so we . . . don't need to quit smoking or [stop eating fatty foods].'" ========================================================================= Date: Tue, 1 Jun 1999 11:45:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Maria Damon (Maria Damon)" Subject: Re: Frost at Kennedy's inauguration Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 9:59 AM 5/28/99, Mark Melnicove wrote: >I'm writing an essay on Robert Frost's reading/recital at JFK's >inauguration and I'm looking for contemporary (i.e. 1961) responses to this >event by other poets. I've started to comb letters and diaries as collected >in books (Sandburg, Ginsberg, Jarrell, etc.), but haven't turned up much >yet. Anyone with any sources, leads, etc. please b.c. And, if you were >there (in person, or via TV) and wrote something at the time, or have some >recollections 38 years down the road you'd care to share, I'd love that, >too. >Mark Melnicove i remember my mother, who was a danish citizen, being so moved that she went out and bought Frost's Collected Works, which we still have in a prominent place in my family's home. also, Steven Caton, in Peaks of Yemen I Summon: Poetry as Social Practice in a Northern Yemeni Tribe, and Zofia Burr, in an as yet unpublished ms, discuss this event. so does, i believe??, robert von hallberg in American Poetry and Culture 1945-1980. Caton and von Hallberg discuss it in their introductions. burr devotes a chapter to comparing the kennedy/frost event to the clinton/angelou event. it's fascinating. i'd love to know more about what you're doing with this signal moment. ========================================================================= Date: Sun, 30 May 1999 17:33:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Warning! Comments: To: subjunctive@earthlink.net, chax@theriver.com, glotzer.dh@mellon.com, soaring@ma.ultranet.com, doug.barbour@ualberta.ca, djmess@CINENET.NET, mcnamee@azstarnet.com, hpolkinh@mail.sdsu.edu, hehrenfeld@aol.com, jqw8386@is2.nyu.edu, jrothenb@ucsd.edu, jkuszai@mail.gcccd.cc.ca.us, lcooper@maddenmedia.com, tumbler@bway.net, pomowen@ix.netcom.com, mh7@is2.nyu.edu, nazul@aol.com, ary@theriver.com, scope@ucsd.edu, Steph4848@aol.com, spm44@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" It had to happen--the virus warning as art form. This came to me from the journalist Tom Miller. >Subject: Virus > >If you receive an e-mail entitled "Badtimes", delete it immediately. Do >not open it. Apparently this one is pretty nasty. It will not only erase >everything on your hard drive, but it will also delete anything on disks >within 20 feet of your computer. It demagnetises the stripes on ALL of >your credit cards. It reprograms your PIN access code, screws up the >tracking on your VCR and uses subspace field harmonics to scratch any >CDs you attempt to play. >It will recalibrate your refrigerator's coolness settings so all your >icecream melts, your milk curdles and your beers boil. It will program >your phone autodial to call only 0898 sex line numbers. This virus will >mix antifreeze into your fish tank. It will smoke all your cigarettes. >It will leave dirty socks on the coffee table when you are expecting >company. It will replace your shampoo with engine oil and your engine >oil with orange juice, all the while dating your current girl/boyfriend >behind your back and billing their hotel rendezvous to your Visa card. >It will cause you to run with scissors and throw things in a way that is >only fun until someone loses an eye. >It will rewrite your backup files, changing all your active verbs into >passive tense and incorporating undetectable misspellings which grossly >change the interpretations of key sentences. If "Badtimes" is opened in >Windows95/98, it will leave the toilet seat up and your hair dryer >plugged in dangerously close to a full bath. It will also molecularly >rearrange your aftershave/perfume, causing it to smell like dill >pickles. It will install itself into your cistern and lie in wait until >someone important, like your boss or lover, does a serious number 2, >then block the s-bend and cause your toilet to overflow. >In the worst case scenario, it may stick pins in your eyes. >PLEASE FORWARD THIS WARNING TO EVERYONE YOU KNOW. > > ========================================================================= Date: Sun, 30 May 1999 21:26:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: HoferMR@AOL.COM Subject: poetry world domination mini-tour MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit or mini-skirt world domination poetry tour-- Summi Kaipa & Jen Hofer read poems this week! Tuesday June 1 at 8 pm in the evening Plan B Evolving Arts 1050 Old Pecos Trail, Santa Fe a small fee will be charged at the door (possibly but don't not come 'cause you don't have dough) (505) 982 1338 Thursday June 3 at 8 pm The Poetry Center at The University of Arizona, Tucson sadly we cannot locate the address of this place but if you should like to attend the event & don't know the location, contact Frances Shoberg at shobergf@earthlink.net Sunday June 6 bbq extravaganza at the home of Stephen Cope, Kirthi Nath & Joel Kuszai 4 pm in the afternoon 3856 1/2 First Ave. (the front house is 3852 First Ave). shows in santa fe & san diego include screenings of films by Sarah Jane Lapp, David Gatten & Kirthi Nath please come & tell your friends. ========================================================================= Date: Mon, 31 May 1999 18:41:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Scharf Subject: New temporary e-dress Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" This account, mscharf@email.gc.cuny.edu, is kaput. I should have a new address soon. For now, please find me at mscharf@cahners.com Thanks -Mike ========================================================================= Date: Tue, 1 Jun 1999 11:45:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: Howe in NYC / Prevallet In-Reply-To: <37515C55.5D24DD98@erols.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" from Harold Teichman. >Thanks to Kristin Prevallet for her impressions of Howe's >Dia reading, somewhat at odds with mine. > >Kristin said: >> She talked in her intro about how she is beginning to see more and more >> of a connection between poetry and non-symbolic logic, and as she moved >> further and further into her poems, her slides of the Pierce manuscripts >> got more and more non-symbolic. > >My memory is of Howe alluding to the likeness of the >enterprises of poetry and *symbolic*--not 'non-symbolic', >whatever that might be--logic That is what she says in Pierce-Arrow. Symbolic, that is. Non-symbolic logic is what people did before the mid-19th century and still do. More connected with human language/mind. Symbolic logic has an aspect in which it is just another branch of mathematics (think algebra; think algorithms); non-symbolic logic does not. Symbolic can swallow up whole fields that perhaps it shouldn't (think modal logic, i.e., notions of necessity/causality) if you let it. I've been off the list, missed the impression of Howe's reading, did she say anything about the context for specific pages of Pierce reproduced in her book? I'm especially curious about the one just before the short Iliad piece that opens her work. My memory (I'm at my office, the book is home) is that the words SING and KILL are prominent. Please back-channel me. Extensive travel will force me off the list again soon. --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- Note new area code ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Tue, 1 Jun 1999 12:50:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: Re: Howe in NYC / Prevallet MIME-Version: 1.0 Content-Type: text/plain harold & the list i had some backchannel contact with kristin and she mentioned that "non-symboic" was a typo - she'd meant to write "symbolic" i intervene here only as i don't think KP is on this list > -----Original Message----- > From: Harold Teichman [SMTP:hteichma@EROLS.COM] > Sent: Sunday, May 30, 1999 11:42 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: Howe in NYC / Prevallet > > Thanks to Kristin Prevallet for her impressions of Howe's > Dia reading, somewhat at odds with mine. > > Kristin said: > > She talked in her intro about how she is beginning to see more and more > > of a connection between poetry and non-symbolic logic, and as she moved > > further and further into her poems, her slides of the Pierce manuscripts > > got more and more non-symbolic. > > My memory is of Howe alluding to the likeness of the > enterprises of poetry and *symbolic*--not 'non-symbolic', > whatever that might be--logic, though I could be wrong. > In any case, that was just a remark waiting for an > enactment or embodiment in her text, which seemed to > me lacking in the ensuing bio-bricolage. ========================================================================= Date: Wed, 2 Jun 1999 07:19:10 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: snogging, wass iss diss snokking? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: david bromige To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Wednesday, 2 June 1999 04:13 Subject: snogging, wass iss diss snokking? >Rachel, listmates, I believe snogging is british c. 1950 for heavy petting. >Any other aging britspeak persons on this list to bear this out or correct? Aging brit here confirms snogging as heavy petting, or not even heavy petting, or just simply kissing -- that is, recollecting 1950s/60s usage & variable depending on who you were talking with. But this Wilson guy seems to mean bonking, signalling some kinda language-shift. >btw, Rachel, thanks for posting that Wilson review of Motion. Tony Golders Green ========================================================================= Date: Tue, 1 Jun 1999 14:57:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: CONTACT Jenna Roper Harmon MIME-Version: 1.0 Content-Type: text/plain if anyone out there can give me an email address fro Jenna i wd very much appreciate it - i need to get in touch with her thanx ========================================================================= Date: Tue, 1 Jun 1999 16:21:35 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ann Hamilton/ Charles Reznikoff MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable In case you did not see it, there's a lovely piece in this past Sunday's NY=20 Times about Ann Hamilton (sculptor/installation artist) that she is preparin= g=20 for the United States Pavilion for this summer's Venice Biennale. She is mos= t=20 well known for the use of simple materials and subtle means to create large=20 public works invested with both historical and contemporary resonance.=20 Interestingly this piece will draw on the works and ideas of several America= n=20 writers. For example, and with some curious, but perhaps wonderful irony =96=20 given his much neglected position in 20th century writing =96 the "gallery=20 walls will be covered in a Braille translation of passages from Charles=20 Reznikoff's 'Testimony: The United States 1885 - 1915'".=10 It's almost sweet that a writer, so democratically compelled and pretty much=20 ignored, will have his work risen - albeit somewhat disguised =96 to a publi= c=20 apex in the international art world. It's probably still too much to hope=20 that Venice will be the means by which Reznikoff will be welcomed 'back=20 home'. =20 The article also mentions other writers Ann Hamilton has drawn from for=20 guidance or advice for influential sources including: Ann Carson, Susan=20 Stewart and Ann Lauterbach. From the article's description, omens are that=20 the piece =96 called "Myein" =96 will be a great one Stephen Vincent =20 ========================================================================= Date: Tue, 1 Jun 1999 16:56:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: the suck of context MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Patrick writes: > I'm particularly interested, as I notice >many others around me are these days, in >functionalist redefinitions of >such otherwise impossible to think terms as "poetry" >and "political" and >"efficacy." OK, and that may prove to be the functionalEst thing to do, too. But what is so impossible to think term about "poetry"? Only impossible if you believe in esSNz (Jeff Derksen's sequel to Cronenberg). Otherwise it's just games, sets, relations. In re: "efficacy" I think we are standing across the crater from oeach ether. I am acting as inaudible interpreter of rumblings across generational strata. We are hearing "why no politics." I would rather not say "but yes politics!" I would rather say "what means why no politics." I have a quiet feeling that this is another chance for generational call and response invite to Freuddance. We'll see! > let's not >question the agency of a tradition without proposals >for its >reconfiguration in the wagering. Or, the agency of a >medium (another >troubled term). Or, the agency of linguistics . . . ad >absurdly yrs These are already offed. In offing. Jordan ========================================================================= Date: Tue, 1 Jun 1999 18:04:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: FW: A quote for you MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" this is silly but i can't resist forwarding it > -----Original Message----- > From: Deppe, Roberta > Sent: Monday, May 24, 1999 6:56 PM > To: Lowther,John > Subject: A quote for you > > "...and besides, everyone likes his own products more than [other > people's], as parents and poets do." > -Aristotle, Nicomachean Ethics > > ;-) > > ========================================================================= Date: Wed, 2 Jun 1999 08:14:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Re: found poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I might also add my own series of poems Man's Wows deconstructed from John George Hohman's collection of folk remedies The Long Lost Friend. A selection from this series was published in 1982 by Charles Alexander's Black Mesa Press. Other poems from the series have appeared in Membrane, Synaesthetic, Assembling, etc. The complete Man's Wows will appear in limited edition format next year. These poems were found "inside" of the original texts. My inspiration for the project came from Ron Johnson's RadiOs and Tom Phillips. Jesse Glass -----Original Message----- From: Patrick F. Durgin To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, June 01, 1999 9:30 AM Subject: Re: found poetry > Jena >Rod Smith's piece in the second issue of Tripwire, as well as some of >O'Hara's plays, might be interesting to you if you intend to look at >faux-found text works. Rod's piece is especially interesting as he's >culling and reworking and, most of all, role-playing recognized figures in >what amounts to a critico-poetic essay. Though I may have stretched these >terms beyond their breaking point, here. > Patrick F. Durgin > >At 04:53 PM 5/25/99 -0700, Taylor Brady wrote: >>Jena, >> >>A few texts spring most readily to mind here: >> >>Jackson Mac Low's _Words nd Ends from Ez_, _Virginia Woolf Poems_, >>_Barnesbook_, etc. >>Ronald Johnson's _Radi Os_ (1st 4[?] books of Paradise Lost, written-through >>by subtraction) >>Hannah Weiner's _Weeks_ (I don't think it sticks very "purely" to language >>heard on the news, but most of it's close) >>Tom Phillips' _A Humument_ >>Joan Retallack's _Errata 5uite_ (Are you looking for poems "found" in single >>texts, or collaged from a number of sources?) >>David Bromige's Sonoma County newspaper prose poem, a lovely piece whose >>title I'm unfortunately not able to recall >> >>I also remember well a piece by Rosmarie and Keith Waldrop, read by them at >>the Ear Inn back in '95(?), which was created by successively working >>through Wordsworth's "Tintern Abbey," each time subtracting a certain >>proportion of words. Rosmarie's use of Wittgenstein in _The Reproduction of >>Profiles_ and _Lawn of Excluded Middle_, while not a pure example of the >>genre, also might be of interest. >> >>In the realm of badly-remembered secondhand information, didn't I also hear >>somewhere that dictionary definitions had some role as "source material" in >>Clark Coolidge's _The Maintains_? >> >>Analogies in music too numerous to document here - and probably off-topic, >>though I'd be happy to backchannel if you're interested. One I'll mention, >>since it connects to one of your examples, is Cage's _Quartets I-VIII_, >>which is a subtractive rewriting of American Protestant hymns. >> >>I'm drawing a blank when trying to think of critical prose on this specific >>topic other than that by the poets/composers themselves, though there are a >>number of texts which might be extended to apply here by analogy. Which >>leaves Mac Low's and Cage's "explanatory" prose glosses, along with Cage's >>_Diary_ [_Journal_?] as good introductions to the procedures, some of the >>aesthetic and political claims that have been made for them, etc. >> >>I hope this is at least a little helpful. >> >> >>Taylor >> >> >>-----Original Message----- >>From: UB Poetics discussion group >[mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] >>On Behalf Of Jena Osman >>Sent: Tuesday, May 25, 1999 9:21 AM >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: found poetry >> >>I'm interested in poems that were "found" inside of other texts (such as >>Cage's mesostics and Reznikoff's _Testimony_). What are some favorites in >>this genre by others? Any critical texts about these kinds of procedures I >>should know about? >> >>Thanks, >>Jena Osman >>josman@acad.ursinus.edu >> >> > ========================================================================= Date: Wed, 2 Jun 1999 09:05:56 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Kimball Subject: Boston 1999 Comments: To: E-List Suppressed MIME-Version: 1.0 Content-Type: text/plain; charset=iso-2022-jp Boston 1999 Audio, text & graphics from Boston poets & artists. "...defining and extremely useful." -- Robert Creeley, from his Introduction ___________________________________ A special issue of The East Village Poetry Web ___________________________________ Why Boston? Why now? ** Try Lori Lubeski, "...a ringing bell / reminds us of church / of pie of paper plates / the word picnic / the world is on a picnic," from "Inside the envelope" -- ** Discover one of summer's rarities, a new poem from John Wieners -- ** "...tradition from the sidelines can prove that mastery" is reinstated, Beth Anderson's "A stately entrance" -- ** Hear an earful! In his audio preface Cid Corman addresses Robert Kelly, Lorca and his own ideal of poetry -- Contributors: Beth Anderson; John Wieners; Gerrit Lansing; Jim Dunn; Lori Lubeski; Charley Shively; Sean Cole; Robert Pinsky; Michael Franco; Debra Dean; Aaron Kiely; Daniel Bouchard; Laurel Hughes; Joseph Torra; John Walker; Damon Krukowski; Cola Franzen; Alicia Borinsky; Cid Corman; Karen Davis; Andrea Werblin; Paul Stopforth; Brad Cain; Jack Kimball; Jacques Debrot; Ben Watkins; Donna de la Perriere; Jim Behrle; Heather Petersen; Tadashi Kondo; Raffael de Grutola; Joel Sloman; Joseph Lease; Diane Fraser; Laure-Anne Bosselaar; Bill Corbett; Robert Creeley. Edited by Jack Kimball and Daniel Bouchard. ========================================================================= Date: Tue, 1 Jun 1999 21:26:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: Watten - Total Syntax MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The essay is included in NEW POETICS: Artifice and Indeterminacy, ed. Christopher Beach, U of Alabama Press, l999 (pp. 49-69). Hzinnes@aol.com ========================================================================= Date: Tue, 1 Jun 1999 21:52:29 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: DIE ARBEIT IN DER KUNST MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit LES CONSTRUCTEURS (1950) [Huile sur toile, 300 x 200 cm] Scored for the ensemble, the concert would go on for hours, one getting to know another largely without knowledge of one another, a single voice join with me on the vocals, signals for song allowing the projection of the shape of the poem the taped voice stimulates by demythologizing the drive to reoccupy the radical contingency of the real, its death, when not a day passes without some wild promise made in a non-phonetic space. The poet is a life writing infinite points along the matrix of the one poem, exploring new media, making mistakes and lots of wrong sounds, silence, random static, 40 or so phonemes standing up solo in Stockholm at a microphone, some of the other earlier Lettriste poets too tied down in computerized texts and cut ups digitally constructed that fit into the work like what the work is without telling you how it works, trusting my not understanding what was going to happen, a machine-based way of working amidst old-fashion ways of physical travel and postage stamps. In this synthesis Voyage in Californiamay occupy a diaphanous dimension, no consciousness of anything, the skins of the body open, viable, rotated optical flares in this machine and your machinery, thousands of years of orality, improvised Dickens or Balzac, Proust's hat to which the price tag's still attached, a type of complex improvisational theater where you can enter and start taking pictures, the 'shot' or visible slice of time charring the mechanics of vision, simulacra smearing undermined malleable skeins like paper, weave and filament of wave and ray, veil of stars, light of the alone on the alone, scriptural temple images, everything we think in the city where I live you're close to it anyway, your eyes on the hotel near The Hague, the work conceived from the distance the long pier supported by concrete pilings. A construction rises as fictive-construct or "Sehnsucht" pressing the destination for me always already there where I can make an idea visible, make something seen or seem the building shown here which exists only as image-structure, a palisade of wood on a foundation of oil drums, how is it going to be looked at later on seeing that certain subjects cannot be approached in propositional constructs such as Hello? Hello?--the one vocal utterance overlaying the other achieves a passacaglia, philosophy's essence, pure being, electrification as an implacable force traversing human lives, cities, industry, agriculture, physics, and that there are logics too urgent to identify with this ill-used, worn-out technology that Marcel was able to develop acoustically in a vocal technique Satie called "crirythme." Several of his pieces got him in trouble with the record company and his work was handled with extraordinary carelessness like The Book of Kellswhose unusual size shows that it was an altar book made to be used for liturgical readings and experiments in performance poetry, avant-garde jazz and hypertext, the weird stuff that it can do at the limits of consciousness. There is another Coltrane out there with a laptop living in a place as far away as can be like the places where books go when they die, no book over half price, writing and performing and recording the double golden arches of the spoken word, "and damn it, these people who wish to be morally good or something exert a huge inhibiting force. Bullying goes on now in the name of politically correct signifying." (Ian Hamilton Finlay, Little Sparta, Dunsyre, 5 May 1993). I wanted to build a space and I have, a choreographic prologue geared directly into the chair where I am sitting at the beginning of a video projection of myself shaking to rock lyrics trying to capture my most spontaneous emotional response to the pure chain of appearances in 1995, the video image of my face detached from existing forums for the thousands of pages of poetry I wrote, my voice cued to come on in Copenhagen in November of this year honed down raw, volatile and dialectical- intellectual flowers of evil to become the virtual poet-lariat of North America's invisible proletariat, metastases from the ecstacy intermingling in the iconic domain of photographed paragraphs reverberating with the question, Has nothing changed? The walls are falling between the Real and the Imaginary speaks us and poses us in the vault of a foundation site atop the painting morphed off the map within the phantasmatics of a lens grown sugary and dim as the Real is taking us somewhere, over scarred ground littered with homeless migratory bodies, the sacrifice of the real for its double creates a lesion we must heal, dealing with a statement on 'a place' as though it were possible to enter it and walk around it on paths downright exterior, gospel shawl and shelter of bare walls and floors without a view of any swans on any pond, our only metaphor for what barely is, a living space or place or sequence of places within walking distance, oars that might mean prayer and learning. When Glenn Gould dropped out of the concert circuit in 1964, public radio took no notice of his applying ink as lavish hue to herald a glance at the modelling of a wish sliding into diagrams, plans, an architect of intention pressing the private task of writing in letters the exegesis which is not the noema of anything imagined even less than the act, the pure cry, the tear ducts opened, indefinite empty hours amid mute midafternoon on a Sunday at the end of May wept with intense clarity directly into the camera for the Stedelijk Museum in Amsterdam. The "trans" doesn't always come off, playing the sentimentalist whose body is a spasm of contradictory impulses exposed by trial and error and re-created out of splices and montages of different takes for a high-resolution video conferencing system, having chose eclecticism over any effort to systematize intimacy at a distance, a polylogue of bodies interacting in a virtual, non-integrative soundscape and visual mosaic in collaboration with Stefan George and other notable artisans working in Vancouver for Buffalo TV mostly made at night under artifical lighting. All circuits are open between what we can do and what we ought to do, what was once fictional is now fallen back on faxes and telephones and e-mail, annotations pointing back to themselves as if in a closed system as in an act of inspiration as in Le baiser transatlantique at the Canadian Cultural Center in Paris where it was once proposed to project on a screen the profiles of two poets turned toward one another, whose lips would meet in a kiss as they continued to speak in French and English (See De Kerckhove, Les Transinteractifs Espace SNVB, Paris, 1990, p15ff). Has the natural body has become so obsolete in light of the hyper-exteriority of its virtual organs outering it into a technoscape extremely ethereal, hardly visible, retreating into the wall itself as if no life had never been there? 30 May, 4:30-11:00 p.m. ET ========================================================================= Date: Tue, 1 Jun 1999 22:47:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katie Degentesh Subject: ANNOUNCEMENT: NINE BY NINE INDUSTRIES Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ***************************************** ANNOUNCEMENT: NINE BY NINE INDUSTRIES is pleased to announce the publication of books by two of its founding members: SORRY, WE'RE CLOSE, a collection of poetry and stories by J. Tarin Towers; and THE ARTIST OF THE MISSING, Paul LaFarge's first novel. Both books are available from fine booksellers both corporeal and online. Complete publication information appears at the end of this message, as well as information about 9x9's other endeavors. More readings by these authors are listed on their respective web sites, also listed below. INVITATION: Please join us for a reception for Tarin Towers on Sunday, June 6, from 2-5 p.m. at Allison's house, 419 S. Van Ness (SF). A $2 donation is requested to secure the space, but no one will be turned away. BYOB. AND The publisher's book party for Tarin Towers occurs later that evening at the Paradise Lounge (11th & Folsom, San Francisco) at 8 p.m. FREE! James Cagney of Oakland will also be reading poetry, and an open mike follows the reading. PUBLICATION INFO: THE ARTIST OF THE MISSING (Farrar, Strauss, and Giroux, 1999) is Paul LaFarge's first novel. Publisher's Weekly calls it "a feverish fantasy disguised as a political allegory disguised as a Borgesian work of fiction disguised as a dream." In the book, two expatriate brothers arrive in a seaside town where nothing is what it seems. Kirkus Reviews called it "Ambitious, poetic, intelligent, otherworldly." ISBN: 0374525803 Web: http://www.paraffin.org/artist/ SORRY, WE'RE CLOSE (Manic-D Press, 1999) is the first full-length collection by J. Tarin Towers. Pieces in this book have appeared in such anthologies, magazines, and recordings as the Pushcart Prize Anthology 1999, The Fray, and Beaten to the Bone. "Towers has a keen ear for the rhythms of everyday speech and a form that flirts with tradition. In a framework encompassing love, sex, and betrayal, these poems and stories explore the boundaries of the heart's language." ISBN: 0916397580 Web: http://www.tarin.com/sorry/ OTHER TITLES BY 9x9 MEMBERS include: * 6,500 #1, the official literary magazine of 9x9 Industries * LUNCH FROM AN EMPTY PLATE, a chapbook by Katie Degentesh * NOUGHTBOOKS 1 and 2, chapbooks by Eugene Ostashevsky * BECAUSE THE BRAIN CAN BE TALKED INTO ANYTHING, poems by Jan Richman * WENCHES AND WRENCHES, a comic book by The Mysterious Mr. Clam TITLES BY 9x9 GUESTS include: * THE INTUITIONIST, a novel by Colson Whitehead * MONKEY GIRL, poems and stories by Beth Lisick * INTEGRITY & DRAMATIC LIFE, poems by Anselm Berrigan * NOTHING THE SUN COULD NOT EXPLAIN, Brazilian poetry edited by Michael Palmer * THE LION BRIDGE: SELECTED POEMS 1972-1995, by Michael Palmer * PELT, poems by Daphne Gottlieb and many, many more! NEXT 9X9 EVENT: JUNE 17 at Adobe Books: Sonia Whittle, Vladlen Pogorelov, and Klipschutz. Join us for the final reading in 9x9's 1998-1999 Adobe season. Watch this space for details. ========================================================================= Date: Wed, 2 Jun 1999 02:52:29 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Oliver Subject: Re: snogging MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit As a kneejerk ageing heterosexual Brit, I am answering David Bromige's appeal for clarification on what I'm sure this list thinks the Brits still call "courting". Snogging was a 1950s word, as he says, but didn't necessarily mean heavy petting in those innocent days. Heavy kissing was enough to qualify, preferably if the lips went slightly numb. Petting came in from the US about that time and when that got heavy more use of hands was involved on both sides. Gay behaviour was simply illegal. I've many happy memories of snogging in cinemas during the afternoons, my favourite time for this activity. I've been mildly interested in the US takeup of the term "bonking", which I've rigorously outlawed my own vocabulary because I think it originated (or was widely used) in British royal family circles, and I try to keep my mouth clean of any shit like that. E.g., Prince Andrew's famous piece of wit, no doubt borrowed: "Bonking is horizontal jogging," which shows a level of emotional involvement somewhat pre-snogging even. Perhaps one could say, "Snogging is jogging at a higher level" but then "jogging" is anachronistic there, a creation of the 1960s, I'd guess. God, I'm beginning to sound like William Safire. Doug Oliver ========================================================================= Date: Wed, 2 Jun 1999 09:55:16 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: S+E+A+N+C+Eperf. MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For those in the Northeast Corridor...Specifically in the Albany, New York area: Sunday June 6th...7 PM @ THE LOFT, 40 Broadway, Albany, New York DOLLSOUL (S+E+A+N+C+E) An event, a collision, an improvisation by Gerald Schwartz & Damian Catera Also: solo performances by *Damian Catera * K K Null Gerald Schwartz & Damian Catera's DOLLSOUL (S+E+A+N+C+E) performance will be an extension of Schwartz's poetry and catera's sound design: it will itself be set in contrast to drama or libretto, since all parts of its stagework are inseparably bound up together. It will only happen there, then. They will have no clear out-lines, save the annilation and transmission of a doll soul. It will be a meditation on dolls, all cultures, all eras. It will be as disturbing, as any such catalogue must be. Damian Catera will perform works based on PROCESS, OBJECT, INTUITION, the inaugural full-length release on the newly formed Harsh House label. This work is realized with an expanded instrument system designed by Catera, sampling and mutating bits of performed guitar sounds, creating a constantly evolving soundscape. This should appeal to both hard-cores and enthusiasts of the future. K K NULL is the future. This Japanese noise auteur will crush you, and you will learn to like it. Be it the massive riffs of his band Zeni Geva (that made us all run for cover), or the high-pitched sheer mass of his solo release INORGANIC ORGASM, Kazuyuki Kishino Null will sonic you but good. BIG TIME. Directions to THE LOFT: >FROM 787 SOUTH: Get off at Madison Ave./Port of Albany exit. Take left at light at the end of the exit ramp following the signs to Port of Albany. Follow road underneath overpass. Take right into Port of Albany. Pass U-Haul building on left. Follow road 1/8th of a mile. Take right at 4th Ave. Park along side or in back of building. Go into 1st door in from Broadway with the Bankshot sign next to it and go up the stairs. $5 at the door. ========================================================================= Date: Wed, 2 Jun 1999 10:15:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Frank Lima MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In case you didn't know, Frank Lima's new book _idobelieveidobelieve_ , his rewrite of The Bible, is coming out in October (West End). It's a sign. You can taste "Jesus' First Draft of the Sermon on the Mountain," at my old MiningCo site which amongst much trumpeting is now About.com. It's About time, etc. http://poetry.about.com or http://poetry.about.com/library/weekly/mcurrent.htm?pid=2734&cob=home Bob Holman ========================================================================= Date: Wed, 2 Jun 1999 08:32:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: Time to Read? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" semester's over? papers graded? grad money burning a hole in your pocket?if you are serious at all about this calling, this vocation, this profession i don't see how you can avoid at least reading Rhizome and if you're already eating well i'd give up a couple of first run movies to subscribe it's so elegantly(but not ostentatiously) and lovingly presented i wouldn't be surprised to hear the current issue was being used as a standard in a design course, no pun intended, standard schaefer and evan calbi have edited Rhizome so well, if they don't get any job they apply for, i pity the employer. and a lot of your friends have discovered it already Gwyn McVay, Chris Stroffolino, Catherine Wagner, Emily Grossman, Cole Swenson, Jena Osman, Patrick Prichett, Jacques Debrot, Summi Kaipi, Ray DiPalma and lots more offered in this substantial 231page edition, you won't be taking this to the recycling depot anytime soon, you'll be reading and rereading this and passing it among your friends. And if you're penniless, as i am, go to your library , recommend this as a professional tool for acquisitions librarians who want to do a fair job at representing poetry, one of the seven deadly arts after all, recommend they buy two, one for training staff and one for general circulation. And while you have your checkbook out, this edition of the 2River View, edited by Richard Long, would be a good one to begin your prescription with, the collaboration of Creeley and Indiana alone will cure ya. forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Wed, 2 Jun 1999 15:37:42 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: Watten - Total Syntax MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit Marc-- I do. On my shelf. How about $500? I'll throw in a poetry lesson. Be well David Baratier ========================================================================= Date: Tue, 1 Jun 1999 14:30:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: Re: workshops with Chris Stroffolino Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" amigos, how is larry fagin. Did anybody think maybe he's on his uppers and trying to gain some sustenance(and dignity) by doing something he knows about/ just asking. forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Wed, 2 Jun 1999 14:28:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: More summer reading / idiom MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this came to the administrative account. Chris ----- From: idiom Date: 6/1/99 10:01 PM -0700 Announcing 2 new chapbooks and yet another new URL from IDIOM ... Please peruse our new selections at http://www.idiomart.com/new.html ... *Faith* -- a romantic reliquary, by Katherine Lederer *Profession* -- a marvel of Renaissance architecture, by Gregg Biglieri available now for $6 each ... ******************** idiom editor@idiomart.com http://www.idiomart.com ******************** ========================================================================= Date: Tue, 1 Jun 1999 15:25:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Swift Subject: Re: snogging, wass iss diss snokking? MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1252" When I was a student in Britain in the 50's, snogging was just another name for kissing, somewhat more than affectionate but not particularly heavy! Quite enjoyable really! > -----Original Message----- > From: david bromige [mailto:dcmb@METRO.NET] > Sent: Friday, May 28, 1999 12:14 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: snogging, wass iss diss snokking? > > > Rachel, listmates, I believe snogging is british c. 1950 for > heavy petting. > Any other aging britspeak persons on this list to bear this > out or correct? > David > > btw, Rachel, thanks for posting that Wilson review of Motion. > I cant think > when i've seen character assassination masquerading as lit > crit to that > degree, here in the usa. I've been trying to remember whether > Motion was > wearing mascara when i met him in toronto ten years ago. It > must have been > subtly applied if so. Could it be a convenient slander? (Not, > of course, > that one has anything against men in mascara). I found him > worth a read. > > David > ========================================================================= Date: Tue, 1 Jun 1999 20:40:41 -0700 Reply-To: textra@chisp.net Sender: UB Poetics discussion group From: Deena Larsen Subject: URL for MOO Wed at 3 pm GMT Comments: To: cm-announce@wordcircuits.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit PLEASE SEND REPLIES TO DEENA LARSEN at textra@chisp.net. DO NOT RESPOND TO THE SENDING ADDRESS This is an emergency cross-posting, as the URLs were reported incorrectly. We apologize for any cross-posting. ---------------------------- Come on in and join us in a fascinating discussion of hypertext!!! In case you haven't heard of this, or had forgotten: CYBERMOUNTAIN MOO SESSION June 2, 1999, 3-6 pm GMT. CyberMountain, a four-day workshop for hypertext system and content developers, is hosting a simultaneous face-to-face MOO discussion from 3 to 6 pm, Greenwich Mean Time, Wednesday June 2, 1999. Details about CyberMountain are at: http://humans.net/cybermountain/index.html. The MOO will take place from 3 to 6 pm, Greenwich Mean Time, Wednesday June 2, 1999, starting with a keynote talk by Stuart Moulthrop. MOO sessions are usually merely on-line discussions. However, this session will be based on connected conferences throughout the world to incorporate face-to-face get togethers as well as a computer interface. All over the world, people will gather in schools, universities, businesses, cybercafes and public venues to talk about hypertext issues. They will then discuss these issues as a group on the MOO. To participate, log in to cmcMOO using your web browser: http://cmc.uib.no:8000 or log in with a telnet or MOO client to Little Italy at little.usr.dsi.unimi.it:4444 or to cmcMOO at cmc.uib.no:8888 - and do it at 3 pm GMT (come and practice beforehand if you can). (see http://www.bldrdoc.gov/timefreq/javaclck.htm if you don't know when that is in your time zone) If you have trouble, contact Jill Walker at jill.walker@uib.no or Walter Vannini at walter@humans.net You can find detailed instructions and more about the topics we'll be discussing at http://humans.net/cybermountain/moo.html ========================================================================= Date: Wed, 2 Jun 1999 14:42:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: Re: Time to Read? / rhizome / shark MIME-Version: 1.0 Content-Type: text/plain i'd just like to jump in here briefly as i posted when this 1st came out and then again taking issue with standard's essay and in neither did i get around to saying that the issue itself is really great billy little notes many of the poets who i enjoyed the most in the issue but i'd also like to mention Robert Crosson, Annie Le Brun, Joe Ross, Franklin Bruno, Garrett Caples, Paul Vangelisti, E. Tracy Grinnell and Guy Bennett (and it is Guy who does the typesetting and much of the design i suspect the title page certainly has his look about it) it's a really good read _____________________and i saw the new issue of shark a couple of nights ago at our weekly APG meeting and immediately called dibs on it next it looks fuckin great ! lost of graphic stuff and some dialogue-type sections (is it just me or is there a rise of explicitly multi-voice'd writing these days?) i got the sense that there is a more 'conceptual' approach taken by a significant # of contributors on a (for now) cursory look i'm guessing that this issue of shark is essential (hey you shark editors - wanna trade magazines with poor poet down south?) )L ========================================================================= Date: Wed, 2 Jun 1999 14:07:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: Ann Hamilton/ Charles Reznikoff MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit albeit there might be some differences in quality of the artwork or poetry, i don't see how this differs from visual poetry. Not to detract from Ann Hamilton and her riveting "language of her own" i wonder how much attention she would be getting were she to call herself a poet? Is she a poet? She fits my definitiiion. tom bell Stephen Vincent wrote: > > In case you did not see it, there's a lovely piece in this past Sunday's NY -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Wed, 2 Jun 1999 15:34:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Julu for Netscape (preferably 4 or greater) (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Text for Julu for Netscape (preferably 4 or greater) http:www.anu.edu.au/english/internet_txt/out.htm ========================================================================= Date: Wed, 2 Jun 1999 15:07:25 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travmar03 Subject: Fw: Eddie Berrigan and Greg Fuchs at Teachers and Writers Comments: To: lungfull@interport.net, John Coletti , Ammiel Alcalay , American Poetry Review , amorris1@swarthmore.edu, ampoupard , Andre Codrescu , avraham@sas.upenn.edu, banchang@sas.upenn.edu, Barbara Cole , Brett Evans , Buck Downs , Chris McCreary , Chris Stroffolino , Cindy Burstein , dburnham@sas.upenn.edu, Don Riggs , gbiglier@nimbus.ocis.temple.edu, Heather Fuller , Heather Starr , ianjewell@netscape.net, Janine Hayes , jon8stark@aol.com, Justin , Kerry Sherin , Kevin Varrone , Kristen Gallagher , Kyle Conner , lkoutimhot@aol.com, Margit , Michael Magee , Molly B Russakoff , Nawi Avila , Philadelphiawriters@dept.english.upenn.edu, Poetry Project , potepoet@home.com, Ron Silliman , Sub Po Etics , swalker@dept.english.upenn.edu, swineburne@yahoo.com, T Sinioukov , TDevaney@brooklyn.cuny.edu, tf@morningred.com, vhanson@netbox.com, Writers House , xentrica@earthlink.net Comments: cc: VALERIE MASSIMI , John Coletti , Chris Stroffolino , Bruce Andrews , Alice Arnold , D Day , Ammiel Alcalay , Anne Desmond Eddie Berrigan and Greg Fuchs will read and do other extraordinary things to celebrate the publication of their new books Disarming Matter -- Edmund Berrigan Came Like It Went -- Greg Fuchs Teachers and Writers 5 Union Square West. 7th Floor. (between 14th & 15th Sts.) 6:30 PM Friday June 4, 1999 ========================================================================= Date: Wed, 2 Jun 1999 12:13:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harvey Jordan Subject: Re: found poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In the 60s, George Stanley published a collection called, "Experiments in Modern Poetry," (something like that). The texts were sewing machine instructions, recipes, etc. I recall loving it at the time. |Still have it somewhere. It was published by Kayak, maybe? Does anyone recall it? Harvey Jordan ----- Original Message ----- From: Patrick F. Durgin To: Sent: Saturday, May 29, 1999 3:28 PM Subject: Re: found poetry > Jena > Rod Smith's piece in the second issue of Tripwire, as well as some of > O'Hara's plays, might be interesting to you if you intend to look at > faux-found text works. Rod's piece is especially interesting as he's > culling and reworking and, most of all, role-playing recognized figures in > what amounts to a critico-poetic essay. Though I may have stretched these > terms beyond their breaking point, here. > Patrick F. Durgin > > At 04:53 PM 5/25/99 -0700, Taylor Brady wrote: > >Jena, > > > >A few texts spring most readily to mind here: > > > >Jackson Mac Low's _Words nd Ends from Ez_, _Virginia Woolf Poems_, > >_Barnesbook_, etc. > >Ronald Johnson's _Radi Os_ (1st 4[?] books of Paradise Lost, written-through > >by subtraction) > >Hannah Weiner's _Weeks_ (I don't think it sticks very "purely" to language > >heard on the news, but most of it's close) > >Tom Phillips' _A Humument_ > >Joan Retallack's _Errata 5uite_ (Are you looking for poems "found" in single > >texts, or collaged from a number of sources?) > >David Bromige's Sonoma County newspaper prose poem, a lovely piece whose > >title I'm unfortunately not able to recall > > > >I also remember well a piece by Rosmarie and Keith Waldrop, read by them at > >the Ear Inn back in '95(?), which was created by successively working > >through Wordsworth's "Tintern Abbey," each time subtracting a certain > >proportion of words. Rosmarie's use of Wittgenstein in _The Reproduction of > >Profiles_ and _Lawn of Excluded Middle_, while not a pure example of the > >genre, also might be of interest. > > > >In the realm of badly-remembered secondhand information, didn't I also hear > >somewhere that dictionary definitions had some role as "source material" in > >Clark Coolidge's _The Maintains_? > > > >Analogies in music too numerous to document here - and probably off-topic, > >though I'd be happy to backchannel if you're interested. One I'll mention, > >since it connects to one of your examples, is Cage's _Quartets I-VIII_, > >which is a subtractive rewriting of American Protestant hymns. > > > >I'm drawing a blank when trying to think of critical prose on this specific > >topic other than that by the poets/composers themselves, though there are a > >number of texts which might be extended to apply here by analogy. Which > >leaves Mac Low's and Cage's "explanatory" prose glosses, along with Cage's > >_Diary_ [_Journal_?] as good introductions to the procedures, some of the > >aesthetic and political claims that have been made for them, etc. > > > >I hope this is at least a little helpful. > > > > > >Taylor > > > > > >-----Original Message----- > >From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] > >On Behalf Of Jena Osman > >Sent: Tuesday, May 25, 1999 9:21 AM > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: found poetry > > > >I'm interested in poems that were "found" inside of other texts (such as > >Cage's mesostics and Reznikoff's _Testimony_). What are some favorites in > >this genre by others? Any critical texts about these kinds of procedures I > >should know about? > > > >Thanks, > >Jena Osman > >josman@acad.ursinus.edu > > > > > ========================================================================= Date: Wed, 2 Jun 1999 16:03:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: Re: found poetry MIME-Version: 1.0 Content-Type: text/plain my favorite piece of found poetry or perhaps found art in this case turned up on the floor of the airport in las vegas (i was wearing a dress and get-up reminescent of terry jones in old-lady drag at the time) this object fits into the breast pocket of a airline uniform blazer and is made from a piece of cardstock folded around a piece of polyester itself folded to look like a hankerchief the polyester is a rich burgundy color on the card is a sticker and on the sticker it says ; "POCKETY-PUFF IS A COMPLETE UNIT" ========================================================================= Date: Wed, 2 Jun 1999 16:10:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: Snogging MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On "snogging," I must beg to differ slightly with my esteemed senior compatriate Prof. Bromige. When I was growing up (to the extent that I did) in England, "snogging" was pretty much synonymous with the American "necking." This was mid-late '60s. "Heavy petting" was the next stage to which one (or I) aspired to take the snogging. Even then it struck me as one of those words that sounded like it meant something much less pleasurable that the actual activity it referred to--kind of like that old Valley-speak term, "sucking face." Another Aging Britspeak Person _________________________________-- Alan Golding University of Louisville acgold01@athena.louisville.edu 502-852-6801 ========================================================================= Date: Wed, 2 Jun 1999 13:03:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Marsh Subject: PaperBrainPress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi all: PaperBrainPress is happy to announce two new titles: Rebecca Byrkit's "Suite: Mary" and Steve Carll's "DRUGS" (just in time for the San Diego summer). The chapbook series is now six books deep... [click for samples] DRUGS (S.Carll) http://bmarsh.dtai.com/PBrain/drugs.html Suite:Mary (R.Byrkit) http://bmarsh.dtai.com/PBrain/mary.html numens from centrality (S.Murphy/P.Ganick) http://bmarsh.dtai.com/PBrain/numens.html mag nets (M.Magoolaghan) http://bmarsh.dtai.com/PBrain/magnets.html ROOMS (D.Featherston) http://bmarsh.dtai.com/PBrain/rooms.html b/c (W.Marsh) http://bmarsh.dtai.com/Works/bc/bccontents.html ... and books come in all shapes and sizes .... Any interested in supporting the effort can get all six for $20 -- or any one for $5 or any two for $8. Other details about the press can be found at http://bmarsh.dtai.com/PBrain/pbrain.html. Thanks, and happy solstice to all. Bill Marsh (wmarsh@nunic.nu.edu) PaperBrainPress 1022 Emerald St. San Diego, CA 92109 ========================================================================= Date: Wed, 2 Jun 1999 16:19:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: snogging MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Perhaps a sibling of "snogging," a few months back in a local San Francisco=20 bar I once heard a young Irish woman argue - in defense of Monica =96 "If sh= e=20 wants to snorkel with the President, that's her own damn business." The verb=20 gave a curious, but nice submarine quality to life in the Oval Office.=20 ========================================================================= Date: Wed, 2 Jun 1999 17:17:55 -0400 Reply-To: mgk3k@jefferson.village.virginia.edu Sender: UB Poetics discussion group From: Matt Kirschenbaum Subject: Blake Archive's June Update MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit 2 June 1999 The William Blake Archive is pleased to announce the publication of new electronic editions for two works in Blake's emblem series: _For Children: The Gates of Paradise_ and the revised and augmented version _For the Sexes: The Gates of Paradise_. Through a numbered series of intaglio plates with inscriptions ranging from single words to brief aphorisms, Blake puts the course of human life from birth to death in psychological perspective. Some of the emblems form narrative sequences; others exemplify mental states and their reification in the external world. Blake etched in intaglio the eighteen plates of _For Children_ in 1793 and printed all extant copies (A-E) in the same year. The copy published in the Archive is copy D, from the Rosenwald Collection, Library of Congress. In about 1820, Blake revised _For Children: The Gates of Paradise_, giving the work a new title, _For the Sexes: The Gates of Paradise_, reworking the design plates at least twice, and adding three new text plates at the end (19-21). Plates 19-20 contain brief interpretive statements keyed by number to the preceding design plates. The final plate is addressed to Satan as the "God of This [fallen] World." Copies A and B were probably printed c. 1820. Copies C and D, plus a large group of impressions never collated into complete copies by Blake but now divided into what are designated as copies J-N, date from c. 1825. Copies E-I are probably posthumous. We now publish copy D, from the collection of the Pierpont Morgan Library, New York. Both electronic editions have newly edited SGML-encoded texts and new images scanned and color-corrected from first-generation 4x5" transparencies; they are each fully searchable for both text and images and supported by the Inote and ImageSizer applications described in our previous updates. With the publication of these two titles, the Archive now contains 33 copies of 18 separate books, including at least one copy of every one of Blake's works in illuminated printing except the 100 plates of _Jerusalem_ (forthcoming). Also, we are pleased to announce that a Tour of the Archive is now available online. Through a sequence of several dozen graphical screenshots linked to narrative commentary, the Tour introduces users to the basic organization and structure of the Archive, the features of its interface, its search options, and the function of the Inote and ImageSizer applications. The Tour is located in the "About the Archive" wing of the site. Available as the first link off our main table of contents page at the URL above, the "About the Archive" materials include, in addition to the Tour, a statement of Editorial Principles and Methodology, a Frequently Asked Questions list, a Technical Summary, and an updated version of the article-length Plan of the Archive detailing our intentions with regard to Blake's non-illuminated works--and more. We hope that the Tour, together with these other materials, will prove valuable both to our own growing user community and to scholars interested in the theory and practice of electronic editing more generally. Morris Eaves, Robert N. Essick, and Joseph Viscomi, Editors Matthew G. Kirschenbaum, Technical Editor The William Blake Archive ========================================================================= Date: Thu, 3 Jun 1999 10:57:44 +1200 Reply-To: beard@met.co.nz Sender: UB Poetics discussion group From: Tom Beard Subject: symbolic snogging In-Reply-To: <30B8E4C89938D211987A0000F87E03F80C97@exchange.sd70.bc.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > When I was a student in Britain in the 50's, snogging was > just another name for > kissing, somewhat more than affectionate but not particularly > heavy! Quite > enjoyable really! Not just Britain, and not just in the 50's. 'To snog' (v.t. & v.i.) is pretty common usage in NZ today, although I think that it was probably imported from England in the 80's (my first memory of it was Vyvyan talking of snogging his hamster). Before that, the equivalent was 'to pash' (from 'passion'), as in 'having a pash behind the bikesheds'. Pashing seems to be making a comeback, especially among gen-X-ers with ironic nostalgia for growing up in the 70s. 'Snogging' probably became popular about the same time as 'bonking', although 'shagging' has been making a comeback in the 90's. Hell, post-Austin Powers, even Americans know what it means! On a slightly more substantial note, I'm interested by what Judy said about symbolic logic: > Non-symbolic logic is what people did before the mid-19th century and still > do. More connected with human language/mind. Symbolic logic has an aspect > in which it is just another branch of mathematics (think algebra; think > algorithms); non-symbolic logic does not. Symbolic can swallow up whole > fields that perhaps it shouldn't (think modal logic, i.e., notions of > necessity/causality) if you let it. In a sense, symbolic logic is not 'just another branch' of maths: it's an essential foundation of most branches of mathematics. Any formal proof requires a process that, if not actually written as formal logic, should be able to be reduced to it. I don't think that symbolic logic was intended to replace the non-symbolic kind, but was an attempt to systematize the kind of conscious reasoning that goes back to Aristotle. It does swallow up whole fields; at least in the sense that it narrows those fields. It's a constant reminder to question the foundations of any field: if the meta-axioms (law of the excluded middle, for example) don't apply, then any reasoning built upon that foundation will collapse. As an interesting aside, there's a lot of criticism of the binary true/false nature of Western logic. It's ironic, then, that Leibniz's development of binary arithmetic was partly based upon his reading of the I Ching! Regards, Tom Beard ========================================================================= Date: Tue, 1 Jun 1999 20:01:42 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: Rooting in Erotic Garbage MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit The last straw of trash depravity has been broken. . . the corrugated love pomes have reached their messy apex. while rushing to a librarians' meeting last week at 9: 15 in the a.m., while wearing a dry clean only taupe jacket, while frantically stamping down W. 14th st nyc to get a train to go to the New York Public sixth floor administrative offices where i'm being taught to "manage" i passed upon the curb a LUNCH pome !!!! yep! the word lunch embedded in a stack of dirty corrugated cardboard. Stranded, late, with no heavy duty exact-o knife at hand (o when will this girl _learn_ to carry the weapon of love close to her flank always!) i walked past longingly, hesitated, stopped, rubbernecked, "should i" ? in _these_ clothes?! i'm late! then running back dropped to my haunches & took the lunch with my fingers. jagged edges & all pull pull then noticed the smell of piss & thot is it on the lunch pome am i getting it all over me, this isn't very urbane this won't smell good at the meeting what am i _doing_? then ah but i dont care and fell to once again. then shortly stood up to a puzzled look from the public & went on my way. thinking ah frank! i gotta _lunch_ pome i gotta _lunch_ pome & laughed the whole way to that insufferable sixth floor. mina loy & frank you were both right! & god bless your sexy selves. ========================================================================= Date: Wed, 2 Jun 1999 19:37:40 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Subject: Re: hannah weiner's WRITTEN IN/THE ZERO ONE Mime-Version: 1.0 Content-Type: text/plain; format=flowed THANKS!! the 2nd response to my notifications on the copies of Hannah Weiner's Written In/The Zero One was good!! for those who missed both notifications i have quite a few copies left. The book was printed in 1986 by Post Neo Publications Melbourne Australia. The book was poorly distributed by me at the time. If you are interested in getting a copy please send $5.00 cash (bank charges on overseas cheques etc here in Australia make sending cheques etc useless)and i will promptly send the book back Airmail, you should also send your letter ordering the book Airmail. send to: pete spence 40 bramwell st ocean grove 3226 victoria australia. also those who have ordered the book recently i'd like your comment when you get it//yours pete spence ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 2 Jun 1999 22:47:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: the flux of context In-Reply-To: <01beac71$47860540$38c754a6@blwczoty> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 04:56 PM 6/1/99 -0400, Jordan Davis wrote: But what is so impossible to think term >about "poetry"? . . . . . . .. . . .... . it's just games, sets, relations. Okay, but without proposals, I think I meant, and proposals are our business, our wares, such relations are unlike poetry-bytes. Cross-propositions might be a preferable term for "games, sets, relations." Poetry signifies too many or too little, depending on the company one keeps. > >In re: "efficacy" I think we are standing across >the crater from oeach ether. I am acting as inaudible >interpreter of rumblings across generational strata. >We are hearing "why no politics." I would rather not >say "but yes politics!" I would rather say "what means >why no politics." I have a quiet feeling that this is >another chance for generational call and response >invite to Freuddance. We'll see! Another proposal may be to carefully elaborate the divide by means of registering efficacy in light of, you nailed it, the suck of context. You one nifty public correspondant. Don't be so quiet about it. Patrick ========================================================================= Date: Thu, 3 Jun 1999 01:32:58 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: WE WANT ALL GUNS TAKEN OUT OF IRELAND MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit This "social sculpture" as he called it, unconditional being Bobbie Joe August 27 1996 the sickness does it have all its arms legs fingers toes gonna precious life and love see the face dice lucky stars this way and that way a many splendor miracle spelled barley barely swirl dispair chant you can't please accept this for the school's poetry contest thank you part two on opening day cuss the bus maroon moo-ron moron one person takes up two spaces rearrange their faces! Go to the bar to talk to the boss lickety-split my plate, plaint, Propeller Paintings where those few minutes her face orange ambled from my job my little work table in January, torches, chainsaws--just standard gang box--working for Walt's doing little odds and ends on the side in January the other job that was bringing in the rest of that up till about a month ago you were doing side work in July, right, trying to get it clear in my head, are you saying I see what you're doing that's what I want to get at, doing it more so in the last month or so, doing it all along, let's get back to the beginning of the year, start in January, start fresh here at the beginning of the year sometimes at some time before the time commenced or while it was going on that a man apparently in a foreman capacity of some sort walked by the area and the next thing you saw was that helmet of his that fell to the ground, was it damaged? It was broken. Get a new helmet you can't weld with that one and then--well, after he got back we started and Curtis welded his section and moved it up, and he started on another one and that's when Bill started hollering about these symbolic positions--"man," "woman"--they're never inhabited by any one worker-subject, double spiral or double windmill, parallel convergences, tell another narrative on the site of the tablets, tale of the combat that established it, refusing to simply abandon the sites left in ruins, instrumentalize what Breton did in NADJA, the photopoem behind the outside of an inside of an outside double wall opens into imaginary news and fantasies of the real for real outside world fabricated by a solitary self-employed publisher, I'm going to show you a book Walter Benjamin and Ruth Berlau willed to me, are you familiar with the tract of land known as the Miller home place? For sixty years you know who owns the place what sides does it join where is your land the land referred to in the 1940 deed is the land located on the north side of the line marked "MM" the Miller place on the north side and the east side of my field on the eastern side of a line marked six hundred sixty-five what is the western boundary of your land where it joins to a road it's been a road ever since I was big enough to walk pointed out to you by your grandmother or anybody else the land which you now own my grandma pointed out. How many years did they till it they tilled it up until how far west was the land tilled, up to this road, where is the road now, identify where we are, the road is on the eastern side of the ditch, the ditch on the land you tilled and your people tilled up until from the time that--that's right, did you work in the fields with them, I plowed the land, where to the east did you plow, I plowed up until this ditch was dug a document and ask you if that represents the road Grandpa gave Pop to go to and from the field I had to plow it and disc it and drag it to keep it up, did you fill the chuckholes, we kept the bridges up, bridges over what, over these ditches, during the time you have known about this is it the same road today is it here that was there years ago, yes, you farmed near this road on the western side during my time you or your people did ever till on the western side, it was done before I dug the ditch, before my grandma died, that physical construction of being in language, to make a work instrumental as possible, black adhesive letraset spelled out on a wall, ONE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL, concrete specificity of a social life that is felt as much as thought, a homestead warmed by the wish for intimacy, unity and identity, in a structure called "blind" he writes to see his hands reach for the doorknob, a room in the center of a city filled with light and sound of a waterfall pavilion this block of stone, the block as a record of what was simply about putting in place a volume or mass. This white light that you saw from the side of it, were those on both sides or just on the one side if they are on the inside or not in words, in other words, you can observe them as though they are from either direction on both sides whether they have lights inside from your position in the train, József watching the train, leaning in the light in each compartment, this is how the days go by, you were saying you can see a white light coming through a peephole, by seeing that white light then, you have got to know when you looked out, did you look when the excessive cry was heard and when you looked out did you look, why did you look, why is that, well, there's a space of probably ten feet from this seat to that seat, that would be if I were to look out this way, would I see anything other than the buildings going by the window, so that you are seated closer as the train approaches and you are travelling on the south side of the tracks, couldn't you have seated yourself in any other position, yes, I could have, true, so that if you were to look out you would see better because you would be closer than you would be to it, no, I couldn't see it at all, you could observe it better than you could observe on the other side I couldn't observe the other one, the other side, did you observe what you just said, if I understand you is that--what did you see, could you tell me again, what did I see when I heard the excessive cry, it was a clear night and dry, you saw the white light, yes, do you recall that, yes, could the train have been travelling faster, couldn't have been, this particular train I don't believe it could have been because I am talking about capacity, as much as probably doubling it, okay, fine, were you thrown backwards or forwards or sideways, did you initiate this emergency, it is just a position, a subject position, you take it and throw the position the way you throw the lever the air flows in words the speed with which you throw the lever that has nothing to do with it, you don't know how it works, or how it is supposed to or anything, none to my knowledge you walked back did you walk by yourself or with anybody else, had you walked back or not, and as you walked back what is the first thing that you saw, the young man laying along the right-of-way and the young lady laying along the right-of-way, that was just about it at the time, had there been an accumulation of people or not, were they there when you got there, how much time do you think it took you to get back there, did you talk to anybody after you got there, what did you do, I observed the bodies, I took my jacket off and covered this girl up--or, I think I covered her up, I tried to afford her some comfort with my jacket, that is just about all, I didn't hear all of it. What did you hear. He was trying to give Bill some instructions as to how to weld or something and he just ended it with that, with what, with "That isn't the way to talk to that man, Bill," and he turned--who did you say that to? Why did you say that? Because, you know, I didn't feel you were supposed to address another man like that, you should have more composure than that, he turned and again said, "Just come on out of there." Did you answer when he said that. No. He just ignored you. Yes. And he said, "Come on out of there." Well, before he told him to come out of there, he used some vulgar words. What were the vulgar words. "Damn it." Bill has been known to use much stronger language. Just tell me what he used that day. I just want to know what was used on this particular day. "Damn it" was all that was heard that day. There was something else but I can't think of it. Oh, yes, it was right at my left ear he was, I'm not sure if I had made my weld or not but I was standing there and I had my hood up like this and they had a little argument then, you know, after he said that. Something about turning the heat up on the machine. Darrell Duncan, my foreman, up to this point, do I understand that you had no words with Darrell Duncan, yes, well, Mr. Duncan has always taken a special interest in me from the first day, I am not interested in that, I want to know what happened on this day, I can't recall everything that was said up to this point you said everything being said was a little hollering going on, now, to go back to this Darrell Duncan, did you see a little girl in that vicinity standing on the corner, I was waiting, just looking around like anybody else, and I noticed a little girl standing on the corner, standing on the sidewalk, and she walked across the green grass and as she walked I took my eyes off her this little girl on this corner just before she stepped into the street she went across the green grass where she was walking just before she stepped into the street a moment ago to a tree lawn where this little girl was walking to from the time you saw her and the time she came to a stop, this is the walk, this is the grass, what else could I do then? It was like all over. A big shot of bourbon such as scotch and soda. Did he have either his knife or his gun in his hand at that time when you went to the side door? What was in his hands at the time that he was going to the side door? He said, "Get your damn head away or I will blow it off." I went to the other door in the pantry and reached up and got my gun after he said, "I am going to blow your head off." But to look at just Jones, no, he didn't say that, but it may have at some time, he may have said something like that to me, place your machine in a position where you would be able to hear the conversation, in a place that would not obstruct anybody, where did you place your machine when I was in the corner of that particular room, ask who is absent from the dress, did you have any other clothing on other than that clothing, that dress and some high heel strapless shoes and silk stockings and coat and necklace and bracelet, my underwear, you mean a bra and panties, yes, and a slip, yes, was that a half slip or a full slip, half slip, when you left the dance hall you walked over to Bog's car and you got in his car to get to his house East 55th to Superior down Superior until about East 66th at that time you arrived at his home during the time from the Hall to his house did you have any conversation with him at the time, I am asking him where he is taking me, he was talking about he went over to that joint on, I think it is 105th and Cedar, I don't know the name of it, anyway he said that somebody, I don't know who it was, somebody was telling him in the joint, some man told him that Louise was running around, she used to go with him, it was tough enough that she wasn't going to go home with him, after you picked Billy up besides going directly to your house we got to my house, Louise in the middle and Billy Boyd was on the opposite side of me, he got out to let me out, Louise got out, and she got out on the street side walking around on the side, so when she got up in my yard he told her she wasn't going in my house, she was going home with him, just like that, "You are going with me," and he told me I didn't have nothing to do with it. She has scars, you know, where he done choked her, and she fell in the hall, when you come in my house you come into the hall, she fell, he got on her, my husband got up, my husband come to the top of the steps, he had on his shorts, he said "You all ain't going to fight, I don't have no fights myself," he said, after he run back and put on his bathrobe. Now, at this time then again Reed said to the guy, "I think we have to use our own common sense and our own live experiences here to decide what kind of group we are talking about, and whether this is just talking to passersby coming out of the show or whether he is talking to eight or nine. They were with him. There was Willie Dunn, Rudy Westerfield, Ugley Mayes, Nathan Gunnoe or Gunnahue, something like that, Rudy Young, then there was Fred Warner, Dwayne Denhart, Dwayne and Dennis Denhart--Tom's sons--Jim Jordan and I forget the other guy's name, I can't think of the other guy's name. He turns with his side and his back towards Reed and I believe with his thumb or his hand, "Is this the one?" Is that the one he said immediately, immediately was the word he used, Jones asked Reed did the boys come up, he said it was almost right away, almost right away and immediately, if that one boy said immediately and the other boy said almost right away, maybe it is a figure of speech, there was strong slang phrases used telling us he told you how a gun had touched him, can you imagine, touched him, touching the barrel of a gun to your forehead in a dark alley, young people again, a crowd of young people, and someone comes up to him and this someone says that this boy has got a gun, someone said that the man was with a gun and the gun is so heavy that the coat is hanging lop-sided, like that, this is a 17-year old boy with a gun that was there for a reason and this is exactly the reason it was there, the gun was taken from the pocket, and I was there at the time you are talking about and it didn't happen that way. He said he never saw Romeo Conner standing there or taking any part in the argument, and there is a lot of talk about how he put a gun to the head of Reed, that he was one of these people that did to Reed a friend of his or acquaintance or how close the friendship might be, and two other people that were in that alley. What I'm trying to say to you is that if I say something that is different from what you remember or how it was said or knew it was said, don't remember what I remember, rely on what you heard and what you saw. There was some contact between these people before. By saying now publicly and openly for the first time that you used the word pistol, did you have a pistol, a gun is a gun, if you did the shooting, if you shot the gun, and when you dropped that gun, you said you dropped in on Dave, you said Dave had that gun in his hand after the shooting, at the time I was being shot at, just everything automatically happened as it followed the gun, not once, but several times, you shot the gun if you say you guess you shot the gun, you only surmised that after he died. Did he ask you to do anything for him at that time, the last time you saw him, this was on the last visit you had with him, make him a milkshake or make him a little dinner, you put that into it, the last time you saw him, he seemed to have all of his thinking faculties, and one question in particular that was asked him, that he hesitated for about a minute, and you asked him whether he heard the question or not, is that the way he always carried on, very slow talker, you know that he was a slow talker, and during those times you knew him to be a slow talker, he was the same as far as I have always known him to be, the conversation had wired him up, that was consistent with the way he had conducted himself before, he would never say he was wired, did he ever say he was wired is why he didn't want to talk, you are here saying you don't remember any snow on the ground. It was light snow. You are sure there was snow on the ground, it was moist, it was blowing, it wasn't really sticking when you left was it snowing I think it was just cold when you would breathe, it would show a sort of misty look, whether or not the streets had any snow on them, whether the streets were icy or snowy or anything like that meaning any ice that night it was snowing by then it had started, it was a light snow, about what time that snow started I can't say, there wasn't a great amount when you left did it seem slippery or icy to you where you were walking you noticed there was accumulation of snow oh no, there was a light covering of snow, you could observe that, you could tell that night, you could see a little bit of the coloring, you were just sitting down and talking, talking and helping her prepare dinner, when you went outside to leave, did you leave together, was the porch light on, could you see the stairs, she touched your arm, I think there was a place for one, when you came out was it snowing more, did you exchange comments or have any conversation while you were standing on the porch after you left with everybody else that was at the table, did you stand on the porch, or did you just walk out the door and go down the stairs, or attempt to go down when you left, as you went to go down the stairs, were you holding the hand, were you holding her hand going down the stairs, did you go before or after him, you watched him go down the stairs and he was standing at the bottom after he left and started down the stairs without you, had he gotten all the way down the stairs yet, was he standing below waiting for you or were you walking down directly behind him, you intended to follow him down the stairs, didn't you, did you look at him like you normally look, what did you see when you looked to him, this was before he started down the stairs, I didn't just stop and look, that wasn't like that. Some representation of bodies near the border, volumetric penciled words, tongue, English, dialect, brogue or cipher, formed into a moundlike shape, bringing to mind Richard Serra's CASTING (1969), made by throwing molten lead into the angular section between floor and wall like if each individual drives the same truck where he was more than that particular part there was mostly from the black . Joe Hill ========================================================================= Date: Wed, 2 Jun 1999 22:49:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dbkk@SIRIUS.COM Subject: Friday, June 4, Re: Reading The New American Poetry Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1283733549==_ma============" --============_-1283733549==_ma============ Content-Type: text/plain; charset="us-ascii" Small Press Traffic presents the second event in our series Re: Reading The New American Poetry Friday, June 4, 7:30 p.m. The New American Poetry In Context Maria Damon Michael Davidson The New American Poetry appeared at a time when intellectuals and politicians were urging a consensus on American superiority in all fields-cultural, military, economic-against foreign influences abroad and domestic subversion within. Michael Davidson will examine to what extent Cold War cultural/political assumptions still shape our reading of The New American Poetry in our present era. "Membership" in poetry communities points to shared values and assumptions, mutual agreements over such issues as "what is a poet?" "what should a poet write" and "what is a poet's work?" By examining the ideas of poetic labor of two California poets, one included in the anthology (Wieners) and one left out (Kaufman), Maria Damon will help us better understand the ideas and values of that time, ideas and values which impact our own time as well. New College Theater 777 Valencia Street, San Francisco Free ---------------------------------- Maria Damon is an Associate Professor of English at the University of Minnesota, where she is also affiliated with programs in American Studies, Women's Studies, Comparative Literature and Jewish Studies. She is the author of The Dark End of the Street: Margins in American Vanguard Poetry (University of Minnesota Press, 1993). Her essays have appeared in such publications as American Literary History, Postmodern Culture, and Modern Fiction Studies. She is currently editing a special issue of Callaloo on the work of Bob Kaufman. Michael Davidson is a professor of English at the University of California, San Diego. His critical work includes The San Francisco Renaissance: Poetics and Community at Mid-Century (Cambridge University Press, 1989) and Ghostlier Demarcations: Modern Poetry and the Material Word (University of California Press, 1997). He has been twice a recipient of California Council of the Humanities Public Policy Grants, in 1979 and 1981. With Albert Gelpi, he is the author of the entry on American Poetry in The New Princeton Encyclopedia of Poetry and Poetics. Hope to see you there-- Dodie Bellamy for Small Press Traffic --============_-1283733549==_ma============ Content-Type: text/enriched; charset="us-ascii" Small Press Traffic presents the second event in our series Re: Reading The New American Poetry Friday, June 4, 7:30 p.m. The New American Poetry In Context Maria Damon Michael Davidson The New American Poetry appeared at a time when intellectuals and politicians were urging a consensus on American superiority in all fields-cultural, military, economic-against foreign influences abroad and domestic subversion within. Michael Davidson will examine to what extent Cold War cultural/political assumptions still shape our reading of The New American Poetry in our present era. "Membership" in poetry communities points to shared values and assumptions, mutual agreements over such issues as "what is a poet?" "what should a poet write" and "what is a poet's work?" By examining the ideas of poetic labor of two California poets, one included in the anthology (Wieners) and one left out (Kaufman), Maria Damon will help us better understand the ideas and values of that time, ideas and values which impact our own time as well. New College Theater 777 Valencia Street, San Francisco Free ---------------------------------- Maria Damon is an Associate Professor of English at the University of Minnesota, where she is also affiliated with programs in American Studies, Women's Studies, Comparative Literature and Jewish Studies. She is the author of The Dark End of the Street: Margins in American Vanguard Poetry (University of Minnesota Press, 1993). Her essays have appeared in such publications as American Literary History, Postmodern Culture, and Modern Fiction Studies. She is currently editing a special issue of Callaloo on the work of Bob Kaufman. Michael Davidson is a professor of English at the University of California, San Diego. His critical work includes The San Francisco Renaissance: Poetics and Community at Mid-Century (Cambridge University Press, 1989) and Ghostlier Demarcations: Modern Poetry and the Material Word (University of California Press, 1997). He has been twice a recipient of California Council of the Humanities Public Policy Grants, in 1979 and 1981. With Albert Gelpi, he is the author of the entry on American Poetry in The New Princeton Encyclopedia of Poetry and Poetics. Hope to see you there-- Dodie Bellamy for Small Press Traffic --============_-1283733549==_ma============-- ========================================================================= Date: Thu, 3 Jun 1999 01:05:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Motion In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > I found him worth a read. > >David I have his 1997 book here now, and have been dipping. But my god, this is dull stuff! I can not see that it is, I mean in the first 25 pages, anything other than casual correspondence, with no music whatever. Maybe it is the point to make it completely devoid of music, but how is that a kind of oppositional poetry, when the mainstreamers in England have no music anyway? I mean this is a place where they take Larkin seriously as a poet, and then Motion gets into trouble for writing a nasty biog of Larkin. Good Lord! George Bowering. , fax: 1-604-266-9000 ========================================================================= Date: Thu, 3 Jun 1999 06:34:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Italian renaissance p. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Back from various parts and catching up, greetings. Is it too late to fourteenth the endorsement of Rachel Loden's book? -- just stellar. I'm looking for examples (in translation) of the practice of posting review-poems in the plazas where major & new works of sculpture had just been installed in Renaissance Italy. Can anyone out there point me in the right direction? BC and thanks in advance. ========================================================================= Date: Wed, 2 Jun 1999 08:35:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathleen Crown Subject: A Poets Gathering Against the War MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A Poets Gathering Against the War with readings by: Dot Antoniades * Katherine Arnoldi * Brett Axel * Anselm Berrigan * Harold A. Bowser III * Steve Cannon * Stacey Ann Chin * Mitchel Cohen * Marc Desmond * Reg E. Gaines * Guy LeCharles Gonzalez * Steve Hirsch * Bob Holman * CD Johnson * Eliot Katz * Loki Kevorkian * Patrick Kowalchuk * Tony Medina * Nancy Mercado * Tom Obrzut * Onome * Amy Ouzoonian * Pedro Pietri * Aileen Reyes * Keith Roach * Bob Rosenthal * Susan Sherman * Dan Shot * Hal Sirowitz * Suzanne Solomon * Miriam Stanley * Eileen Sutton * Kyrce Swenson * Meaghan Williams * Maggie Zurawski * plus a speaker from the War Resisters League & more Sunday, June 13th, 1999 * 4-8pm * Free A Gathering of the Tribes Gallery 285 E. 3rd Street (betw. Avenues C & D), 2nd Floor Website: www.tribes.org * Email: info@tribes.org Phone: 212-674-3778 ========================================================================= Date: Thu, 3 Jun 1999 14:14:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Lisa Jarnot on WriteNet MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This month, Lisa Jarnot talks about her poem "Emperor Wu," published in her book _Some Other Kind of Mission_. A tape of Lisa (W.A.V file) is not up just yet -- probably in the next two or three days. You can find the page at http://www.writenet.org/poetschat/poetschat_ljarnot.html --daniel ========================================================================= Date: Thu, 3 Jun 1999 14:15:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: The Naif and the Bluebells Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii I wanted to announce a "preview" version of a web-poem called "The Naif and the Bluebells" that I've been working on for the past several weeks. This is a short version of the whole thing, which will find it's final home on www.ubu.com, the concrete/sound poetry site that Kenny Goldsmith runs. The short version -- about 30% or so of the long-version -- contains no Javascripts, fewer applets, and lighter images, and was made especially for those with 3.0 generation browsers or slow modems and processors. It can be found at: http://www.bway.net/~arras Please check it out, and certainly tell me if something doesn't work! (This is also the Arras site, which I'm presently updating -- it's pretty ugly right now. Stay away from the sugar free!) Cheers, Brian ========================================================================= Date: Thu, 3 Jun 1999 13:15:07 -0500 Reply-To: jlm8047@usl.edu Sender: UB Poetics discussion group From: Jerry McGuire Organization: USL Subject: Deep South Writers Conference Comments: To: Walt McDonald , Wendell Mayo , Wendell Ricketts , William Ryan , William Sylvester , William Trowbridge <0100470@ACAD.NWMISSOURI.EDU>, Zach Smith , William Pitt Root and Pamela Uschuk , Writers' Forum MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please note the following preliminary information about this year's Deep South Writers Conference and Writers Contest. This year's Deep South Writers Conference will take place from September 23rd to September 26th, 1999, on the University of Southwestern Louisiana campus in Lafayette. We’ve secured most of our artist agreements, and are presently advertising our contest (see Rules, below). The artists who have agreed to come so far are poet and non-fiction prose-writer Mary Cappello, poet, novelist, and editor Virgil Suarez, poet and essayist Toi Derricotte, and novelist Robert Olen Butler. In response to the many requests we received from last year’s participants, we will also be featuring another "Poetry Crawl"—an open reading for all conference participants that travels among various art galleries, coffee houses, and restaurants here in Lafayette. And we will have a special workshop in teaching creative writing by Sandy Lyne of the Inner Writer Program, and an evening of lecture, demonstration, and discussion by Louisiana songwriters Sam Broussard and David Egan on the relations between the "local" and their work. As always, many thanks for your interest, and best wishes. Yours, Jerry McGuire DEEP SOUTH WRITERS CONFERENCE CONTEST RULES DEADLINE: JULY 15, 1999 Entry Guidelines for all Submissions Entry fee for each submission is $10 ($15 for the novel and full length plays). •No manuscripts will be returned. •Submit two title pages, one with title, category of entry, author's name, address, telephone number, social security number and brief bio., the other with title and category of entry only. •Please note that conference registration fees will be waived/reimbursed for all prize winners attending the conference. Contest Divisions Short fiction (Includes Science Fiction; under fifty pages, double spaced) $300 first prize $200 second prize $100 third prize Young Adult Fiction (for Ages 12 and above) $200 prize Children's Fiction (for Ages up to 12) $100 prize Novel $300 first prize $100 second prize Nonfiction -- the Ethel Harvey Award (under fifty pages, double spaced) $200 prize Poetry -- The John Z. Bennett Awards (Three poems maximum. Entry will be considered as a whole) $300 first prize $200 second prize $100 third prize Drama -- The Paul T. Nolan One-Act play Awards (Under fifty pages; no musicals, translations, or adaptations; production rights reserved for one production) $200 first prize $100 second prize Drama -- The James H. Wilson Full-length play Awards (No musicals, translations, or adaptations) $300 first prize $100 second prize French Literature -- The Council for the Development of French in Louisiana (No translations or adaptations; maximum of three submissions) $100 first prize for prose $100 first prize for poetry Where to Send Materials . . . Send all manuscripts, with check or money order payable to Deep South Writers Conference, to: Contest Coordinator Deep South Writers Conference USL Box 44691 -- English Department University of Southwestern Lousiana Lafayette, LA 70504-4691 Enclose a Self-Addressed Stamped Postcard for acknowledgment of Receipt. •For all categories: we cannot consider previously published materials, except for work published only in college literary magazines. •Present faculty and students of the University of Southwestern Louisiana may not be considered for any of the awards offered by the Deep South Writers Conference. •Although publication is not guaranteed, first publication rights to all prize-winning manuscripts (except novels and full-length plays) are reserved by the Deep South Writers Conference. Rights revert to the author after publication or, absent publication, on the first of August of the contest year following. Decisions of the judges are final. Direct inquiries to jlm8047@usl.edu. For list of winners, submit a Self-Addressed stamped Envelope or check the Deep South Writers Conference portion of the University of Southwestern Louisiana website: http://www.usl.edu/departments/English/index.html Please note that failure to abide by the above mentioned guidelines invalidates an entry. -- ________________________________________________________ Jerry McGuire Director of Creative Writing English Department Box 44691 University of Southwestern Louisiana Lafayette LA 70504-4691 318-482-5478 ________________________________________________________ ========================================================================= Date: Thu, 3 Jun 1999 13:18:18 -0500 Reply-To: jlm8047@usl.edu Sender: UB Poetics discussion group From: Jerry McGuire Organization: USL Subject: Deep South Writers Conference and Contest MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please note the following preliminary information about this year's Deep South Writers Conference and Writers Contest. This year's Deep South Writers Conference will take place from September 23rd to September 26th, 1999, on the University of Southwestern Louisiana campus in Lafayette. We’ve secured most of our artist agreements, and are presently advertising our contest (see Rules, below). The artists who have agreed to come so far are poet and non-fiction prose-writer Mary Cappello, poet, novelist, and editor Virgil Suarez, poet and essayist Toi Derricotte, and novelist Robert Olen Butler. In response to the many requests we received from last year’s participants, we will also be featuring another "Poetry Crawl"—an open reading for all conference participants that travels among various art galleries, coffee houses, and restaurants here in Lafayette. And we will have a special workshop in teaching creative writing by Sandy Lyne of the Inner Writer Program, and an evening of performance, lecture, and discussion with Louisiana songwriters Sam Broussard and David Egan on the influence of the "local" on their work. As always, many thanks for your interest, and best wishes. Yours, Jerry McGuire DEEP SOUTH WRITERS CONFERENCE CONTEST RULES DEADLINE: JULY 15, 1999 Entry Guidelines for all Submissions Entry fee for each submission is $10 ($15 for the novel and full length plays). •No manuscripts will be returned. •Submit two title pages, one with title, category of entry, author's name, address, telephone number, social security number and brief bio., the other with title and category of entry only. •Please note that conference registration fees will be waived/reimbursed for all prize winners attending the conference. Contest Divisions Short fiction (Includes Science Fiction; under fifty pages, double spaced) $300 first prize $200 second prize $100 third prize Young Adult Fiction (for Ages 12 and above) $200 prize Children's Fiction (for Ages up to 12) $100 prize Novel $300 first prize $100 second prize Nonfiction -- the Ethel Harvey Award (under fifty pages, double spaced) $200 prize Poetry -- The John Z. Bennett Awards (Three poems maximum. Entry will be considered as a whole) $300 first prize $200 second prize $100 third prize Drama -- The Paul T. Nolan One-Act play Awards (Under fifty pages; no musicals, translations, or adaptations; production rights reserved for one production) $200 first prize $100 second prize Drama -- The James H. Wilson Full-length play Awards (No musicals, translations, or adaptations) $300 first prize $100 second prize French Literature -- The Council for the Development of French in Louisiana (No translations or adaptations; maximum of three submissions) $100 first prize for prose $100 first prize for poetry Where to Send Materials . . . Send all manuscripts, with check or money order payable to Deep South Writers Conference, to: Contest Coordinator Deep South Writers Conference USL Box 44691 -- English Department University of Southwestern Lousiana Lafayette, LA 70504-4691 Enclose a Self-Addressed Stamped Postcard for acknowledgment of Receipt. •For all categories: we cannot consider previously published materials, except for work published only in college literary magazines. •Present faculty and students of the University of Southwestern Louisiana may not be considered for any of the awards offered by the Deep South Writers Conference. •Although publication is not guaranteed, first publication rights to all prize-winning manuscripts (except novels and full-length plays) are reserved by the Deep South Writers Conference. Rights revert to the author after publication or, absent publication, on the first of August of the contest year following. Decisions of the judges are final. Direct inquiries to jlm8047@usl.edu. For list of winners, submit a Self-Addressed stamped Envelope or check the Deep South Writers Conference portion of the University of Southwestern Louisiana website: http://www.usl.edu/departments/English/index.html Please note that failure to abide by the above mentioned guidelines invalidates an entry. -- ________________________________________________________ Jerry McGuire, Director Deep South Writers Conference English Department Box 44691 University of Southwestern Louisiana Lafayette LA 70504-4691 318-482-5478 ________________________________________________________ ========================================================================= Date: Thu, 3 Jun 1999 15:52:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: An Ask for Reports MIME-Version: 1.0 Content-Type: text/plain after reading about wendy kramer's lunch poem about dave baptiste chirot rubbing the streets of milwaukee and enamored once again with my POCKETY PUFF i wonder if something easteregg hunt might be in the offing in this here forum and so i'm asking for reports - descriptions - details - text - context - imaginations of another world where some found thing wd be necessary to some obscure desire ========================================================================= Date: Thu, 3 Jun 1999 15:57:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Motion MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit right on, George, larkin, motion, meme combat! dull, pointless,idiotic -- which doesn't worry me, let them write whatever pleases them -- but, as always, it's them and the power they wield(ed) that kept/keeps the live brit poetry from being published, heard, etc.. pierre George Bowering wrote: > > > I found him worth a read. > > > >David > > I have his 1997 book here now, and have been dipping. But my god, this is > dull stuff! I can not see that it is, I mean in the first 25 pages, > anything other than casual correspondence, with no music whatever. Maybe it > is the point to make it completely devoid of music, but how is that a kind > of oppositional poetry, when the mainstreamers in England have no music > anyway? I mean this is a place where they take Larkin seriously as a poet, > and then Motion gets into trouble for writing a nasty biog of Larkin. Good > Lord! > > George Bowering. > , > > fax: 1-604-266-9000 -- ======================== Pierre Joris joris@csc.albany.edu http://www.albany.edu/~joris/ 6 Madison Place Albany NY 12202 tel: 518 426 0433 fax: 518 426 3722 ======================== Nomadism answers to a relation that possession cannot satisfy. Maurice Blanchot ======================== ========================================================================= Date: Thu, 3 Jun 1999 16:42:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: two things MIME-Version: 1.0 Content-Type: text/plain 1st there's a billboard down peachtree from here by the waffle house that for a year or so has alwasy been a marlboro cig board and i guess they stopped paying for that locale or something but the sign co. came out and defaced it tearing corners and wide swaths across the middle and such, even leaving some bits hanging etc etc but having i guess absorbed the marlboro iconography and seen most of the billboards what came out of this defacing was much more . . . interesting (to me) . . . schwittersesque . . . marlboro ad . . . the surgeon general's warning was legible at least twice 2nd standing under a tree in the rain and i noticed that the undersides of every leaf that i cd see were speckled and i looked closer and they were spotted with .. ? .. eggs or fungus or something there was a symmetry that was on the verge of not being there but still *was* and i noted this but still felt this sort body to body empathy with the tree felt invaded got the creeps ========================================================================= Date: Thu, 3 Jun 1999 18:17:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: eating the wrong thing MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hat #1 feat. Barnett Coultas Foster Goetz Jarnot Lowe Lyons Mirakove Mlinko C Nelson Nguyen Notley Sharma and Spahr is now available from SPD, and once again from the editors for $7. Subscriptions are $12. Lifetime subscription $1,000. Pharaonic tribute $10,000. Make checks payable to Jordan Davis, send to: The Hat c/o Edgar 331 E 9th St Apt 1 NYC 10003. Coming soon: the "eating-the-wrong-thing issue" featuring biblio-, hydro-, astro-, logicophagic works by among others A & E Berrigans Bouchard Brown Bruno Carll Gardner Hale Jarnot Lubasch Luoma McCain Patton Sikelianos Sweet and Zurawski. Hurry to consume! ========================================================================= Date: Fri, 4 Jun 1999 05:35:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Uh, er, ah Comments: To: Poetics List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >CFP: Disfluency in spontaneous speech > >ICPhS Satellite Meeting: DISFLUENCY IN SPONTANEOUS SPEECH >30 July 1999 >UC Berkeley > >Call for Participation > >The increasing interest in spontaneous speech in the academic and >technological communities has led to several new research initiatives >which focus on disfluency in normal spontaneous speech. In this >workshop we will attempt to bring together researchers working on the >topic from various angles. > >The main purposes of the meeting will be to allow an overview of >recent and current research, to examine problems and issues in this >research and to discuss future areas of interest. Abstracts are >invited from a wide area, including description, speech production and >psycholinguistic and computational approaches to the understanding of >disfluent speech. > >The meeting will allow as much discussion as possible, structured >around a selection of themes, and supported by a limited number of >oral presentations. Poster presentations are also encouraged . > >Organisers: Robin Lickley, Ellen Gurman Bard (University of >Edinburgh), Jean Fox Tree (UCSC), Peter Heeman (OGI), Liz Shriberg >(SRI). > >For registration and more information: >http://www.ling.ed.ac.uk/~robin/ICPhS-CfP.html >disfl@ling.ed.ac.uk > > ========================================================================= Date: Fri, 4 Jun 1999 07:36:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Oliver Subject: Re: Larkin MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It's a blindness to call Philip Larkin absolutely no good as a poet. This sort of blindness will simply reaffirm itself when challenged because, essentially, it's a dismissal in terms of style or, perhaps, genre. If you want to say that he was hostile to avant-gardist poetic practice, that's so obvious it's hardly worth saying. An authentic poetic darkness lay beneath Larkin's orderly, rhyming verses, a wiggly thing. And he had that unmistakable gift of making memorable lines. It's highly unlikely a non-poet would have been so influential. The turncoat but unfortunately interesting Motion biography at least indicated sources of this darkness. I spent a couple of hours with Larkin once and when (discussing "Ambulances") I suggested that we might not, after all, be alone when we die we got very stiff with each other, because I was tapping into his evident panic on this question -- that's the darkness again. He had to be sedated when he underwent his own process of dying because he was panicking so much. (But for all I know I may have to be too one day . . .) Though adept at poetry politics, Motion is deadly dull, yes: he's got the despicable job of laureat now (despicable because tied into the British royalty/class system) but his poetry has not been very influential. I am in no sense a supporter of Larkin and never have been. Our problem with him in Britain in the sixties and seventies was very different from wondering whether he was a poet or not. He was reactionary artistically, politically, and emotionally. Ever since, the clammy influence of his style and his consciousness have put a blight on mainstream poetic practice. But, then, that's just the mainstream. It has its audience. So has the experimental wing, thank god, and if they can nibble at that mainstream audience so much the better. Doug ========================================================================= Date: Fri, 4 Jun 1999 04:45:29 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: the flux of context Mime-Version: 1.0 Content-Type: text/plain; format=flowed Reading the Davis/Durgin correspondence, many tangential and rather less abstract questions come to "mind" (if that's not being perhaps nominally overly optimistic ... ), like Efficacy in terms of what? What are the propositions? What do they propose in terms of politics? What's to be effected? How does the effected effect effect anything political, in what "sphere"? Who is the "efficacy" for? To whom are "proposals" to be addressed? Is it all just in one big self-reflective house of mirrors &/or cards that the whole argument "takes place"? (Ah ... the lovely and familiar "it" motif again ... ) As in fact, what IS "the argument"? A parsing of consciousness itself, so as to make its otherwise smothering protoplasmic theosophic "body" look to be more the familiar bite-sized sequence of pieces we all might more easily accustom ourselves to? Or, in terms of sheer etiquette at the level of more alarmingly "rapid" shifts of consciousness, may I ask, what do you do when you can't remember the word for "rug"? SE >From: "Patrick F. Durgin" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: the flux of context >Date: Wed, 2 Jun 1999 22:47:40 -0500 > >At 04:56 PM 6/1/99 -0400, Jordan Davis wrote: > >But what is so impossible to think term > >about "poetry"? >.. . . . . . .. . . .... . it's just games, sets, relations. > > Okay, but without proposals, I think I meant, and proposals are >our >business, our wares, such relations are unlike poetry-bytes. >Cross-propositions might be a preferable term for "games, sets, relations." > Poetry signifies too many or too little, depending on the company one >keeps. > > > > >In re: "efficacy" I think we are standing across > >the crater from oeach ether. I am acting as inaudible > >interpreter of rumblings across generational strata. > >We are hearing "why no politics." I would rather not > >say "but yes politics!" I would rather say "what means > >why no politics." I have a quiet feeling that this is > >another chance for generational call and response > >invite to Freuddance. We'll see! > > Another proposal may be to carefully elaborate the divide by means >of >registering efficacy in light of, you nailed it, the suck of context. You >one nifty public correspondant. Don't be so quiet about it. > Patrick _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Fri, 4 Jun 1999 06:41:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: OED "snogging"; The Last Campaign MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks to Susan Wheeler for that endorsement of THE LAST CAMPAIGN--in a world in which poets, above all, hate poetry, one can't have too many of those. Since I never posted any blurbage here, perhaps I'll be forgiven for passing on (with permission of course) another, somewhat astonishing, tidbit: "The poems combine a solid sense of form with a solid sense of politics and irony. Since I'm in favor of all three, I'm impressed. The image of Lenin's body (which I've not seen, since my lone visit to Moscow was all of 30 minutes on a tarmac while Motley Crue boarded the plane) is deeply comic and will probably show up in a dream soon. So the best characterization of my response is 'irrational exuberance,' though perhaps in the way that Spicer, not Greenspan, would have understood." --Ron Silliman The chapbook has almost no distribution so please backchannel if you'd like a copy ($8). And now for something completely different: snogging, vbl. n. slang. [Origin unknown: cf. snug v.] Engagement in light, amorous play, esp. kissing and cuddling. 1945 C. H. Ward-Jackson It’s a Piece of Cake (ed. 2) 56 Snogging, courting, running around with the opposite sex. Comes from India. Thus, ‘On my leave I’m going up to the hills for a bit of snogging.’ Also used as a verb. 1951 Sunday Pictorial 28 Oct. 10/6 Few hounds can get in more than half an hour of ‘snogging’–their elegant term for not-too-serious courtship. 1960 N. Epton Love & English vi. 341 It is all right..to cuddle. (The current term among teen-agers is ‘snogging’.) 1966 P. Willmott Adolescent Boys iii. 40, I went upstairs with Jill and we did a bit of snogging on the bed. 1975 Weekend 4 Feb. 19/1 If a cinema manager tolerates snogging among his audience he is liable to lose his licence. Also snog v.2 intr., to engage in snogging; snog n., an instance of this; 'snogger, 'snogging ppl. a. 1945 [see snogging vbl. n.]. 1958 ‘J. Brogan’ Cummings Report xv. 156 He is a..girl-snogging..bounder. 1959 W. Camp Ruling Passion xii. 82 Let’s pretend we’re teenagers and stop for a nice snog. 1962 A. Sampson Anat. Britain xxxvi. 574 The cinema has lost its hold–except among unmarried teenagers, two-thirds of whom go at least once a week, perhaps to snog in the doubles. 1965 J. Gaskell Fabulous Heroine 94 A most experienced snogger. 1973 M. Amis Rachel Papers 21 They were enjoying a kiss–well, more of a snog really. 1981 R. Barnard Mother’s Boys ii. 20 They had..taken the side way through the little cutting known popularly as ‘Snoggers Alley’. Rachel Susan Wheeler wrote: > > Back from various parts and catching up, greetings. Is it too late to > fourteenth the endorsement of Rachel Loden's book? -- just stellar. ========================================================================= Date: Fri, 4 Jun 1999 09:07:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: symbolic snogging In-Reply-To: <008d01bead4b$54068b20$adc032ca@beard.met.co.nz> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Maybe we should take this back-channel, but there seem to be more than a few symbolic logic fans here... >In a sense, symbolic logic is not 'just another branch' of maths: it's an >essential foundation of most branches of mathematics. Any formal proof >requires a process that, if not actually written as formal logic, should be >able to be reduced to it. That's how it was billed (or, as we say these days, marketed) back when I was in school, but things have changed and there's a lot of fairly serious criticism of these notions. Whatever your view of foundations, symbolic logic can be viewed as a branch of mathematics. That seems to be the distinction between symbolic logic and other sorts of logical inquiry. > >I don't think that symbolic logic was intended to replace the non-symbolic >kind, but was an attempt to systematize the kind of conscious reasoning that >goes back to Aristotle. It does swallow up whole fields; at least in the >sense that it narrows those fields. Yes yes yes. The narrowing is an interesting (and I think invasive) phenomenon. ... >As an interesting aside, there's a lot of criticism of the binary true/false >nature of Western logic. It's ironic, then, that Leibniz's development of >binary arithmetic was partly based upon his reading of the I Ching! > > >Tom Beard Cool. Thanks. --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- Note new area code ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 4 Jun 1999 06:32:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Melnicove Subject: Re: Frost at Kennedy's inauguration In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear Maria, Thanks for your reply. I'm glad to hear that you, too, think this was a signal event; not everyone on the list agrees, those responses having more to do with negative perceptions of Frost as a man and poet than anything else. My essay is part of a larger book about American poetry in the sixties that I'm writing. The Frost reading came early in the decade; by decades end, things had changed a lot (and that's an understatement!) in both American society and American poetry; so in terms of contrast and compare, the inaugural reading is ripe in regarding. In the poem Frost wrote for the occasion, he prophesized a "golden age of poetry and power," like the Augustan age in Rome. It's such an interesting, though flawed, comparison; much of my essay revolves around what all that might have meant then, what it means now. There is also the Frost/Kennedy relationship; what began as a courting/courtship (and Frost saw himself as the court poet), ended up with Kennedy not speaking ever again to Frost after the later's return from a trip to Russia in September, 1962, where he met with Khrushchev. Of course, October, 1962 brought the Cuban Missile Crisis, etc. Anway, I'll be glad to share the essay with you when it's done. Right now it's 27 pages, and still growing! I wasn't aware of any of the sources you mentioned. How can I get a copy of Zofia Burr's unpublished ms? Thanks for your help, Mark Melnicove >At 9:59 AM 5/28/99, Mark Melnicove wrote: >>I'm writing an essay on Robert Frost's reading/recital at JFK's >>inauguration and I'm looking for contemporary (i.e. 1961) responses to this >>event by other poets. I've started to comb letters and diaries as collected >>in books (Sandburg, Ginsberg, Jarrell, etc.), but haven't turned up much >>yet. Anyone with any sources, leads, etc. please b.c. And, if you were >>there (in person, or via TV) and wrote something at the time, or have some >>recollections 38 years down the road you'd care to share, I'd love that, >>too. >>Mark Melnicove > >i remember my mother, who was a danish citizen, being so moved that she >went out and bought Frost's Collected Works, which we still have in a >prominent place in my family's home. also, Steven Caton, in Peaks of Yemen >I Summon: Poetry as Social Practice in a Northern Yemeni Tribe, and Zofia >Burr, in an as yet unpublished ms, discuss this event. so does, i >believe??, robert von hallberg in American Poetry and Culture 1945-1980. >Caton and von Hallberg discuss it in their introductions. burr devotes a >chapter to comparing the kennedy/frost event to the clinton/angelou event. >it's fascinating. i'd love to know more about what you're doing with this >signal moment. ========================================================================= Date: Thu, 3 Jun 1999 16:58:15 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aviva Vogel Subject: Non-Meaningful Levels of Language - A Query MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I'm giving a graduating lecture (description follows) at mainstream Vermont College MFA in Writing program, and would love comments/suggestions on potential sources & references that would help address the lecture questions properly for a relatively conservative audience of readers/writers. Thanks!!! GNOSIS, NONSENSE, NADA "The future of poetry lies in the exploitation of non-meaningful levels of language. These levels establish poetry as a form of discourse that must be read as entirely separate from normal, communicative language, read with its materiality, its artifice in mind...". (Veronica Forrest-Thomson, Poetic Artifice). What a claim! Why write apparent 'nonsense?' What possible project might we have for a poetry of relative 'obfuscation'? How can language that simultaneously conceals and reveals help us 'know'? If words don't refer to clear particulars and concepts, how can such "non-meaningful levels of language" facilitate gnosis? If a poem's language is syntactically and semantically fluid, diffusing boundaries between subject/object, self/other, hwere else might a reader be taken (besides into confusion, even boredom)? What are the chances for finding value in visual, kinesthetic, musical, or mathematical meaning, rather than depending on a more familiar thematic meaning? Do we want to accept an 'experimental' or 'avant garde' poetry's claim to provide us with a much-needed psychic invasion to strip us of our 'thought-coverings'? Would we then descend into a meaningless abyss, nothingness, into our little 'nada' selves? As Brenda Hillman suggests in her epigraph to Blue Codices (from Loose Sugar), it is enticing to entertain the notion that we might "Explain the unknown/ by the more unknonw," a saying she attributes to "an alchemical theorem." By taking a look at Hillman's poetry, and probably other work by Mary Reufle, Lyn Hejinian, John Taggart, Rosemary Waldrop, and/or Donald Revell (list is bound to change), this lecture will tousle around (on mats of course) in the hoary backyard of this 'pissed-on' and 'pissed-upon' territory. It's important to dwell on handouts in office before coming to wrestle. _________________________________________________________________ I have, at this late date, a far more intuitive than concrete handle on the answers to some of these questions, and have been investigating everything from gnostic scriptures like Nag Hammadi and Elaine Pagels' books -- to Perloff, introductions to 'experimental' anthologies, and other ready-at-hand critical writing. Unfortunately, I've just been faced with a sudden need to move my entire household, and would like to get to the bottom of this subject in some kind of usable, presentable fashion as quickly as possible (although I'm sure the topic requires at least a lifetime of writing and reading and studying). If anyone has ideas about how to approach this lecture, what to read, who to quote, or how to articulate the direction that you sense the questions are leading me in, please let me know. I'd be immensely grateful. Thanks, Aviva Vogel, Poetangles & Motherdrum, Norwich, VT 05055 ========================================================================= Date: Fri, 4 Jun 1999 07:26:52 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Friday, June 4, Re: Reading The New American Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" hope the transcript will be available online, komninos At 10:49 PM 6/2/99 -0700, you wrote: >Small Press Traffic presents the second event in our series > >Re: Reading The New American Poetry > >Friday, June 4, 7:30 p.m. >The New American Poetry In Context >Maria Damon >Michael Davidson > >The New American Poetry appeared at a time when intellectuals and >politicians were urging a consensus on American superiority in all >fields-cultural, military, economic-against foreign influences abroad and >domestic subversion within. Michael Davidson will examine to what extent >Cold War cultural/political assumptions still shape our reading of The New >American Poetry in our present era. "Membership" in poetry communities >points to shared values and assumptions, mutual agreements over such issues >as "what is a poet?" "what should a poet write" and "what is a poet's >work?" By examining the ideas of poetic labor of two California poets, one >included in the anthology (Wieners) and one left out (Kaufman), Maria Damon >will help us better understand the ideas and values of that time, ideas and >values which impact our own time as well. > >New College Theater >777 Valencia Street, San Francisco >Free > >---------------------------------- > >Maria Damon is an Associate Professor of English at the University of >Minnesota, where she is also affiliated with programs in American Studies, >Women's Studies, Comparative Literature and Jewish Studies. She is the >author of The Dark End of the Street: Margins in American Vanguard Poetry >(University of Minnesota Press, 1993). Her essays have appeared in such >publications as American Literary History, Postmodern Culture, and Modern >Fiction Studies. She is currently editing a special issue of Callaloo on >the work of Bob Kaufman. > >Michael Davidson is a professor of English at the University of California, >San Diego. His critical work includes The San Francisco Renaissance: >Poetics and Community at Mid-Century (Cambridge University Press, 1989) and >Ghostlier Demarcations: Modern Poetry and the Material Word (University of >California Press, 1997). He has been twice a recipient of California >Council of the Humanities Public Policy Grants, in 1979 and 1981. With >Albert Gelpi, he is the author of the entry on American Poetry in The New >Princeton Encyclopedia of Poetry and Poetics. > >Hope to see you there-- >Dodie Bellamy >for Small Press Traffic ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ komninos zervos lecturer in cyberstudies faculty of arts griffith university gold coast campus queensland komninos's cyberpoetry site: http://student.uq.edu.au/~s271502 state library of victoria cyberpoetry site: http://experimedia.vic.gov.au/cyberpoet ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 3 Jun 1999 22:28:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Waber Subject: also known as anti-rhyme Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Greetings, I'm piecing together an essay on a particular aspect of rhyme, and am a bit stuck for some additional resources. I am hoping that someone(s) on the list might have some thoughts on where I might find some supporting (or contradictory) information to work with. The most concise way to present my particular bent is with an excerpt from TNPEoPaP definition of Rhyme--IV. Analogues: "Milton also weights words at line end (Broadbent calls this "anti-r".), counterposing semantically heavy and contrastive terms at PL 4.561-62, for example: 'Tempt not the Lord thy God, he said and stood. / But Satan smitten with amazement fell"" Is this thing that Broadbent calls anti-rhyme called something else by everyone else, or has no one else written about it else? See, it's driving me to echolalia. I would appreciate reading any thoughts any of you might have (or examples that leap to mind), backchannel or not. I live in a part of the world where poetry died in 1963 when they took down the last Burma-Shave sign, so the pickins here are pretty slim. (Asked the local librarian if they had a copy of Modern Chess Openings, and she brought me over to the Medical section). Thanks, Dan Waber ========================================================================= Date: Mon, 7 Jun 1999 10:20:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: new PMC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Several things of interest in the new PMC: -------------------------------------- POSTMODERNCULTUREPOSTMODERNCULTURE POSTMODERNCULTUREPOSTMODERNCULTURE ----------------------------------------------------------------- Volume 9, Number 3 (May, 1999) ISSN: 1053-1920 ----------------------------------------------------------------- Jed Rasula, "Textual Indigence in the Archive" James McCorkle, "Prophecy and the Figure of the Reader in Susan Howe's _Articulation of Sound Forms in Time_" Richard Quinn, "Poetry at the Millennium: 'Open on its Forward Side.'" A review of Jerome Rothenberg and Pierre Joris, eds., _Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry (Volume Two: From Postwar to Millenium)_. Berkeley: U of California P, 1998. ----------------- Abstracts o Abstract: Susan Howe's _Articulation of Sound Forms in Time_ is considered in light of Heidegger's condition of an "openness to mystery" or as Gerald Burns explains, "the region of the question" and its uncontainability within finite interpretations." The importance of Howe's work lies in its testing of the conditions of mastery and control--issues that are among those Howe explores and incorporates from her readings of Emily Dickinson. Interpretations, such as those of Perloff and Reinfeld, begin with the re-assembling of a narrative from the fragments that Howe offers. Such a critical direction suggests the act of interpretation must be, or can only be, a normative, disciplining method. Such a process must be resisted: the retrieval of histories, texts, and identities does not imply a necessary containment or totalizing of memory. Memory, instead, allows for imaginative inquiry, which is redoubled in Howe's poem, with the possibility of prophecy: the Falls Fight of 1676 that Howe uses as her foundational source becomes a mirror for ourselves. Hope Atherton prefigures the conditions and failures of community, as well as a genealogy of policing. As prophecy, Howe's poem invites us to participate in the signifying process; each word of the poem becomes a site for meditation and a reflection on the history of what was and what is still becoming.--jm Jed Rasula, "Textual Indigence in the Archive" o Abstract: Currently the Internet animates dreams of instantaneous telepresence and rapid data transfer, but the "dromocratic" revolution also makes rapid conceptual transit compulsory (Virilio). The modern enthrallment with speed is a nascent stipulation of communication technologies that are modeled on, and answerable to, the cross-referencing mobility pioneered in the Enlightenment encyclopedia. The efficiency of the archival web of encyclopedism readily leads to a complacent mirage of power and control. In order to examine this mirage, I discuss two "encyclopedic" novels--_Moby-Dick_ and _The Magic Mountain_--which disclose, below the utopian fantasy of unambiguous signals and noise-free channels, a salutary posture of indigence. The peril attendant on digitized telepresence is that the uniform coding of data obliterates tactile agency. But a phantom materiality lingers on, traceable by way of the cross-referencing and multiple-coding options of the Encyclopedia. The challenge of a plenitude of cross-referencing is one of surfeit: the enhancement of cognitive speed, confronting the increased magnitude of material to which its rapid conceptual transit makes access, reinstates idealism as a vindictive triumph over matter. The novels I examine by Melville and Mann confront mountains of data, but resist the enticements to mobility of encyclopedic culture, casting their lots instead with an indigent reserve, rehearsing narrative tactics of delay, meander, filibuster. Maximizing the tension between documentation and storytelling, they demonstrate the epistemological lesson that a surface rationalism conceals an atavistic endowment that is at once a "pre-rational" or mythic threat as well as a repository of creative energy--the very energy required in order to compose the work: nothing less than a microbial sentience that makes us what we are without our ever having to know anything about it, the charmed circle of life itself in which the pleasures of circulating exceed the compass of human knowledge.--jr --------------------------------------------------------- CONTENTS OF THIS ISSUE ARE AVAILABLE FREE OF CHARGE AT http://www.iath.virginia.edu/pmc/issue.599 UNTIL RELEASE OF THE NEXT ISSUE. A TEXT-ONLY ARCHIVE OF THE JOURNAL IS ALSO AVAILABLE FREE OF CHARGE AT http://www.iath.virginia.edu/pmc/text-only. FOR FULL HYPERTEXT ACCESS TO BACK ISSUES, SEARCH UTILITIES, AND OTHER VALUABLE FEATURES, YOU OR YOUR INSTITUTION MAY SUBSCRIBE TO PROJECT MUSE, THE ON-LINE JOURNALS PROJECT OF THE JOHNS HOPKINS UNIVERSITY PRESS. ========================================================================= Date: Fri, 4 Jun 1999 12:28:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Melnicove Subject: Re: Frost at Kennedy's inauguration In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" My apologies to everyone on the list, I meant to b.c. my message about Robert Frost to Maria, guess it got by Chris. Mark ========================================================================= Date: Fri, 4 Jun 1999 12:48:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Poetry Project Subject: Monday reading Comments: To: Louis Patler , Robert Peacock , Bob Perelman , Giannina Perez , Marjorie Perloff , Aaron Perry , Simon Pettet , Rodney Phillips , Wanda Phipps , Nick Piambino , Claire Podulka , Sydney Pollet , kristin prevallet , Larry Price , Michael Price , Anna RAbinowitz , Heather Ramsdell , Lee Ranaldo , Carter Ratcliff , Tom Raworth , Christopher Reiner , "Kirsten, Tom & Dan Rigney/Moths" , Peter Riley , Lisa Robertson , Kit Robinson , Rena Rosenwasser , Joe Ross , Barney Rosset , Jerome Rothenberg , Michael Rothenberg , Douglas Rothschild , Dirk Rowntree , Camille Roy , Michael Rumaker , Jocelyn Saidenberg Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" This Monday, June 7th at 8 pm is a reading by Gordon Ball & Ruth Altmann Gordon Ball will be reading from "66 Frames" (Coffee House, 1999), his newly published memoir of New York's avant-garde film and literary circles 33 years ago. Ruth Altmann's work has appeared in And Then, Telephone, and Tamarind. then Wednesday, June 16th at 8 pm is a reading by Spring workshop students and interns of the Poetry Project. More on this soon. ========================================================================= Date: Fri, 4 Jun 1999 13:17:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: found poetry In-Reply-To: <5D5C5C8C3A41D211893900A024D4B97C600B85@md.facstaff.oglethorpe.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII two found poems--one old, one new going through a stack of old magazines for collage work and came across a copy of emma goldman's journal MOTHER EARTH through many years of moving, the cover was torn and revealed: OTHER EAR walking through a "rough neighborhood" looking for street materials, a sign: ANGER ZONE a favorite graffiti, written in six foot letters on a wall in the Winter Hill area of Somerville, MA: CRIME IS --dbc ========================================================================= Date: Fri, 4 Jun 1999 14:50:39 -0400 Reply-To: CLAITY@drew.edu Sender: UB Poetics discussion group From: Cassandra Laity Subject: Book Announcement MIME-version: 1.0 Content-type: text/plain; CHARSET=US-ASCII Date: 04-Jun-1999 02:49pm EDT From: Laity, Cassandra CLAITY Dept: FAC/STAFF Tel No: 3141 TO: Remote Addressee ( _in%poetics@listserv.acsu.buffalo.edu ) Subject: Book Announcement Date: 04-Jun-1999 02:26pm EDT From: Laity, Cassandra CLAITY Dept: FAC/STAFF Tel No: 3141 TO: Remote Addressee ( _in%hdsoc-l@uconnvm.uconn.edu ) Subject: new poetry I would like to announce the appearance of Nathalie F. Anderson's new book of poems, _Following Fred Astaire_. Marcus Cafanga writes of this book, "Anderson's keep eye illuminates our socially constructed ideas of gender and identity, the various mannerisms and dance steps we consider appropriate for women and men." 68 pages $10.00 (paper) TO ORDER BY MAIL send check for $10 + $2 postage and handling to The Word Works PO Box 42164 Washington, DC 20015 ______________________________________ excerpt from a group of "phobia" poems: "Pogonophobia" _Fear of Beards_ Shell delicate, the green chin's cracked: broken waxwing, broken wryneck. The down ups, bristling, kinking into curls. A fly-specked plaster, a cambric snicked with stitches: this grizzling frets against the grain. Scrit, scrit: the lie bare-faced, the whiskered fibbery--lily-white boys, cheek by jowl among the stubble. Peach-fuzz to blue-beard, she's caught in their swart penumbra. Like the gossamer thread sprung from her arm a full three inches when she was eight, it opened her eyes. Out of the glass each barb of it speaks: Trust me. I hide what you are. ========================================================================= Date: Fri, 4 Jun 1999 16:45:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: fewer mind MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >Efficacy in terms of what? Solve for x. >What are the propositions? Poems, or, texts. That which is presented as a poem, or as poetry. >What do they propose in terms of politics? Investigation, argument, engagement, sabotage, bells, whistles. >What's to be effected? Hey that not standard. You mean what will it do? It will do the we are watching. Sort of a strawberry statement. >How does the effected effect effect anything political, in what "sphere"? Hey that not standard. Colonial vocab, ha? How does anything have an effect, reiteration. Effect is usually accidental, a mistake, soemthing happens. You think a while, you rest, you have the thought, or you don't. >Who is the "efficacy" for? Whomever wants to find out the deal. >To whom are "proposals" to be addressed? Whomever is dealing. Plus the home audience. >Is it all just in one big self-reflective house of mirrors &/or cards that >the whole argument "takes place"? (Ah ... the lovely and familiar "it" motif >again ... ) Only if you don't look at IT. >As in fact, what IS > >"the argument"? A parsing of consciousness itself, so as to make its >otherwise smothering protoplasmic theosophic "body" look to be more the >familiar bite-sized sequence of pieces we all might more easily accustom >ourselves to? Or, in terms of sheer etiquette Please no bite-sized sequence of pieces of my "body". Otherwise sounds good sounds like Whalen. Instead of follow the money or follow the paper follow the mind. But also follow the paper follow the money. >at the level of more alarmingly "rapid" shifts of consciousness, may I ask, >what do you do when you can't remember the word for "rug"? So far I enjoy that, today I couldn't remember "promiscuous." Ron Padgett's essay on mixing up "grapefruit" with "pineapple". Or when you call the rectangle on the floor a "toupee." I guess read some Oliver Sacks? Hope you're well, Jordan ========================================================================= Date: Fri, 4 Jun 1999 16:56:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Bodei MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII =-=- Bodei There appears to be some writing on the note ... you do wound me cut shivered into shoulder Bodee you do open shoulder entrance into breast Bodee you do burrow into nipple tissue Bodee Bodei where are you I am so happy here within tissue erect on Bodei-Man Bodei-Man where are you do use long-thread close cloth oh dearest Bodee-Bodei do close so very now warm from april dryness you do borrow burrow-skin what a pretty person Bodei-Bodee-Man where are you Bodei-Woman you will be that woman and you will be that man you do wind me in your cloth oh Bodei-Woman cotton Bodee! Bodee! @create $thing called Bodee-Bodei @create $thing called Bodei-Bodee I do love your wounding Bodei-Bodee I do so love your burrow Bodei-Woman-Man and and and ah ah ah and and and ah ah ah (You finish reading.) ______________________________________________________________ ========================================================================= Date: Fri, 4 Jun 1999 20:55:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: the flip of context In-Reply-To: <19990604114530.80788.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Not intending to be glib, let me propose that proposing such questions is just the sort of thing I was refering to: necessarily abstract, you see. Although the hall of mirrors is apt, Jordan used the standing across the crater analogy, or rather proposed it. I picked it up, in ensemble. Therefore, I think your question "Who is the 'efficacy' for?" is a fascinating and difficult one. For instance, if this whole little speculative tiff came out of Notley's comments in the Combo 3 interview, as I recall (?), an interesting thing to do would be to consider the poetician's sense of anticipated audience, while she or he proceeds to fashion her or his argument so as to issue most freely and provocatively through this audience. Of course, the audience is never uncritical, and this is where cross-propositions come into play and generate "context" -- there is no REASON such a context should thereby cordon itself. Despite a lot of younger, experimental writers' notions that it inevitably does. This is my sense, anyhow. Patrick At 04:45 AM 6/4/99 PDT, Stephen Ellis wrote: >Reading the Davis/Durgin correspondence, many tangential and rather less >abstract questions come to "mind" (if that's not being perhaps nominally >overly optimistic ... ), like >Efficacy in terms of what? >What are the propositions? >What do they propose in terms of politics? >What's to be effected? >How does the effected effect effect anything political, in what "sphere"? >Who is the "efficacy" for? >To whom are "proposals" to be addressed? >Is it all just in one big self-reflective house of mirrors &/or cards that >the whole argument "takes place"? (Ah ... the lovely and familiar "it" motif >again ... ) As in fact, what IS > >"the argument"? A parsing of consciousness itself, so as to make its >otherwise smothering protoplasmic theosophic "body" look to be more the >familiar bite-sized sequence of pieces we all might more easily accustom >ourselves to? Or, in terms of sheer etiquette > >at the level of more alarmingly "rapid" shifts of consciousness, may I ask, >what do you do when you can't remember the word for "rug"? > >SE > > >>From: "Patrick F. Durgin" >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: the flux of context >>Date: Wed, 2 Jun 1999 22:47:40 -0500 >> >>At 04:56 PM 6/1/99 -0400, Jordan Davis wrote: >> >>But what is so impossible to think term >> >about "poetry"? >>.. . . . . . .. . . .... . it's just games, sets, relations. >> >> Okay, but without proposals, I think I meant, and proposals are >>our >>business, our wares, such relations are unlike poetry-bytes. >>Cross-propositions might be a preferable term for "games, sets, relations." >> Poetry signifies too many or too little, depending on the company one >>keeps. >> >> > >> >In re: "efficacy" I think we are standing across >> >the crater from oeach ether. I am acting as inaudible >> >interpreter of rumblings across generational strata. >> >We are hearing "why no politics." I would rather not >> >say "but yes politics!" I would rather say "what means >> >why no politics." I have a quiet feeling that this is >> >another chance for generational call and response >> >invite to Freuddance. We'll see! >> >> Another proposal may be to carefully elaborate the divide by means >>of >>registering efficacy in light of, you nailed it, the suck of context. You >>one nifty public correspondant. Don't be so quiet about it. >> Patrick > > >_______________________________________________________________ >Get Free Email and Do More On The Web. Visit http://www.msn.com > > ========================================================================= Date: Fri, 4 Jun 1999 22:25:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Frost at Kennedy's inauguration MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I knew a man...John Pallio..who was on the stand about 10 feet away from Frost... It was an extremely cold day...there were electric heaters set up to warm the feet of the assembled...and somehow one of them caught fire in the middle of Frost's poem...many were anxious...Frost was oblivious... Best, Gerald ========================================================================= Date: Sat, 5 Jun 1999 02:29:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Support your little magazines! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Well, I'm (in a sense) happy to report that I've sold out of sample copies of the recent Kenning #4. This means that it's time to subscribe if you still have an interest in obtaining a copy. Subscribers at $9.50 receive a hand-printed portfolio suitable to hold several with their first of two loose-leaf issues. This format is exclusive to subscribers, who, incidentally, pay for the production and distribution (such as it is) of the magazine. Subscribe now and be assured to receive the soon to be published summer issue, #5, featuring: Lyn Hejinian, John M. Bennett, Peter O'Leary, Clark Coolidge, Kristin Prevallet, Brian Kim Stefans, Rachel Blau DuPlessis, and many others. Send payment to Patrick F. Durgin, editor: Kenning, 418 Brown St. #10, Iowa City, Iowa 52245. Or, visit the website at: http://www.avalon.net/~kenning ========================================================================= Date: Sat, 5 Jun 1999 11:36:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Stared Stiff MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII <> Stared Stiff I'm staring at: Dynamic HTML, The Definitive Reference Web Design in a Nutshell Linux in a Nutshell Year 2000 in a Nutshell Internet in a Nutshell Learning Perl on Win32 Systems and I'm thinking: The _thickness_ of these texts presenting _potentials_ or matrices resulting long term in the construction of _worlds._ Dynamic HTML (Danny Goodman) set me off in this direction - page after page of reference (and of course still nothing compared, say, to the X Window manuals) - particulations, attributes of objects, protocols given in full. What I'm referencing is the _texture_ of the manual and its role as open source - atomics - moleculars - for emergences - but also the defuge asso- ciated with these manuals - the paste-like exhaustion - concatenating strings - and think of the attributions - the _properties_ - of all the objects in the world. Like "bgcolor" these are emptied, waiting. Quote "now that the _animate_ object is defined" - further -
This Enormous Life-Form Which Will Dominate Your Small and Vulner- able BODY
- HTML is all HEAD and BODY - ANIMATEDHTML - "Our Animate Boy" - 1933 - "Our Animate Girl" - 1944 (more complex and in War- time) - What is the Life-Form - What is Emerging from this Thickness - Who are the Readers with Talons - What Surgical Performances - What Satanic Mills - __________________________________________________________________________ ========================================================================= Date: Sun, 6 Jun 1999 07:55:06 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pattie McCarthy Subject: publication announcement : BeautifulSwimmer Press : Swensen & Biglieri MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable BeautifulSwimmer Press is pleased to announce the publication of 2 new=20 chapbooks=20 =09O excerpts, by Cole Swensen=09 and ROMA, by Gregg Biglieri.=20 O excerpts is 32 pages long, saddle-stapled, and printed on 80 lb Poseidon=20 white paper. The cover is 100 lb Poseidon white cover stock and features a=20 photograph by New York photographer Peter Kolk.=20 O excerpts is an operatic long poem from Swensen, the author of the=20 prize-winning collections Noon, and more recently, True. She writes: This matter of life and death on the tongue/la langue/in Italian it is/woman=20 also/ alone what am what did/done/ever have you/ gone/ the sea in its=20 complexity/ heredity/ complicity/ is rising/all her lung/ an anonymous =20 furl/ and recurrent tone/ Manon/ the world would fit in your palm/ then/ sli= p=20 into your palm/ something you wore at your throat on a chain/ belonged/ once=20 written down/ was at once written as was sealed and carried/ a letter to=20 her sister/ (take this letter to your sister)/ (but this time it=92s real)/=20 thus without witness/ thus without edges/ she slits open. =09=09=09=09=09*** ROMA is 40 pages, saddle-stapled, and printed on 80 lb Poseidon white paper.=20 The cover features architectural sketches printed in white ink on cobalt blu= e=20 Strathmore/Rhodedendron 80 lb cover stock.=20 ROMA is a serial poem comprised of 18 sections, a meandering meditation=20 through the city=92s physical and architectural niches, an addressing of art = &=20 writing, an invocation of many of Italy=92s artistic sons as guiding spirits= ,=20 including Borromini, Bernini, and Caravaggio. Throughout, Biglieri turns his=20 eye to the visual intricacies of Rome=92s art and architecture, and tunes hi= s=20 ear toward a possible language with which to read and speak of such=20 intricacies, such intimacies, where the inside is the outside and "the mind=20 undoes its mounting."=20 Light slatted the lover shades the lower lift/ and shadows act as penitent=20 tattoos that see/ through you imprinting pattern on the chaos./ Often a mind=20 devolves to demolition./ No garden of olives then./ Just thinking the rag=20 ends of the viols./ And none produce this, none see citation./ To announce=20 that which will not/ take the place of. Time is what is left/ to know of no=20 avail now. Shed the havings/ of what were, or the leavings of what have you.= /=20 No sketching. A bit of quicklime./ Paint directly on the canvas. =09=09=09=09=09=09*** The chapbooks are $8 each and can be purchased directly by sending a check,=20 payable to Pattie McCarthy, to BeautifulSwimmer Press, 158 Franklin Street,=20 Ground Floor, Brooklyn, NY 11222 or by emailing BeautSwim@aol.com.=20 The chapbooks are also available through Small Press Distribution. In addition to O excerpts and ROMA, BeautifulSwimmer=92s first two chapbooks= ,=20 =09Renga: Draft 32, by Rachel Blau DuPlessis, and Postcards, by Barbara=20 Cole,=20 are also available for $8 each=97either directly from BeautifulSwimmer=20 or through SPD (see SPD=92s most recent catalog for further information).=20 To celebrate these publications, BeautifulSwimmer is offering a special=20 package deal of all four chapbooks for $25.=20 Please feel free to email for more information, or to place orders,=20 and thanks for your support. --Pattie McCarthy ========================================================================= Date: Sun, 6 Jun 1999 18:18:03 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Subject: Re: hannah weiner's WRITTEN IN/THE ZERO ONE Mime-Version: 1.0 Content-Type: text/plain; format=flowed >for those who have ordered Hannah Weiner's WRITTEN IN/THE ZERO recently i'd >like your comment on the book, a line a paragraph but limit to a full A5 >(half quarto?)page will make a book of the comments they should be sent to >my by mail, set your comments in whaterver typeface or point size as long >as it works out no larger than the page size (above) with reasonable >margins for saddle stapling. will send back to everyone a copy of the >book/pete spence > > >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Sun, 6 Jun 1999 23:57:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: description of ongoing work (apologies for cross-posting) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII -/- Internet Philosophy and Psychology - June.99 This is a somewhat periodic notice describing my Internet Text, available on the Net, and sent in the form of texts to various lists (Cybermind and fop-l, and sometimes cyberculture, all of which I comoderate). The URL is: http://www.anu.edu.au/english/internet_txt/ and the mirror (without java- sript, graphics, The Case of the Real, a short novel (Ma) or dhtml pages) is http://lists.village.virginia.edu/~spoons/internet_txt.html. The changing nature of the email lists, Cybermind and Fiction-of-Philoso- phy, to which the texts are sent individually, hides the full body of the work; readers may not be aware of the continuity among them. The writing may appear fragmented, created piecemeal, splintered from a non-existent whole. On my end, the whole is evident, the texts extended into the lists, part or transitional objects. So this (periodic) notice is an attempt to recuperate the work as total- ity. Below is an updated introduction. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The "Internet Text" currently constitutes around 90 files, or 2800 printed pages. It was started in 1994, and continues as an extended meditation on cyberspace. It began with a somewhat straightforward theoretical outline, and has expanded into wild theory and literatures. Almost all of the text is in the form of short-waves or long-waves. The former are the individually-titled sections, written in a variety of styles, and at times referencing other writers/theorists. The sections are heavily interrelated; on occasion emanations appear, "emanants" possessing philosophical or psychological import. They also create and problematize narrative substructures within the work as a whole. Such are Julu, Alan, Jennifer, Nikuko, in particular. Overall, I'm concerned with virtual-real subjectivities and their interpenetrations, in relation to various philo- sophical issues. Recently, I've been working with simple reworkings of the emacs doctor program, and writing dhtml pages, exploring parsing and rhe- torics of control, erotics, and sublimation. The long-waves are fuzzy loci bearing on such issues as death, love, vir- tual embodiment, the "granularity of the real," physical reality, computer languages, and protocols which weave throughout the texts. The resulting splits and coalescences owe something to phenomenology, deconstruction, linguistics, prehistory, programming, etc., as well as to the functionings of online worlds in relation to everyday realities. I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, Cu- SeeMe, etc., all tending towards a future of being-and-writing, texts which act and engage beyond traditional reading practices. Some of the work emerges out of performative language such as computer programs or MOO commands which _do_ things; some emerges out of interference with these languages, or conversations using internet applications that are activated one way or another. There is no binarism in the texts, no series of definitive statements. Virtuality is considered beyond the text- and web-scapes prevalent now. The various issues of embodiment that will arrive with full-real VR are already in embryonic existence, permitting the theorizing of present and future sites, "spaces," nodes, and modalities of body/speech/community. Please check the INDEX to find your way into the earlier body of the work. The Case of the Real is useful. It is also helpful to read the first file, Net1.txt, and/or to look at the latest files (kw kx, etc., which are still to be indexed) as well. Skip around. The Index lists the files in which a particular topic is described; you can then do a search on the file, or simply scroll down (the files range in length from 30 to 50 pages in print). (Note: I have stopped working on the index; for the later files, I suggest you skim. Eventually, I need a site and a local search engine for the texts; at the moment, I apologize for the awkwardness of it all.) The texts may be distributed in any medium; please credit me. I would ap- preciate in return any comments you may have. See also: Being on Line, Net Subjectivity (anthology), Lusitania, 1997 New Observations Magazine #120 (anthology), Cultures of Cyberspace, 1998 The Case of the Real, Pote and Poets Press, 1998 Alan Sondheim 718-857-3671 432 Dean Street, Brooklyn, NY, 11217 mail to: sondheim@panix.com -------------------------------------------------------------------------- ========================================================================= Date: Mon, 7 Jun 1999 06:33:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Pounding Pound Comments: To: Poetics List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For a weird little reading experience, folks who want to see how badly 20th century poetry can be misinterpreted are directed to: www.newcriterion.com/archive/17/jun99/lyons.htm which is the site for a very strange little article on Pound by someone who truly hates The Cantos and everything such verse bred. He suggests that their motivation is simply Joyce envy. Ron ========================================================================= Date: Mon, 7 Jun 1999 05:31:01 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: symbolic snogging Mime-Version: 1.0 Content-Type: text/plain; format=flowed In back of Aristotle in this particular context, loom the "numerical systems" of ancient epic (Gilgamesh, the Old Test.), wch was be "told" by numerical placement & relation rather than narrativized in the yet-to-be developed grammer etc. of ... Greeks? ie., it was all plot/plat, like a celestial map that also works as a neuro-muscular gloss, that is, "story" at that point was the ultimate maybe non-linear logic, or perhaps logic = epic in that sense is the nose by wch Aris. was led toward "conscious reasoning" of the system whilst equally within it, or how to accomplish the telling of the tale of each those things it takes far less time to completely count remains an account we haven't yet learned to pay in full, unless by "symbolic" we mean "I am no longer the man that either ordered or ate the breakfast that was here, so therefore, I'm not paying for it." >From: Judy Roitman >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: symbolic snogging >Date: Fri, 4 Jun 1999 09:07:50 -0500 > >Maybe we should take this back-channel, but there seem to be more than a >few symbolic logic fans here... > > > >In a sense, symbolic logic is not 'just another branch' of maths: it's an > >essential foundation of most branches of mathematics. Any formal proof > >requires a process that, if not actually written as formal logic, should >be > >able to be reduced to it. > >That's how it was billed (or, as we say these days, marketed) back when I >was in school, but things have changed and there's a lot of fairly serious >criticism of these notions. > >Whatever your view of foundations, symbolic logic can be viewed as a branch >of mathematics. That seems to be the distinction between symbolic logic >and other sorts of logical inquiry. > > > > > >I don't think that symbolic logic was intended to replace the >non-symbolic > >kind, but was an attempt to systematize the kind of conscious reasoning >that > >goes back to Aristotle. It does swallow up whole fields; at least in the > >sense that it narrows those fields. > >Yes yes yes. The narrowing is an interesting (and I think invasive) >phenomenon. > >.... > >As an interesting aside, there's a lot of criticism of the binary >true/false > >nature of Western logic. It's ironic, then, that Leibniz's development of > >binary arithmetic was partly based upon his reading of the I Ching! > > > > > >Tom Beard > >Cool. Thanks. > > > >--------------------------------------------------------------------------- >Judy Roitman | "Whoppers Whoppers Whoppers! >Math, University of Kansas | memory fails >Lawrence, KS 66045 | these are the days." >785-864-4630 | >fax: 785-864-5255 | Larry Eigner, >1927-1996 >---------------------------------------------------------------------------- >Note new area code >---------------------------------------------------------------------------- >http://www.math.ukans.edu/~roitman/ >---------------------------------------------------------------------------- _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Mon, 7 Jun 1999 05:56:38 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: Non-Meaningful Levels of Language - A Query Mime-Version: 1.0 Content-Type: text/plain; format=flowed All statements are self-possessed by their inversions; one claim invokes its opposite; runs hot and cold, confronts & simultaeneously runs away from, the very fleeting quality of these "reversals" as, unnegotiably conflictive, yet in terms of the alchemy you mention, there is a "trick" - to permit the twin aspects of such duality to interpenetrate, not nonsensically, especially, but dogmatically using as a basis the familiar alchemical bumper-sticker, "as above, so below" - and all variations of it, ie., "bury the bone deeper" in that way that Brenda Hillman characterizes as knowing the unknown via a greater unknown, or the homepathic "cure like with like" (the toxin / anti-toxin route), so what you'll "get" in some end (so one hopes), is a cross-fertilization in which something like the electromagnesis of gravity might be felt to "rise" (as a heart might) out of the ground laid out where the influx that ignites the desire to "do it" in the first place is shaped by one's own thermodynamic gesture that makes the object at its end equal to the subject of its means, not to say also, that at certain times, certain of these objects, subjects, gestures, hearts, grounds, ignitions and gravities may appear to be upsidedown and/or insideout. But of course, that's why it's called "nonsense" - as if that's the best thing it could get to be. It. The "knowing" of the knowing "form". Why not deliver the lecture standing on your head? Not forgetting of course also, to wiggle your toes when the going gets serious. There ARE no "non-meaningful levels of language", tho of course, there is plenty of important cultural detritus about that nobody understands. >From: Aviva Vogel >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Non-Meaningful Levels of Language - A Query >Date: Thu, 3 Jun 1999 16:58:15 EDT > >I'm giving a graduating lecture (description follows) at mainstream Vermont >College MFA in Writing program, and would love comments/suggestions on >potential sources & references that would help address the lecture >questions >properly for a relatively conservative audience of readers/writers. >Thanks!!! > >GNOSIS, NONSENSE, NADA > >"The future of poetry lies in the exploitation of non-meaningful levels of >language. These levels establish poetry as a form of discourse that must >be >read as entirely separate from normal, communicative language, read with >its >materiality, its artifice in mind...". (Veronica Forrest-Thomson, Poetic >Artifice). > What a claim! Why write apparent 'nonsense?' What possible >project >might we have for a poetry of relative 'obfuscation'? How can language >that >simultaneously conceals and reveals help us 'know'? > If words don't refer to clear particulars and concepts, how can >such >"non-meaningful levels of language" facilitate gnosis? If a poem's >language >is syntactically and semantically fluid, diffusing boundaries between >subject/object, self/other, hwere else might a reader be taken (besides >into >confusion, even boredom)? What are the chances for finding value in >visual, >kinesthetic, musical, or mathematical meaning, rather than depending on a >more familiar thematic meaning? > Do we want to accept an 'experimental' or 'avant garde' poetry's >claim to provide us with a much-needed psychic invasion to strip us of our >'thought-coverings'? Would we then descend into a meaningless abyss, >nothingness, into our little 'nada' selves? > As Brenda Hillman suggests in her epigraph to Blue Codices (from >Loose Sugar), it is enticing to entertain the notion that we might "Explain >the unknown/ by the more unknonw," a saying she attributes to "an >alchemical >theorem." By taking a look at Hillman's poetry, and probably other work by >Mary Reufle, Lyn Hejinian, John Taggart, Rosemary Waldrop, and/or Donald >Revell (list is bound to change), this lecture will tousle around (on mats >of >course) in the hoary backyard of this 'pissed-on' and 'pissed-upon' >territory. It's important to dwell on handouts in office before coming to >wrestle. >_________________________________________________________________ >I have, at this late date, a far more intuitive than concrete handle on the >answers to some of these questions, and have been investigating everything >from gnostic scriptures like Nag Hammadi and Elaine Pagels' books -- to >Perloff, introductions to 'experimental' anthologies, and other >ready-at-hand >critical writing. Unfortunately, I've just been faced with a sudden need >to >move my entire household, and would like to get to the bottom of this >subject >in some kind of usable, presentable fashion as quickly as possible >(although >I'm sure the topic requires at least a lifetime of writing and reading and >studying). > If anyone has ideas about how to approach this lecture, what to >read, >who to quote, or how to articulate the direction that you sense the >questions >are leading me in, please let me know. I'd be immensely grateful. > Thanks, >Aviva Vogel, Poetangles & Motherdrum, Norwich, VT 05055 _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Mon, 7 Jun 1999 11:41:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Linda Russo Subject: CFP Poetics/Production, NEMLA 2000 Comments: To: core-l@LISTSERV.ACSU.BUFFALO.EDU Comments: cc: EGSA-LIST@LISTSERV.ACSU.BUFFALO.EDU MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit CFP NEMLA 2000 (April 7-8, SUNY@Buffalo) Poetics/Production: Modern and Post-Modern Little Magazines This session invites papers on any aspect of innovative poetry production (both in the sense of the writing of poetry and the reproduction/printing thereof) or the production of poetics, as these relate to Modern and Post-Modern (and contemporary) little magazines. We will focus chiefly on American and Canadian little magazines, though papers on British little magazines as they relate to American poetry are welcome. Papers might focus on specific little magazines or editors, particular poets or 'scenes', a specific lineage (e.g. women editors, 'minor' and/or otherwise obscured schools, such as Black Mountain, San Francisco Renaissance, and the Objectivists, and the development of current innovative poetic practice), or any other aspects of poetics and production. Current and recent little magazine editors are encouraged to contribute; non-traditional academic or non- and anti-academic papers and perspectives are welcome. The little magazine has a rich history in the United States and Canada, as evinced by the recently published _A Secret Location on the Lower East Side: Adventures in Writing, 1960-1980_ (Granary Books, 1998). It is a history that is particularly attuned to poetry because poets and editors, especially avant-garde poets and editors, both helped create and were themselves created by modernist little magazines (such as Margaret Anderson's _The Little Review_, Ezra Pound's _The Egoist_, Alfred Kreymborg's _Others_ and William Carlos Williams' _Contact_); the little magazines of 'mimeo revolution' (e.g. Diane DiPrima's _Floating Bear_, LeRoi Jones' _Yugen_, George Stanley's _Open Space_ and Jack Spicer's _J_, Ted Berrigan's _C_, Maureen Owens' _Telephone_) and, more recently, what has come to be known as Language Writing (L=A=N=G=U=A=G=E, ed. Bruce Andrews and Charles Bernstein, Carla Harryman's _Qu_, for example) - a history whose influence is felt today in the plethora of little magazines that claim to define an 'innovative' or 'avant garde' terrain. Deadline Sept. 1, 1999. Send brief coversheet and one-page abstract to: lvrusso@acsu.buffalo.edu or Linda Russo 19 Hodge Avenue, no. 9 Buffalo NY 14222 please include email address and phone number. * * * * Linda Russo Graduate T.A. SUNY @Buffalo, Buffalo NY ========================================================================= Date: Fri, 4 Jun 1999 12:02:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Call for Submissions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As one of the many new associate editors at Perihelion, http://webdelsol.com/Perihelion/, I would like to call for theory and poetry submissions. Send them directly to me at cadaly@pacbell.net, or send them to the editor-in-chief Rebecca Seiferle via the mailto link on the website itself. We're trying to publish more engaging, interesting, and challenging work than that in previous issues. Something about the nature of the e-mail would be good in the subject line, and for poetry I prefer at least three poems pasted in the body of the e-mail message, but I understand if you have to attach items which are not all unformatted text. I am particularly eager to read work with kitties or rainbows, especially if you have also formatted your work with purple centered italic. Regards, Catherine Daly cadaly@pacbell.net 533 South Alandele Avenue Los Angeles, CA 90036 ========================================================================= Date: Fri, 4 Jun 1999 20:29:08 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Seeing addresses Hello All, I am seeking email or regular mail addresses for: Bobbie Louise Hawkins Erica Hunt Will Alexander You can backchannel to me at: kathylou@worldnet.att.net Thanks you for your assistance, Kathy Lou Schultz ========================================================================= Date: Sun, 6 Jun 1999 11:32:06 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeremy Solomons Subject: Re: Motion MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Right, it's the politics and the power. If you are going to fight it, surely it has to be on that level. If Motion & bros. have the power then telling everyone their poetry is shit is not going to get anyone everywhere. What is more interesting to me is where the mainstream and experiment interact. And, in parallel to that, the fact that some readers of so-called, mainstream poetry, when they get the opportunity to partake of "Other" poetries, are able to read, enjoy and respond to it. Motion and his pals prevent that, presumably because they are not able to appreciate anything outside of their little world or they have a tightly knit crowd that all publish each other and are loathe to let others in. Isn't' that the case with much poetry, or much publishing that is not "commercially viable." John Grisham gets published because he makes money once you get past that its because someone likes it or has some other good or nefarious reason to publish. ========================================================================= Date: Mon, 7 Jun 1999 04:01:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gquasha Subject: Rick Fields MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I am beyond sad to report that Rick Fields passed away Sunday, June 6th, around noon Pacific Time at his home in the Bay Area. Poet, author of important works on Buddhism and related subjects, and editor, Rick's best-known books include _How the Swans Came Home to the Lake: A Narrative History of Buddhism in America_; _Chop Wood, Carry Water_; and _The Code of the Warrior_. He was formerly the editor of _The Vajradhatu Sun_ and _Yoga Journal_. He edited _ The Awakened Warrior _ and co-translated _The Turquoise Bee: Love Songs of the Sixth Dalai Lama._ He was an extraordinary writer. During his five-year struggle with cancer (experts had predicted a year) he captured an astonishing spirit and life force in a series of poems published under the title _Fuck You, Cancer, and Other Poems_ — a work that has served many people who are dealing with life-threatening illness, whether patients or their friends, family, doctors, and hospital staff. Rick was loved and his work appreciated by a great many people, and those who knew him benefited immeasurably from his quality of presence, generosity and his own species of lightness and joy of being. Just the way he handled illness with such presence and openness was, for me, a great teaching. And so much about him was like that—a very understated gift. Gratitude for having known him overshadows even the painful loss. George Quasha Station Hill Press/Barrytown, Ltd. or The Institute for Publishing Arts, Inc. Barrytown, NY 12507 Office: (914) 758-5840 Fax: 758-8163 (publishing) and (914) 758-9838 (GQ direct) http://www.stationhill.org e-mail: gquasha@stationhill.org Book Orders to Station Hill/Barrytown: (888) 758-0610 (Credit Card) ========================================================================= Date: Mon, 7 Jun 1999 12:34:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: Highwire Reading Comments: To: aharon@compuserve.com, allison_cobb@edf.org, ALPlurabel@aol.com, amille1@MCCUS.JNJ.COM, amorris1@swarthmore.edu, Amossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, banchang@sas.upenn.edu, bcole@nimbus.ocis.temple.edu, Becker@law.vill.edu, BMasi@aol.com, bochner@prodigy.net, BStrogatz@aol.com, Chrsmccrry@aol.com, daisyf1@juno.com, David.Gran@thegarden.com, dburnham@sas.upenn.edu, dcypher1@bellatlantic.net, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@NETAXS.com, ekeenagh@astro.ocis.temple.edu, ENauen@aol.com, ErrataBlu@aol.com, esm@vm.temple.edu, ethan@info.si.edu, evans@siam.org, Feadaniste@aol.com, fleda@odin.english.udel.edu, goodwina@xoommail.com, hayes@dailypennsylvanian.com, hstarr@dept.english.upenn.edu, hthomas@Kutztown.edu, insekt@earthlink.net, ivy2@sas.upenn.edu, jenhopeg@fcis.whyy.org, jennifer_coleman@edf.org, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, JMURPH01@email.vill.edu, johnfattibene@juno.com, jvitiell@nimbus.ocis.temple.edu, jwalker@odin.english.udel.edu, kelly@COMPSTAT.WHARTON.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kzeman@sas.upenn.edu, lbrunton@epix.net, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lessner@dolphin.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, lstroffo@hornet.liunet.edu, marf@NETAXS.com, Matthew.McGoldrick@ibx.com, melodyjoy2@hotmail.com, mholley@brynmawr.edu, michaelmccool@hotmail.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, ribbon762@aol.com, robinh5@juno.com, ron.silliman@gte.net, rosemarie1@msn.com, Sfrechie@aol.com, sm1168@messiah.edu, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@isri.org, swegman@pobox.upenn.edu, tdevaney@brooklyn.cuny.edu, tosmos@voicenet.com, twells4512@aol.com, upword@mindspring.com, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit READING THIS SATURDAY: from Brooklyn, RACHEL LEVITSKY w/ Hometown contender, JIM CORY HIGHWIRE GALLERY, 139 N. 2nd St. or, if you want to go straight to the bar: Anthony's, middle of 200 block Market St. Saturday, June 12, 8PM (yeah right) BYO RACHEL DEMOCRACY LEVITSKY recently emigrated from Boulder, Colorado, where she curated the Left Hand Reading Series. She teaches poetry to Queens kids and teaches union members how to write unnaturally so they can pass the CUNY writing test and go to college. She is the author of three chapbooks, _2(1x1)Portraits_, _The Adventures of Yaya and Grace_ and _Cartographies of Error_ forthcoming this July from Leroy Press in San Francisco. She believes the wildlife of New York is much more wild than that of Colorado--give her a week with a bicycle and she will prove it to you. from The Adventures of Yaya and Grace: "As for the lover, her/his beauty and power is a mysterious thing though may be a ploy. Their honesty is as deft as a bloodthirsty criminal on a crime spree, 'here come shake my hand, now how does it feel to have shaken the hand of a murderer?' You hate him/her and are convinced of his/her perfection. You cannot decide if he/she is from heaven, and you are the lower body, or if they are from hell, and you a creature whose superiority is being challenged. This all takes place in the frightening prison tower of your darkest dream, where the walls are high and dark and gray and everywhere there is red as an afterimage." JIM CORY has been a staple of the Philadelphia poetry scene for over a decade and is one of the founding editors of Phildelphia's Insight-to-Riot Press, which has published the likes of Janet Mason, James Broughton and CA Conrad, among others. Jim recently edited and wrote the introduction for _Packing Up for Paradise: The Selected Poems of James Broughton_, which was published by Black Sparrow Press in 1998. He has numerous chapbooks, of which his most recent is _The Redheads_. Come hear, see, experience, & talk with these wonderful poets. ========================================================================= Date: Mon, 7 Jun 1999 16:51:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Christopher W. Alexander" Subject: prevallet forward MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit March on the Pentagon Saturday June 5, 1999 by Kristin Prevallet and Lisa Jarnot On Saturday June 5th there was a rally in Washington DC to protest the ongoing US/NATO intervention in Yugoslavia. Thousands of people attended the day-long event. We thought that some of you might be interested in knowing more about what happened. There seems to have been very little news coverage of the rally and march. We were part of a caravan of six buses departing from 14th street in New York City early on Saturday morning and we arrived at the Vietnam Veterans Memorial in Washington DC at 11am. There was a rally in the park across from the memorial, during which people gathered and several speakers made opening remarks about the current situation in Yugoslavia. The green was filled with different coalition groups opposed to the NATO military action. Some groups were made up of long-term political activists, others had come together specifically around the issue of the situation in the Balkans. People were there from all over the country. We heard that 10 buses had come in from Cleveland, and we met people from Boston, Philadelphia, and Virginia as well. There also seemed to be a large international presence at the event, including representatives from England, Greece, Korea, Turkey, Puerto Rico and Japan. By 2 pm the green was full and it was difficult to make a path through the crowd. The rally was followed by a march from the Vietnam Veterans Memorial to the Pentagon. It was hard to tell exactly how many people participated in the march, but we were somewhere in the middle of it and the crowd was impressive. (We estimate 15,000 people.) We marched past the Lincoln Memorial, across the Virginia Bridge, up the Pentagon roadway and to one side of the Pentagon building where a second rally was held. The group was loud and the messages were various -- from a band of classical Japanese drummers dancing beside the marchers, to groups of young socialists chanting slogans like "Money for schools, not for bombs," to grade school kids holding signs that read "Stop bombing my grandparents in Serbia". We contributed our own signs: "Dear IMF: Free People Not Markets"; Dear World Bank: Democracy is about people, not profits"; "NATO=DEATH"; "Clinton: Bombing Bridges into the 21st century." Other signs included: "Clinton is a war criminal"; "Madeline Snakebite"; and "Is Kosovo Clinton's Columbine?" Once at the Pentagon, about 3,000 people gathered on the lawn and listened to a number of speakers, including Amy Goodman of Pacifica Radio, Ramsey Clarke, Dave Dellinger, church leaders, and representatives of Serbian, Cuban, and Puerto Rican coalitions. There weren't any poet speakers, but we did run into fellow New York poet David Cameron, and longtime poet activist Ed Sanders who carried a sign that read "General Wesley Clark is a mass murderer". There were several concerns that came up repeatedly during the afternoon-- 1) all of the speakers agreed that just because the bombing may soon end, the war is not over; 2) it seems obvious that the true goal of the bombing was to level the region for Western occupation. (Or as Tony Blair recently said: "Let this be a turning point for southeastern Europe and the Balkans. Let this mark the point at which these countries, so often scarred by ethnic conflict and racial divides, be brought properly into the true family of European Nations. [note emphasis on "properly" and "true."]); 3)Yugoslavia will have to request massive loans from NATO countries in order to rebuild their industries and we have destroyed the infrastructure of their nationalized economic system (including a nationalized health care system). 4)the plight of refugees (both Serbian and Kosovar) is growing. 5) there are several factions of the KLA (from far right to far left) that are increasingly difficult for NATO to keep track of. A new cycle of violence may begin as Kosovars return to the area and seek revenge on Serbians. (There's an article in the NYTime Sunday June 6th regarding this issue). 6) this is just one of a series of attacks the United States has launched in recent years for economic reasons. The situation in Iraq was handled in a similar way. 7)The bombing does not represent victory. Aside from the refugee crisis and the complete destruction of the region, the US has sparked an international conflict and its relations with two major nuclear powers, Russia and China, have deteriorated. 8) One speaker said "We are pro-Serbian but anti-Milosevic; pro-Kosovar but anti-KLA." That seemed to be the consensus among the protesters. 9) The United States never made an effort to negotiate any reasonable agreement with Milosevic and the Serbian Parliament before the bombings began. 10) Looking at the history of this conflict it becomes clear that the United States and NATO have had an interest in seeing the region divided up. Since 1991 NATO has played a key role in contributing to conflicts in the region. Germany, Austria, the United States and other NATO countries have interests in the region's resources of oil, coal, and bauxite. Germany is particularly interested in a proposed oil pipeline which would run through Serbian territory. 11) the peace movement is alive and well, but is more frequently being ignored by the media. C-SPAN was the single news source broadcasting the rally, and there was a media block on corporate news sources. ABC, CBS (Westinghouse), and NBC (General Electric) were not present. Neither the Washington Post nor the New York Times carried ANY coverage what-so-ever the following day. However, there were quite a few officials standing on the roof of Pentagon with cameras taking photographs of individuals in the crowd. Overall the rally certainly proved that a large number of Americans are opposed to the US/NATO bombing campaign and occupation. There was also a lot of anti-Clinton sentiment in the air. The thing that came as a surprise to us was the eerie media silence surrounding the event. We hope that people will forward this information to others. The international Action Center in New York is planning more events around this issue including a national day of protest set for June 26th. They have a web site at www.iacenter.org. We'd also like to encourage people to write to their representatives in congress and to Bill Clinton to voice opposition to these events in the Balkans. Clinton's address is-- William Jefferson Clinton The White House 1600 Pennsylvania Avenue Washington DC 20500 There are also web sites with information and addresses at www.senate.gov and www.house.gov ========================================================================= Date: Tue, 8 Jun 1999 13:23:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Moore and query / Balestrieri MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this came to the administrative address. Chris ----- From: "Peter Balestrieri" Date: 6/7/99, 12:07 PM -0700 Hi, Does anybody know who said that she called her writing poetry because she couldn't think of what else to call it? Was it Marianne Moore? Thanks, Pete ========================================================================= Date: Mon, 7 Jun 1999 20:50:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Seeing addresses Hi! coattail ride.... I would like contact info on Will Alexander as well. please give to tisa@sirius.com Thanks! > Hello All, > I am seeking email or regular mail addresses for: > Bobbie Louise Hawkins > Erica Hunt > Will Alexander > > You can backchannel to me at: > kathylou@worldnet.att.net > > Thanks you for your assistance, > Kathy Lou Schultz > ========================================================================= Date: Sun, 6 Jun 1999 19:32:13 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: boston alternativepoetry conference MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit hello it's wendy kramer. looking for people to transport & put up with for boston from nyc please backchannel . if you're a boston person & wanna put me up i ========================================================================= Date: Sun, 6 Jun 1999 19:38:36 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: boston alternative MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit hello it's wendy kramer. looking for people to transport with & put up with for boston conference from nyc. please backchannel. if you're a boston person & wanna put me up i could wash your dishes or some such. if you live near the charles river where i hear it's good to go for a run esp consider me. if you wanna split a motel six several ways please backchannel if you know a cheap hostile please back channel ever grateful & looking froward wendy p.s. i think i have to work that monday so if you're going back after sun day fergit this ad. ========================================================================= Date: Mon, 7 Jun 1999 19:40:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: New work at Kenning website Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" New work from Ray DiPalma at the Kenning website. Also, view Jen Hofer's "Factory" -- from the out of print 2nd issue. www.avalon.net/~kenning Patrick F. Durgin ========================================================================= Date: Mon, 7 Jun 1999 18:24:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: david bromige Subject: Obit in Motion Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have had A M taken out and shot. Behind the barn. While I thought he might continue to win over 5 furlongs up against other contenders of his class, and while had developed an appreciation for what remained idiosyncratic after his orthodoxizing, the weight of judgement from my fellow-trainers and vets turned out to be too heavy to oppose. It grieves me that we have little good to speak of triple crown winners or even poets laureate, but I ascribe it to the times. I argued that not every horse is bred to run a mile and a quarter, and against the top of his contemporaries, but the stories of doping (of the judges) by M's former trainer simply would not go away. My only regret is that I looked into his eye moments before, well.......it was the lively, moist eye of others of his breed, and spoke, it seemed, of an early promise. I would like to remind readers that the Laureate Stakes are not for every contender. Not only is the mount himself required to be lighter than horses usually are, but he must be ridden by a very lightweight jockey. There are not enough contenders with such qualifications, and I agree the rules need to be changed. I hope I shall not be judged amiss for having taken pleasure in his desultory gait & minor orthodoxies. db ========================================================================= Date: Mon, 7 Jun 1999 22:34:17 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: Reznikoff MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit "neglected position[s]" : First, there is the Need (Black Sparrow Press, January 1977) The Manner Music (Black Sparrow Press 1977) Family Chronicle (Markus Wiener, 1988) By the Waters of Manhattan (Markus Wiener, 1986) Testimony: Recitative (New Directions 1965) Holocaust (Black Sparrow Press, 1965) By the Waters of Manhattan (New Directions, 1962) By the Well of Living and Seeing (Black Sparrow, 1974) Testimony, vols. 1 & 2 (Black Sparrow, 1978) Poems 1918-1936 (Black Sparrow, 1978) Poems 1937-1975 (Black Sparrow, 1978) Charles Reznikoff Man and Poet, ed. Milton Hindus (National Poetry Foundation, 1984) This is all I've got on my bookshelf. Charles made a lot of his own books and those I suppose are all in the rare book rooms. What a wonderful website those early books would make, self-printed, handmade. One more chain in a set of refrain retain return to this is what it was about reading is a basic problem a simple point that has to be made at the beginning I saw nothing that I should not contradict nothing gainsay this is what I was telling you about what was I saying that it's a relief there's no longer anything to remember pretend it's inevitable that the musician go mad in The Manner Music how much does Reznikoff write himself into the composer who burns all his manuscripts in the park? We returned to the cafeteria. [from "The Sin of the Book" in COMMON KNOWLEDGE, an unpublished "hot MS?" Or cold as ashes.] But it was Louis and not Charles a generation of poets built on among others building SoundGardens inner-referring pounding out those lexicals you can learn in a linguist here and there, the drive being toward a proto hyper-text the machines are now perfecting, though is it irony or the ironing out of accent and dialect--the same word spoken and broken many ways by many so many mouths (National TV has had a hand here, standardizing speech, standardizing (bleaching) English)--which characterizes a lot of the groundwork done by late 70s/early 80s avant garde furthered into now, the best and the worst, is it writtenness or spokenness? Charles was an ambulator, walked New York up and down like Benjamin's Charles, Marx and Engels ghosting both, "The crowd--no subject was more entitled to the attention . . . " (p. 120) flaneur "democratically compelled"? Reznikoff was also a camera worker, and maybe its the slow rhythm of his lens which has separated him from the attention given to Zukofsky. There's not the tight jamming of words end-nerves or pristine crystalline word and syllable musical maypole and mayhem that's in "A" and the shorter poems; rather slow and long and deliberate lines a lot of times, and all the anonymous faces that rise and speak among each other, many of them workers, and they are often most often slowly, lovingly observed, overheard, without a lot of intention, commentary, interference--it's something, really, how the figures of workers and the moving crowd are allowed to be let be in their beauty, vocal and visual, maybe the kind of photography Berlau would have found had she been able to have been found, also early documentary cinema, though it was watching a film shooting textiles and textile workers by Ernie Gehr that first made me think of Reznikoff's writing as camerawork, and I asked Ernie about it during the Q & A after the show and he said yes, he'd read Reznikoff. Well, if Ernie has, why aren't we? And by we I mean anybody writing poetry and thinking about the working class, and it's all right if you weren't born there, Benjamin in that French camp spoke about the proletarianization of the Jews ("a city of labor" is what some German administrative documents have been found planning the Warsaw Ghetto), and "Ghetto" recurs among Reznikoff's words and titles, the New York Jewish Ghetto, though a waitress emerges somewhere saying "honey chile", there's all sorts of common laborers in these poems, and Testimony like Holocaust is a masterpiece of often raw archival footage. Reznikoff reads as well besides Jabes as he does Stevens, for different reasons, a neglected modernist? Or proletarian poet waiting to be found for a new generation just coming to writing and needing him now, he is needed now, sometimes it takes a long time. Has the proletariat been a prohibited content? Reznikoff can show you how to listen and to look, how to see them and film them slowly, lovingly, without hurry, or irony. Stephen Vincent wrote: > In case you did not see it, there's a lovely piece in this past Sunday's NY > Times about Ann Hamilton (sculptor/installation artist) that she is preparing > for the United States Pavilion for this summer's Venice Biennale. She is most > well known for the use of simple materials and subtle means to create large > public works invested with both historical and contemporary resonance. > Interestingly this piece will draw on the works and ideas of several American > writers. For example, and with some curious, but perhaps wonderful irony ? > given his much neglected position in 20th century writing ? the "gallery > walls will be covered in a Braille translation of passages from Charles > Reznikoff's 'Testimony: The United States 1885 - 1915'". > It's almost sweet that a writer, so democratically compelled and pretty much > ignored, will have his work risen - albeit somewhat disguised ? to a public > apex in the international art world. It's probably still too much to hope > that Venice will be the means by which Reznikoff will be welcomed 'back > home'. > The article also mentions other writers Ann Hamilton has drawn from for > guidance or advice for influential sources including: Ann Carson, Susan > Stewart and Ann Lauterbach. From the article's description, omens are that > the piece ? called "Myein" ? will be a great one > > Stephen Vincent ========================================================================= Date: Tue, 8 Jun 1999 11:11:36 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lawrence Upton." Subject: Re: found poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit are you sure it was tearing? perhaps the corners were eaten by the M---------TH its body stretched no doubt by all that paper Lawrence -----Original Message----- From: David Baptiste Chirot Date: 04 June 1999 19:17 Subject: Re: found poetry | two found poems--one old, one new | | going through a stack of old magazines for collage work and came |across a copy of emma goldman's journal MOTHER EARTH | through many years of moving, the cover was torn and revealed: | OTHER EAR | | | walking through a "rough neighborhood" looking for street |materials, a sign: ANGER ZONE | | a favorite graffiti, written in six foot letters on a wall in the |Winter Hill area of Somerville, MA: CRIME IS | | --dbc | ========================================================================= Date: Sat, 5 Jun 1999 22:19:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rebecca wolff Subject: united we stand, etc. Comments: To: subpoetics-l@hawaii.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi, I wanted to report a little bit about a meeting held on June 2 in New York City on the subject of distribution for literary magazines. The meeting was held under the auspices of CLMP (council of literary magazines and presses) and was organized by me and Jenine Bockman Gordon of Literal Latte. Participants included Faye Kosmidis of DeBoer Distribution, Cheryl Carlson, newsstand division manager of Barnes & Noble, and Ian Brand, a bookseller at Labyrinth Books, an independent bookstore here in New York. What follows is extremely technical and may be of interest only to publishers of journals: following from that, I'd love it if anyone out there who is a publisher of a lit mag would email me back and let me know what you think of the following report and attached ideas. Basically, it went very well, with the upshot being that I'm energized and ready to make a stand for empowerment of the tiny publisher. It seems clear, after the meeting, that everyone involved (booksellers, both chain and independent; distributors, both small and mega; and publishers) sees a need for the establishment of some kind of organ of articulation or advocate for the needs and rights of the little magazine, in order for the magazine to flourish in this our new age. One thing established during the meeting was that, although lit mags make up a tiny tiny proportion of the business of bookstores (especially chains) and of the periodicals distributors who serve them, they still do remain a desirable and indispensable commodity in that they bring into the stores that most sought-after commodity: the literate buyer of books, the upscale educated consumer. Once that fact was established, we moved on to talking about the nitty-gritty ways that we could all work together to "sell more magazines"--with the obvious issue of their general esotericness as a given. We talked about possible promotions, about trying to educate the sales clerks as to the value of the lit mag, etc., and it all came down to: great ideas, but who is going to do this stuff? Certainly not the already overwhelmed publisher, and certainly not the distributor, whose job is to mail out bales of mags. Cheryl Carlson, B&N lady, then expressed a desire that there be "one person" that she could deal with as a representative of the literary magazines, with whom she could make plans for promotions, for better inventory-taking, for wiser ordering, for better returns policies, etc. She actually sounded genuinely interested in the prospect. I nearly jumped out of my seat with I-told-you-so-ness, as this was an idea I'd had (and proposed to CLMP without much response) in February. Similarly, Faye Kosmidis from DeBoer agreed that it would be a good thing if there was someone out there whose job it was to call bookstores and see if they needed more copies of such and such magazine, and to try to educate booksellers about the peculiarities of the journal as a commodity (re: frequency, shelf-life, etc). So anyway: I'm now thinking that publishers of literary journals should form an informal union of sorts: this way we could at least try to have more of a voice with distributors. My next move as the Norma Rae of journal publishers is to try to get Ingram to consider grouping all of their literary journals with one Account Executive (currently they're scattered all over and none of the AEs seems to have a clue as to what exactly a literary journal is and how they might need to be treated differently in order to have a better chance of selling). This is in my own particular best interests as Fence is carried by Ingram, but obviously a larger step needs to be taken in the future. For example: and what follows is a dreamy scenario, an idyllic scenario: what if all journals agreed to have an exclusive contract with one distributor (preferably a small one?) It turns out that the major reason it's so hard for these companies to do their business is that the advent of the huge national distributors meant that they each can get only a little share of what is already a pretty meager pie. If all journals were available only through one distributor (creating a monopoly of sorts) it would be great for the publishers and for the distributor in many ways. The distributor could actually make some money of f the journals and so wouldn't treat us publishers like they were doing us a favor by distributing them. Publishers could have more certainty of getting a straight answer, good service, and fair practice from their distributor. Anyway, if any of this makes any sense to you (and you are a publisher of a distributable journal, ie, one with a spine) backchannel me. There's a lot more to talk about and report on but I don't want to take up too much electronic airspace. Thanks, Rebecca Wolff Editor/Publisher of Fence ========================================================================= Date: Tue, 8 Jun 1999 10:28:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: Dina H. spelling test & Mother's Day sketch MIME-Version: 1.0 Content-Type: text/plain a friend of mine here in atlanta found a piece of notebook paper that had blown into his yard on the back side at the top the word "Heres' is crossed out and below it is written; "I Have a picture for you." below this are two concentric circles (roughly circles that is) inside the smaller is written; "for/ you" and then there is a drawing that might be of several people standing together or it might be several flowers below it says; "for/ Mother's/ Day" outside of this circle but inside the larger one it says "And I Love you/ Both a bunch." at the bottom of the page is a heart-shape and in it is written "Love" this is all sweet and all but it is the front side of this page that i like the best at thetop it says, inside of pencil-drawn rectangles; "Dina H." and "spelling test" in the uper right corner in another rectangle is written; "March 30, 1979" in another hand at the top it says "-1" this is the text of the spelling test; 1. The was hit by an ax. 2. There are Six ducks in a box. 3. Mother Maks Cakes. 4. She looks Sad. 5. He Liks my new Socks. 6. The Sticks are big. next to the word "liks" in #5 is written a small "e" ========================================================================= Date: Tue, 8 Jun 1999 10:55:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Perelman Subject: Re: Frost & found In-Reply-To: <199906080408.AAA51058@dept.english.upenn.edu> from "Automatic digest processor" at Jun 8, 99 00:08:23 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Frost: There's a couple of pages on the Frost poem in my *Marginalization of Poetry*, Chap 7. I do remember seeing Frost read the poem on TV when I was 14. No great insights: sunglare prevented him from reading the pages; Kennedy came over and stood by anxiously holding his top hat above the page as an ineffective shield; then Frost recited "The Gift Outright." Found: Most the words in *7 Works* come from other texts. It's now way out of print, but about half will be reprinted in *Ten to One*, this fall. I can't remember if Ted Berrigan's white-out novel, *Clear the Range*, has been mentioned. It's a pure example of finding a text inside another. ========================================================================= Date: Tue, 8 Jun 1999 08:59:37 -0700 Reply-To: robintm@tf.org Sender: UB Poetics discussion group From: Robin Tremblay-McGaw Organization: Trauma Foundation Subject: Call for Submissions--Class & Poetics Comments: To: "WOM-PO@LISTSERV.MUOHIO.EDU" Comments: cc: ppham@tf.org MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Call for Submissions to HOW2's Forum on Class and Poetics Visit HOW2 at: http://www.departments.bucknell.edu/stadler_center/how2/index.html Thanks to the efforts of feminist poets, critics, and editors, it is now > possible to identify a discourse--both scholarly and creative--of gender and poetics. In the 1980s, journals such as HOW(ever) put the spotlight on these issues, particularly related to innovative or experimental > practices and how these intersected with issues of publication, erasure, > and canon formation. > > A decade later, we find ourselves trying to define a vocabulary for > addressing complex issues of class in the formation of an innovative poetics. As Kathy Lou Schultz asked in her Tripwire (Issue 1, Fall 1998) essay, "What's a working class poetic, and where could I find one?" How do we make present the _absence_ of class in discussions of gender and the poetics of innovation? Where are the intersections of race in > discussions of class? How are these forces fused and CON-fused? > > How do/can we picture/trace working class issues in formally innovative > ways? What do the circumstances of literary production--surrounding > writers and the writing produced--have to do with one another? Submissions should be emailed to: robinandkathy@tf.org by July 7th and be no longer than 2 paragraphs. We will select and edit responses. Editors: Kathy Lou Schultz and Robin Tremblay-McGaw ========================================================================= Date: Mon, 7 Jun 1999 16:08:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: QUESTION (ALAN GOLDING) In-Reply-To: <3.0.1.32.19990605022900.0069ebfc@blue.weeg.uiowa.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Does anybody know his email address? I tried to respond last week backchannel to him, but I think I sent to main address accidentally-- thanks in advance, chris stroffolino ========================================================================= Date: Mon, 7 Jun 1999 16:14:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Berman Time Out Review In-Reply-To: <3.0.1.32.19990605022900.0069ebfc@blue.weeg.uiowa.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm told there was a review of David Berman's new book, ACTUAL AIR, in last weeks "TIME OUT" mag. Does anybody have a copy of it, perhaps could send or trade (i don't need whole mag, a xerox would be fine). Trying to track it down but think I'm too late... thanks, chris ========================================================================= Date: Tue, 8 Jun 1999 14:10:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Hear Lisa Jarnot read "Emperor Wu" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Yes, this is possible if you have 5 minutes to download this terrific poem as a WAV file. Go to http://www.writenet.org/poetschat/poetschat_ljarnot.html --daniel ========================================================================= Date: Tue, 8 Jun 1999 14:38:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Melnicove Subject: Re: Frost & found In-Reply-To: <199906081455.KAA107248@dept.english.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Actually it was Johnson, after taking a constitutionally-required glance in Kennedy's direction, who stood up to help Frost, though most people seem to remember that it was Kennedy. And yes, it was ineffectual (an omen of things to come?...) Frost's cry for help, "I'm not having a good light here at all," is one of the most poignant public declarations, with its unintended subtextual meanings, ever uttered by a poet, I do believe. Mark Melnicove >Frost: There's a couple of pages on the Frost poem in my *Marginalization >of Poetry*, Chap 7. I do remember seeing Frost read the poem on TV when I >was 14. No great insights: sunglare prevented him from reading the pages; >Kennedy came over and stood by anxiously holding his top hat above the >page as an ineffective shield; then Frost recited "The Gift Outright." > >Found: Most the words in *7 Works* come from other texts. It's now way out >of print, but about half will be reprinted in *Ten to One*, this fall. > >I can't remember if Ted Berrigan's white-out novel, *Clear the Range*, has >been mentioned. It's a pure example of finding a text inside another. ========================================================================= Date: Tue, 8 Jun 1999 14:39:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Melnicove Subject: Re: Reznikoff In-Reply-To: <375C8124.CC6B48EE@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Re: Reznikoff bibliography SAGETRIEB, vol. 11, no. 1/2, contains "The Community of Memory: A Reznikoff Family Chronicle," by M.A. Syverson (40+ pages) and "Facing the Fifties: A New Reznikoff Manuscript," by Robert Franciosi (10 pages). SAGRETRIEB Vol. 13, no. 1/2 was a special Charles Reznikoff issue, almost entirely devoted to his work. Mark Melnicove National Poetry Foundation >"neglected position[s]" : > >First, there is the Need (Black Sparrow Press, January 1977) >The Manner Music (Black Sparrow Press 1977) >Family Chronicle (Markus Wiener, 1988) >By the Waters of Manhattan (Markus Wiener, 1986) >Testimony: Recitative (New Directions 1965) >Holocaust (Black Sparrow Press, 1965) >By the Waters of Manhattan (New Directions, 1962) >By the Well of Living and Seeing (Black Sparrow, 1974) >Testimony, vols. 1 & 2 (Black Sparrow, 1978) >Poems 1918-1936 (Black Sparrow, 1978) >Poems 1937-1975 (Black Sparrow, 1978) >Charles Reznikoff Man and Poet, ed. Milton Hindus >(National Poetry Foundation, 1984) > >This is all I've got on my bookshelf. Charles made a lot of his own books and >those I suppose are all in the rare book rooms. What a wonderful website >those >early books would make, self-printed, handmade. > >One more chain in a set of refrain retain >return to this is what it was about reading >is a basic problem a simple point that has >to be made at the beginning I saw nothing >that I should not contradict nothing gainsay >this is what I was telling you about what was >I saying that it's a relief there's no longer >anything to remember pretend it's inevitable >that the musician go mad in The Manner Music >how much does Reznikoff write himself into >the composer who burns all his manuscripts >in the park? We returned to the cafeteria. > >[from "The Sin of the Book" in COMMON KNOWLEDGE, >an unpublished "hot MS?" Or cold as ashes.] > >But it was Louis and not Charles a generation of poets built on among others >building SoundGardens inner-referring pounding out those lexicals you can >learn >in a linguist here and there, the drive being toward a proto hyper-text the >machines are now perfecting, though is it irony or the ironing out of >accent and >dialect--the same word spoken and broken many ways by many so many mouths >(National TV has had a hand here, standardizing speech, standardizing >(bleaching) English)--which characterizes a lot of the groundwork done by late >70s/early 80s avant garde furthered into now, the best and the worst, is it >writtenness or spokenness? Charles was an ambulator, walked New York up and >down like Benjamin's Charles, Marx and Engels ghosting both, "The crowd--no >subject was more entitled to the attention . . . " (p. 120) flaneur >"democratically compelled"? Reznikoff was also a camera worker, and maybe its >the slow rhythm of his lens which has separated him from the attention >given to >Zukofsky. There's not the tight jamming of words end-nerves or pristine >crystalline word and syllable musical maypole and mayhem that's in "A" and the >shorter poems; rather slow and long and deliberate lines a lot of times, >and all >the anonymous faces that rise and speak among each other, many of them >workers, >and they are often most often slowly, lovingly observed, overheard, without a >lot of intention, commentary, interference--it's something, really, how the >figures of workers and the moving crowd are allowed to be let be in their >beauty, vocal and visual, maybe the kind of photography Berlau would have >found >had she been able to have been found, also early documentary cinema, though it >was watching a film shooting textiles and textile workers by Ernie Gehr that >first made me think of Reznikoff's writing as camerawork, and I asked Ernie >about it during the Q & A after the show and he said yes, he'd read Reznikoff. >Well, if Ernie has, why aren't we? And by we I mean anybody writing >poetry and >thinking about the working class, and it's all right if you weren't born >there, >Benjamin in that French camp spoke about the proletarianization of the >Jews ("a >city of labor" is what some German administrative documents have been found >planning the Warsaw Ghetto), and "Ghetto" recurs among Reznikoff's words and >titles, the New York Jewish Ghetto, though a waitress emerges somewhere saying >"honey chile", there's all sorts of common laborers in these poems, and >Testimony like Holocaust is a masterpiece of often raw archival footage. >Reznikoff reads as well besides Jabes as he does Stevens, for different >reasons, >a neglected modernist? Or proletarian poet waiting to be found for a new >generation just coming to writing and needing him now, he is needed now, >sometimes it takes a long time. Has the proletariat been a prohibited >content? >Reznikoff can show you how to listen and to look, how to see them and film >them >slowly, lovingly, without hurry, or irony. > >Stephen Vincent wrote: > >> In case you did not see it, there's a lovely piece in this past Sunday's NY >> Times about Ann Hamilton (sculptor/installation artist) that she is >>preparing >> for the United States Pavilion for this summer's Venice Biennale. She is >>most >> well known for the use of simple materials and subtle means to create large >> public works invested with both historical and contemporary resonance. >> Interestingly this piece will draw on the works and ideas of several >>American >> writers. For example, and with some curious, but perhaps wonderful irony ? >> given his much neglected position in 20th century writing ? the "gallery >> walls will be covered in a Braille translation of passages from Charles >> Reznikoff's 'Testimony: The United States 1885 - 1915'". >> It's almost sweet that a writer, so democratically compelled and pretty much >> ignored, will have his work risen - albeit somewhat disguised ? to a public >> apex in the international art world. It's probably still too much to hope >> that Venice will be the means by which Reznikoff will be welcomed 'back >> home'. >> The article also mentions other writers Ann Hamilton has drawn from for >> guidance or advice for influential sources including: Ann Carson, Susan >> Stewart and Ann Lauterbach. From the article's description, omens are that >> the piece ? called "Myein" ? will be a great one >> >> Stephen Vincent ========================================================================= Date: Tue, 8 Jun 1999 12:34:06 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: the flip of context Mime-Version: 1.0 Content-Type: text/plain; format=flowed But then, accordingly, anticipation (of audience) seems "not uncritical" and "provocative" in itself - but of what "order", esp taken in terms of actual responses to the provocative anticipation any "other" might be sd to be approached with, before the fact? I mean is there really audience "present", or need for a speculated one, in order to respond to its supposed & future tensions, understandings & releases in the work one's doing in the present? Not that the present can't be spawned out of the speculative, or spent unfurling its inapparent terms, but, the thing abt an anticipated audience continues to throw me elsewise than mirrorward, seeing there less than enough of far too much to know very much about it. Them. Us. Or, >From: "Patrick F. Durgin" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: the flip of context >Date: Fri, 4 Jun 1999 20:55:21 -0500 > > Not intending to be glib, let me propose that proposing such >questions is >just the sort of thing I was refering to: necessarily abstract, you see. >Although the hall of mirrors is apt, Jordan used the standing across the >crater analogy, or rather proposed it. I picked it up, in ensemble. >Therefore, I think your question "Who is the 'efficacy' for?" is a >fascinating and difficult one. For instance, if this whole little >speculative tiff came out of Notley's comments in the Combo 3 interview, as >I recall (?), an interesting thing to do would be to consider the >poetician's sense of anticipated audience, while she or he proceeds to >fashion her or his argument so as to issue most freely and provocatively >through this audience. Of course, the audience is never uncritical, and >this is where cross-propositions come into play and generate "context" -- >there is no REASON such a context should thereby cordon itself. Despite a >lot of younger, experimental writers' notions that it inevitably does. >This is my sense, anyhow. > Patrick > >At 04:45 AM 6/4/99 PDT, Stephen Ellis wrote: > >Reading the Davis/Durgin correspondence, many tangential and rather less > >abstract questions come to "mind" (if that's not being perhaps nominally > >overly optimistic ... ), like > >Efficacy in terms of what? > >What are the propositions? > >What do they propose in terms of politics? > >What's to be effected? > >How does the effected effect effect anything political, in what "sphere"? > >Who is the "efficacy" for? > >To whom are "proposals" to be addressed? > >Is it all just in one big self-reflective house of mirrors &/or cards >that > >the whole argument "takes place"? (Ah ... the lovely and familiar "it" >motif > >again ... ) As in fact, what IS > > > >"the argument"? A parsing of consciousness itself, so as to make its > >otherwise smothering protoplasmic theosophic "body" look to be more the > >familiar bite-sized sequence of pieces we all might more easily accustom > >ourselves to? Or, in terms of sheer etiquette > > > >at the level of more alarmingly "rapid" shifts of consciousness, may I >ask, > >what do you do when you can't remember the word for "rug"? > > > >SE > > > > > >>From: "Patrick F. Durgin" > >>Reply-To: UB Poetics discussion group > > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Re: the flux of context > >>Date: Wed, 2 Jun 1999 22:47:40 -0500 > >> > >>At 04:56 PM 6/1/99 -0400, Jordan Davis wrote: > >> > >>But what is so impossible to think term > >> >about "poetry"? > >>.. . . . . . .. . . .... . it's just games, sets, relations. > >> > >> Okay, but without proposals, I think I meant, and proposals are > >>our > >>business, our wares, such relations are unlike poetry-bytes. > >>Cross-propositions might be a preferable term for "games, sets, >relations." > >> Poetry signifies too many or too little, depending on the company one > >>keeps. > >> > >> > > >> >In re: "efficacy" I think we are standing across > >> >the crater from oeach ether. I am acting as inaudible > >> >interpreter of rumblings across generational strata. > >> >We are hearing "why no politics." I would rather not > >> >say "but yes politics!" I would rather say "what means > >> >why no politics." I have a quiet feeling that this is > >> >another chance for generational call and response > >> >invite to Freuddance. We'll see! > >> > >> Another proposal may be to carefully elaborate the divide by >means > >>of > >>registering efficacy in light of, you nailed it, the suck of context. >You > >>one nifty public correspondant. Don't be so quiet about it. > >> Patrick > > > > > >_______________________________________________________________ > >Get Free Email and Do More On The Web. Visit http://www.msn.com > > > > _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Tue, 8 Jun 1999 12:47:33 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: fewer mind Mime-Version: 1.0 Content-Type: text/plain; format=flowed Solving for x = "finding out the deal", meaning I presume, there's meaning "in the air"? But to what extent can this be held to several sheets of paper? Doesn't it simply "lift" after about ten minutes? And in terms of this problem, what is, and is the function of, gravity? It sure doesn't seem the lead pipe cinch upon wch the earth, so they said as we were told, was centered in 1963. What happens? Or 'happened', to put it in human lifetime terms? SE >From: Jordan Davis >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: fewer mind >Date: Fri, 4 Jun 1999 16:45:03 -0400 > > >Efficacy in terms of what? > > >Solve for x. > > >What are the propositions? > > >Poems, or, texts. That which is presented as a poem, or as poetry. > > >What do they propose in terms of politics? > >Investigation, argument, engagement, sabotage, bells, whistles. > > >What's to be effected? > >Hey that not standard. You mean what will it do? It will do the we are >watching. Sort of a strawberry statement. > > >How does the effected effect effect anything political, in what "sphere"? > > >Hey that not standard. Colonial vocab, ha? How does anything have an >effect, >reiteration. Effect is usually accidental, a mistake, soemthing happens. >You >think a while, you rest, >you have the thought, or you don't. > > >Who is the "efficacy" for? > > >Whomever wants to find out the deal. > > >To whom are "proposals" to be addressed? > >Whomever is dealing. Plus the home audience. > > >Is it all just in one big self-reflective house of mirrors &/or cards >that > >the whole argument "takes place"? (Ah ... the lovely and familiar "it" >motif > >again ... ) > >Only if you don't look at IT. > > >As in fact, what IS > > > >"the argument"? A parsing of consciousness itself, so as to make its > >otherwise smothering protoplasmic theosophic "body" look to be more the > >familiar bite-sized sequence of pieces we all might more easily accustom > >ourselves to? Or, in terms of sheer etiquette > > >Please no bite-sized sequence of pieces of my "body". Otherwise sounds good >sounds like Whalen. Instead of follow the money or follow the paper follow >the mind. But also follow the paper follow the money. > > >at the level of more alarmingly "rapid" shifts of consciousness, may I >ask, > >what do you do when you can't remember the word for "rug"? > > >So far I enjoy that, today I couldn't remember "promiscuous." Ron Padgett's >essay on mixing up "grapefruit" with "pineapple". Or when you call the >rectangle on the floor a "toupee." I guess read some Oliver Sacks? > >Hope you're well, >Jordan _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Tue, 8 Jun 1999 12:21:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: catsitting in SF Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi-- Kevin and I will be out of town for a week beginning this Sunday (the 13th). I know it's a little late to ask--but does anybody know anybody who'd like to stay in our apartment in San Francisco's South of Market district and feed two demanding cats? Thanks. Dodie ========================================================================= Date: Tue, 8 Jun 1999 21:19:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Budi: Fragment MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII >.< Budi: Fragment Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud You take Budi. It's already open. You already have that! Bud Wet Leaf Thing and Pnk Flesh You drop Budi. You Do SwaLo Budi Flesh-Tungu You Do Thik Tungu fissure in sWole Throte Do Thik Pnk Tungu sWole Throte Nikkkukkk You say, "I do think thnkkk that" Thikkk Pnkkk Tungu thIkku sWole gLans tuuuuuuuuuuuuuunGUuuuu tHuku You say, " I am do Pnkkk Tungu" lllllast tYme my Nikkkukkkko to goDbyoo Nu Nikuko iS trU sWole gLans glAss __________________________________________________________________ ========================================================================= Date: Tue, 8 Jun 1999 21:16:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: SF summer prose workshop Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'll be leading a 10-week private *prose* workshop starting in a couple of weeks--probably the only private workshop I'll have time for this year. There's still room for one or two people. Cheap. Backchannel for details. Dodie ========================================================================= Date: Wed, 9 Jun 1999 01:00:02 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: OBIT IN MOTION MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Out in the swamp they made great ceremony over the mule. They mocked everything human in death. Starks led off with a great eulogy on our departed citizen, our most distinguished citizen and the grief he left behind him, and the people loved the speech. It made him more solid than building the schoolhouse had done. He stood on the distended belly of the mule for a platform and made gestures. When he stepped down, they hoisted Sam up and he talked about the mule as a school teacher first. Then he set his hat like John Pearson and imitated his preaching. He spoke of the joys of mule-heaven to which the dear brother had departed this valley of sorrow; the mule-angels flying around; the miles of green corn and cool water, a pasture of pure bran with a river of molasses running through it; and most glorious of all, No Matt Bonner with plow lines and halters to come in and corrupt. Up there, mule-angels would have people to ride on and from his place beside the glittering throne, the dear departed brother would look down into hell and see the devil plowing Matt Bonner all day long in a hell-hot sun and laying the raw-hide to his back. from Zora Neale Hurston, Their Eyes Were Watching God, p.57 ------------------------------------------------------------------------ COMBUNCTION Run off sure enough, depend on you It was mass cruelty The dream is the truth up the road towards way off They act and do Words walking without masters New ones would have to be made and said Alphabet, don't you know They got me up in they mouth They got a name to gnaw on They don't come kiss and named me names Now they got to look into me loving sanctum beglamored whispery wide pearl stone palm walk switches raped and raked and scraped You don't even know where the ham is at a cook-pot text on/off got in quotation, a green and an orange rolling in blue lacy be like the sun the day Maybe if somebody was to show me how words float around in thought and thought on sound wrongside throbbing calm, lemonade swabbed protolapsis Ocala crayon The sisters got mock happy She slept with authority in the town mind and the town bowed down and passed around the pictures of their thoughts Everyone indulged in Mule Talk The age, its disposition and his caper passle of the world for a carcass or a canvas Sam or Walter or some of the other Big Picture Talkers Some folks spelt from what she knew about Everybody was going to the dragging-out writing off the offending hand like a hen on a hot brick A war of defense for helpless things A Free Mule in town was something new to yak about rawbony back, he almost got fat New lies sprung up about his Free Mule doings and the grief he left behind him Our departed citizen, our most distinguished citizen, speak to us of the joys of Mule Heaven, sky of rye and a river of molasses Here he was just pouring honor all over her They were holding a flying-meet way up over the heads of the mourners and her hair was NOT going to show It was a contest in hyperbole and carried on She was a wind on the ocean orange grove, Post Office too ========================================================================= Date: Wed, 9 Jun 1999 07:31:48 +0100 Reply-To: suantrai@iol.ie Sender: UB Poetics discussion group From: "L. MacMahon and T.R. Healy" Subject: boundary 2 Apologies for Cross Posting Comments: To: poetryetc@listbot.com, Brit'n'Irish MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit boundary 2 99 Poets/1999: An International Poetics Symposium a special issue edited by Charles Bernstein volume 26 number 1 spring 1999 Duke University Press ISSN 0190-3659 281 pages $12 From the introduction: Quote Starting in 1997, with the help of several coeditors, I asked poets from around the world to respond to a series of interrelated questions … Do you see your work in the context of a national state, or in the context of international capital, or in some other context (including imaginary or imagined ones)? Is identity an important issue for your work, and if so, in what senses? For me, these issues have a specific connection to the possibilities or impossibilities for poetic language (so often identified with specific groups, states, or classes): diction, vernacular, dialect, sound, syntax, and so forth. … I asked one alternative question: What do you see as the most urgent, yet insufficiently recognized, or addressed, issue or issues for poetry and poetics at this moment? Unquote These open-ended provocations resulted in a substantial resource. There's a great deal to think about and enjoy over time, but here are some snippets to be going on with. Quote I am interested in what confines each generation inside themes, metaphors, theoretical and stylistic attitudes. I imagine the passion of the language that is allowed to escape from this. The turbulence that cracks open history. The desire that consumes the common places. I imagine the interior urgency that forces the liquidation of an era's truisms. Unquote Nicole Brossard If this isn't inspiring, I don't know what is. In a piece which purports to be a description of the experience of standing at a bus stop, cris cheek seduces the reader into exploring possible ways in which the text is being constructed, by the writer and the reader. A kind of Heraclitean exploration in which the reader cannot dip into the same text twice. Seeking to learn lessons from the more adventurous spirits in advertising, Jerome Sala writes Quote This is the genre of ad that you see more and more of these days which, in order to sell its products, trashes advertising itself, and its long history of hype. … one can't help but wonder if there isn't something poetry could learn from this strategy devised by its prodigal sons and daughters whom, cultural critics often argue, are squandering the riches of their verbal inheritance in the foreign land of the commodity - that barbarian locale to which most poets deny their citizenship). After all, hasn't there been too much inflated hype about poetry? And haven't its own promoters, poets and literary theorists been complicit in a sin any advertising creative director will warn you against - that of the "overpromise"? Does so much really depend upon a red wheelbarrow? Can it possibly carry the weight of historical profundity you'd like to place in it? Unquote. A mini manifesto embodying some of these fiery proposals follows. Johanna Drucker has edited a visual poetry section, for which she has written a very useful introduction. One of these, by Steve McCaffery, struck me straightaway: a row of 20 a's, typewritten so the line isn't quite straight, followed by same row overtyped on a row of b's followed by same row overtyped on a row of c's and so on for 26 rows. The increasing density of ink is extraordinarily expressive. Contrast this with the palindromic arrangements of Alexandr Bubnov, formally beautiful in the fascinatingly lifeless way of a periodic crystal. Being the responses of poets they sometimes decline the more glacial academic tones: Quote Present day manifestations of 'the Russian Avant Garde' seem to me to be unconscionably conformist in their aspiration, with a ludic aim of 'arranging' a civilized hell. One may be obliged to live in hell but that doesn't mean one has to accept it as something necessary and indisputable. Unquote Gennady Aygi Quote Spanish poetry is characterized by its lack of critical rigor its inward-looking nature. Cesar A. Molina has described Spanish poets as a group of whining mourners buried in their own traditionalism & social neorealism, all the while engaging in endless navel gazing. Manuel Brito Form and technical questions receive considerable attention. Quote COLLAGE, its core innovation, foreseen by Lautreamont late in the previous one. It cut the time lines, taught us a new history, and yet is also graft, a rearrangement of arborescent structures, trees as always already roots / trunk / branches, even when cut and rearranged, say branches / trunk / roots, the heavenly tree grows downward in polarities we can no longer afford, if we ever could. Unquote Pierre Joris. Quote The destitution of the essence of poetry largely results from our excessive attention to the phenomenal part of poetry. And most of us who are now interested in form have arrived at this interest by way of a revision of the past, when the content was overemphasized. The art of poetry, if standing on either side of the extremes, cannot possibly develop in any significant way. To me, as a poet devoted to the revolution of form, with mature conditions and enough talent, I would transcend the phenomena of poetry and march directly toward the essence. Unquote Che Qianzi Quote By hybridising, I don't mean a mixing, or a production of a third-party alternative from a set of specific material. A hybrid is not a possible next stage in a developmental sense, nor a 'dilution' of the component parts! Nor is it a fusing of traditions. It is, in fact, a conscious undoing of the codes that constitute all possible readings of a text. It is a debasement of the lyrical I … It recognises frames for what they are: empty shells. Unquote John Kinsella The question of translation is a living presence: Quote Thinking and translating are for me almost synonymous words. Unquote Nelson Ascher Issues of identity and politics recur, an interesting context given by Robin Blaser. Quote the serious or ramshackle poet in us hasn't a chance at being apolitical, even if the elf of his or her language wishes to be. Unquote Quote There is another kind of experience I sometimes have when reading the words of authors who never imagined that someone like me might be included in the potential audience for their work, as when I read in Cirlot's Dictionary of Symbols that a "Negro" symbolizes the beast in the human. When I read words never meant for me, or anyone like me - words that exclude me, or anyone like me, as a possible reader - then I feel simultaneously my exclusion and my inclusion as a literate black woman, the unimagined reader of the text. Unquote Harryette Mullen. There are some very useful historical surveys, essays and mini-anthologies, from a wide number of different countries. You'll find some idiosyncratic (perhaps the least power centred of the 'cracies) pieces which avoid categorisation Quote: Nothing for the magician is accidental / All that could possibly happen to the magical prop is intrinsic to it and knowing "all that" (could possibly happen) to the prop is what constitutes a magician's knowledge / The event is the adventure of that moment Unquote Lyn Hejinian What do you want me to say? It's a huge book and I'll be reading it, with pleasure, anger and inspiration, for years. I've omitted loads because any time I've tried to skim through for an overview I keep sinking in one or other entrancing contribution. Marvelous stuff. Randolph Healy Visit the Sound Eye website at: http://indigo.ie/~tjac/sound_eye_hme.htm ========================================================================= Date: Wed, 9 Jun 1999 08:06:08 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Stein review Mime-Version: 1.0 Content-Type: text/plain; format=flowed After being down for several hours, the NY Times website returned, with the following excellent review of a play on Gertrude Stein: http://www.nytimes.com/yr/mo/day/news/arts/gertrude-stein.html Ron _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Wed, 9 Jun 1999 14:51:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: Total Syntax, and thanks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm afraid I've forgotten who it was who was looking for a copy of *Total Syntax* (the whole book, presumably)--but if you backchannel me with an address, I can send you a decent xerox copy that I have sitting around--not quite the real thing, I know . . . And thanks to everyone who responded with suggestions re my "Poetry and Pedagogy" inquiry: I'm working with a number of your ideas for poems. Alan ___________________________________ Alan Golding University of Louisville acgold01@athena.louisville.edu 502-852-6801 ========================================================================= Date: Wed, 9 Jun 1999 11:55:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: Re: Reznikoff Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" didn't Reznikoff write some labor history as well? forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Tue, 8 Jun 1999 14:03:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Dina H. spelling test & Mother's Day sketch -Reply Mime-Version: 1.0 Content-Type: text/plain >>> "Lowther,John" >06/08/99 10:28am >>> >a friend of mine here in atlanta >found a piece of notebook paper >that had blown into his yard >on the back side at the top >the word "Heres' is crossed out >and below it >is written; >"I Have a picture for you." >below this are two concentric >circles (roughly circles that is) >inside the smaller is written; >"for/ you" and then there is a drawing >that might be of several people >standing together or it might be >several flowers below it says; >"for/ Mother's/ Day" >outside of this circle but inside >the larger one it says "And I Love you/ >Both a bunch." >at the bottom of the page is a heart-shape >and in it is written "Love" >this is all sweet and all but it is the front >side of this page that i like the best >at thetop it says, inside of pencil-drawn >rectangles; "Dina H." and "spelling test" >in the uper right corner in another rectangle >is written; "March 30, 1979" >in another hand at the top it says "-1" >this is the text of the spelling test; >1. The was hit by an ax. >2. There are Six ducks in a box. >3. Mother Maks Cakes. >4. She looks Sad. >5. He Liks my new Socks. >6. The Sticks are big. >next to the word "liks" in #5 >is written a small "e" ---------------------------------------------------------------------------------------- I was wondering what becam of that! I looked everywher for it. The breez must have carried it away on the last day of school. Could you pleas snail mail it back in my direction? Thanks. Dina ========================================================================= Date: Wed, 9 Jun 1999 15:51:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: call for work - read.me / Sullivan MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this came to the administrative account. Chris ----- From: "Gary Sullivan" Date: 6/9/99 12:49 PM -0400 r e a d . m e What: read.me is a new journal of mostly interviews, some essays, reviews & appreciations Where: online, via http://www.columbia.edu/cu/history/detour/readme; elsewhere (stores, at readings in NYC, etc.) in hardcopy When: Fall 1999, to continue quarterly thereafter Why: We like interviews & there's not a lot out there, especially of younger poets/artists Who: You, you & all of you We are especially looking for INTERVIEWS with younger poets, writers & artists. The first issue will include an appreciation of the life/writing of the late Daniel Davidson, an interview with Alan Sondheim, a piece on John Wieners by Jack Kimball & more ... Please send proposals, completed interviews, essays, reviews, appreciations, &/or books for review to: readme.txt 558 11th Street, #1B Brooklyn, NY 11215 email: gps12@columbia.edu ========================================================================= Date: Wed, 9 Jun 1999 08:57:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: christopher t funkhouser hss fac/staff Subject: new NEWARK REVIEW: _ALLAH MEAN EVERYTHING! Thus Spake Amiri Baraka_ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A n n o u n c i n g _NEWARK REVIEW_ Volume 2, set 4: _ALLAH MEAN EVERYTHING! Thus Spake Amiri Baraka_ A long prose-poem in two parts, with a drawing by the author (Amiri Baraka), comprises the latest issue of _NEWARK REVIEW_. http://megahertz.njit.edu/~newrev/v2s4 * "Everything is the one, the whole, to understand this is what holiness means. It is the hoarders of the earth, who grasped the earth's flowers like what we had been before climbing the mighty tree, and so could see the sky, could see the sea where we had been, could look down on the ground and declare ourselves, finally, more than it. But they who carried the earth with them, like the dead, were buried under it, took dirt with them, even as the women taught the rest of us, how to stand up straight, and dig the scattered eyes of stars of the other part of our wholeness, where surely we would go and be." * "Nero means black, was he like Stuff Smith You been to Cambodia, Satchmo whole family up on the side of the mountains." * "And the world had changed. They said Pain Pain Pain, the other half of The mask. They could have all they need but they had not learned how to ask. Nor to bathe. That's bad they said, We Bad said we. Nature had put on different clothes everywhere new eyes for your nose. It is our home, not a forest but a garden. And the animals the women taught To be with us, give us milk, and honey, and clothes and food, no longer Must we roam the forests everyday, for a mouth full of food the only pay." * "It must remain a mystery for a few to rule the many. For the hundreds to rule the billions. Everything is a mystery except you got to go to work so you can remain poor and never understand much. Go through the world and never under stand a thing. Except you got to go to work. Go to church all your life and never understand. It's a fraud, a vicious joke. There is Evil and there is good, but not no God and they who say they know God worship the Devil." * "If Dahmer kept a diary it would be a holy book for Cannibals." * NEWARK REVIEW, edited by Chris Funkhouser, is published by the Department of Humanities and Social Sciences at New Jersey Institute of Technology. email: newrev@megahertz.njit.edu Back issues available online: http://megahertz.njit.edu/~newrev Vol. 2, set 1: Jacob Rabinowitz, Enid Dame, Burt Kimmelman, Joel Lewis, Betsy Robin Schwartz, Bob Rixon, Mark Smith, Nancy Steffen-Fluhr, Nikki Stiller, T. Degnan West, Ed Smith, Bill O'Sullivan Vol. 2, set 2: David Rothenberg / _The Zone_ Vol. 2, set 3: Elisa Biagini, Sandra Cassey, Cara Mia Ciasulli, Alex Cigale, Andy Clausen, Norbert Elliot, Lisa Fitton, Gina Hertel, Flora Higgins, Barry Jackson, Richard Loranger, Ben Polsky, Holli Schorno, Jim Smethurst, Ed Smith, George Taylor ========================================================================= Date: Wed, 9 Jun 1999 16:13:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: Job Opening MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII We've had two last-minute one-year asst. professorships come open at the University of Louisville. 3/3 load, Ph.D. and teaching experience required, a range of undergraduate comp and lit teaching. Letter, vita, dossier to Debra Journet, Chair, Dept. of English, Univ. of Louisville, Louisville, KY 40292 by 6/30. Feel free to drop my name, as long as you don't break it. Lisa Samuels, whom many of you know, had one of these jobs last year and I think was pretty happy here. I don't know what the salary is but the company's charming and L'ville is a cheap and livable city. Alan _________________________________ Alan Golding University of Louisville acgold01@athena.louisville.edu 502-852-6801 ========================================================================= Date: Wed, 9 Jun 1999 18:28:32 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Subject: Re: Boris Vian & Serge Gainsbourg reading/music/video event Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jacques Debrot if you could e-mail me sooner or very sooner/pete spence ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 9 Jun 1999 22:45:17 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: BARAKA'S ALLAH / June 12 Event Announcement MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit From Cleveland's "Events & Reviews, News for Readers from Mac's Backs June 1999": "Poetry Duet. Saturday, June 12 at 7 p.m. Last year poets Albertine Boclear and Kevin Magee gave a fine reading, an intimate expression of their relationship with words and each other. They will be back for an encore performance, trading poems and stories." Some form of an introduction is in order. In a better world, the red carpet (flag!) will be rolled out for every writer arriving from the working class, especially for every writer arriving by way of the Trade Unions. Albertine Boclear returns to Mac's Backs this Saturday after 20-plus years first as a line worker at a GE plant organized by the UAW, and then as an operator for Ohio Bell/Ameritech organized by the CWA. Born and raised in Cleveland, Albertine started writing several years ago after enrolling in Capital University's Adult Education Program here, and is currently working on a first book of poems and a first book of short stories. As a teenager, after hearing his Ballot or the Bullet Speech, she walked up to Malcolm X standing with a few supporters on the sidewalk in a once-Muslim district of Cleveland, who held her hand for a moment and asked her about herself; she served one year in the Breakfast for Children auxillary of the Black Panthers; and then raised three children of her own. Will Alexander's crucial intervention at the 1993 New Coast Conference i.e., "Why aren't there any women of color here?" echoed by Renee Gladman at the Page Mamas, as reported by Kevin Killian, on the subject of anthologies and minorities and representation (it's not about affirmative action, but social justice), are not addressed perhaps as much at the organizers of conferences and editors of anthologies as they are at the larger (tremendous) problem of institutional frameworks like the University reflected recently on this list in a passing (symptomatic) reference by a bourgeois feminist i.e., "I don't mean to rehearse Poetry 101 here." As if Poetry 101 were a space that could be taken for granted. As if everyone who arrives at the Art of Poetry has the privilege to register for Poetry 101. Class dynamics. The essays by Lorenzo Thomas and Maria Damon in CLOSE LISTENING provide important counter-positions to the problems posed by the space called Poetry 101. What powerful social and economic mechanisms dictate who gets to sit in what precious space whether called workshop or art school. Albertine as I'm leaving (re Event Note: Transcendental Friend's First Anniversary), "I've got feelings too." ALTAR for Stephen Jonas She that morning star so unlike those that sovereign the night slumps against stone whiteness inlaid with glass blocks. Her faith as wide and firm all day she lives on them from a coarse hewn weather grained leather used hued smooth valise wrapped in a tatty shawl. Diaphanous gauze against chrome air. Hyacinths melt in her hand flowerings from 8 summers ago of late May rain. Continues hallucinated even though she looked full upon him blue dry and hissing each syllable erect unripe fruit firm and tastes the last supper memory in her mouth weight as a garment vigils for the next breaking of bread. With gilded face cleft by cleft beneath a touch of plumped toque astray beneath a touch of paisley round her neck comes solemnly to the well. Each sun's revolution defines this phase no different than the rest holds hope. I mumble to myself on paper mute. She to herself on street corners articulate. Dialogues diverse dialects between me and She. Albertine Boclear aeboclear@ameritech.net ========================================================================= Date: Wed, 9 Jun 1999 21:47:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu / house press Subject: new: mclennan's "the wiser" and whitehead's "Kokopelli" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress is pleased to announce the release of 2 new chapbooks in our chapbooks series: rob mclennan's "the wiser" - a series of landscape poems gathered in a handbound numbered edition of 50 copies. $4.00 ea. ron whitehead's "kokopelli" - a long poem by the poet that allen ginsberg called a "energetic bodhsattvic poetic spirit". handbound edition of 50 numbered copies printed on southwark 24lb watermarked 25% cotton paper with linocut front and back covers by derek beaulieu. very few copies - please contact the housepress for more information. either of these books may be ordered thru housepress at: housepre@telusplanet.net yrs derek beaulieu housepress ========================================================================= Date: Thu, 10 Jun 1999 09:45:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: The Naif and the Bluebells: full version live Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii The full version of my web-poem, along with much new material (two full Saroyan books, Hausmann sound files, etc.), is now at Kenneth Goldsmith's ubu site, which can be reached at: http://www.ubu.com There are some problems with the html which make it look pretty horrible on a Mac, and until we get this fixed, Mac users can check out the full version at: http://www.bway.net/~arras Some notes: -- only 4.0+ browsers will be able to get through the full version as some of the javascripts will not work (I haven't had the time or resources to debug on all browsers, and not even sure if they will work on 3.0) -- if you are running a 4.0+ browser and get a script error, then the files (most likely the images) haven't fully downloaded; let the files finish and then inter-activate -- remember that the files are cached, so you can look at it again later at a much quicker speed (provided you don't clear you cache) -- there are some embedded tricks in the pages, such as mouse-activated java poems, clickable areas in the images and text masses, etc., that you should watch out for, but don't crazy with it -- if nothing's happening, then nothing's there (hint: the black dots always work eventually) -- re: "Atlanta", I take what appears a dig at Atlanta, but I really do like what's happening there, the poetry group and the ideas; read the "Credits" page to gather what I mean The poem is dedicated to Kenny and Cheryl's new baby, Finnegan Francis Donegan Goldsmith, born this past Friday, May 29th. ========================================================================= Date: Thu, 10 Jun 1999 10:52:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick @Silverplume" Subject: query MIME-Version: 1.0 Content-Type: text/plain Does anyone an email, snailmail, or phone number for Joseph Lease? Please backchannel - thanks. Patrick Pritchett pritchpa@silverplume.iix.com ========================================================================= Date: Wed, 9 Jun 1999 20:57:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodrigo Toscano Subject: KRUPSKAYA PRESS MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit KRUPSKAYA is pleased to announce the publication of its first four books. All books are available through Small Press Distribution, Berkeley. To order call toll free: 800-869-7553, in the Bay Area call 510-524-1668 or orders@spdbooks.org Steven Farmer _Medieval_ 128 pages, $9, ISBN 1-928650-00-7 "The real deal, Steven Farmer's poetry has been read and listened to closely with delight by other California poets for at least 17 years. A major book is long, long overdue. He has a superb Western ear, a classic sense of line and stanza, a subtle mind that knows precisely what it sees and understands (and, even more rare, the ability to articulate that which it cannot) and a wry wit that makes it very difficult indeed to read these pages without a smile. The balance and turns in these poems makes me dizzy with envy." -Ron Silliman Dan Farrell _Last Instance_ 61 pages, $9, ISBN 1-928650-01-5 "In Last Instance, Dan Farrell poses the relations between social reproduction and expression through stuttered and sutured acts of composition. His historically located and disclosed forms clash and mingle with social evidence, instigating transpositions at the level of the letter, syntactical order, and semantic sensibility. Rather than hailing the ruse of subjective plenitude and unfettered expressivity, his compositions rely on perlocutionary acts engaging language in its nonreferential capacity to elicit and provoke action and response." -Nancy Shaw Elizabeth Fodaski _fracas_ 78 pages, $9, ISBN 1-928650-02-3 "Elizabeth Fodaski's fracas grabs attention, then holds, examines, and explodes the attentions it attracts. This work is both elegant and playful, sardonic and amused. A din, a brawl, a noisy quarrel. It instructs, implores, and navigates a level of writerly inquiry that's a joy to encounter. From the heady, generative tumble of "Flood Watching" to the studied and gorgeous language of "Paper Daybreak" and "ETYMOLOGIES," fracas rocks." -Jessica Grim P. Inman _at. least._ 102 pages, $9, ISBN 1-928650-03-1 "Hardly anything seems strange enough anymore- "reality. as. a. normative. effect," -at least P. Inman still works the front lines. With evidence shimmer, no things but in letters & space & punctuation, politically paying off perforation. This arranges tantalizing raw (& V-effected) materials for us to construct (& live in) a life, a milieu. With zero bluster- "language. larger" -contra code everywhere, a clip-o-matic audacity & atomic redlining to thrill. . . . Not to complacently cooperate with a fetish or impress with imagery & optic sugaring, not to wield massageish 'content' to represent something already built, an institutionalized titanic humanizing the pin-ups or invoice behavior as contentment as containment. The already is uninhabitable. Let's de boss!" -Bruce Andrews For information about KRUPSKAYA (not ordering), please contact Rodrigo Toscano, RT5LE9@aol.com or Jocelyn Saidenberg, jocelyns@sirius.com Rodrigo Toscano ========================================================================= Date: Thu, 10 Jun 1999 16:21:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: Wang Ping's e-mail Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Does anyone have Wang Ping's e-mail address, or know of a way to reach her? I'd like to get some work by the poet Yan Li, who's in the anthology she's edited, for Arras. Cheers, Brian ========================================================================= Date: Thu, 10 Jun 1999 10:59:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: HEADLINES MIME-Version: 1.0 Content-Type: text/plain these sent to me by a friend, Dana Lustig ________________________________ > funny, even if it is 2 years old... > > THE BEST HEADLINES OF 1997 ARE...... > > Include Your Children when Baking Cookies > Something Went Wrong in Jet Crash, Expert Says > Police Begin Campaign to Run Down Jaywalkers > Safety Experts Say School Bus Passengers Should Be Belted > Drunk Gets Nine Months in Violin Case > Survivor of Siamese Twins Joins Parents > Iraqi Head Seeks Arms > Prostitutes Appeal to Pope > Panda Mating Fails; Veterinarian Takes Over > British Left Waffles on Falkland Islands > Lung Cancer in Women Mushrooms > Eye Drops Off Shelf > Teachers Strike Idle Kids > Clinton Wins on Budget, But More Lies Ahead > Enraged Cow Injures Farmer With Axe > Plane Too Close to Ground, Crash Probe Told > Miners Refuse to Work after Death > Juvenile Court to Try Shooting Defendant > Stolen Painting Found by Tree > Two Sisters Reunited After 18 Years in Checkout Counter > Killer Sentenced to Die for Second Time in 10 Years > Never Withhold Herpes Infection from Loved One > War Dims Hope for Peace > If Strike Isn't Settled Quickly, It May Last a While > Cold Wave Linked to Temperatures > Deer Kill 17,000 > Enfields Couple Slain; Police Suspect Homicide > Red Tape Holds Up New Bridges > Typhoon Rips Through Cemetery; Hundreds Dead > Man Struck By Lightning Faces Battery Charge > New Study of Obesity Looks for Larger Test Group > Astronaut Takes Blame for Gas in Spacecraft > Kids Make Nutritious Snacks > Chef Throws His Heart into Helping Feed Needy > Arson Suspect Held in Massachusetts Fire > Ban on Soliciting Dead in Trotwood > Local High School Dropouts Cut in Half > Hospitals are Sued by 7 Foot Doctors > ========================================================================= Date: Thu, 10 Jun 1999 13:56:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Starr Subject: diastext MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Does anyone have or know where to find a program called DIASTEXT? It implements a form of Mac Low's diastic text generation. I had a copy of it years ago, didn't transfer it to the new machine, and have (thus) lost it. Checking my usual net places to find such things hasn't turned it up. Thank you in advance for any help. - Ron Starr (rstarr@eskimo.com) ========================================================================= Date: Thu, 10 Jun 1999 21:23:47 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Re: Contact Info: Johanna Drucker MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Does anyone have an email, snailmail, or phone number for Johanna Drucker? If so, please backchannel. Thanks in advance. Jacques Debrot ========================================================================= Date: Fri, 11 Jun 1999 03:11:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: THEFT ON PURLMOO BECAUSE #1 IS NOT UNIQUE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII .+. THEFT ON PURLMOO BECAUSE #1 IS NOT UNIQUE Bodee Lost in Bodee-Buda as Bodi Tre-Form Hells You see Bodei, Bedei, #934, #895, #1, Girl, Boy, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, #1, Bodee, Bedee, and Budi here. >> There is no text installed .... yet. You say, "Because someone has stolen my words. " You say, "Because someone has cut out my tongue." Nikuko knows Because of Bodi-Proliferation Do now With Me Nikuko knows Because #1 is not Unique Now Do FOLO O COME FRO I BODEE BOY You say, "Because of Whom and to and for Whom." You say, "Because My Mouth is a Running Sore"" You say, "Because Dead and Become" Nikuko says Still: Bodee Lost in Bodee-Buda as Bodi Tre-Form Hells You see Bodei, Bedei, #934, #895, #1, Girl, Boy, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, #1, Bodee, Bedee, and Budi here. ========================================================================= Date: Fri, 11 Jun 1999 00:19:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katie Degentesh Subject: THURSDAY, JUNE 17 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" 9x9 INDUSTRIES PRESENTS VLAD POGORELOV, born and raised in the Ukraine, USSR, where he studied medicine before moving to Philadelphia. He currently writes and performs in both English and Russian. He is the poetry editor of Siren's Silence, a journal of literature and art. The author of _Derelict_ (Repossessed Head Publishing House), he currently resides in San Francisco. and KLIPSCHUTZ, author of _The Good Neighbor Policy_ and _The Erection of Scaffolding for the Re-Painting of Heaven by the Highest Bidder_ (End of the Century Books). His work has also appeared in the LA Weekly, the San Francisco Poets Calendar, the Ed Norton Anthology, Black Buzzard Review, the Bad Attitude Anthology and many other books and magazines. He is a probationary member of the Vocational School of Poetry and a songwriting member of the Living Wrecks. with special guest SONIA WHITTLE, born and raised in New Rochelle, NY, finalist in the 1999 San Francisco and East Bay Slam Championships. READING/PERFORMING AT Adobe Bookshop, Thursday, June 17, 1999 3166 16th St. (at Guerrero), San Francisco 8PM, FREE COMING NEXT MONTH: JUST LIKE SCHOOL, 9X9's Adobe Series will take a two-month summer vacation. See you in September. 9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9 9X9 INDUSTRIES http://www.paraffin.org/nine/ nine@paraffin.org WE DON'T LIKE POEMS THAT ARE LIKE POEMS! WE WANT YOUR THURSDAY EVENINGS. 9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9 ========================================================================= Date: Fri, 11 Jun 1999 00:52:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: Re: SERIAL DIAGRAM Comments: To: q0417665@mail.connect.usq.edu.au Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" There's a diagram of the serial poem in the back of the Collected Books of Jack Spicer edited by Robin Blaser p.358. It's part of the questionaire for Robert Duncan's workshop in Basic Techniques. Blaser says Spicer chose the spiral rather than the hierarchy when he came to answer for the "tree or Contellation" of poetry DComerford asked: > >Has anyone ever come across a diagram of the serial form? >I'm reading Conte's UNENDING DESIGN and working on the serial form in oz >poetry. One of oz's excellent cultural theorists, Stephen Muecke, >writing on the stories of an Aboriginal writer, Butcher Joe, writes that >the series is a "nomadological feature, like that of travelling through >the coutnry, one place after another, and a chain of stories, 'and then >... and then ... and then'." > >The diagram I have in my mind when I attempt to illustrate (explain) the >serial poems I'm working with is a spiral. Now the spiral is very much >a part of the Australian Aboriginal and Torres Strait Island >cultures.... > >any thoughts? > >regards >deb forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Fri, 11 Jun 1999 04:53:15 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lawrence Upton." MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In a recently published article by Annie Proulx, she is quoted as saying: . "I rarely use the internet for research, as I find the process cumbersome and detestable. The information gained is often untrustworthy and couched in execrable prose. It is unpleasant to sit in front of a twitching screen suffering assault by virus, power outage, sluggish searches, system crashes and the lack of direct human discourse." . I quite enjoyed this odd view of the internet and wondered if I could sell her some I.T. consultancy. Also I was entertained by the idea of power outages occurring, to such an extent that one could not complete a web search. . Everything else looks exaggerated to me, but I can only go on my experience of electrical supply in Europe. Serious question: to what degree is power outage a problem in America?. I don't know where she is based, but I hadn't thought that it was much of a problem in normal times i.e. outside of major storms and occasional accidents. But it would be useful to me because of something related I am looking into to know for sure. Tell me, this is largely junk, isn't it? . . Lawrence Upton ========================================================================= Date: Fri, 11 Jun 1999 08:56:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rebecca wolff Subject: Re: back issues of Fence In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Now that our third issue is out, I'd like to rid my house of our second issue. So if you'd like a copy of Fence #2, with work in it by: Jane Miller, Susan Wheeler, Elizabeth Robinson, Muriel Rukeyser, Rosmarie Waldrop, Molly Peacock, Brenda Hillman, Laura Mullen, Bruce Conner, John Yau, Brian Lennon, Mary Jo Bang, Charles Bernstein, Matthea Harvey, Geoffrey O'Brien, Noelle Kocot, Lee Ann Brown, Walid Bitar, Julia Slavin, C.D. Wright, Chris Stroffolino, and Donald Revell Please send a check for $4 made out to Fence Magazine Inc. to: Fence 14 Fifth Avenue, #1A New York, NY 10011 Thanks. ========================================================================= Date: Fri, 11 Jun 1999 00:14:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Scott Keeney Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sorry for the interruption, but: Anyone got a contact for Scott Keeney? Thanks: Patrick F. Durgin ========================================================================= Date: Fri, 11 Jun 1999 09:56:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: KENT JOHNSON Organization: Highland Community College Subject: Anthology re-issue Comments: cc: paulenic@salem.kent.edu MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT _Beneath a Single Moon: Buddhism in Contemporary American Poetry_, ed. by Kent Johnson and Craig Paulenich, will soon be put back into print by Shambhala. The book will be available for order through the press and all major on-line sellers. The book carries an introductory essay by Gary Snyder. Among the 45 poets included (most entries come accompanied by an essay): Steve Benson, Olga Broumas, John Cage, Alan Davies, Diane di Prima, Norman Fischer, Margaret Gibson, Allen Ginsberg, Susan Griffin, Sam Hamill, Jim Harrison, Michael Heller, Jane Hirshfield, Robert Kelly, Jackson Mac Low, George Quasha, Jed Rasula, Leslie Scalapino, Andrew Schelling, Armand Schwerner, Gary Snyder, Charles Stein, Lucien Stryk, Nathaniel Tarn, Anne Waldman, Philip Whalen. ------------------ "Beneath a Single Moon makes for startling reading: it provides incontrovertible evidence as to the strength and richness of Buddhist thought, and especially of Buddhist practice, in contemporary American poetry. Our Buddhist poets, like Buddhism itself, are by no means all of a piece; it is their range and variety that is especially impressive. the individual essays by the poets themselves are especially helpful. This is an outstanding, scholarly anthology that should have wide readership." --Marjorie Perloff "This intelligent anthology provides compelling evidence of a continuing preoccupation in American thought, from Emerson, Thoreau, and Whitman to the poets here represented. It is the human search for a locating home, transcendent yet literal, always here even if nowhere. The complexly common voices of these writers are an insistent call to our own need, to let go of our 'lives' and so live them."--Robert Creeley "Vivid, diverse, multitudinous-- the poems gathered herein are both evidence and celebration of the wild flowering of Buddhism in America. A splendid collection."--Rick Fields, author of _How the Swans Came to the Lake: A History of Buddhism in America_ "We needed an extensive survey of the influence of Buddhism in contemporary American poetry, and this anthology generously fills that need."--Wendell Berry ========================================================================= Date: Fri, 11 Jun 1999 11:37:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Fwd: Sandbox #7 - PROTEST Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-transfer-encoding: quoted-printable ---------------- Begin Forwarded Message ---------------- Date: 06/10 5:04 PM Received: 06/11 11:31 AM From: sylvie myerson, sandbox@echonyc.com To: Amhain@aol.com CALL FOR SUBMISSIONS: SANDBOX #7 - PROTEST http://www.sandboxarts.org Sandbox, A Magazine of Creative & Subversive Play is currently looking for contributors for issue #7 on the theme of PROTEST. We are particularly interested in ideas such as =93UNAUTHORIZED=94 use of = physical public space by artists/activists as well as the APPROPRIATION AND ALTERATION OF IDEAS which are released into the public realm through media & advertising. We are looking for visual artists, performance artists, musicians,digital artists, filmmakers, writers and activists whose work encompasses these 2 ideas, creating art that weaves interaction and experimentation together with political content. This = is a particularly hot topic for those of us who live in NYC under the Giuliani administration=92s repressive =93QUALITY OF LIFE=94 policy = but we are also interested in looking beyond NY at what is going on elsewhere. Other related ideas might include: creating & preserving community gardens, recycling urban waste material to create artwork, sampling & altering work created by others, graffiti art, airwave piracy, = hacking, satire & parody... Please forward our call for submissions to anyone who might be interested. Contact our editor, Sylvie Myerson, asap if you have an = idea for a project for this issue (article, interview, visuals, fiction, documentation of artistic project). The release of the magazine will = be accompanied by a performance/installation event in the fall. All contributors will be invited to take part in the event and will = receive 5 copies of the magazine. DEADLINES: First draft - July 15th/Final draft - August 15th. OTHER FORTHCOMING PROJECTS: - A Webzine release is also projected for the Fall of 1999. Any suggestions for original material or links to other relevant websites are appreciated. - Magazine Issue #8 on the theme of SOUND is projected for Spring of 2000. PLease contact our office if you are interested in = participating. Sandbox Magazine PO Box 150098 Brooklyn, NY 11215 The Magazine, Webzine & Performance/Installation events are projects = of Sandbox Open Arts, a not-for-profit arts organization whose mission is to provide a forum for experimentation in the visual arts, the performing arts, the digital arts and literature with particular emphasis on interactive and multimedia work. Sandbox explores the connections between art, culture and society. Past issues of the magazine have featured: Spalding Gray, William Gibson, Sheree Rose & = Bob Flanagan, Charles Gatewood, The Burning Man Festival, & Coney = Island=92s Sideshows by the Seashore. The Magazine is available for sale in NYC at: Art Market, Blackout Books, St. Mark=92s Books, Tower Books, Virgin Megastore, Coliseum = Books, Untitled, Ear Wax, Ink, Beacon=92s Closet, Pierogi 2000 & Printed = Matter & The New Museum. Distributed in North America by Desert Moon, Ingram Periodicals & Printed Matter. (Also available directly from us by mail for $5 per copy). ----------------- End Forwarded Message ----------------- ========================================================================= Date: Fri, 11 Jun 1999 11:18:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: your mail In-Reply-To: <01beb3bd$ef940a40$LocalHost@overgrowngarden> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I've never had difficulties with power outtages or viruses - ever. But I do read my email in linux/unix which tends to be virus-proof - in fact you can dissect them nicely. Re: searches - I advise people to look at http://www.google.com/ - things are getting better. Re: writing style - she hasn't read mine - or yours - or or or... Some people just never learn. No wonder she writes postcares. Alan http://www.anu.edu.au/english/internet_txt - partial mirror at http://lists.village.virginia.edu/~spoons/internet_txt.html co-moderator Cyberculture, Cybermind, Fiction of Philosophy (fop-l) ========================================================================= Date: Fri, 11 Jun 1999 12:25:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: workshop reading Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" On Wednesday, June 16th at 8 pm, a reading by participants of the Poetry Project's Spring 1999 Writing Workshops including: Tracy Blackmer Matthew Burgess Jeffrey Burghauser Samuel Claiborne Jeanie Gosline George Green Tony Hoffman Marc Kuykendall Lisa Pasold Marni Rice Liz Young Magdalena Zurawski and other surprise guests Workshop teachers were Larry Fagin, Lisa Jarnot, and Murat Nemet-Nejat For more info, call 674-0910 ========================================================================= Date: Fri, 11 Jun 1999 10:51:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: diastext In-Reply-To: <000101beb383$ab1dd7e0$0f02000a@nomdeguerre> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ron (and all), Charles O. Hartman, author of DIASTEXT, has a web page at www.conncoll.edu/ccother/cohar. Last time I checked, the page had some free computer poetry software available for download, including a fairly interesting and easily hackable C program called MacProse - but it didn't include DIASTEXT. Unfortunately, I can't verify this right now, since either Hartman's page or the Microschlock browser they've saddled me with at work seems to be malfunctioning. (oh, never mind, just found the new URL: http://camel.conncoll.edu/ccother/cohar/programs/ ) Other sites that might be of interest to you: BIBLIOGRAPHY, LINKS, ETC. Marius Watz' page (a fairly comprehensive resource page on computer-generated/filtered text, from which most of the following links are taken): www.notam.uio.no/~mariusw/c-g.writing/ SOFTWARE DOWNLOADS RoboPoet (fairly limited in terms of its syntax, etc., but interesting) www.ozemail.com.au/~kensea/ Mark V. Chaney V1.0 (a "probabilistic text generator based on Markov chains") http://www.notam.uio.no/~mariusw/c-g.writing/markv.zip Babble (a "babble generator") http://www.notam.uio.no/~mariusw/c-g.writing/bab200.zip Deconstructor (apparently fairly crash-prone, so use w/ caution) http://www.notam.uio.no/~mariusw/c-g.writing/Deconstructor.cpt.hqx Text Mangler (another Markov chain-based program, this one filters and rearranges pre-existing texts) http://www.notam.uio.no/~mariusw/c-g.writing/TextMangler_1.2.cpt.hqx McPoet 5.0 (this is my favorite of the bunch, as its parameters are configurable without having to get into the actual code - takes a little work, and the default settings are pretty silly, but well worth a look): http://hyperarchive.lcs.mit.edu/HyperArchive/Abstracts/text/mcpoet-50.hqx.ab s Note that Robopoet, Mark V. Chaney and Babble are DOS programs. MacProse, Deconstructor, Text Mangler, and McPoet are for the Mac. Sorry I couldn't find DIASTEXT for you (though the basic procedure would be fairly easy to code in either C++ or VBA for Word), but perhaps one or two of these will be of some interest. Keep me informed, too, if you find DIASTEXT anywhere. Best, Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Ron Starr Sent: Thursday, June 10, 1999 1:56 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: diastext Does anyone have or know where to find a program called DIASTEXT? It implements a form of Mac Low's diastic text generation. I had a copy of it years ago, didn't transfer it to the new machine, and have (thus) lost it. Checking my usual net places to find such things hasn't turned it up. Thank you in advance for any help. - Ron Starr (rstarr@eskimo.com) ========================================================================= Date: Fri, 11 Jun 1999 18:25:38 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Garrett Caples contact info does anyone have an e/snail/mail address for him? if so, please send direct thanks! tisa@sirius.com ========================================================================= Date: Fri, 11 Jun 1999 15:34:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: New Rain Taxi features Ashbery & Silko Interviews / Sullivan MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this came to the administrative account. Chris ----- From: "Gary Sullivan" Date: 6/11/99 12:54 PM -0400 Rain Taxi Review of Books Vol. 4 No. 2 is now available! Interviews: John Ashbery (by Eric Lorberer); Leslie Marmon Silko (by Anna Reckin) Features: Mary Hood (by Cris Mazza); J.L. Borges (by Robert Zaller, David Wiley & Chase Madar); Alexander Trocchi (by Michael Perkins); Writing Behind the Walls: Books on Prison Writing (by E. Lorberer, James Colvin, Arthur D. Seale, S.P. Healey, Brad Zellar, Michael Leville, Christopher Tinney and Josie Rawson) Reviews of books by: Harry Smith (by Jason Kuykendall); Salvador Dali (by Anna Reckin); Kenji Nakagami (by Caroline Schnieders); Jena Osman (by E. Lorberer); Will Alexander (by Joel Felix); Ange Mlinko (by Juliet Patterson); Susan Gevirtz (by Gary Sullivan); Laura Mullen (by Kim Fortier); Bin Ramke (by Kelly Everding); Charles Bernstein (by Glenn Mott); Rosalind Krauss (by Carolyn Kuebler); Nan Goldin (by K. Everding); Clarence Major (by Jerome Klinkowitz); & many many more plus Adversaria (quotes courtesy of Sam Hamill) the next installment of my serialized cartoon, "The New Life" (second installment of the "Nada" story) by yours truly ... and lots more ... 54 big pages ... Subscribe! 1 year (4 issues) $10; $16 international Carolyn Kubler, Randall Heath & Eric Lorberer, eds. Rain Taxi PO Box 3840 Minneapolis, MN 55403 www.raintaxi.com email: raintaxi@bitstream.net I have copies I can send to anyone otherwise unable to get one, email me at: gps12@columbia.edu Have fun, Gary ========================================================================= Date: Fri, 11 Jun 1999 15:43:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: current list stats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As of this afternoon. Chris -- * Country Subscribers * ------- ----------- * Australia 15 * Belgium 2 * Canada 44 * Finland 1 * Germany 2 * Great Britain 24 * Ireland 4 * Italy 1 * Japan 7 * New Zealand 11 * Poland 1 * Singapore 1 * Spain 2 * Sweden 4 * Switzerland 2 * Thailand 1 * USA 619 * Yugoslavia 1 * * Total number of users subscribed to the list: 744 * Total number of countries represented: 18 ========================================================================= Date: Fri, 11 Jun 1999 11:23:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Highsmith Subject: reply to Upton, RE : power outages Here in San Francisco we have local outages 2-3 times per year when neighborhhood transformers blow. We also have frequent blown fuses because the old apartment buildings and Victorians are riddled with old bad wiring and overloaded circuits. In addition to this we sometimes have dirty wiring, circuits in which the ground wire picks up a slight low voltage current which produces a buzz on the radio and sometimes a slight shock in the bathtub (circuits are grounded to cold water pipes). Presumably, the dirty circuits can decrease the lives of appliances. To guard against outages, I use an APC power conversion unit on my computer, which keeps it going about fifteen or twenty minutes when the power's blown. Another small problem to consider is telephone outages, which sometimes happen when rain gets into the unprotected outdoor junction boxes. All this aside, it's good to remember that libraries shut down too, all night, every night. And if your doing your research in a library, you'll probably use the Online Public Access Catalog to find your material, rather than "direct human discourse", which is usually discouraged anyway by stern librarians, who will glare at you while pointing to the sign on the wall that says, "No direct human discourse, please." ========================================================================= Date: Sat, 12 Jun 1999 00:22:48 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maryanne Del Gigante In-Reply-To: <01beb3bd$ef940a40$LocalHost@overgrowngarden> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Lawrence Tell me, this is >largely junk, isn't it? Yup, tis i have forged incredible ties, incredible learning through the net people who have given me a whole new way of seeing, thinking, and i wonder what is influencing Annie to have her say that the experience is negative mah! (italian for 'who would know?") MDG ========================================================================= Date: Fri, 11 Jun 1999 17:36:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Mouthing Lives, Whew! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Mouthing Lives, Whew! "--and when I first read Kierkegaard, I said, 'My God! He's on to some- thing very crucial for me,' which was, how do you actually engage in forms of philosophical reflection that are inseparable from lived experience and concrete situations?" (Cornel West interview in The Harvard Review of Philosophy, Spring 1999.) If the forms were living, they might be Nikuko and Alan; if Nikuko and Alan were living. If Nikuko has the concrete situations, measurable in terms of quota and specificity, Alan has the lived experience; if Nikuko occupies the realm of the definable, Alan occupies that of immersivity. If Nikuko constructs, Alan names; Nikuko and Alan meet at the junction of the appellation: "In uttering an 'Appellation' we wish to remove any doubts as to the actual meaning. But, how can we utter an appellation?-- With our mouth." (From the Canon, Mo Tzu, in The Works of Kung-Sun Lung- Tzu, Perleberg.) The juncture is the juncture of the mouth. A paradox from Chuang-tzu 33: "Mountains bring out mouths." First image: that of the mountain; second image: that of bringing-forth (mountain upon mountain, pictorially [not in terms of origin]); third image: that of a square, mouth: delimitation. "The empty valley transmits sounds" or echos. A fissure in the earth reso- nates. One translation states "mountains have mouths" but this overlooks the impulse behind the exodus. It is the process of the flesh in the real, or the overture of the real to speech. The valley unfolds like great dark lips; the momentum of the tongue garners the bewilderment of naming. The second image, doubled mountain, ch'u, to go forth or out, issue, be- get, eject. "Primitively it represents stalks growing out of the ground." (Ingram's old Analysis of Chinese Characters.) "is a hieroglyphic charac- ter representing the foot protruding past a certain line." (The First Step to Kanji, Yoshida, Saji, Nishida.) Growing transforms into the issuing of symbols; the symbolic pours from the mouth as in Mayan glyphics. The mouth (of the stream, of the valley, of speech and the symbolic, of the graphic user interface, of the screen) is the suture between Nikuko and Alan; it is the mouth which speaks both subject and avatar into existence. The oath that the mouth makes is the binding of the performative into eth- os; and it is among oaths that ethos is born. "We meet at the juncture of the appellation; mouth and name remain indecipherable, indistinguishable." I think of tattoo: My desire for your name, Nikuko, upon me, your sign, Nikuko, engraved in hanko as well, covering pages and skin with kisses. "Qu: 'Does two include one?' Kung: 'Two does not include one?'" yet it is pointed out, in the original, it is not clear who is speaking. (T'ung- pien lun, Kung-Sun Lung-Tzu.) Mouth and name, tattoo and number, sign and quantity. One is never a quantity. One is always a quantity, measure from the origin, convenient backdrop to the continuum, signifier of measure polytopes. We are close to the work of Lingis here, or the full and re- plete body supine in the valley, symbolic and riverine flows throughout. Later, everything was born. "Love, love, love, have the courage to love, the courage to be, go down fighting. Whew!" (West.) __________________________________________________________________________ ========================================================================= Date: Fri, 11 Jun 1999 23:23:54 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lawrence Upton." Subject: Power outages MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks to all who responded to my enquiry about power outages etc, both front and back channel. Largely as I thought, but I got some useful new information and an opener mind. So thanks again . Lawrence ========================================================================= Date: Fri, 11 Jun 1999 19:42:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Organization: Awkword Ubutronics Subject: wa wha wawa woo you like keto k'to MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >desire say, "va va who spl you sp you so now" >else says, "Beveragers pix down in their individual bitters, but there >several are there are certainly some left." >desire say, "the hops mends the affirmities, the duly lad chaken >visibly, come thou may the first of the divisin' charmkeeps." >else says, "And they thought it was bein' so deuced conservational. Hic. >Haec. Hop" >desire say, "a trial beknownst a scurilous book, the random hearty >laughter is not her only cage, the one severed from desire's body >simpled." >else says, "So -- she is entitled to her foundations after all over >under*there skate a weight offered every other time zone, or girdle." >desire say, "cryptic emotionographers held sway with a distant audience, >one not so turmoiled by presentation or the binding sweater of >liberation lyrics." >else says, "That far away in clicky chants is a kind of harness, a >manner hoist or elevating ..." >desire say, "a sing stress the fancy a phantasm monsterous" >else says, "asmic things sensationalise invariably." >desire say, "a delivery broken from swinging alone on a highwire" >else says, "very broken indeed" >desire say, "her telegram arrived umprompted by sweaty offerings or the >back of the sucking sucking nightfence." >else says, "and Clara wants to disconnect me, counts me down but they >don't take knowing for a way of night." >desire say, "the node of connectivity shudders with abhorance, with the >minute bodyweight of hologram specular amorphitudes." >else says, "Denotation plaits gargling beansfull strim call cal la >lapped. You mean the pedalo we paddle o'er the... naaah. " >desire say, "whom so calackedly broughtforth, a calyption of turnality" >else says, "... he denies it, and all such cult. Little glyptics. (And >all our messes scented by desire" >desire say, "the libidintudes danced merrily in their scattering, their >scar shaken by the object penetration a meer cast of the presence she >called for in her dream, the finagling minor character exiting while >speaking behind someone's back." >else says, "So perfervid it does both at once, and would slip in and be >already there, to see herself and how it's changed after that last edit. >Spear-carrier and bucketeer." >desire say, "one dotes on the symptom of poesy, evacuation mirrors >coming, the temporal langue stated plain as the rose of all bodies >undone " >else says, "and they soap their sores then." ========================================================================= Date: Fri, 11 Jun 1999 22:56:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Johnson Subject: new book on Japanese avant-garde... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit here's a review on a new book about a major figure in experimental Japanese poetry... review is by Eric Selland... this review can also be found at Duration Press on-line: http://members.xoom.com/Duration/Authors/ericselland/bkreview.html ---------------------------------------------------------------------- ------------------------------------- Book Review: Shredding the Tapestry of Meaning – The Poetry and Poetics of Kitasono Katue (1901–1978) , by John Solt, Published by the Harvard University Asia Center and distributed by Harvard University Press, 1999, 395 pages, $49.50 cloth, ISBN 0-674-80733-2. (Available on amazon.com) Occasionally a book arrives that changes everything. Less, perhaps, in presenting something totally new, than in revealing that which had remained hidden, or forgotten. John Solt’s biography and extended literary analysis of the life’s work of Kitasono Katue, a major practitioner of avant-garde poetic forms from the 1920s to the 1970s, does just that. First in offering up the newest in that short list of very rare full-length studies of a modern Japanese poet, and second in its having laid open a forgotten history of dynamic artistic and literary development, as well as cultural exchange. A history, moreover, which intersects with our own, as becomes evident in the lengthy chapter on Kitasono’s many years of correspondence with Ezra Pound. Kitasono Katue (Solt uses the Francophile spelling preferred by Kitasono himself in his dealings with foreign poets) originally wanted to become a painter, but after a literary friendship and time spent in Tokyo, broiling with new ideas and a cosmopolitan lifestyle (Hirato Renkichi published his Japanese Futurist manifesto in 1921), Kitasono decided to become a poet. By 1924 he had become involved with a group of young poets publishing Japan’s first Dadaist magazine, Ge.Gjmgjgam.Prrr.Gjmgem , thus beginning his many years of involvement with iconoclastic new forms. The new magazine introduced sound poems, dadaist absurdities and work harkening the eventual development of Surrealism in Japan. One more very important characteristic of the magazine was the introduction of the usage of katakana words in poetry. Foreign words and images were used liberally, appearing both in katakana script and the alphabet. We tend to be non-plussed now about these graphical innovations due to the common use of foreign loan words and Romanized script in the Japanese of the present, but at that time it was revolutionary, and would even become dangerous by the late 1930’s with the rise of militarism. Kitasono went on to write Surrealist poems, such as appear in his 1929 collection Shiro no Arubamu , and in the 1930’s became the main mover of the VOU club, an experimental group through which he introduced his own poetic theories such as “ideoplasty”. It was at this time the correspondence with Pound began, and Pound eagerly promoted Kitasono and VOU in Europe and the United States, connecting Kitasono’s ideoplasty with his own ideogrammatic theory in Guide to Kulchur (1938). The VOU poets were given an introduction by Pound and published in a London magazine in 1938. Kitasono provided his own translations of his work, a few lines of which appear below: In leaden slippers I laugh at the fountain of night, and scorn a solitary swan. A parasol of glass she spreads, and wanders along the lane the cosmos flowering. Over the cypress tree I image, to myself, a hotel marked with two golf-clubs crossed; And move my camera on the sand of night. [Excerpt from “Glass Coil” as originally published in Townsman, Jan. 1, 1938] Kitasono carried out intensive exchanges with Pound and other Western poets during this period, and remade contact with the West after the war in the form of contacts with Charles Olson, Robert Creeley, Kenneth Rexroth and others. Robert Creeley even asked him to provide the cover drawings for the first few issues of the Black Mountain Review . Rather than settling on one fixed form once found, as has been the case with many Japanese poets of the same period (including those who later lapsed into free-verse sentimentalism after an initial experimental phase), Kitasono went from one experiment to the next. After the war he introduced concrete poetry, then published a series of books each taking a further step toward the complete dislocation (or indeterminacy) of meaning, and finally attempted the leap beyond language itself in his production of what he called “plastic poems”, poems without words in which he utilized photography and design elements. Kitasono can almost be considered Japan’s first Post-Modernist in his willful ignoring of the boundaries between genres, levels of speech, and conventional meaning formation. Solt explains in his introduction that his approach is a historical one, rather than one whose purpose is to advocate any particular literary theory, however, he does make use of the ideas of important theorists on the international 20th century avant-garde such as Marjorie Perloff, especially in his interpretations of Kitasono’s post-war work. More importantly, Solt’s study offers an exposition of Japanese avant-garde practice through much of this century which serves to tear away the imposition of Western generated Orientalist exoticisms often overlaid on the more immediate intellectual and social realities of Japan. The representation of Japanese literature in this country has often been effected by those more concerned with appropriating an overly idealized version of Zen and haiku for their own ideological purposes within a social and political milieu very different from Japan’s than in understanding the actual historical experience of a non-Western people in their coming to terms with the ideas and realities of their own times. Solt’s book gives us one of the rare looks at actual Japanese concerns within the poetic practice of the 20th century through the eyes of a Japanese poet, hence giving us a much needed breath of fresh air. The appendices, notes and bibliography give the serious reader important source information for further study. It is hoped that this will open the way to more research on the development of Japanese poetic practice, as well as other Japanese arts and intellectual trends of this century. It seems to me that there is much more creative potential for poets in this country in the consideration of the transformational processes involved in this period of intensive cultural cross-pollination, in the various acts of translation, literary readings and creative misreadings, than in the continued reliance on older, and often artificially exotic images invented by previous generations of Westerners with less of an opportunity to come into contact with the real thing. Note: John Solt’s translations of Kitasono Katsue’s poetry are also available under the title Glass Beret, Morgan Press, 1995, 2979 S. 13th Street, Milwaukee, WI, 53215. ========================================================================= Date: Sun, 13 Jun 1999 12:31:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: Will Alexander Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Still seeking contact info for Will Alexander. Please backchannel kathylou@worldnet.att.net Thank you! ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven/Duck Press www.duckpress.org 42 Clayton Street San Francisco, CA 94117-1110 ========================================================================= Date: Sun, 13 Jun 1999 16:23:32 -0400 Reply-To: klmagee@earthlink.net Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: BACKCHANNEL REQUEST MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit "I was wondering if you'd be so kind to explain" arrives by backchannel raising such a complex set of issues and from such an unexpected direction (East instead of West) that the form of response I would choose is the public one of an open letter translating one poet's directness and generalizing his earnest suspicion by substituting the simple candor of a private answer for the more difficult, for me anyway, task of reflecting on my experience of the Buffalo Poetics List since the last week of February of this year and the nature of my participation on it, employing the method of self-critique you can find in The Bolivian Diary, for example, at the end of each month's entries, or Shades of Hades: Out of the items in the New York Times a woman, one of the leaders of the FMLN reported wounded and captured. In her papers, evidence she had been to study in Hanoi, love poems, a diary, and a self-critique. Questions: 1) Do I identify groups and call them pampered elitist? 2) Am I campaigning for cultural democracy? 3) Do my forms of propaganda include put-downs of those who I don't think have a right to make art or do things as I think they should? 4) Does my campaign, my game, include careful non-response to those on my enemies list? 5) Is the Buffalo Poetics List pasteurized? Before addressing each question with the seriousness each deserves, and I don't think I'm omitting any concern stated in a two-paragraph post, my first thought is one of being called to a thought I almost didn't have or at least did not give much thought to before being called to these questions, that the bleachers in the stadium are far from empty, though in my own private Ohio the idea that anyone is listening suffers under force of a concentration on a single face. I forget this while writing for that one or for at least a few even when making the most general statements, though there's always the thrill of being overheard. The magic of this form of exchange, keyboard to screen to send, is that encourages impulsive behavior, and provokes the best kind of reactions. Communication. Providing that you've got somewhere to send it to. 1). Group identification. Elitism. The only grouping I'm aware of doing has been in a couple of event notes when I hopped on the bus to New York and heard poetry for the first time in several years, at the Dactyl Foundation, The Whitney, and the No Moore. Casual groupings, who's reading, what they read, what is the space the readings take place in--impressions. Impressions, perhaps, from something like a crocodile surfacing in a log jam, to paraphrase a line or two from Prevallet's Cocteau translation in a recent issue of TF. The only grouping I'm committed to, however, is the effort to keep articulating class divisions and identifying as specifically as possible how these divisions affect poetry, poetry spaces, and relations between poets. This is such a huge and urgent problem that any one person trying to address any aspect of it is bound to overstate their case, exaggerate, expostulate, and even step on a few toes. Something Anthony Braxton wrote a long time back in an out-of-print three-volume opus of post-Ayler jazz theory makes sense here: There can be no room for accusation if the writing is concerned about what is really true (to refrain from attacking individuals) (even when an attack would clarify a viewpoint) (not to mention that the state of the Art is not about only one or two). (I may have changed a few words, but the core is Braxton's). He writes elsewhere about how Western inquiry terms, Western definitions, and the simulacra of Western textual commentary have influenced how we have come to either approach living, or approach understanding about living. There's something of this in Lorenzo Thomas' Neon Griot essay when he writes about the Black Arts Movement and role of the neighborhood center/performance space/gallery/school as an alternative or at least supplement to University. If I criticize University, a monolithic-heterogenous "elsewhere" more than capable of defending itself, it is with the thought that I'm writing to a forum made available from University resources, though its moderator is probably not a member of the Communication Workers of America, and shouldn't he be? I also trust that the moderator would bounce any message from me that attacked anyone personally, though what constitutes "attack" is also class-determined. In SF Dodie Bellamy once swiped my face like a Yukon grizzly on the question of the conflict between Style and Ideology, and her point made an impact on me because of its ferocity. Charging me, she changed my mind. Two working class writers communicating. 2). The campaign for cultural democracy. One poet cannot carry on a campaign. If this could be a campaign, or a Social Movement, many poets rich and poor would have to be involved, integrating progressive university and art school centers with inner city neighborhood initiatives, arranging residencies, maybe doing something like the John Reed clubs did in the 30s only this time without the CP, bringing people into the Art of Poetry or bringing the Art of Poetry to people at a time when the closing of that 1945-1974 higher education window of opportunity Silliman wrote about without irony in that ironwood shared file area years ago, i.e. "the vast extension of post-secondary education to new sectors of society," has produced an ocean of working class youth who do not come to culture and poetry the way my generation mostly came to it, through that highly competitive and problematic space of the University Writing Workshop such as Maria Damon writes about in her Dissonance essay. Perhaps the fervor or fever with which I press this point in some of my posts at times has to do with the fact that I'm haunted or hunted by the shadow of Tishie Ann who grew up a couple of blocks away coming to writing in much the same way as the slam-woman in Damon's essay, coming to writing through the 12 steps, bursting onto the page and exploding our conceptions of what is literature. 3). My forms of propaganda. Who has the right to write. I really thought I was posting more poems than anything on this list, the event notes being highly subjective snapshots saying more about the blindness of their photographer or the gropingness of his coming to eyelight after a three year period in the darkroom. Writing poetry is a form of propaganda for me, taking propaganda to mean what it means to left politics, what you do when there's no mass work going on, shouting on a soapbox that something is rotten in the state of the art, though every agitator would rather be leading a shutdown or strike than talking to the air. Like most discourse on the left, the circulation of my writing is extremely limited, and as far as I know only about 25 copies of my second book, Recent Events, have been distributed through a single bookstore in California. As far as having the right to write, I work with working class and inner city "students" who have barely been given the right to live, let alone write, and the daily experience of the silence and powerlessness inflicted on them and which they bear with amazing humor colors my propaganda, but I don't know where I'd get the power to say who does or doesn't have the right to write even if I wanted to and though I may in fact imply this from time to time in a Blakean crank moment. 4). My campaign. My game. My non-response. A small number of poets both known and unknown to me have backchannelled me since March, and I've left most go unanswered, not out of a wish to have the last word, but genuine fear of private correspondence. Writing in a public space means you have witnesses. Anyone whose life has been the subject of intense scrutiny and interrogation and whose character has been called into question can understand the security of this space where whatever I say may be used against me, but there's a chance that one or two might agree with me, and those encouraging and supportive backchannels in particular over the last several months have helped me remain confident that the general impulsiveness of my formulations or forms of propaganda include a breath of fresh air, even if I lapse into occasional instances of "Kevinosis / Mageeosis" which warning appeared in the control settings of my email account the morning after my TF event note. I can't think of any poet as an enemy when the real enemies of the Art of Poetry have been bombing Belgrade. Nietzsche once wrote that it's important to be able to be an enemy. Poetry is not a baseball game. I hate the Cleveland Indians. The faces that fill that stadium come with well-padded wallets from out of town. The friend whose words I associate with leaving for the TF event or associate with leaving Cleveland can't even smoke a cigarette outside her office building a block away from the Jake on game days without some Wahoo asking her how much, 50 bucks? I am writing for my life. Or each poem feels burned out of me at this intensity. 5). The Buffalo Poetics List and the Land of Milk and Honey. The most curious thing is that I find it hard to imagine that a Cleveland writer I'd never met and whose newspaper once included a review (among a hundred other reviews) dismissing my Leaves Books chapbook would call me up one day out of the blue and offer to email me information about joining this list. He said it was a great place for event and publication announcements. All I'd ever heard about it was several years ago viz. "G___'s metaphor of Jacking-Off for male-dominated discussions of poetics on the Internet" (Ruby Slippers, Detours 2). There was some discussion of pissing contests some months previous between fathers and sons, but what really surprised me and inspired me and moved me into an intense on-going period of creativity has been a kind of thunderbolt throwing match among Olympians posting under nom-de-guerres and bringing me back to a state of agitation and excitability strongly reminiscent of the original power transfers that once lit the night skies over Poe's City by the Sea. I have an idea of who I have to thank for bringing me out of my cave, believing in the hermit of Burning Creek who lives there, and it needs to be recognized how great a risk it was for that person, a guardian presence, waking me up, with no assurance except perhaps for the proofs of a few poems that I was working or capable of working at the level I was doing in the vicinity of 24th and Guerrero 1991-1995. Given this, it is quite possible that I enjoy some protection in this space which I entered with greetings from Monica Lewinsky, Levine's Swine Sign, and St. Liz. This is the genius of the nom-de-guerre, you think you recognize the innuendoes, but you can't dwell on them, or else you get drawn into a game that resembles 50s era Soviet psychiatry: You're just imagining things. Nothing is real. "We're all dead out here." At its hottest, this list feels like a wide open notebook where strong poets with thick skins compose furiously oblivious to whoever's looking or if you do look before deleting, you might learn a thing or two. I study every post from Pompeii as if I were dissecting a ray of light from some social reality far away in another galaxy. Anyway, I hope these sentences have answered the questions submitted to me by someone who has been made angry or at least suspicious by some things I have written on this list. I was really disturbed by R. Wolf's apology "okay I'll shut up now" or something to that effect sometime back on the question of class and how all this sucks. Or how the future will suck. I didn't agree with her, but I wanted to hear her continue her train of thought. Kevin ========================================================================= Date: Sun, 13 Jun 1999 19:06:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Shifters: Bodee MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ]\ Bodei: Shifters Everything descends from root #1. Everything has a number. Everything be- longs to the Order. I'm Nikuko. I do duplicate that order on the level of the visible. I doub- le, triple, quadruple. I create objects shifted into others, apparently the same. The rule of the same is boredom; beneath the surface, messages seethe: look Bodee Lost in Bodee-Buda as Bodi Tre-Form Hells. You see Bodei, Bedei, #934, #895, #1, Girl, Boy, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, Bodi, #1, Bodee, Budi, Bedee, Bodei, Bedei, Budi, Bedee, and Bodee here. look Bodei I don't know which "Bodei" you mean. look Bedei I don't know which "Bedei" you mean. look #934 Nikuko Brooding Buti or Buda / Pest She is awake and looks alert. look #895 You won't find me Here look Bodi I don't know which "Bodi" you mean. look Bodee I don't know which "Bodee" you mean. look Bedee I don't know which "Bedee" you mean. look Budi I don't know which "Budi" you mean. I defend myself. I don't let you in. I duplicate my numbers. I duplicate my objects. I split and return torn inside myself. You can't come in me. I make insides and insides. You don't find me and you can't tear me apart. I can tear myself apart. You can't get me. You can't get the flesh the num- bers the things, the #numbers the @flesh the $things. I horde myself. I whore myself to myself. I buy and sell myself to myself. I short-circuit your economy. I blast my way into you. I'm in everything you do and own. I defend myself. You let me in. I duplicate my numbers in you. You're gone to me. I swallow you. You don't know which I I mean. (This could happen to me.) You don't know you. (This has happened to you.) __________________________________________________________________________ ========================================================================= Date: Mon, 14 Jun 1999 01:18:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Julu, Broadcasting MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII '''''''''''''''''''''' Julu, Broadcasting (for Kung-Sun Lung) "Aliases: radio. You see special radio. Telecommunications and emission have radio in common. Surely a diode and hardness have radio in common. And surely, emission and a diode have radio in common. Electronics and a diode have in common radio; a diode and telecommunications have in common radio; and telecommunications and emission have in common radio. Electron- ics has radio in common with telecommunications. Telecommunications has radio in common with a diode. A diode has radio in common with emission. People have radio in common. A name has radio in common. And radio left you. Suppose when there is radio, to gain diodeness as-such designates radio, and radio is electronic." Nikuko beneath-the-ground, it was Nikuko dancing - "I remember the lane by the river, the thin park even before the player class, not Nikuko nor Sotatsu; I remember kami has cut out my tongue." Nikuko knows, because of Buddha-Proliferation do now with me. Nikuko knows because #1 is not unique say, "Become Dead and become still." Nikuko says: Radio Lost in Radio-Buda as if the forms were living, they might be Nikuko and Radio, if Nikuko and Radio were living. If Nikuko has the concrete situations, measurable in terms of quota and specificity, Radio has the lived experience; if Nikuko constructs, Radio names; Nikuko and Radio meet at the junction of user interface, of the screen - it is the suture between Nikuko and Radio; I think of tattoo: My desire for your name, Radio, upon me, your sign, Nik- uko, engraved in Radio-Buda as well, covering pages and skin with kisses. Tell me, Nikuko, is it true that a white radio is not a radio? Certainly, Nikuko, radioness is not electronic. Say more, Nikuko. I see, Nikuko, what is named a radio designates it as such. Tell me more, Nikuko. And so, Nik- uko? Look Nikuko, said Julu, "It's without resolution. I'm Nikuko; I do duplicate that order on the level of the visible." __________________________________________________________________________ ========================================================================= Date: Sun, 13 Jun 1999 23:29:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leonard Brink Subject: Inscape MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Inscape #6 -- French Poets is now available from: Instress P.O. Box 3124 Saratoga, CA 95070 for U.S.$4 It features poems by: Dominique Fourcade Olivier Cadiot Esther Tellermann & Emmanual Hocquard translated by: Cole Swensen Keith Waldrop & Rosmarie Waldrop Please make checks payable to Leonard Brink. After June 30 please order from Small Press Disrtribution, Berkeley In the U.K., please order from Spectacular Diseases. ========================================================================= Date: Mon, 14 Jun 1999 16:15:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: women's writing / dubravka MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit had to reformat this. Chris ----- From: "dubravka" Date: Sun, 13 Jun 1999 22:43:56 -0700 "Women's writing" - an interesting view or who was loyal and how is betrayer? Yesterday, June 12, 1999, in main official daily newspaper, within regular Cultural Supplement, a text titled "Women's Writing", put under quotation marks, by a locally important journalist appeared. Here are some extracts: "The fact is: every NATO hawk-general was 'mother Mara' in comparison to feminists! Because - let, start from here - almost all feminists supported aggression against Yugoslavia. By doing this, they confirmed - do they - their specificity inside the international community of intellectuals. Among those who passionately plead for "final solution" were even Serbian women, as well as those who are married to Serbs. The names are not important. What feminist pro "destruction" of this part of Balkan make distinguished - and important - is that only they in their "war discourse" operate with the factor of collective guilty. (...) Why feminists hate Serbs? Who said this? It is only as if their (feminist) belief in collective guilty justifies (their) plead for more bombs per one head of local citizens. (...) It is difficult to see any difference between the pro femina moral excuse for unique humanitarian catastrophe, that is, as they say, provoked by collective guilty of whole Serbian people, (...) We all know how their orgy finished. And we know the horrifying price of "feminist's" obsession." commentary: Mara - short of Marija newspapers are printed in cyrillic letters (which is traditional Serbian letters), and pro and pro femina are written in latin letters. during last 9 years there was the difference between oppositional and official print. almost all official presses or magazines for culture are in cyrillic letters, and oppositional in latin. but besides political reasons, there is another, practical, reason - that latinic is readable in all part of former Yugoslavia, and these connections are important for some of us... 'pro femina' magazine become symbol of feminisam in Serbia - interesting... ========================================================================= Date: Mon, 14 Jun 1999 08:22:32 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Please tell your friends! Mime-Version: 1.0 Content-Type: text/plain; format=flowed ANNOUNCING SKANKY POSSUM ISSUE 2 We're pleased to announce the second issue of Skanky Possum. Poets included are: Stefan Hyner * William Corbett * Michael Leddy * Lewis Warsh * Sotere Torregian * Gwendolyn Albert * Carol Mirakove * Clark Coolidge * Stephanie Dean * Ange Mlinko * Hoa Nguyen * Kristin Prevallet * Tom Clark * Laura E. Wright * Stra Schrag * Sal Salasin * Kenneth Tanemura * Peggy Kelley * Gloria Frym * Stephen Ellis * Diane diPrima. Also: --Aphoristic gems by Heraclitus, translated by Paul Foreman; --A special report from David Hess in the St. Louis office, detailing a recent academic conference devoted to the works of Gertrude Stein; --And in our commentary roundup, The Possum Pouch, Ol' Ma Poss herself speaks. Hand-painted covers grace each issue with a phantom possum portrait. Order your issue today before these furry criters get away. Make checks payable to Dale Smith or Hoa Nguyen: 2925 Higgins Street Austin, Texas 78722 e-mail: skankypossum@hotmail.com (If you want to be removed from our mailing list, please let us know) _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Mon, 14 Jun 1999 16:08:29 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Skanky Poss for 5 bucks... Comments: To: nguyenhoa@hotmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please forgive a 2nd message-I left off the price… ANNOUNCING SKANKY POSSUM ISSUE 2 We're pleased to announce the second issue of Skanky Possum. Poets included are: Stefan Hyner * William Corbett * Michael Leddy * Lewis Warsh * Sotere Torregian * Gwendolyn Albert * Carol Mirakove * Clark Coolidge * Stephanie Dean * Ange Mlinko * Hoa Nguyen * Kristin Prevallet * Tom Clark * Laura E. Wright * Stra Schrag * Sal Salasin * Kenneth Tanemura * Peggy Kelley * Gloria Frym * Stephen Ellis * Diane diPrima. Also: --Aphoristic gems by Heraclitus, translated by Paul Foreman; --A special report from David Hess in the St. Louis office, detailing a recent academic conference devoted to the works of Gertrude Stein; --And in our commentary roundup, The Possum Pouch, Ol' Ma Poss herself speaks. Hand-painted covers grace each issue with a phantom possum portrait. Order your issue today before these furry criters get away. Make checks payable to Dale Smith or Hoa Nguyen: 2925 Higgins Street Austin, Texas 78722 e-mail: skankypossum@hotmail.com (If you want to be removed from our mailing list, please let us know) _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Fri, 11 Jun 1999 15:24:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dana Lustig Subject: Re: power outtages/searches & so forth Comments: To: uptonl@GLOBALNET.CO.UK Mime-Version: 1.0 Content-Type: text/plain In response to your question: to what degree is power outage a problem in America? That depends upon the area. Some cities are wired above ground, which makes them more prone to power outtages during storms or high winds. Here in Atlanta, it can happen frequently during the summer. However, you shouldn't be using the computer during a severe storm, so perhaps it's just the wiring in Ms. Proulx's building. Re: search engines. I've made good use of Infoseek's Express product, which I believe can still be downloaded free from the Infoseek site. It simultaneously searches a combination of available search engines and reports back the results quickly (usually within 20 seconds or less) with a summary. I use it for research at work, and have found that it provides a much more complete listing than using a single search engine at a time. My only complaint is that there is no real advanced search criteria on Express, which means ocassionally scanning through a lot of useless links to find the stuff I really do want. I'm hoping they will upgrade the advanced search functionality, because otherwise it's an effective tool. dana lisa ______________________________ Reply Separator _________________________________ Subject: Author: uptonl@GLOBALNET.CO.UK at Internet-USA Date: 6/11/99 9:02 AM In a recently published article by Annie Proulx, she is quoted as saying: . "I rarely use the internet for research, as I find the process cumbersome and detestable. The information gained is often untrustworthy and couched in execrable prose. It is unpleasant to sit in front of a twitching screen suffering assault by virus, power outage, sluggish searches, system crashes and the lack of direct human discourse." . I quite enjoyed this odd view of the internet and wondered if I could sell her some I.T. consultancy. Also I was entertained by the idea of power outages occurring, to such an extent that one could not complete a web search. . Everything else looks exaggerated to me, but I can only go on my experience of electrical supply in Europe. Serious question: to what degree is power outage a problem in America?. I don't know where she is based, but I hadn't thought that it was much of a problem in normal times i.e. outside of major storms and occasional accidents. But it would be useful to me because of something related I am looking into to know for sure. Tell me, this is largely junk, isn't it? . . Lawrence Upton ========================================================================= Date: Sat, 12 Jun 1999 12:26:45 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Maria L. Zavialov" Organization: IREX/IATP Subject: Re: current list stats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Transfer-Encoding: 7bit Hey, there is one from Russia. Put me between Poland and Singapore. Masha Zavialova, St. Petersburg ========================================================================= Date: Mon, 14 Jun 1999 18:19:06 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Boys are allowed Comments: cc: locsokei@cats.ucsc.edu Hello All, Robin Tremblay-McGaw and I have gotten some inquiries as to whether men are "eligible" to participate in the class & poetics forum which we are hosting/editing for HOW2. The answer is "yes"! (Any and all genders are allowed in our tree house.) I've also gotten some interesting backchannel email from "non-academics" who believe that they can't participate because they have "nothing" to say. Believe me, you have something to say. Your email proves that you have something to say. Here again is the call for responses. Please feel free to contact me with any questions. Kathy Lou Schultz (kathylou@worldnet.att.net) Call for Submissions to HOW2's Forum on Class and Poetics Visit HOW2 at: http://www.departments.bucknell.edu/stadler_center/how2/ index.html Thanks to the efforts of feminist poets, critics, and editors, it is now possible to identify a discourse--both scholarly and creative--of gender and poetics. In the 1980s, journals such as HOW(ever) put the spotlight on these issues, particularly related to innovative or experimental practices and how these intersected with issues of publication, erasure, and canon formation. A decade later, we find ourselves trying to define a vocabulary for addressing complex issues of class in the formation of an innovative poetics. As Kathy Lou Schultz asked in her Tripwire (Issue 1, Fall 1998) essay, "What's a working class poetic, and where could I find one?" How do we make present the _absence_ of class in discussions of gender and the poetics of innovation? Where are the intersections of race in discussions of class? How are these forces fused and CON-fused? How do/can we picture/trace working class issues in formally innovative ways? What do the circumstances of literary production--surrounding writers and the writing produced--have to do with one another? Submissions should be emailed to: robinandkathy@tf.org by July 7th and be no longer than 2 paragraphs. We will select and edit responses. Editors: Kathy Lou Schultz and Robin Tremblay-McGaw ========================================================================= Date: Mon, 14 Jun 1999 18:27:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rebecca wolff Subject: party reminding Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I invited you to our party such a long time ago that I thought I'd better invite you all over again: That's the party for Fence #3 Thursday, the 17th, 8pm 533 Canal Street, #3, New York City (1/9 to Canal, walk towards the Hudson) $5 ========================================================================= Date: Tue, 15 Jun 1999 08:26:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: current list stats In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:26 PM +0400 6/12/99, Maria L. Zavialov wrote: >Hey, there is one from Russia. Put me between Poland and Singapore. >Masha Zavialova, St. Petersburg yeah, chris, i was wondering about that. thanks for speaking up, masha! ========================================================================= Date: Tue, 15 Jun 1999 14:21:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: stats clarification MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >Hey, there is one from Russia. Put me between Poland and Singapore. >Masha Zavialova, St. Petersburg Sorry, Masha, to have neglected Russia. Our stats are generated automatically by the listserv program, which, as one might expect of software from the U.S., is quietly imperialistic; any domain that does not end in a country code [e.g., CA for Canada] is treated by the program as a U.S. territory. cheers, Chris % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Tue, 15 Jun 1999 14:08:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: HoferMR@AOL.COM Subject: Interlope magazine/ Summi Kaipa Comments: cc: skaipa@blue.weeg.uiowa.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello all, Jen Hofer has been kind enough to lend me her email while in this transitory moving period. New contact info for Interlope magazine and me: Summi Kaipa & Interlope P.O. Box 423058 San Francisco, CA 94142-3058 Same email for the time being. ========================================================================= Date: Tue, 15 Jun 1999 15:20:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: A H Bramhall Subject: =?iso-8859-1?Q?sideways_from_K_Magee's_Backchannel_Request?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit no soldier here. I'm listening to Grateful Dead, as it happens. I don't feel nostalgic as I hear it, so I guess it's okay. here is one place: I idolize music. but I have to write. I *infer* this, because I have done so, written, seriously since I was sixteen. I have been published once in that time, when a teacher, Robert Grenier, threw me into This3. mountains of the moon, dark star, etc. is publishing important? stumbling onto this list soon after getting Internet access opened doors to what seems nostalgic just as this old music (1969) could seem so. poetry as a sort of identity. I note a community or communication here, a provoked and provoking insistence to consider? something like that. it's been good. I've been on an island for years, tho I bought what books and mags I could (now can't). time for a swim. the questions were asked, before I could join here: what do you expect to give and what to get? jeez, I sweated them (did you?) but in the end I effectively signed a document saying this is capital P Poetry I'm interested in. you know, some feasibly modern White Goddess um rite or how you will have it. this isn't casual for me and, incompetent tho I may be, it never has been. face it: writing is easy. words are plentiful, the hand-eye thing with pen or keyboard can be mastered, just take some time to do it. boiling the commodity out, the career out, these having always been tripping points for me. Kevin (first name's okay?) used the word 'propaganda', which scares me. I mean the word does, or what I understand the word to carry. not for his politics but for what I bring. I mean that I'd be writing Walt Whitman crap, dilating to beat the band, if I didn't watch it, and I'm not all that enamoured of ole Walt to begin with. I'm speaking here because. well, the energy of the opportunity commits me? or I wanted Kevin (real Kevin, imagined one) to know that I'm across the street, scratching my head, maybe, but waving also. I say the same to everyone. I've felt some useful irritations. I don't want to argue, just once in a while pin something on the wall. yes, and confront these strange juxtapositions. Poetry doesn't need me, but I guess I need to need it. interesting, isn't it? that's what I 'm saying. AHB ========================================================================= Date: Tue, 15 Jun 1999 16:29:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Welcome Message MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Welcome to the Poetics List & The Electronic Poetry Center ..sponsored by The Poetics Program, Department of English, College of Arts & Science, the State University of New York, Buffalo /// Postal Address: Poetics Program, 438 Clemens Hall, SUNY Buffalo, NY 14260 Poetics List Moderator: Christopher W. Alexander Please address all inquiries to . Electronic Poetry Center: =3D Contents =3D 1. About the Poetics List 2. Subscriptions 3. Submissions 4. Cautions 5. Digest Option 6. Temporarily turning off Poetics mail 7. "No Review" Policy 8. The Electronic Poetry Center (EPC) 9. Poetics Archives at EPC 10. Publishers & Editors Read This! ___________________________________________________________ Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List The Poetics List was founded by Charles Bernstein in late 1993 with the epigraph above. Now in its second incarnation, the list carries over 600 subscribers, though all of these subscribers do not necessarily receive messages at any given time. A number of other people read the Poetics List via our web archives at the Electronic Poetry Center (see section 9 below). Please note that this is a private list and information about the list should not be posted to other lists or directories of lists. The idea is to keep the list to those with specific rather than general interests, and also to keep the scale of the list relatively small and the volume manageable. The Poetics List is a =3Dfully moderated=3D list. Due to the increasing number of subscribers, we are no longer able to maintain the open format with which the list began. All submissions are reviewed by the moderator in keeping with the goals of the list, as articulated in this Welcome Message. We remain committed to this editorial function as a defining element of the Poetics List. Our aim is to support, inform, and extend those directions in poetry that are committed to innovations, renovations, and investigations of form and/or/as content, to the questioning of received forms and styles, and to the creation of the otherwise unimagined, untried, unexpected, improbable, and impossible. For further information on posting to the list, see section 5 below. Publishers and series co-ordinators, see also section 10. In addition to being archived at the EPC, some posts to Poetics (especially reviews, obituary notices, announcements, etc.) may also become part of specific EPC subject areas. Brief reviews of poetry events and publications are always welcome. See section 7 for details. We recognize that other lists may sponsor other possibilities for exchange in this still-new medium. We request that those participating in this forum keep in mind the specialized and focussed nature of this project. For subscription information or to contact the editors, write to . ------------------- 2. Subscriptions Subscriptions to the Poetics List are free of charge, but formal registration is required. We ask that when you subscribe you provide your real name, street address, email address, and telephone number. All posts to the list must provide your full real name, as registered. If there is any discrepancy between your full name as it appears in the "from" line of the message header, please sign your post at the bottom. To subscribe to the Poetics List, please contact the editors at . Your message should include all of the required information. Please allow several days for your new or re-subscription to take effect. PLEASE NOTE: All subscription-related information and correspondence remains absolutely confidential. To unsubscribe, send this one-line message, with no "subject" line to : unsub poetics *If you are having difficulty unsubscribing, please note: sometimes your e-mail address may be changed slightly by your system administrator. If this happens you will not be able to send messages to Poetics or to unsubscribe, although you will continue to receive mail from the Poetics List. To avoid this problem, unsub using your old address, then return to your new address and send this one-line message, with no "subject" line to : sub poetics Phil Spillway Remember to replace "Phil Spillway" with your own name. If you find that it is not possible to unsub using your old address, please contact the editors at for assistance. *Eudora users: if your email address has been changed, you may still be able to unsubscribe without assistance. Go to the "Tools" menu in Eudora, select "Options" and then select setup for "Sending Mail": you may be able to temporarily substitute your old address here to send the unsub message. The most frequent problem with subscriptions is bounced messages. If your system is often down or if you have a low disk quota, Poetics messages may get bounced. Please try avoid having messages from the list returned to us. If the problem is low disk quota, you may wish to request an increased quota from your system administrator. (University subscribers may wish to argue that this subscription is part of your scholarly communication!) You might also consider obtaining a commercial account. In general, if a Poetics message is bounced from your account, your subscription to Poetics will be temporarily suspended. If this happens, simply re-subscribe to the list (once your account problem has been resolved!) by sending this one-line message, with no "subject" line to : sub poetics Phil Spillway Remember to replace "Phil Spillway" with your own name. All questions about subscriptions, whether about an individual subscription or subscription policy, should be addressed to the list's administrative address . Please note that it may take up to ten days, or more, for us to reply to messages. ------------------- 3. Submissions The Poetics List is a =3Dfully moderated=3D list. All submissions are reviewed by the editors in keeping with the goals of the list as articulated in this Welcome Message (see section 1). Please note that while this list is primarily concerned with poetics, messages relating to politics and political news or activism will also be considered. Feel free to query if you are uncertain as to whether a message is appropriate. All correspondence with the editors regarding submissions to the list remains confidential and should be directed to us at . We encourage subscribers to post information on publications and reading series that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Also welcome are other sorts of news, e.g., event reports, obituaries, and reading lists (annotated or not). Queries may be posted to the list when deemed appropriate; we request that the posting subscriber assemble "highlights" from respondents' posts to be published to the list. Solicited submissions (by subscribers or non-subscribers) may also appear on Poetics from time to time. The editors reserve the right to contact any subscriber regarding possible submissions. Posts to the Poetics List should abide by the rules of "Fair Use" when quoting material for which the posting subscriber does not hold copyright. Please do not post to the list personal or "backchannel" correspondence, or other unpublished material, without the express permission of the author! If you want someone to send out information to the list as a whole, or supply information missing from an post, or thank someone for posting something you requested, please send the request or comment directly to that individual, and not to the list editors. Send messages to the list directly to the list address: Please do not send messages intended for posting to the list to our administrative address . When sending to the list, please send only "plain text". Note, however, there is no problem with sending clickable URLs in HTML format. Please do not send attachments or include extremely long documents in a post, since this may make it difficult for those who get the list via "digest" or who cannot decode attached or specially formatted files. The use of "styled" text or HTML formatting in the body of email posts to the list appears not to be compatible with the the list's automatic digest program; as a result such messages disrupt the format of the Digest, even though this coding is readable for some subscribers who do not use the digest option. Like all machines, the listserver will sometimes be down: if you feel your message has been delayed or lost, *please wait at least one day to see if it shows up*, then check the archive to be sure the message is not posted there; if you still feel there is a problem, you may wish to contact the editors at . As an outside maximum, we will accept for publication to Poetics no more than 5 messages a day from any one subscriber; in general, we expect subscribers to keep their post to less than 10-15 posts per month. Our goal is a manageable list (manageable both for moderators and subscribers) of twenty or fewer messages per day. For further information or to contact the editors, please write to . ------------------- 4. Cautions It may take up to a week or more to respond to your questions or to subscription requests or to handle any other editorial business or any nonautomated aspect of list maintenance. Please do not publish list correspondence without the express permission of the author! Copyright for all material posted on Poetics remains with the author; material from this list and its archive may not be reproduced without the author's permission, beyond the standard rights accorded by "fair use". "Flame" messages will not be tolerated on the Poetics List. In this category are included messages gratuitously attacking fellow listees, also messages designed to "waste bandwidth" or cause the list to reach its daily limit. These messages are considered offensive and detrimental to list discussion. Please do not bother submitting such messages to the editor. Offending subscribers will receive only one warning message. Repeat offenders will be removed from the list immediately. Please do not put this policy to test! ------------------- 5. Digest Option The Listserve program gives you the option to receive all the posted Poetics message each day as a single message. If you would prefer to receive ONE message each day, which would include all messages posted to the list for that day, you can use the digest option. Send this one-line message, with no "subject" line to : set poetics digest You can switch back to individual messages by sending this message: set poetics mail NOTE!! Send these messages to "listserv" not to Poetics or as a reply to this Welcome Message!! ------------------- 6. Temporarily turning off Poetics mail Do not leave your Poetics subscription "active" if you are going to be away for any extended period of time! Your account may become flooded and you may lose not only Poetics messages but other important mail. You can temporarily turn off your Poetics subscription by sending this one-line message, with no "subject" line, to : set poetics nomail You may re-activate your poetics subscription by sending this one-line message, with no "subject" line, to the same address: set poetics mail When you return you can check or download missed postings from the Poetics archive. (See section 8 below.) ------------------- 7. "No Review" policy For the safety and security of list subscribers, the "review" function of the Poetics List has been de-activated. Non-posting subscribers' email addresses will remain confidential. Please do not ask the list editors to give out subscriber addresses or other personal information. ------------------- 8. What is the Electronic Poetry Center? The World Wide Web-based Electronic Poetry Center is located at . Our mission is to serve as a hypertextual gateway to the extraordinary range of activity in formally innovative writing in the United States and around the world. The Center provides access to the burgeoning electronic resources in new poetries including RIF/T and many other electronic poetry journals, the POETICS List archives, an AUTHOR library of electronic poetic texts and bibliographies, and direct connections to numerous related electronic RESOURCES. The Center also provides information about contemporary print little magazines and SMALL PRESSES engaged in poetry and poetics. And we have an extensive collection of soundfiles of poets reading their work, as well as the archive of LINEbreak, the radio interview series. The EPC is directed by Loss Peque=F1o Glazier. ------------------- 9. Poetics Archives at the EPC Go to the Electronic Poetry Center and select the "Poetics" link from the opening screen. Follow the links to Poetics Archives. Or set your browser to go directly to . You may browse the Poetics List archives by month and year or search them for specific information. Your interface will allow you to print or download any of these files. ------------------- 10. Publishers & Editors Read This! PUBLISHERS & EDITORS: The Electronic Poetry Center listings of poetry and poetics information is open and available to you. We are trying to make access to printed publications as easy as possible for our users and ENCOURAGE you to participate! Send a list of your press/publications to , with the words EPC Press Listing in the subject line. You may also send materials on disk. (Write file name, word processing program, and Mac or PC on disk.) Send an e-mail message to the address above to obtain a mailing address to which to send your disk. Though files marked up with html are our goal, ascii files are perfectly acceptable. If your word processor will save files in Rich Text Format (.rtf) this is also highly desirable. Send us extended information on new publications (including any back cover copy and sample poems) as well as complete catalogs or backlists (including excerpts from reviews, sample poems, etc.). Be sure to include full information for ordering--including prices and addresses and phone numbers both of the press and any distributors. You might also want to send short announcements of new publications directly to the Poetics List as subscribers do not always (or ever) check the EPC; in your message please include full information for ordering. If you have a fuller listing at EPC, you might also mention that in any Poetics posts. Some announcements circulated through Poetics and the EPC have received a noticeable responses; it may be an effective way to promote your publication and we are glad to facilitate information about interesting publications. ------------------- END OF POETICS LIST WELCOME MSG ========================================================================= Date: Fri, 18 Jun 1999 10:02:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: poetics delay . . . MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit as a result of dialup problems (on my end, this time) now resolved. Chris ========================================================================= Date: Tue, 15 Jun 1999 18:14:28 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: weaving Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Widowing Sound of Leaves Don't question her numbers because biology treats code as essential, without code not yet understanding awareness. A pulp science and x surrounds x in parentheses. The plus and minus of the arrangement of closet hangers, as they corral the clothing into clumps and entangled assemblages, is edible. And hunger keeps us warm. Count this thread, a maze of developments, cotton in its own accepting computation, engaged in the unfolding line of protein or silicon and protein. A prosthesis following one plus x cubed. The equal sign of the one slipping billboard panel, peeling down to reveal the colors of past advertisements, cannot be consumed. And immediately poisons the panel. Don't calculate her total when the human essence is a function of possession, and the function preexists the heart's ownership, locating cognition in disparate parts. A Neuromancer generating a series: zero, zero, one, zero. The brackets contain the names written in a fogged shower door, or scratched in soap on the bathtub's vinyl curve, just before the water overrules. And rules never taste the same. Ask for models of subjectivity or prevent the multiple ironies from being taken seriously. A prediction renamed as zero to the third power plus one. The division maintains the widowing sound of leaves when a bike's wheels cross from cement to grass paths, steering more from resistance than direction. And friction devours. Don't answer her questions about the desire of intelligence to reach steady states, about the rapid entanglement of material displaced by thought or emotion and thought, about a fixed center. An inscription where n equals seven, when one follows n. The burst of errors caused by science experimenting with ink, and the way pens leak away through evaporation, colors moving from a metal ball to paper or air. And paper digests itself. React is a code, lines generating additional reactions, encoded or decoded with coefficients and polynomials, used in the interface between bodies and the textual world, or only used. An image pneumonia for a sequence: one over zero, one over zero, seven over one over zero, one. The pattern exists in bathroom tile, industrial for its own safety, attractive when covered with unclear liquids, attractive because our eyes need sharp angles to focus, and patterns to remind us of breathing. But designs will consume the handsome. Don't regard her problems as a flight simulator utilizing feed-back loops, interconnecting the relevant boundaries of simulation and circuitry, the random borders of surrogacy and affection. A coupling system and a digit string in x and the burst of x plus n. The transmission needs rain in warm weather, migrating puddles of grass and asphalt and sand, moving not at the rate of wind, but the rate of swing sets instead. And water is erosion is water. Estimate pulling a rabbit from a larger system, the potentially infinite regress of empathy and how close the body sidesteps desire, how close are magic and the observer. A recollection raised by a factor of three degree vectors. The primitive screen, wire mesh framed by metals slats, holding vision in the small spaces between angles, separating the image of backyards into disconnected sections: the root of all worlds. And the source of all code. Don't solve her equations with hyphenated creatures, essentially human, colonized by numbers and the division of domination and ambiguity. A pulp science and x contain zero, one, zero in no certain order. The plus and minus of watching a bouncing plastic ball move from the hand to sidewalk, its rebounds swayed by cracks, watching its spinning colors stop at the equal sign. And be swallowed. Invent a reflexivity, a spin on the encoded assumption, an intuitive leap from protein to cognition to digital systems, blundered by organic order. A privileged value dependent on the sum of one and x in parentheses squared. The birth of missing objects begins in the tangles of branches, or in the jumbled cord where a paperclip holds dust close to the cables, where leaving in two directions leaves intentions behind. And purpose close to paper. Don't make her into her. She is the snow crash. Hers is a devolving inscription. The prosthesis of equations. A guarantee for the flickering lights. Jason Nelson _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Wed, 16 Jun 1999 00:45:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: New @ Bridge Street, Benjamin Sel Writings, Boundary 2, Howe, Mayer &&& MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit THIS is a VERY good list of books. Thanks poetics for your support. Ordering & discount information at the end of the list. 1. _Selected Writings Volume 2: 1927 - 1934_, Walter Benjamin, Harvard, $37.50. An 850 page selection including many previously untranslated writings on figures such as Brecht, Valery, and Gide, and on subjects ranging from film, radio, and the novel to memory, kitsch, and the theory of language. 2. _Angelus Novus: Perspectives on Walter Benjamin, Critical Inquiry Winter 1999_, ed WJT Mitchell, $10. Winifried Menninghaus, Stanley Cavell, Shoshana Feldman, Rosalind E. Kraus, Fredric Jameson, Horst Bredekamp, Miriam Bratu Hansen, Geoffrey Hartman, & Gershom Sholem. 3. _Roaring Spring_, Steve Benson, Zasterle, $8. "a series of suns / explodes across / the play room" 4. _Boundary 2 Spring 1999: 99 Poets/1999: An International Poetics Symposium_, a special issue edited by Charles Bernstein, $12. Contributors include Adonis, Alferi, Aygi, Billitteri, Blaser, Brito, Brossard, Cobbing, Creeley, Curnow, Doris, Dragomoschenko, Edwards, Healy, Hejinian, Iskreko, Leggott, McCaffery, Mayrocker, Messerli, Mullen,O'Sullivan, Raworth, Robertson, Tejada, Waldrop, &&&. 5. _Integrity & Dramatic Life_, Anselm Berrigan, Edge, $10. "The whole time I lived in Buffalo / No one ever said lovely curious or extraordinary." 6. _Disarming Matter_, Edmund Berrigan, Owl Press, $12.50. "Mistakes are okay, but no one knows the differences as they are exact." 7. _Boggs: A Comedy of Values_, Lawrence Weschler, U Chicago, $22. What Boggs likes to do is draw money-- instead of selling his money drawings outright to interested collectors, Boggs looks for merchants who will accept his drawings in lieu of cash payment for their wares or services as part of elaborately choreagraphed transactions, complete with receipts and change-- an artistic practice that regularly lands him in trouble with treasury police around the globe. 8. _ConVERSations with Nathaniel Mackey_, Kamau Brathwaite, We Press & XCP, $20. 9. _Facture_, Miles Champion, The Figures, $8. "Water & wine to form an oblong cut-off / Or baffle at social what's / That is, in Hegalian terms, the scarf cigar" 10. _The Garden, A Thopahny or Eccohome A Dialectical Lyric_, Martin Corless-Smith, Spectacular Books, $6. "Know, whoever asks my name / that I am Line and go" 11. _Crayon 2_, ed Andrew Levy & Bob Harrison, $10. Special feature on Russell Atkins intro Julie Patton, Norman Fischer, Marianne Shaneen, Chad Faries, Jean Day, Steven Farmer, Brian Kim Stefans, Loss Glazier, Diane Ward, Fanny Howe, Melissa Ragona, Roberto Tejada, Tim Davis, Stephanie Barber, Rodrigo Toscano, Susan Gervitz, Hung Q. Tu, Susan Schultz, Leslie Scalapino, Steve Evans, Steve Dickinson, & Liz Waldner. 12. _Algebraic Melody_, Benjamin Friedlander, Zasterle, $7.50. "Amber hazards / Will / Commend the dreary / Whippoorwill" 13. _Jumping the Line_, Ted Greenwald, Roof, $12.95. "But why / Fell like telling / Lots of flame" 14. _The Forgetting of Air in Martin Heidegger_, Luce Irigiray, U Texas, $17.95. "No project, here. Merely this refusal to refuse oneself to what is perceived. Whatever distress or destitution might come of it." 15. _Pamela: A Novel_, Pamela Lu, Atelos, $12.95. "His self-similarity suggested the presence of a phenomenology absorbed in mysterious, microscopic processes of macroscopic scale, so that we were inclined to react to him as if to a natural event, and he was inclined to react to himself as a discovery waiting to happen." 16. _Pierce-Arrow_, Susan Howe, New Directions, $14.95. "four sides of double-octavo / sheet black-border notepaper / Never yours--Most sincerely / From the confines of poetry" 17. _Midwinter Day_, Bernadette Mayer, New Directions, $12.95. Back in print! "All said is dented love's saluted image / In the ending morning, nothing said is mean, / Perhaps it's too long, I'm only learning/ Along with love's warning/ To invent a song" 18. _Vext_, A.L. Nielsen, Sink, $10. "Strong simple sentences in which / Everything is recorded" 19. _Rhizome 3_, ed. Standard Schaefer & Evan Calbi, $10. Grinnell, Spatola, Bosquet, Martinez, Le Brun, Nepote, DiPalma, McVay, Roquette-Pinto, Phillips, Stroffolino, Ross, Albon, Lenero, Ronk, Dib, Guthrie, Hoover, Wagner, Ballerini, Bennett, Monnier, Hale, Grossman, Pagliarini, Britton, Swensen, Bruno, Osman, Goycolea, Lucas, K. Waldrop, Caples, Hofer, Vangelisti, Crosson, plus essays/reviews. 20. _Some Thing Black_, Jacques Roubaud, trans Rosmarie Waldrop, Dalkey Archive, $12.50. "Being quiet is no longer important at all." 21. _Protective Immediacy_, Rod Smith, Roof, $9.95. "the lurid shine interprets the signatures, keys, sharps & / half-lit lonely weirdos of nature" 22. _Stealer's Wheel_, Chris Stroffolino, Hard Press, $12.95. "even to recount it is to count on it as a kind of crutch / that's kindling for the fire of the present that is the community / in which an atom is always split / in order for some me to get to some you." 23. _Partisans_, Rodrigo Toscano, O Books, $10. "Oh that we could reel it in / just long enough / to alter / its operation . . ." 24. _Politics of the Very Worst_, Paul Virilio, Semiotext(e), $8. "From now on, you have to choose your belief: either you believe in technoscience, in which case you're a supporter of technical fundamentalism -- or you believe in the god of transcendence. Claiming to be an atheist is an illusion." 25. _Nouns Swarm A Verb_, Chris Vitiello, Xurban Books, $10. "Two governments fall in love with each others laws. All islands are discovered to be laws on fire." 26. _Overtime: Selected Poems_, Philip Whalen, intro Leslie Scalapino, Penguin, $16.95. "Some day I guess I'll never learn." Some Recent Bestsellers: _Girls on the Run_, John Ashbery, FSG, $20. _Polyverse_, Lee Ann Brown, Sun & Moon, $11.95. _My Way: Speeches and Poems_, Charles Bernstein, $18. _Sight_, Lyn Hejinian & Leslie Scalapino, Edge, $12. _Faith_, Katherine Lederer, Idiom, $6. _Meadow_, Tom Raworth, Post-Appollo, $7. _New Time_, Leslie Scalapino, Wesleyan, $11.95. _New & Selected Poems_, Charles North, $12.95 _Daybook of a Virtual Poet_, Robert Creeley, $12. _Tales of Murasaki & Other Poems_, Martine Bellen, $10.95. _True_, Rae Armantrout, $12.95 Poetics folks receive free shipping on orders of more than $20. Free shipping + 10% discount on orders of more than $30. There are two ways to order. 1. E-mail your order to aerialedge@aol.com with your address & we will bill you with the books. or 2. via credit card-- you may call us at 202 965 5200 or e-mail aerialedge@aol.com w/ yr add, order, & card # & we will send a receipt with the books. We must charge shipping for orders out of the US. Bridge Street Books, 2814 Pennsylvania Ave NW, Washington, DC 20007. ========================================================================= Date: Thu, 17 Jun 1999 09:22:51 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: The First Annual Transcontinental Poetry Contest Comments: To: sub , poetry , brit MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit The First Annual Transcontinental Poetry Contest by Pavement Saw Press Each year Pavement Saw Press will seek to publish at least one book of poetry and/or prose poems from manuscripts received during this competition. Selection is made anonymously through a competition that is open to anyone who has not previously published a volume of poetry or prose. The author receives $1000 and a percentage of the press run. The judge of the competition is Bin Ramke. All poems must be original, all prose must be original, fiction or translations are not acceptable. Writers who have had volumes of 40 pages or under printed or printed in limited editions of no more than 500 copies are eligible. Submissions are accepted from June 1 until August 15 . Entries must meet these requirements: 1. The manuscript should be at least 48 pages and no more than 64 pages in length. 2. A cover letter which includes a brief biography, the book's title, your name, address, and telephone number, your signature, and, if you have e-mail, your e-mail address. It should also include a list of acknowledgments for the book. 3. The manuscript should be bound with a single clip and begin with a title page including the book's title, your name, address, and telephone number, and, if you have e-mail, your e-mail address. Submissions to the contest are judged anonymously. 4. The second page should have only the title of the manuscript. There are to be no acknowledgments or mention of the author's name from this page forward. 5. A table of contents should follow the second title page. 6. The manuscript should be paginated, beginning with the first page of poetry. 7. There should be no more than one poem on each page. The manuscript can contain pieces that are longer than one page. Your manuscript should be accompanied by a check in the amount of $15.00 made payable to Pavement Saw Press. All US contributors to the contest will receive at least one book provided a self addressed 9 by 12 envelope with $3.20 postage is provided. Add appropriate postage for other countries. For acknowledgment of the manuscripts arrival, please include a stamped, self-addressed postcard. For notification of results, enclose a SASE business size envelope. A decision will be reached in September. Book(s) will be published before January 31st, 2000. Do not send the only copy of your work. All manuscripts will be recycled, and individual comments on the manuscripts cannot be made. Manuscripts and correspondence should be sent to Pavement Saw Press The First Annual Transcontinental Poetry Contest PO Box 6291 Columbus OH 43206 ========================================================================= Date: Thu, 17 Jun 1999 09:31:07 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: E-mail's needed MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit If the following folks could backchannel me, or if any have e-mail for these people please backchannel. Bob Bertholf Ken Irby Sylvester Pollet Steve Clay Sandra Braman Judith Vollmer Gerrit Lansing Sharon Doubiago Mary de Rachewiltz Be well David Baratier ========================================================================= Date: Wed, 16 Jun 1999 09:35:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maz881@AOL.COM Subject: Re: sideways_from_K_Magee's_Backchannel_Request MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit dear A.H. please define island. B.L. << I've been on an island for years >> ========================================================================= Date: Wed, 16 Jun 1999 10:44:04 -0400 Reply-To: levitsk@ibm.net Sender: UB Poetics discussion group From: R Democracy Subject: Re: urgent! Cheap sublet with kitties! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hey list folk! I am looking for a serious cat lover to live from July 2 through August 2 in my sunny sweet, two room Prospect Heights apartment, across from the Brooklyn Museum, Botanical Gardens, Central Library, Prospect Park. Yes that's it, I live on Eastern Parkway, The Champs Elysees de Nueva York! It is subsidized for the most eager kittie lover. Trust me it's a deal. Back channel--Rachel Democracy. ========================================================================= Date: Wed, 16 Jun 1999 09:00:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Perihelion MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I would like to apologise to this list for the _Perihelion_ posts. I am writing this short e-mail to let you know that 1) Perihelion is not open to unsolicited submissions and 2) I am no longer soliciting poetry submissions on its behalf. I am sending separate messages to those of you who had generously responded to my call with work. Poems may remain under consideration by the editor-in-chief, Rebecca Seiferle, or may be rejected separately. Well, it was a learning experience. Regards, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Wed, 16 Jun 1999 15:49:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ganick Subject: special offer to Poetics listmembers Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Potes & Poets Press has re-issued five long out-of print L=A=N=G=U=A=G=E poetry classics in chapbook form. They were originally published in 1981-2 as the first pub- lications by the Press. They will become available through SPD in about three weeks at $8.00 each, but to listmembers, all 5, fourth-class postage paid, are $30. Check payable to 'Potes & Poets Press.' TITLES: Ex-Communicate, Bruce Andrews disfrutes, Charles Bernstein A Geology, Clark Coolidge B A R T, Ron Silliman Nijole's House, Hannah Weiner send check in US funds to: Potes & Poets Press 181 Edgemont Avenue Elmwood CT 06110-1005 ========================================================================= Date: Wed, 16 Jun 1999 15:55:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ganick Subject: POTEPOETZINE / POETPOETTEXT Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" These ezines continue in their current manifestation which is to publish experimental and radical texts online only. Subscriptions are free and may be obtained by send any sort of email to: potepoet@home.com Currently, the TEXT series is publishing email collaborations and would certainly be interested in finding other interesting online documents [in ascii-only format] to publish, whether collaborative or individualistic. Also, the ZINE series is always open to writers who wish to send 2 or 3 shorter poems, or one semi-long poem. These ezines are published by Potes & Poets Press. The Press also has published A.BACUS since 1984, eight times a year. Look for an important announcement regarding that print-journal on this list soon. ========================================================================= Date: Wed, 16 Jun 1999 14:40:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Lynne Tillman and Joel Kuszai Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Oh hello, 2 part msg pls-- --Part A-- I'd like to re-announce that Double Lucy's latest chapbook, a novella, LOVE SENTENCE by Lynne Tillman, is available now for $6, a lovely shade of red, and a cover photo by James Welling. Checks to Me, miss moi, that is, E. Treadwell. We also have copies of a second printing of OUTLET (3) Ornament still available, with work by Franklin Bruno MTC Cronin Malcolm de Chazal (translated by Irving Weiss) MK Francisco Rosemary Griggs Brenda Iijima Johanna Isaacson Jason Lynn Laura Moriarty Yedda Morrison Jason Nelson Elizabeth Robinson Carol Treadwell Harriet Zinnes + REVIEWS & checks still to me. (!) (Excerpts from both pubs, and previous pubs, now appearing on our website) ***** --Part B-- & PS: Also-- seeking Joel Kuszai, who seems on vacation from the work email I have for him?.... Thanks, Elizabeth Treadwell Outlet Magazine -&- Double Lucy Books P.O. Box 9013, Berkeley, California 94709 U.S.A. http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 16 Jun 1999 18:17:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: TONGUE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII '\' TONGUE "Make clear my tongue, my Salvation, And open Thou my mouth." (Unknown Serbian poet, 13th century, from Predrag R. Dragic Kijuk, Med- iaeval and Renassance Serbian Poetry.) The Lord Jesus is healing and helping people. Would you let me heal you. Would you let me pray for you. This one just came up, suffering from extreme depression and anxiety, couldn't even leave the house, I want to administer to every person, the demon wouldn't let her leave the house. We're going to pray some more. This job is extra increase. I'm hearing 5 or 8 hundred extra dollars per month. Thank you Lord. Thank you Jesus. Get in agreement with this word of knowledge. When I pray in a moment I'm going to administer in this area of a job. Any incurable disease? Don't just sit there. I'm going to pray in the area of incurable disease. Don't just sit there. Quit sitting there. Let me minister to you. Do something. Oh yes. There's that job again. There's another person that needs a better job. There's one on the streets right now looking for a better job. Just received news that the current cancer tests are negative. Halleluja. We're conquering in the name of Jesus. There's a Deuteronomy 9 that says we're going to cross into all that we have for us. I'm going to conquer it for you so that when you enter in you can subdue it and enter quickly. We're taking from the hands of the Devil what belongs to us. He was persistent. I want it. It's mine. Wake up that new home. Wake up that new job. I'm speaking the home. I'm speaking the word home. I'm speaking the job. I'm speaking the word job. I'm speaking the word. I'm speaking the Word. I'm speaking the Word Word. I'm speaking the Word Word Word. I'm speaking the Word Word Word W W. I'm speaking the W. I'm speaking the W W W. I'm speak- ing W W W. I'm W W W. I'm W W W W W. I'm W W W W W W W W W. I'm W W W W W W W W W W W W W W W. I'm W W W W W W W W W W W W W W W W W W W W W W W W. NIKUKO WILL HEAL ANYONE. NIKUKO RIDES A WHITE HORSE. THE WHITE HORSE IS NOT A HORSE. NIKUKO RIDES EXISTENCE, STARVES IT TO DEATH. EXISTENCE DIES AND WORDS TURN TO THE SOUND OF THE WIND AND THE WIND DIES TOO. __________________________________________________________________________ ========================================================================= Date: Fri, 18 Jun 1999 10:12:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Hello sweet muse... / krupoetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit had to reformat this. Chris ----- From: "krupoetry" Date: Thu, 17 Jun 1999 02:34:11 -0400 You are cordially invited... to click on my face if I blink at you... please...* *go to http://www.geocities.com/Paris/Jardin/7364/ ========================================================================= Date: Fri, 18 Jun 1999 10:13:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: format caveat MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit It seems appropriate to remind everyone that the list cannot "digest" messages that contain Hypertext Markup Language (HTML) tags. Subscribers who are using Microsoft Outlook, Netscape Communicator and the like should alter their "Preferences" or "Options" (depends on the program) to send messages in Text-Only format. thanks, Chris ========================================================================= Date: Tue, 15 Jun 1999 20:55:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jen hofer Subject: query & note Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" in attempting to shift my virtual life to a new system--note new e-mail address above--i lost all the e-mails sent to me in the past day or two. if anyone here knows how to contact alan prohm, please backchannel. thanks, jen. ========================================================================= Date: Fri, 18 Jun 1999 10:39:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Fire and Terrible Work / jesse glass MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable this message came to the administrative account. Chris ----- From: "jesse glass" Date: 6/18/99, 12:41 PM -0700 Apologies to all for cross-posting! A Brief Notice of Two Excellent Publications Fire #8 is now available from Jeremy Hilton at Field Cottage/ Old White Hill/ Tackley/ Kidlington/ Oxfordshire OX5 3AB/England. A bargain at 4 pounds (or U.S. $8.00), 7 pounds for a three issue subscription, and weighing it at a generous 160 pages, Fire presents large selections from the work of contemporary British, American, Australian, = and New Zealand poets. This issue includes outstanding performances from Paula Green, Bill Griffiths, Cid Corman, E. Webb, Coral Hull, and 47 other = writers with such intriguing names as Dee Rimbaud and Zenobia Venner. The = wonderful thing about Fire is that the possibility of discovering fine work lurks behind every page. Hilton provides space enough for each writer so that = one can truly get a feel for his or her voice. Though the latest issue of Terrible Work (#8) has been out for almost a year, it still deserves a mention because of its superior content and the range and depth of its reviews. Terrible Work gives a great over-view of = the current Brit. Poetry "alternative" scene. It also presents fine helpings from Jasmine Maddock, W.D. Herbert, Allen Fisher, Geraldine Monk, Jeremy Hilton, Tina Darragh, Andrew Duncan, Michael Basinski, Spencer Selby, and other knowns, unknowns, and soon-to-be-knowns, or perhaps never-to-be-knowns. Add to that 30 single-spaced pages of intelligent reviews, and a page or two of pointed commentary from editor Tim Allen (including a "critical cover")=96and you have yourself a great object of contemplation. Available from the editor at 21 Overton Gardens/ Mannamead/ Plymouth/ PL3 5BX/ England at 3 pounds 50 per issue, or 9 pounds for three issue a subscription, or U.S. equivalents. From your correspondent (who appears in both of the above) in the land of the Rising (risen by now) Sun. Jesse Glass ========================================================================= Date: Thu, 17 Jun 1999 21:17:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" For anyone who might be interested, I have written a Word 97 for Windows macro that automates one of Jackson Mac Low's diastic text-selection procedures. After several fruitless searches for the original DIASTEXT, and the realization that I could get paid for spending a day at work quietly writing poetry software...well, you can see where that's going. The template in which the macro is contained also has another macro for building concordances. Feed it a Word or text file and it will spit out a word count, count of the number of words minus repetitions (i.e., the lexicon of the document), and count of the number of instances of each word. This one runs a bit more slowly than the diasticator: a 2,000 word text took it close to three minutes. That's still orders of magnitude faster than I could have done it with paper and pencil, but I'd recommend planning a coffee break if you feed it anything longer than a page or two. My apologies to Mac users on the list (myself included: I only have the PC at work) for not translating and testing the macro on that platform. That's complicated by my having only an older version of Word on my Mac, which would have necessitated translating from VBA to Word Basic. Maybe one day I'll get around to coding the whole thing for Mac, and for older versions of Word (or as a stand-alone C++ app, thus getting around the proprietary software problem) -- but don't hold your breath. I'm less inclined to spend a day at home doing this on my own time. (Which is some kind of perverse work ethic, to be sure). About the only update I'm planning right now is a line-finder for the concordance macro, so you'll get not only a count of occurrences for each word, but a line number identifying where each one is. Anyhow, the file is available for download from my FTP directory: ftp://ftp.mindspring.com/users/cartograffiti/macros/FreqCount.dot. I also recommend you read the documentation, saved as a text file in the same directory: ftp://ftp.mindspring.com/users/cartograffiti/macros/about.txt. And a final word of warning: as Word macros are a popular vector for DOS-based viruses, I strongly recommend running a virus scan on the file when you download it. The most recent updates of McAfee VirusScan and Norton certified it virus-free when I uploaded it, but since my directory isn't password-protected, you should consider it a (very slight) risk. Alright, then, sorry to have taken up so much space on something sure to be of interest to only a very small handful of people. I hope someone finds some use or amusement in it. Best, Taylor ========================================================================= Date: Thu, 17 Jun 1999 22:15:57 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Saturday in San Francisco I will be reading this Saturday, June 19, at the Attic Club in San Francisco in celebration of the publication of my new chapbook, Genealogy, from a+bend press. My co- reader is Katherine Spelling. Copies of my first book, Re dress, (San Francisco State University, 1994) winner of the Michael Rubin Award, as well as my literary magazine, Lipstick Eleven, will also be available. Admission to the reading is free. Kathy Lou Schultz and Katherine Spelling Saturday, June 19, 5:00 p.m. The Attic Club, 3336 24th Street (between Mission and Valencia) ========================================================================= Date: Fri, 18 Jun 1999 00:39:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hannah J Sassaman Subject: C R O S S C O N N E C T V O L U M E 4 I S S U E 3 Comments: To: hub@dept.english.upenn.edu Comments: cc: deifer@isc.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit the staff of C R O S S C O N N E C T http://ccat.sas.upenn.edu/xconnect would like to present our long-awaited S P R I N G / S U M M E R I S S U E featuring NEW work by * VICTOR HERNANDEZ CRUZ * * RAY DIPALMA * * MICHAEL MCGEE * * ROBERT PALMER * * JOSHUA MCKINNEY * * DANIEL MELTZ * * BEN MILLER * * HALVARD JOHNSON * * RONALD DONN * and others available N O W at http://www.ccat.sas.upenn.edu/xconnect please C O N T A C T us at xconnect@ccat.sas.upenn.edu ***************************************************************************** Hannah Jane Sassaman hannahjs@sas.upenn.edu Theatre Arts Major at the University of Pennsylvania Class of 2001 Poetry Editor, CrossConnect Magazine http://ccat.sas.upenn.edu/xconnect Talk not of wasted affection; affection never was wasted. -- Henry Wadsworth Longfellow ========================================================================= Date: Fri, 18 Jun 1999 13:17:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Eleanor Antin Exhibit MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Anyone visiting or living within vicinity of Los Angeles, the LA County Museum's Eleanor Antin retrospective is a knockout resurrection of her conceptual, video, performance and installation works. A great imaginative, zany mind at work having fun exploring real stuff. If you ever wondered, for example (as I have) if Cindy Sherman's work had a mother, she's here in spades. A big kudoo to Howard Fox, the curator, who pulled it together. By the way, give yourself plenty of time for a choice of many videos, several of which are a riot. If you can't get to the show, the catalog is good, full of evidence, etc. And, by the way, it's still easy to go shopping practically across the street at Sun and Moon's treasure full bookstore. Cheers, Stephen Vincent ========================================================================= Date: Fri, 18 Jun 1999 13:49:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick @Silverplume" Subject: Naropa Summer Readings MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Thursday, 6/17/99 JARNOT, BROWN & MAYER @ NAROPA This week marked the beginning of the Naropa Writing & Poetics Summer Writing Program's 25th anniversary. O star-studded. O gala. O unseasonable rain & damp. O all the stops pulled out. I won't be covering each & every reading as I've done the past two summers. Instead, I thought I'd offer reports of selected evenings. This way I can play more golf, which is almost as important as poetry. Lisa Jarnot began the evening by remarking, "This is an interesting situation. I've never given a reading with Bernadette sitting behind me." And indeed, Bernadette Mayer was sitting downstage of her, in partial shadow and for reasons we may never know. Lisa read from new material, some of which will appear in the forthcoming Ring of Fire this fall. I've written about Lisa's readings at Naropa before, so won't try (too much) to re-cover that ground. What struck me in this new work of hers, though, was the use of that much-neglected trope, the apostrophe. Whatever happened to the apostrophe? It was back last night, and better than ever. "O life force of supernalness!" began one such apostrophic poem. The key to the effectiveness of Jarnot's use of apostrophe is contained right there, I think, in that single line. Call it a "having your cake and eating it, too" poetics, if you must, but the antique diction and slightly bent syntax of this exclamation enables her to invoke and undercut simultaneously. Genuine earnestness and ironic distance are made to co-exist on the same playing field. It's a risky gambit -- and quite delicious. Jonathan Culler has written a very good esssay on the uses of apostrophe. For now I'll just say that the apostrophic seems a particular way of laying-claim-to -- a means for inscribing a bold and yet intimate self-presencing. Poems read by Jarnot included a hockey poem dedicated to her brother ("and you hold your icy wrists up to the icy sky") (Go, Sabres?); the heartbreakingly lovely "Brooklyn Anchorage" ("and in my plan to become myself I became someone else"); "Poem Beginning With a Line by Frank Lima;" "Ode;" a terrific poem about Jane & Anselm Hollo's lawn furniture and the blue hair of wildebeests that is made from stars, from ice; and the haunting "Psalm After Philip Lamantia." What else is there to say? Only that in her work Lisa Jarnot employs a sly humor and a sinuous music to affirm, via the extravagance of excessive signifying, the fundamental joy of being alive and being alive _in_ language, of being a creature of language, plunged in the ongoing dream of language, that is a blindness and an epiphany, an endless pronouncing and its apophatic self-erasure. ********************* Dear Lee Ann Brown: Weren't we friends in another life? I don't know. The Ways of the Lords of Karma are mysterious, the bribes impossibly high. You have cool sunglasses -- that much, at least, I know to be true. What you did was possibly foolhardy -- starting your reading with a singalong of Helen Adams's "I Love My Love." (Steven Taylor on guitar). But it was fun, even though I croaked along in a barely sustainable baritone. Your voice was strong. It was a pleasure to hear that macabre ballad so entuned. You read from Polyverse and I forgot to write down the lines and I forgot to buy the book before I started writing up this report. There was a poem called "Present Beau for Robin Blaser." It's a form invented by Harry Matthews, whom, you announced with regret, has decided to rename it to "Beautiful Inlaw." I agree -- that's not as good. Either way, this form uses only the letters of a person's name. Hence: "Rare, rare lobelia rails/robed & born." And this form, invented by Jack Collom, who may have given it a name: "Here we sit but where is our food?" And you sang "Shady Grove" - a sheer delight. And a distinctive Southern lilt re-entered your voice when you came to the phrase, "Blue Ridge beer." You read a poem for your grandmother, Agnes Wylie, 1902-1999, and for once it wasn't an elegy to a grandparent laden with false sugars. In this poem you used a wonderful word -- "infloresence" -- and that, it seems to me, is an apt description of your own method: a kind of continual blooming: an exfoliation along the finite lines of a fractal pattern: fragments of petals containing the whole flower: and containing the whole history of the flower: and of its species: and the corresponding history of its infoliation, along the lines where a stress may fall/flow: and a tracing of the sutures of dynamic invention: it's an odd sort of prayer you are making without really praying. And dear Lee Ann Brown, that's such a good kind of poem to be making. I bet you could walk down the street all day and say "Yes" to every single thing you see until you say "No," and that would be even better than "Yes." Your very truly, P. ****************** Of Bernadette Mayer I will try to tell if I can. Bernadette Mayer is a character. Quite possibly the Original Character. At the very least, she is in the Original Characters' Hall of Fame. Maybe, to borrow a phrase from Jack Collom and Michael Friedman, she is the Sixth Man off the bench of Original Characters. Anne Waldman, in her virtuoso introduction, said: "writing was waiting for her to arrive," and who could deny the truth of that I'd like to know? The second thing Bernadette Mayer said was: "If I alarm you, don't be horrified." I forget what the first thing was. She began her set by reading, "Your Penis Is Homeless," a firebreathing invective against somebody, god help him whoever he is, that was equal parts Juvenalian insult and the best taunts of your superior 3rd-grader (it's hard to tell the difference when they take their hats off). One of the milder examples: "your nostrils resemble the assholes of cops." Then came a collaboration with Brad Hill, a very tall young poet with an enormous backpack. They collaborated to make sure that Brad could attend the reading. Next: "These are dreams, so I'll skip those." And then a series of delightful epigrams: "There is no one at the bird feeder today. It's raining cats & dogs." __ Yom Kippur "I'm dead. Thank god it's not emotional here. Ecstasy, that's another matter." __ "Okay, here come the real poems" (This "threat" was repeated several times, only to be followed by more epigrams). But then a "real" poem did come along. It was a long poem about sleep. Or rather, about the anxiety produced by sleeplessness. About trying to woo & coerce sleep. About "the artless lambency of a famous night's sleep." Can't sleep? Try the capitalist method: " I have ownership of sleep. Sleep is mine." (This worked instantly the first time she tried it)! After the sleep poem Bernadette Mayer read a poem during a single hour from August 1992. Essentially, then, a meditation on the category of The Hour -- one to out-Augustine Augustine. A poem, then, about the endless dilations and contractions of "an hour." More fractal geometry at work here. The island is finite -- its shoreline is not. And a graph of the mind moving, ceaselessly moving, moving in Bernadette-time, which is post-Einsteinian free-for-all time. Which is "I go to the star and come back and dance on your still youthful head time." Of the subdivisions of time there is no end, no, nor any end to thinking about them until your hour is up. My hour is up. Thank you, Sister Bernadette. Patrick Pritchett ========================================================================= Date: Fri, 18 Jun 1999 15:32:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: A H Bramhall Subject: French Village Life MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit *structure of speech* attempting to come to terms with structure and its integrity: how wishful. the frailty of thinking this way sadly persists. little feeling remains within the flower, as of now. as always, words lack fire. unless misspoken, bringing anxiety and calling for a drum. there is a time inside each word then a curving, broadening out into a universe. or tone poem. or an excuse to make more excuses. *this is not a bridge* this bridge is a point of land that overlooks the sea. the simple facts come in thru the wall of experience. door of experience in the wall of perception. the time thing includes a hazy map. somewhere your position becomes important. it might actually be a way to survive with light. the rhythm, now, comes a-calling. *road map* the i-love-you crowd digs around the edges until an island is formed. there's nothing like a perfection of solitude, where the sounded sounds of kisses slurp with the hiss of the waves. your expression of doubt, gayety or harsh anti-cynicism can create a spell. let's not tell the magistrate. *a hurdy gurdy* never knowing where one is, the sounds come from all around. a mysterious launching exists in the works. the stars, well, of course, they will always be close. that's the point of music, really. the mystic sense of a hurdy gurdy is envy. oh yes, time thrilled by the meaning of music, hah, that's why writers type fast, or scribble illegibly. that's why the strings are scraped in just that fashion, caterwaul and all. the theory is simple, and really quite accurate, so far as it goes. *French timepiece* think how a language can include roses, stories, terror, maps, particulars of doubt and much more. a kiss is just a kiss, or so you are almost ready to believe. but are words on lips? on ne sais (as they say) jamais. France, it is known, has a time of its own. back to medieval out of the apple seed. oranges are foreign and strange. this falls over a cliff, never really quite accurate. *special auction* speech in a town called French Lover in Flowers. a dalliance sporting the usual tremours and musical notes. force of the light slipping boundaries and passing the enclosures. if indeed rivalry can be spoken of, longing as a spiritual intention, and running a moment of insistence. you can run too, you can run to. that's the speech that lives in the speech of the town called French Lover in Flowers. a slipper kicked high in the sky gathers the eye. the glow is exquisite, don't tell the magistrate. ========================================================================= Date: Fri, 18 Jun 1999 16:13:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Job listing Comments: To: engrad-l@maroon.tc.umn.edu, writers-l@maroon.tc.umn.edu In-Reply-To: <11658A9F54F9CF11870D006097677B9A6521BE@mail.seattleartmuseum.org> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 3:32 PM -0500 6/18/99, Ramona Santti wrote: >The Seattle Art Museum is seeking qualified applicants for the following >position: > >Teacher Resource Center Coordinator: SAM is seeking a self-motivated person >to coordinate activities, materials, publicity and volunteers for the >Teacher Resource Center, a small lending library for educators. This >position will include training, supervising, and scheduling interns and >volunteers, recommending materials and providing training for online >materials to teachers. S/he will be responsible for database, simple >computer repairs, and the coordination of maintenance of computers. > Requires: accurate typing, basic computer skills and database skills. >Library, art education, or museum experience preferred. Must be >professional, and have excellent written and oral communication skills. >Please mail or fax required application (Call receptionist for appl: (206) >625-8900), cover letter, and resume to: Recruiting, SAM, P.O. Box 22000, >Seattle, WA 98122-9700, fax: (206) 654-3135 > >Ramona ========================================================================= Date: Sat, 19 Jun 1999 02:22:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Poster inspired by AH Bramhall MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "just once in a while pin something on the wall" Can the word "propoganda" ever exist in an open-ended question? Is it a even a word? For anyone sensitive to philosophy, the love of truth, looking for truth, questioning truth-statements, doesn't propoganda preclude doubt, including self-doubt, insisting on a language that speaks the truth? The slogan on a newspaper I read and have even sold at a few plant gates says "The _______ tells the truth." It doesn't always. Sometimes there are mistakes. Most of the correspondents work in industry. Sometimes they slant the coverage. The editors try to correct obvious errors and overstatements. No, there were not thousands cheering Fidel in South Africa, etc. "A"-1: "Foreheads wrinkled with injunctions: / 'The Pennsylvania miners are again on the lockout, / We must send relief to the wives and children-- / What's your next editorial about, Carat, / We need propaganda, the thing's / becoming a mass movement." This evolves into "A"-8's verbatim Lenin: "Learn, learn, learn! / Act, act, act! / Be prepared, well and completely prepared / To make use, with all our forces, / Of the next revolutionary wave. / That is our job." Maybe the ugliest lines in all of "A"? Cement truck-like. And then of course the famous silence turning inward with "A"-11. "A"-8, 1935-37. In March 1937 a Joint Commission of Inquiry was formed that would soon go by the name of The Dewey Commission, named after its chairman, John Dewey, "America's leading philosopher and educationist" according to Issac Deutscher. (Well, along with Charles Pierce). "He put aside work on a treatise 'Logic: the Theory of Inquiry.'" The Moscow Trials. The counter-trial. The cross-examination of Leon Trotsky née Lev Bronstein. I don't know all of Zukofsky's correspondence, and wonder if he ever mentioned any awareness of the Dewey Commission to anyone, or was his imagination of Marxism so influenced by the university schoolroom and classmates who started out left in the 30s and wound up right in the 50s that it earned him a footnote in a scholarly study by Alan Wald on the subject of political amnesia, a book which has nothing to do with poetry or poetics. Does propoganda have anything to do with poetry or poetics? Maybe that new book by Benjamin posted on the Bridge St. flyer has an answer, I don't know. WB is torn over the question of joining the KPD while in Moscow the winter of 26/27. A sensitive philosopher turning to face the fear of propaganda work, which is part of political work. While in Moscow he submits an article on Goethe for the Soviet encyclopedia and Radek criticizes it for how many times "class struggle" is mentioned. What a falling off there was. There's a photograph from some ten years earlier, a whistle stop, the sealed train in transit, Lenin is talking to the town mayor welcoming them, Inessa Armand is directly behind in conversation with Radek, and Zinoviev is bringing up the rear holding the hand of a small child. Has this photograph been doctored by my memory (I'm not looking at it, the book it's in.) Am I substituting Radek for Bukharin? Where is Krupskaya? Perhaps propaganda is the Howl to philosophy's Owl, the old interpret the world or change the world, maybe it's even lurking somewhere in the shadows of Whitman's conjoining of "art and argument"--but that's a thought for another poster. Like the question of the relation between teacher and student and the making of poetry. Like the question Why publish? and Pessoa's solution, which scares me. There's a word in Russian for writing for the desk drawer--I heard someone from Russia talk about it in Hoboken. I don't remember what the word was. What kind of world could produce such a word. I heard Betsy Stone say in Pittsburgh about a year ago, a woman who looks a lot like and whose voice even sounds a little like Susan Howe, "Just for the fun of it I started counting. Seventeen languages spoken on my shift." There are people like her doing work in the trade unions, and she wouldn't flinch at the phrase "propoganda work" or "propoganda party." To militants like her I think it means simply getting out your ideas, getting into discussions, not imposing your ideas, not dominating --especially anyone who's starting to think aloud for the first time. The kind of thing that happens at an open mic. Kevin ========================================================================= Date: Sat, 19 Jun 1999 09:19:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katie Degentesh Subject: Paul LaFarge Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hear Paul LaFarge read from his first novel, The Artist of the Missing (Farrar, Straus & Giroux), in three Bay Area appearances: Monday, June 21 @ 7:00 pm Booksmith 1644 Haight Street (near Cole) Tuesday, June 22 @ 8:00 pm Intersection for the Arts 446 Valencia Street (& 16th) Monday, July 5 @ 7:00 pm Black Oak Books Berkeley, CA "A poised and playful homage to the storytelling impulse... explores the sort of shifting dreamscapes we encounter in Fellini, Borges and Lewis Carroll." (New York Newsday) "In The Artist of the Missing, San Francisco writer Paul LaFarge has built a city for love stories, a place as dimly remembered as a midnight telephone call, as broken and luminous as abandoned streets seenthrough a whiskey tumbler." (San Francisco Magazine) Find the Artist of the Missing on the Web at http://www.paraffin.org/artist/ 9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9 9X9 INDUSTRIES http://www.paraffin.org/nine/ nine@paraffin.org 9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9x9 ========================================================================= Date: Sat, 19 Jun 1999 12:11:05 -0700 Reply-To: robintm@tf.org Sender: UB Poetics discussion group From: Robin Tremblay-McGaw Organization: Trauma Foundation Subject: email addresses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear All-- If anyone has an email or other address for the following folks, please let me know. Back channel robintm@tf.org Karen Mac Cormack Tina Darragh Thanks, Robin ========================================================================= Date: Sat, 19 Jun 1999 23:39:15 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Maria L. Zavialov" Organization: IREX/IATP MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Transfer-Encoding: 7bit A question to New Yorkers: what's the stairway of the lions in 42nd Street (Toni Morrison mentions it in Jazz)? If anyone could - or knows a person who wouldn't mind to - consult me on some (very few) things in that novel please backchannel. Would be VERY grateful and mention you in my last will (that is, acknowledgement in the Russian edition) Masha ( Zavialov@iatp44.spb.org) ========================================================================= Date: Sun, 20 Jun 1999 09:21:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Lost Email Address (CHAX) & Apt for Rent MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Charles Alexander, I've lost your email address, would you get in touch? Also: I'm moving back to the great Southwest, which leaves my small two bedroom apartment (situated 40 miles south of San Francisco) for rent. Quiet neighborhood and lovely neighbors. 990.00 Anyone interested, email. Karen ========================================================================= Date: Mon, 21 Jun 1999 13:07:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: VEC / jesse glass MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable this came to the administrative account. Chris -- From: "jesse glass" Date: 6/20/99 10:49 AM -0700 Apologies For Cross-Posting Rod Summers/VEC You might have caught his sound poetry performances on CNN=92s "Art Place" = a few weeks back. Rod Summers has been actively involved in the = international sound poetry, concrete poetry, mail and book art scenes since the early 1970s. His press/studio VEC maintains an impressive list of his and = others=92 publications, audio works, and collaborations. Contact him for news of the latest VEC ventures and price list. Rod Summers / VEC Florynruwe 52C 6218 CE Maastricht The Netherlands rodvec@hvision.nl ========================================================================= Date: Mon, 21 Jun 1999 13:11:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: East Timor forward / Joe Brennan MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit had to reformat this message. Chris -- From: JBCM2@aol.com Date: Mon, 21 Jun 1999 11:29:02 EDT f.y.i. To: amnesty-writersartists@oil.ca From: ailists@oil.ca Subject: East Timor: High level of human rights abuses threaten ballot Date: Mon, 21 Jun 1999 16:02:57 +0100 * News Release Issued by the International Secretariat of Amnesty International * East Timor: High level of human rights abuses threaten ballot 21 June 1999 With just seven weeks to go before the UN conducts a ballot on East Timor's future, an atmosphere of fear and insecurity persists in the disputed territory, Amnesty International delegates returning from a research visit said today at the launch of a major report. "Serious human rights abuses are continuing and are undermining the East Timorese people's ability to exercise their rights, despite promises made by Indonesia to provide security for the East Timorese people," Amnesty International said. "If people do not feel safe, they will not be able to participate freely in the ballot." "Responsibility for these abuses lies squarely with the newly-formed civilian militias in East Timor, and with those who have assisted and protected them, namely the Indonesian military forces, and to a lesser extent the Indonesian police." The UN consultation process is the result of a tripartite agreement between Indonesia, Portugal and the UN signed on 5 May 1999. On 8 August 1999 the East Timorese will be able decide whether to accept or reject a proposal for autonomy with Indonesia. Amnesty International's report -- based on a May 1999 visit to Indonesia and East Timor -- documents a well-organised campaign to threaten and intimidate the population into supporting autonomy and to disrupt pro-independence groups participation in the ballot process. Pro-independence activists, students and civil servants are the main targets of this campaign with hundreds being arbitrarily arrested, {tortured} and ill-treated, "{disappeared}" or killed by civilian militias, operating with the support and at times direct involvement of the Indonesian security forces. The current level of violence, ongoing human rights violations and forced relocation of some communities is impacting on all East Timorese, and has led to thousands of people fleeing their homes. {Human rights defenders} and humanitarian workers have been threatened and some have gone into hiding. Both domestic and international {journalists} have also been threatened and beaten in an attempt to prevent them from reporting on militia attacks. The Indonesian security forces are supporting and at times directly involved in militia attacks and pro-integrationist campaigns, despite Indonesian commitments under the Agreements to provide security to all East Timorese people and guarantee the neutrality of the security forces. Little, if any, action is being taken to prevent militia attacks, and hold those responsible to account for recent violations. Instead, the Indonesian authorities have recently recruited members of one of the most notorious militias into a civilian defence unit. "If the Agreements are to have any chance of success, Indonesia must abide by its commitment to protect all East Timorese, to ensure the neutrality of the security forces and start arresting and bringing to justice those responsible for violations," said Amnesty International. The international community must call on the Indonesian authorities to fulfil the promises they made under the agreement and let the East Timorese people determine their future freely and without intimidation. In view of widespread human rights violations by the militias and the links between militia and Indonesian army activities, Amnesty International is urging all governments to conduct an immediate review of all their military and defence links with Indonesia to ensure that such links are not contributing to human rights violations. The East Timorese National Liberation Army, Falintil, has also been responsible for recent human rights abuses. "The independence leadership must take steps to ensure that Falintil acts in accordance with minimum international humanitarian standards. Their commitment to human rights protection within this process is vital." "The UN ballot offers the chance to end 23 years of violence in East Timor," Amnesty International said. "If the popular consultation is not perceived to be fair by all parties involved, and the high level of human rights violations persists, the credibility of the whole process is undermined." **************************************************************** You may repost this message onto other sources provided the main text is not altered in any way and both the header crediting Amnesty International and this footer remain intact. Only the list subscription message may be removed. **************************************************************** To subscribe to amnesty-writersartists, send a message to with "subscribe amnesty-writersartists" in the message body. To unsubscribe, send a message to with "unsubscribe amnesty-writersartists" in the message body. If you have problem signing off, contact ========================================================================= Date: Mon, 21 Jun 1999 12:31:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: A H Bramhall Subject: For The Sake Of Variety MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit this sort of thing happens all the time. it establishes a texture within the drama, that is to say: one cares. people invent chords, or invest them, then something exciting occurs, quite a meaningful act, if you can revel in responding. the tribe lingers in the languour of the nearby forest. a town waits to sprout up, you see. it will be there that folks will gather, to hear which song will ruin their lives. a home run can't be explained, but it illustrates something, as if any illustration could prepare us for what follows. there's trouble yonder. just something desperately pronounced: which faction won the right to fret the verbs. our nation of nouns has been scheming for ages, let's hear real news. people can get ready for anything. they back their stiff assertions with perfect sales pitches and drama drama drama. DON'T BE USELESS. call home. mother will appreciate the change in your demeanour, as if you finally understood that scale of torture again. we have rats living where the trouble begins. you'll need to speak quietly but firmly since something must be done. if anyone listens, that is. if they do, let them have it. Part 2, Area C the melting point grows more familiar as time shreds the concepts. an emissary from one of those places wants to restore the usual thing to the favourite processual hitching post. a chummy bipartisan cost-affection will strike the fiercest nodes with downy softness and tired prison movies. success will be hinted at with only the biggest gongs. that spattering you hear will be an assumption bursting inside the cave. don't go in alone. Part 3, Section 3, Salient 2 structure is a part-time celebration of where the hell are my socks? forget dogma and catalogue, we've got program to uphold. down to earth with ya. Part 4, Section 4, Route 1, Fortune 500, Red Sox 3 that genetic thing went out with every other candle. not a blessed thing holds us together. if you start moaning now you'll have to speak to Robert Johnson personally. and it won't be easy. nobody wants to keep unwanted class action suits on the docket unless there can be unitary pleas vis-à-vis that's my towel, this is your shoelace, and all tonsils are roughly the same. chuck these petites choux in the drier with the rest of the lot because it's time to speak English, good old English such as was given me by whoever it was. English, the tongue of tongues and a mole to get at Tyre. everyone please: be as nice as guesswork will allow you. this skate rink belongs to one and all. ========================================================================= Date: Mon, 21 Jun 1999 13:11:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: VEC erratum / jesse glass MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From: "jesse glass" Date: 6/20/99 3:47 PM -0700 Read "Art Club" for "Art Place". ========================================================================= Date: Mon, 21 Jun 1999 11:54:52 -0400 Reply-To: cstein@stationhill.org Sender: UB Poetics discussion group From: Chuck Stein Organization: Station Hill Press Subject: ainu dreams posting MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Station Hill Press / Barrytown, Ltd. would like to announce the publication of: _Ainu Dreams: Poems: George Quasha; Dreams: Chie [buun] Hasegawa_ 6x9, 144 pages PB $13.95, ISBN 1-58177-053-7 13 ink drawings by George Quasha Published by Barrytown, Ltd. Distributed by Consortium Book Sales & Distribution Website: www.stationhill.org SPECIAL OFFER TO MEMBERS OF POETICS LIST: 30 % discount: Call 888-758-0610 and mention that you are a member of the Poetics List. In _Ainu Dreams,_ poet George Quasha and buun (Chie Hasegawa), a Japanese artist living in America, collaborate in poetically manifesting the artist’s richly articulated dream-life. These eighty-odd poems embody an ever-opening cosmos of curious image, surprising narrative, and enigmatic "teaching" in a language no one could have dreamed up alone. Structurally intriguing in their own right, the poems unfold the inner secrets of the dreams themselves, yet do so in a language that is always direct, readable, and often "addressed" to a second person (the poet? the reader?) in a manner so startling that even reading itself seems to be dreaming! The book includes "Oneiropoeia: Telling Tales on Dreaming," the poet's prose reflection on the poetics of dreaming and collaboration. _Ainu Dreams_ is the momentous merge you get when someone rich in dreams meets an oneiropoet at the edge of dawn—a sudden lovely flooding of the perceptive field. The poems are radiant. It’s so rare to get words arriving still attached to their generative image. Requires a listener/catcher so carefully attuned as to be also one foot in the same space. Quasha’s description of his soft perch at the edge of the dream (entrained to the dreamer’s dream) is as amazing as these dream-pieces that emerge from the mouth of buun. A sort of miracle infusion of vitality in the field of dream-speak, blessedly free of interpretation. And the drawings! and the front and end pieces—the book comes at it from so many fluid angles it lifts & floats you in its burbling current.—Nor Hall The oneiropoeia of _Ainu Dreams_, involving a remarkable process of collaboration, transcription, and transformation, has generated these affectionate, quirky, and questioning pages. Fables retrieved from the borders of consciousness, dialogues with the finite and what lies beyond. What a wild idea, what fun (see e.g. "Meaningless Chili")!—Anselm Hollo There is a world of difference between the dream that is dreamed and the dream that is told. And maybe that difference is precisely the world we live in, the compromised latitudes between private dream and public telling. _Ainu Dreams_ is an exciting book because it asks Who is dreaming? Who listens when who is telling? Negotiating issues of identity and absence, Quasha and Hasegawa weave and unweave subtle patterns of narrative—a story is not just what can be told, but also what can be distorted, transformed, forgotten. They teach us to read with our eyes closed, and hear images as if we were, as we are, dreaming. _Ainu Dreams_ is also a timely book, because it marks the first publication in many years by the important American poet whose long poem, _Somapoetics_, was a vital ingredient in the shaping of recent poetics.—Robert Kelly ========================================================================= Date: Mon, 21 Jun 1999 14:40:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: C R O S S C O N N E C T V O L U M E 4 I S S U E 3 In-Reply-To: <199906180439.AAA28316@mail1.sas.upenn.edu> from "Hannah J Sassaman" at Jun 18, 99 00:39:55 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit According to Hannah J Sassaman: > > > C R O S S C O N N E C T > http://ccat.sas.upenn.edu/xconnect > > S P R I N G / S U M M E R I S S U E > > featuring NEW work by > > * MICHAEL MCGEE * Despite the typo, that's li'l old me, and (shameless self-promotion) xconnect was nice enough to make me the "featured writer" in the issue, which means extra poems and my picture on the contents page. Have a looksee! -m(ichael magee). ========================================================================= Date: Tue, 22 Jun 1999 01:27:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Virtual Languor MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII == Virtual Languor ..."I had forgotten, almost, how thrilling fountains can be. An amazing spectacle. Earlier today, my family went to the Rio to see a traveling art exhibit called the treasures of Russia. In the exhibition, there were some watercolors of the fountains at the Palaces at Peterhof, and they took my breath away. Alright, alright, perhaps that was a bit cliche, but they were captivating. It made me think of my visit to Versailles, the exhibi- tion, that is. Speaking of France, my window also looks out upon the as- of-yet uncompleted Paris Hotel. I am staring at a half-finished Eiffel To- wer and a pint-sized Arc de Triumphe and it is very amusing. I would that that everyone would love Vegas just for its sense of humor. And right now I am looking at the boulevard before the hotel which is lined with lighted trees whose rustling leaves make the white lights twinkle and a skyline that is all purple and teal, and I am completely charmed and I just wanted to share that with you. I could have written you about how I started to doubt my own reality Tuesday night, but writing about warm winter nights is so much nicer now. I love you, Jennifer" __________________________________________________________________________ ========================================================================= Date: Mon, 21 Jun 1999 23:09:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: Beyond the Page Comments: To: rgiraldez@hotmail.com, boureeiv@aol.com, patterso@rohan.sdsu, mcauliffe@prodigy.net, Joe Ross , bmohr@ucsd.edu, globo@ucsd.edu, djmorrow@ucsd.edu, ctfarmr@aol.com, dmatlin@mail.sdsu.edu, falconline@usa.net, rgiraldex@hotmail.com, junction@earthlink.net, jrothenb@ucsd.edu, raea100900@aol.com, scope@ucsd.edu, jgranger@ucsd.edu, rdavidson@ucsd.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" BEYOND THE PAGE continues its monthly series of literary and arts events with the following reading/performance: What: Rick Burkhardt, Noah de Lissavoy, and Hung Q. Tu read from and/or perform their work. Where: Faultline Theater, 3152 5th Avenue (at Spruce), San Diego. When: Sunday, June 27, 4PM. Etc: $3-5 donation requested. Beer, wine, and refreshments available. ************************* * RICK BURKHARDT is a composer, playwright, and poet whose original chamber music and plays have been performed throughout the US and in German-speaking Europe. His poems have been published in _Mirage: A Periodical_. He co-founded the School for Designing Society and Utopia Train, a multimedia performance troupe in which he acted, directed, sang, and played the accordian. He is one half of "the Prince Myshkind," who will be releasing a CD of original folk songs this year. Currently he studies composition with Chaya Czernowyn at UCSD. * NOH de LISSAVOY is a poet currently living in Los Angeles. His chapbook, _Spark_, can be found on Talisman Press. * HUNG Q. TU was born in Vietnam and raised in San Diego. His first book, _A Great Ravine_, was published in the Parenthesis Writing Series, and a second book, _Versimilitude_, is forthcoming from Atelos Press. Recent work can be found in such journals as _Poetics Journal_ and _Crayon_. He is co-editor of Krupskaya. ********************* BTP is proud to continue its monthly series of arts-related events with this reading/performance. BTP is an independent literary and arts group dedicated to the promotion of experimental and explorative work in contemporary arts. For more information, call: (619) 273-1338, (619) 298-8761; e-mail: jjross@cts.com, scope@ucsd.edu. ========================================================================= Date: Mon, 21 Jun 1999 14:25:05 -0400 Reply-To: Ana Doina Sender: UB Poetics discussion group From: Ana Doina Subject: Re: 42nd st. lions Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Transfer-Encoding: 7bit I'm not familiar with Toni Morrison/Jazz but could he be talking about the NY Public Library? It is on 42nd , and it has stairs and lions all right. best, Ana Doina > A question to New Yorkers: > what's the stairway of the lions in 42nd Street (Toni Morrison mentions > it > in Jazz)? > If anyone could - or knows a person who wouldn't mind to - consult me on > some (very few) things in that novel please backchannel. Would be VERY > grateful and mention you in my last will (that is, acknowledgement in the > Russian edition) > Masha ( Zavialov@iatp44.spb.org) ========================================================================= Date: Mon, 21 Jun 1999 16:02:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" MIME-Version: 1.0 Content-Type: text/plain masha, i presume the steps with the lions are those at the fifth avenue entrance of the new york public library bldg in manhattan. burt > -----Original Message----- > From: Maria L. Zavialov [SMTP:zavialov@IATP44.SPB.ORG] > Sent: Saturday, June 19, 1999 3:39 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: > > A question to New Yorkers: > what's the stairway of the lions in 42nd Street (Toni Morrison mentions > it > in Jazz)? > If anyone could - or knows a person who wouldn't mind to - consult me on > some (very few) things in that novel please backchannel. Would be VERY > grateful and mention you in my last will (that is, acknowledgement in the > Russian edition) > Masha ( Zavialov@iatp44.spb.org) ========================================================================= Date: Tue, 22 Jun 1999 01:34:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jessica Pompeii Subject: quandry MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit QUESTION? I want to get a loan to put me through a great school. I live in Santa Monica and I hate driving, but I might hate idiot teachers more. I suppose I could move but my rent is cheap. I want to write. And study.. Any suggestions? These days no nunneries. Recommendations? I have no credentials. I went to Cal-Arts, but mom wouldn't pay. I went to Loyola but mom wouldn't pay. I went to Santa Monica City College, so mom didn't have to pay. I was accepted into UCLA but the thought of large classes, i.e.. parking was too much. I facilitate a poetry workshop at Beyond Baroque, but it doesn't pay for me to sit around and study and write. Mom says I should become a stock broker/consultant to old ladies whose husbands have died. Actually cousin Mickey made the suggestion to her. (She lives in Wisconsin, and wears a Mickey Mouse applique on her over coat.) Because mom reminds me women live longer then men. I can see the advertising already. Are you an old stupid hag who can't handle your money because you are a women and your husband is dead? Help!! Serious replies appreciated!! -Jessica ========================================================================= Date: Tue, 22 Jun 1999 10:16:51 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travmar03 Subject: Fw: Last Reading of The Year Comments: To: lungfull@interport.net, John Coletti , Ammiel Alcalay , American Poetry Review , amorris1@swarthmore.edu, ampoupard , Andre Codrescu , avraham@sas.upenn.edu, banchang@sas.upenn.edu, Barbara Cole , Brett Evans , Buck Downs , Chris McCreary , Chris Stroffolino , Cindy Burstein , dburnham@sas.upenn.edu, Don Riggs , gbiglier@nimbus.ocis.temple.edu, Heather Fuller , Heather Starr , ianjewell@netscape.net, Janine Hayes , jon8stark@aol.com, Justin , Kerry Sherin , Kevin Varrone , Kristen Gallagher , Kyle Conner , lkoutimhot@aol.com, Margit , Michael Magee , Molly B Russakoff , Nawi Avila , Philadelphiawriters@dept.english.upenn.edu, Poetry Project , potepoet@home.com, Ron Silliman , Sub Po Etics , swalker@dept.english.upenn.edu, swineburne@yahoo.com, T Sinioukov , TDevaney@brooklyn.cuny.edu, tf@morningred.com, vhanson@netbox.com, Writers House , xentrica@earthlink.net Jay Brooks, author of The Cult of Boy, and Janine Hayes, author of Pink Slip, Highwire Gallery 139 North 2nd Street, btw. Arch and Race Streets Philadelphia BYOB 8 P.M. Please come to celebrate the end of our first year. We'll have champagne and The Highwire Yearbook to inebriate you. Send this out to others you know who would be interested in attending. Thanks, Kyle and Greg ========================================================================= Date: Tue, 22 Jun 1999 13:21:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Poetry New York 11 MIME-Version: 1.0 Content-Type: text/plain The new (& supersize!) issue of POETRY NEW YORK: A JOURNAL OF POETRY AND TRANSLATION has just arrived from the printers and will be at a bookstore or magazine kiosk near you SOON! Contributors include: Karen Alkalay-Gut Kenneth Bernard Star Black Charles Borkhuis Daniel Bouchard Jackie Brookner Mary Burns Garrett Caples Norma Cole Cid Corman Traian T. Cosovei Robert Creeley Gilles Cyr Tony D'Arpino Sharon Dolin Mark DuCharme Stephen Ellis Thomas Fink Edward Foster Carol F. Frith Heather Fuller Ian Ganassi Peggy Garrison David Golumbia Michael Heller John High Anselm Hollo Phil Jenks Halvard Johnson Jack Kimball Amy King Phyllis Koestenbaum Dean Kostos Frank Lennon Lynn E. Levin Susan Levin James Liddy Paul Long Sabra Loomis Carol Wade Lundberg Daniel Nester Valerie Oisteanu Gordon T. Osing Ben Passikoff Anne Portugal Kristin Prevallet Anna Rabinowitz Corinne Robins Peter Russell Standard Schaefer Lorraine Schein Roger Sedarat Lee Sharkey Harvey Shapiro Timothy Shea Reginald Shepherd Eleni Sikelianos Ann Snodgrass Adam J. Sorkin Peter Spiro Elizabeth Stoessl Ryuchi Tamura Kyamil Tangalychev Madeline Tiger Lawrence Upton Jean-Pierre Vallotton Anne Waldman Keith Waldrop Lewis Warsh Henry Weinfield Laura Wright Further queries? Contact PNY's Editor, Tod Thilleman (pny33@hotmail.com) or me, or go to the PNY website (http://members.tripod.com/~PNY_journal/). And, as Faye Kosmidis of Bernhard DeBoer Distributors just told me this morning, and asked me to pass on to you: Please ask your local bookstores to stock literary magazines. She related her experience at the recent CCLM colloquiam on small press distribution, where the Barnes and Noble marketing person bragged about the fact that B&N stocks the "top fifty literary magazines" - so guess which of the fifty are really literary (the others being, e.g., Writer's Digest)? The answer is, there were two actual literary magazines of the fifty, Granta and Glimmer Train. Btw, Borders DOES make an effort to stock real literary mags. Well, that's it for now. Please do take a look at the new PNY; it is really fine, maybe all around the best we've done. Burt Kimmelman (kimmelman@njit.edu) ========================================================================= Date: Tue, 22 Jun 1999 21:51:17 +0000 Reply-To: toddbaron@earthlink.net Sender: UB Poetics discussion group From: Todd Baron /*/ ReMap Readers Organization: Re*Map Subject: Re: quandry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jessica Pompeii wrote: > > QUESTION? > I want to get a loan to put me through a great school. I live in Santa Monica > and I hate driving, but I might hate idiot teachers more. I suppose I could > move but my rent is cheap. I want to write. And study.. Any suggestions? > These days no nunneries. > Recommendations? I have no credentials. I went to Cal-Arts, but mom wouldn't > pay. I went to Loyola but mom wouldn't pay. I went to Santa Monica City > College, so mom didn't have to pay. I was accepted into UCLA but the thought > of large classes, i.e.. parking was too much. I facilitate a poetry workshop > at Beyond Baroque, but it doesn't pay for me to sit around and study and > write. > Mom says I should become a stock broker/consultant to old ladies whose > husbands have died. Actually cousin Mickey made the suggestion to her. (She > lives in Wisconsin, and wears a Mickey Mouse applique on her over coat.) > Because mom reminds me women live longer then men. > I can see the advertising already. Are you an old stupid hag who can't handle > your money because you are a women and your husband is dead? > Help!! Serious replies appreciated!! > -Jessica Dear J: The work's the thing, eh? Study? Read! If you need a degree to become a teacher--do go to UCLA. College is War and so fight battles there. My degree has me teaching--which I love--and though the poetry's the thing--it can't be the bills, too. Ask anyone--the bills are paid by either teaching or some form of it--or something completely dif. Stockbroker is an idea--one--but so is busdriver! So is teaching. Everyone I know teaches--students give so much back--I've taught at the college level and now at the 7th grade level. I perfer the young ones--I would not teach "workshops" tho--What's the point? yrs Todd Baron ReMap Readers ps: a jobs a jobs, eh? Find something you love-- the writing is there, always. ========================================================================= Date: Tue, 22 Jun 1999 14:19:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matthew J Chambers MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hello, i was wondering if anyone could backchannel me john yau's e-mail or snail mail address - much appreciated ========================================================================= Date: Tue, 22 Jun 1999 14:23:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Jennifer Climbs MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ^^^ Jennifer Climbs My New York City is so lovely this time of year, there is real magic in the neon signs high above Times Square. What would it be like to live up there, so near the clouds, beautiful neon colors flashing against your linen curtains (which will do little to keep out the sound of the traffic below). I can only imagine. I wander and see so many large things moving and I wonder what Benjamin Franklin would say if he were wandering with me, all these moving lights like orderly fireflies and no one God the Creator telling them what to do, they way they flash on and off around the bushes back home. It is truly a magical wonderland and I cannot imagine anyone unhappy who could live there in the middle of the lights. Now I will ascend to the lights. Some say other people need other people, but I say, no, the lights are surely sufficient. I rise floor after floor looking in at so many lives, and now I will be in the midst of the lights of Times Square, New York City, USA, and the tubes and transformers are themselves things of beauty, the black metal machinery holding everything together, making the galaxy pulse and glow. Here I will contemplate the white horse which is not a horse and existence which has been stolen, or perhaps never was. For I shall hold existence in my shiny tiny palm, and existence will reflect the whole wide world in its many colors. Shall I hold you, existence? Shall I, shall I? It is a well known fact that if you take the head off a young girl, she is no longer a young girl who can appreciate beautiful things. You have made a thing diminished by subtraction, just so if you take the head off a colt of any color, it no longer roams and whinnies at beautiful sunsets. It is no longer a colt, but a shame, I would say, to see such a young thing dead and all, and it never lived long enough to have a name. A thing is no longer a thing by subtraction, it has lost the rectitude of the name, I will say, but oh, look at the shimmering signs there, text scrolling up and down the buildings, I do see that I shall have to learn to read. Just so, I would say, a thing is no longer a thing by addition, it has lost the rectitude of the name, which depends on just proportion, it has often been said, could I find the source. And just so, a horse is a horse is a horse, no one would dispute that, but a horse plus white or a white- ness is no longer a horse, but a supplement, either a white-horse or be- neath the category of a supplement. For it has betrayed the rectitude of the name, it is no longer of just proportion, and the empire is rendered ill-at-ease. That is why the Ming shih lun, which may be a latter addition, of Kung-Sun Lung states "A thing is a thing and nothing more. This is actuality." And it further states "Actuality exhibits actuality. This actuality is not empty. It has position." And I do say, just as the fireflies do not know their position but fire up in such orderly fashion and beauty and wonder! so do things not know their position, of which language is a fallen Ob- ject. Thus I agree that "Taking it from its position makes it lose its position. Placing it in its position makes it rectified." (Oh, and now Kung-Sun Lung is Gongsun Long, according to the rectification of names!) The position of a horse is a horse! The position of a white horse is not rectified, or to be sure, is not rectified as a horse, and it is not a horse. For it is said by Confucius "Once the meanings of names are recti- fied, they will serve as a standard of conduct." And Kung-Sun Lung says, in this perhaps later addition, "To rectify that which rectifies an act- uality, means the rectification of this actuality and also the rectific- ation of its name." Oh, and Confucius said it's necessary to rectify names! (Oh, and Who is Kung-Sun Lung?! and Who is Gongsun Long?!) Therefore, a white horse is not a horse, for not only is whiteness a supp- lement, but once a white horse is a horse, a dead horse is a horse, a lead horse is a horse, a wed horse is a horse, a fed horse is a horse, and a charley horse is a horse. Oh, such language is a disaster! One tiny fire- fly alone can start a new and lovely pattern, however, so that everything with additions and subtractions becomes a horse, and there is no end to it! (Oh, whatever happened to existence!) And I, Jennifer, say, Oh, it is really lovely that there is no end to it, that rectitude bends according to the Fashion of the Moment, that Things Fall Apart, only to reassemble in new and lustrous Ways! And it is a terrible shame that we do not live forever to see how Now comes out Then in the future, and how future Then comes out, all disheveled, without rectitude, and and and And it is so pretty up here and everyone can see up my long legs! - Jennifer _________________________________________________________________________ ========================================================================= Date: Tue, 22 Jun 1999 15:53:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: quandry In-Reply-To: <63e7206b.24a07a55@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" a lot of schools have extensive financial aid. are u applying to a grad or u-grad program? if grad, if doctoral, most "great" schools will underwrite your sojourn to a large extent, as they are making an investment in the future glory you will bring to their name. what exactly are u asking advice for --names of schools? how to finance your way? this mom thing is annoying; i know plenty of families here in MN who would pay many K for a daughter's wedding but 0 for her education. this is 1999, fer xsake! and you can tell her i said so. At 1:34 AM -0400 6/22/99, Jessica Pompeii wrote: >QUESTION? >I want to get a loan to put me through a great school. I live in Santa Monica >and I hate driving, but I might hate idiot teachers more. I suppose I could >move but my rent is cheap. I want to write. And study.. Any suggestions? >These days no nunneries. >Recommendations? I have no credentials. I went to Cal-Arts, but mom wouldn't >pay. I went to Loyola but mom wouldn't pay. I went to Santa Monica City >College, so mom didn't have to pay. I was accepted into UCLA but the thought >of large classes, i.e.. parking was too much. I facilitate a poetry workshop >at Beyond Baroque, but it doesn't pay for me to sit around and study and >write. >Mom says I should become a stock broker/consultant to old ladies whose >husbands have died. Actually cousin Mickey made the suggestion to her. (She >lives in Wisconsin, and wears a Mickey Mouse applique on her over coat.) >Because mom reminds me women live longer then men. >I can see the advertising already. Are you an old stupid hag who can't handle >your money because you are a women and your husband is dead? >Help!! Serious replies appreciated!! >-Jessica ========================================================================= Date: Tue, 22 Jun 1999 12:44:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: C. Alexander & J. Debrot Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" please b/c thx Elizabeth Outlet Magazine -&- Double Lucy Books P.O. Box 9013, Berkeley, California 94709 U.S.A. http://users.lanminds.com/dblelucy ========================================================================= Date: Tue, 22 Jun 1999 12:12:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katie Degentesh Subject: 9x9 News Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello, listees! To some of you, I'm just a name in your email box, but I still want to let you know that that name will be changing very shortly. I'm taking off for the summer to teach creative writing at a camp in Connecticut; while I'm gone, your 9x9 e-information will be brought to you by Eugene Ostashevsky (ostashev@earthlink.net). Before I go, I want to let you know that there's a campaign party at 26Mix THIS THURSDAY evening at which three 9x9 members will read. More information can be found at the end of this message. To those of you that I DO know: have a great summer! I'll be back at the end of August, and reachable at this very email address throughout. Katie THURSDAY, JUNE 24 AT 26 MIX Matt Gonzalez For District Attorney Campaign Party Poetry Reading by: Tarin Towers The Mysterious Mr. Clam Eugene Ostashevsky Shawn Taylor Music by: DJ Consuelo 26 Mix 3024 Mission @26th St. Thursday, June 24, 1999 5:00 p.m. till closing Readings begin at 8:00 p.m. BIOS MATT GONZALES is a liberal/democrat/progressive candidate for District Attorney. He was educated at Columbia College and Stanford Law School. He has handled hundreds of cases in his career and is highly regarded by his collegues and adversaries alike. Matt Gonzalez has been criticizing the incumbent, Terence Hallinan, for pursuing felony convictions in marijuana matters involving less than one ounce of marijuana; for not filing a single police brutality case in the four years he has been in office; for filing only one owner-move in eviction case since being elected despite the widespread evidence of fraud in these matter;, for not investigating and prosecuting arson fires that are displacing hundreds of low income persons from residential hotels in San Francisco; and for not properly investigating the election fraud associated with the 1997 49er Stadium initiatives "D" and "F", wherein there is compelling evience that secret voting places were opperated and voter fraud was rampant. Matt Gonzalez is absolutely oppossed to the Death Penalty and believes that prison is for people who committ violent crime. TARIN TOWERS is the author of _Sorry, We're Close_ just released by Manic D Press; member of 9X9 Industries; will be touring with Sister Spit this summer. THE MYSTERIOUS MR. CLAM is the author of the comic book _Wenches and Wrenches_ also from Manic D; funniest poet in San Francisco. EUGENE OSTASHEVSKY is the author of _Noughtbooks_ from the Paraffin Arts Project; member of 9X9 Industries and Vainglorious; cognoscente of Neoplatonism. SHAWN TAYLOR is a poet and stand-up comedian; champion of 1999 East Bay Poetry Slam and member of 1999 Oakland Poetry Slam Team. ========================================================================= Date: Wed, 23 Jun 1999 10:33:38 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lawrence Upton." MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit if anyone has an email for Louise Bak, would they mind sending it backchannel? Thanks Lawrence Upton ========================================================================= Date: Wed, 23 Jun 1999 11:15:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: A H Bramhall Subject: Re: Quandary MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Webster's New Universal [doesn't that sound encouraging?] Unabridged Dictionary Deluxe [again with the encouragment] Edition offers this suggestion (p 693), to wit, FITCHER: "to so operate a drill [in mining] that it shall stick in the bore hole or become jammed, as in a wedge". Olson's watered rock, Pound's rock drill: I think you can guess where I'm going here. and don't forget DH Lawrence's father was a coal miner, as was Loretta Lynn's. WC Williams worked his way thru med school as a miner in the coal fields of Pennsylvania. in fact he met HD in the mines. she regarded them as oracular grottoes and would sneak in, pour olive oil on her head and commune with her gods. ancient Etruscans developed a world-dominating culture because of the rich salt mines of Western Etrusca. Etruscans prayed to the deity Etrusca that each day the mines would produce more valuable salt. when archaeologists discovered transciptions of these prayers they decided, after consulting anthropologists, linguists and other experts, that these transcribed prayers could be regarded as poems. btw, I worked in a convent kitchen when I was in high school and the nuns, it was a Canadian order, all spoke French! they played "Holly Jolly Christmas" (as sung by Burl Ives) almost constantly during the appropriate season, used to make their own hooch out of vodka and raisins and in general seemed to keep themselves pretty neatly amused. I hope this reply is serious enough, and that you appreciate it. AHB ========================================================================= Date: Tue, 22 Jun 1999 15:25:53 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travmar03 Subject: Fw: Last Reading of The Year Comments: To: xentrica@earthlink.net, Writers House , vhanson@netbox.com, tf@morningred.com, TDevaney@brooklyn.cuny.edu, T Sinioukov , swineburne@yahoo.com, swalker@dept.english.upenn.edu, Sub Po Etics , Ron Silliman , potepoet@home.com, Poetry Project , Philadelphiawriters@dept.english.upenn.edu, Nawi Avila , Molly B Russakoff , Michael Magee , Margit , lungfull@interport.net, louis stroffolino , lkoutimhot@aol.com, Kyle Conner , Kristen Gallagher , Kevin Varrone , Kerry Sherin , Justin , jon8stark@aol.com, John Coletti , Janine Hayes , ianjewell@netscape.net, Heather Starr , Heather Fuller , gbiglier@nimbus.ocis.temple.edu, Don Riggs , dburnham@sas.upenn.edu, Cindy Burstein , Chris McCreary , Buck Downs , Brett Evans , Barbara Cole , banchang@sas.upenn.edu, avraham@sas.upenn.edu, Andre Codrescu , ampoupard , amorris1@swarthmore.edu, Ammiel Alcalay , American Poetry Review , Bruce Andrews , Eleni Sikelianos , Eric Wright , Fastcheap@aol.com, Carol Wierzbicki Jay Brooks, author of The Cult of Boy, and Janine Hayes, author of Pink Slip, Highwire Gallery 139 North 2nd Street, btw. Arch and Race Streets Philadelphia BYOB 8 P.M. Saturday June 26, 1999 Please come to celebrate the end of our first year. We'll have champagne and The Highwire Yearbook to inebriate you. Send this out to others you know who would be interested in attending. Thanks, Kyle and Greg ========================================================================= Date: Tue, 22 Jun 1999 19:14:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: uncompromising, but corrugated, position MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Spotted a refrigerator box today (with fridge inside, otherwise i would've carted it off) whose printed side panel read BACK LAY ON BACK ONLY this as opposed to FRONT (i walked 'round to check the other side) & in my mind it argued (& agitated) not only terms & correctness of sexual position but questions of grammar as well. "lie" or "lay" ? i can never keep it straight. "front" "back" or "volte face" ? one sighs in consternation. ========================================================================= Date: Wed, 23 Jun 1999 16:17:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: fiction writing exercises Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear List, Please excuse the fiction (& the cross-post). I am teaching a Developing the Novel class and would be grateful for any and all b/c suggestions for writing exercises for such a class. Some of my students are in the beginning stages of a novel, some are further along, but I feel compelled to keep them all propelled, sts (so-to-speak) with exercises for development and spark -- enough said. Thanks Elizabeth Outlet Magazine -&- Double Lucy Books P.O. Box 9013, Berkeley, California 94709 U.S.A. http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 23 Jun 1999 18:30:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Calling Cecilia Vicuna In-Reply-To: <003101bebcc3$8d5735a0$ba8b2599@default> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" if you are listening, please respond directly. i'd very much like to talk to you. thanks! tisa bryant tisa@sirius.com ***************************************************************************** If you look in a text and see yourself, that is market education, done in the name of education. But education must not be about a cathartic quest for identity. It must foster credible sensibilities for an active critical citizenry. Cornel West, "Beyond Multiculturalilsm and Eurocentrism" ****************************************************************************** ========================================================================= Date: Wed, 23 Jun 1999 21:54:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: RE (FOR) RACHEL DEMOCRACY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 4:00 a.m. in the winter cold at polling stations not open. Some up to eight hours to make sure they could, lines nearly one mile. June 2 nearly 16 million - 89 percent. ANC election 66.35 percent the vote 266 of the 400 seats in the National Assembly. ANC president Thabo Mbeki on June 3, "The poorest of the poor have said they trust the ANC both black and white, our vision." ANC water, electricity, telephones, housing to the black majority joblessness 35 percent. "There is no question of passes. There are no obstacles," said one of 85,000 out for a May 30 ANC rally in Soweto. Windy Tlaka, 62, voting in Mamelodi township outside Pretoria. "I can enter places I could not enter before." Lawrence Mphasga, "You can't change things in five years that were done over hundreds of years." Thabo Kola, 20, computer programming at Intel College in Pretoria. "A few years ago some white students were calling me 'kaffir.' We can and we will build this country together because we are like each other." ST. LOUIS - Chanting "Hey, hey, ho, ho, killer cops have got to go," 25 people picketed the South Patrol Division of the St. Louis police May 8 one day after Julius Thurman died April 26 in police custody an autopsy a massive skull fracture a blow to the back of the head. Thurman was attempting to burglarize a pawn shop when the cops arrest and stomp on Thurman one officer repeatedly a heavy flashlight, the funeral a protest. Community figures spoke out. Prince Carter, nephew killed by cops. Picket line of 25, film crews. Carter explained the South Patrol Division, the last two police killings by cops from this station, April 2 Jerome Ruffin killed by cops for "drinking beer and running." Kimberly Browning- Hoffman, office worker, on April 8 harassed-arrested waiting for her baby-sitter. Two cops, nonpayment on a parking ticket. "The female officer handcuffed me while my baby was in the back seat of the car." She said the two cops called for back up, "two paddy wagons and four or five cop cars." They refused to give her husband any information and referred to him as "my babies' daddy, like we weren't even married." Protests planned, 3:00 p.m. every Saturday in front of the South Patrol Division on Sublett Avenue. John Sarge is a member of the United Auto Workers in Detroit. DETROIT - Before more than 100 gathered here May 21 and 22 Irish Northern Aid for 28 years in the U.S. raising funds, families of Irish political prisoners, now working on reintegration of political prisoners into the population. Gerry Adams greetings to the meeting describing the Royal Ulster Constabulary paramilitary sitting on a file of 150 names targeted, he urged Irish Northern Aid to keep up a lot on the Good Friday Agreement reached last year the U.S. tour earlier this year the South Armagh Farmers raised ideas for future tours. Christy Ward on the honorary Doctor of Letters degree to the leader of the Ulster Unionist Party by Boston College May 24. Rosaleen Doherty described the strides made over the last year. There are still more than 100 Irish political prisoners, 88 in the Long Kesh prison in Belfast, 22 in Portlaoise Prison, and Richard Johnson in the U.S. just transferred to a halfway house in Boston, 10 years in U.S. prisons, FBI, "conspiracy," he completes his sentence, in full, this fall. Ro'isi'n Kelly of Tar Anall described her organization sprang up to aid. Kelly on the newly formed Coiste na nIarchimi, 20 local ex-prisoners. Jack Kilroy spoke about U.S. using secret "evidence" asking "no secret evidence be used in U.S. courts." Noel Cassidy on the latest court ruling against him. The gathering ended with a speech by Rita O'Hare. HEATH, Ohio - A locked-out Kaiser Aluminum worker was roughed up his teeth knocked out by two cops. Picket duty June 5. Off-duty Heath Cops guard the company side of the picket line at the main gate. Security cameras. Steve Smyers, one of the cops came up to him and asked him to go. Smyers said one of them tripped him up, asphalt. Smyers's front teeth were knocked out, a third tooth broken. He needed nine stitches for cuts on his lip the cops claiming he kicked a scab's car on the picket line June 7 workers had added another sign, "Fight Police Brutality," to their display. Tracy Van Meter didn't think police should be slamming people to the cement. Van Meter said, "Guys come in and out spitting and fingering us," and the cops don't do anything. But they "treat us as common criminals." Annette Lindsay, another Kaiser worker on the picket line, "Maybe this is for intimidation. They want to discourage us from picketing." Tony Lane and Henry Hillenbrand are members of United Steelworkers of America. KAREN RAY, WATSONVILLE, California - After a tense five days, the United Farm Workers union or the pro-company outfit Coastal Berry, whether there would be a runoff 60 ballots would determine . Final total 589 for the UFW, 670 for the Committee, and 83 for no union. Farm workers met at the UFW headquarters here in the evening June 1 to map out how to get out the vote for June 3-4 going door to door. "We will continue the fight for the union" explained Ruben Nieto, a worker who came to the union offices here. Arturo Rodriguez told a telephone news conference, "We knew we were fighting one of the strongest companies in the industry. We are not at all surprised and don't anticipate this being over." On the day of the voting at the Oxnard farm an unsigned leaflet handed out listing more than 90 names of farm workers it said were the only ones in broken Spanish warned, "We ranchers from Oxnard have been watching this for many months. We know who has been supporting the UFW. We have many years of dealing with the UFW and have seen how they destroy. You receive good pay and good benefits without dues out of your pockets, don't let the UFW ruin your company Coastal Berry." The vote at the Oxnard ranch 309 for the UFW, 230 for the Coastal Berry Farm Workers Committee, and 37 for no union. Workers at the ranches in Watsonville and Salinas voted 268 for the UFW, 416 for the Committee, and 42 for no union as the workers the season is winding down at Oxnard many of the workers have now left to work the cherry crops. Isabel Rendon, injured last July when company thugs toppled a stack of boxes on her, "Before we voted, they were saying those who vote for the UFW could take their strawberry carts and leave." On Jan. 1, 1959 vice-minister of the fishing industry of the July 26 Movement in what a few days later named minister of communications, a signer of the major months of 1959, among them Agrarian Reform at La Plata recorded in notes he wrote a few hours after until now unpublished (a still-unpublished book) heights of the Sierra Maestra mountains all around, huts dotting slopes. Some planted fields are carved out. The clouds blend with the mountain tops.... The air, grandeur. Take the footpaths to see what's on the other side at the home of "The Villa Claran," a peasant in La Plata, companeros, many poke their heads through windows and doorways to try to hear what's being said. The emotion seizes us. Outside are hundreds who live in the mountains, the same ones among those among themselves, strange words inside the hut. New words to their ears, they trust and hope. The ice is broken. I try to explain it to them, tell them about the vital minimum all should have, about the people's stores, about the doctors and teachers. Their eyes become lost in the distance. "And what did you get paid for your last harvest?" "One hundred sixty pesos. "One hundred sixty pesos a year is 45 cents a day. How can 10 people live on that?" "Well, that was spent on lard and on odds and ends. We eat malanga all the time, sometimes an egg, and a chicken when we come across it. "And if you get sick...?" There is another man who looks old, but he turns out to be 28. "Are you married?" "We have a two-year-old daughter." "Do you have land?" "We can barely sustain ourselves. It's the hunger that makes us old." A bony hand guides the hands that sign. BY MEGAN ARNEY. They help tie the working class together as a class. Point to them in the social order. Go after human solidarity. The trial of Tabitha Walrond. On May 19 convicted. 21-year-old woman death of her two-month-old son "fatally starving" breast feeding to formula and didn't care? Walrond, on welfare, sought care, the nightmare. Recent laws, hundreds of thousands off welfare in New York City, many eligible turned away. Medicaid computer system a social worker said when Walrond with the baby, they were turned away. Walrond went to three city offices for help, one six days before the child died. Months later, two different Medicaid cards and a HIP membership in the child's name arrived in the mail. Bronx district attorney jury photos, the child's body 22 hours after autopsy, it was those photos convict her. Three pediatricians testified in her defense. Tabitha Walrond is why, the worst off layers of our class. We are talking about something that goes beyond the wage any individual. We are talking about the labor movement fight for all. PASCAGOULA, Mississippi - 8,000 workers here, huge Ingalls shipyard. "These are serious times, and we are some serious people," Leon Fantroy, Jr., Pipefitters Local 436. "We are prepared to sacrifice, like they are" (United Steelworkers of America Local 8888 at Newport News Shipbuilding in Virginia out since April 5) said pipefitter Chris Packer. Jimmy Cox, 48, 17 years as a shipfitter, said medical costs, and safety, said Jack Beard, Boilermakers Local 693, "The longer we stay out the stronger we are." "In two weeks we can get anything we want," Teresa Nelson, Pipefitters Local 436. "The company has got the money, they've got the money." Ingalls Shipbuilding constructs U.S. Navy missile destroyer and amphibious assault ships, container ships and oil tankers. The Pascagoula shipyard is owned by Litton Industries bidding to buy. Ingalls is Mississippi's largest private employer, annual sales of $1 billion, $4 billion backlog of ships to build and contracts to fulfill. The strike began May 16 when members of the smallest union at the yard, the International Association of Machinists Local 1133 with a few dozen members set up pickets, the next morning at 7:00 a.m. an IAM picket line had more than 2,000, by the end of that day the entire yard. Fantroy said, "Thirty-four people got 8,000 on strike. Think about how important what you do can be. Everybody out there just refused to the cross the line." The International Brotherhood of Electrical Workers 1,200 members declared strike May 19. The next day the Metal Trades Council, with 6,500 in nine unions followed. James Lankford, 46, IAM 21 years at the yard, the first mass picket line "awesome. Solidarity took the cake." John Hall, a pipefitter, said, "support is overwhelming." Out of 8,000 workers, Alvin Wiley, a joiner with 20 years on the job, said that at a meeting of Boilermakers Local 693 May 27 "a roar of applause." Mississippi senator warning, "the future of our Navy and our country." Mike Italie is a member of the Union of Needletrades, Industrial and Textile Employees and Arlene Rubinstein is a member of the Aircraft Mechanics Fraternal Association. After 78 days bombing Yugoslavia, Washington got Moscow and Belgrade to allow NATO in Kosova. Officers of Belgrade's army, "The war has ended," at Kumanovo, Macedonia, June 9. Moscow basically co-signed NATO's terms. "There's no peace," said Branislav Canak, in a phone interview the morning of June 10. "We only have the complete capitulation of the regime and in Kosova, people, those who return, will find a devastated area both from the NATO bombing and the looting of villages by those who carried out the 'ethnic cleansing.' They won't be able even to consider their right to self-determination, a protectorate." More than 50,000 "peacekeepers" about the same as in Bosnia, the air space over and over adjacent buffer zone. Kosova will be five sectors, U.S., British, French, German, and Italian forces - Russia has pledged it will not place its forces under NATO NATO face-saving Moscow, its forces, a symbolic presence at border crossings. March 30 New York Times, "Our strategic interest is that Kosovo not be independent." Rambouillet accord for Kosovars to decide their future within three years "would send to Basques, Kurds and other groups that we will support their independence." Washington open-ended occupation of Kosova as in Bosnia. The social cohesion of hundreds of thousands has been and is being destroyed, entire villages erased. "The agreement is not about repatriation," said Martina Vukasovic, a mathematics student at Belgrade University and an activist in the Students Union of Yugoslavia supports self-determination for Kosova. Last year she with dozens of other students antiwar throughout Serbia opposition to Belgrade in Kosova. "Tens of thousands of Serbs left Kosova opposed to the 'ethnic cleansing' by the paramilitary gangs and special police afraid for their lives the NATO bombing. There's no talk about their right to return, and the Kosova Liberation Army won't be disarmed." The KLA, a guerrilla group armed struggle for independence, in the camps for expelled Kosovars in Albania KLA members cut off discussion when fellow Albanians raised opposition to the U.S.-NATO bombing of Yugoslavia during visits by this reporter in April and May. The KLA will now police Albanians inside Kosova. Many in the streets on the night of June 9 cheered when street lights came on after weeks of darkness the destruction the power grid, relief the bombing is over. In Nis thousands walked in the streets late into the night on June 9, said Duci Petrovic, a leader of the Students Union there. "Many sang songs, releasing the tremendous stress from nearly three months of war. The only good thing is we may soon be in a better position to resume political activities and protests and, who knows, down the road." Official statistics, more than 2,000 civilians killed and 5,000 wounded, unemployment 90 percent among 3 million wage workers. Electricity in four- to six-hour shifts in much of Belgrade now. In Kragujevac, at Zastava, the largest car plant in the Balkans destroyed by the NATO bombing, said Christina Ranic, a member of the metal workers union who worked in the plant. "We get 20 deutch marks per month. That's barely enough for bread and milk. NATO doesn't even mention what workers face. It's as if we disappeared from the face of the earth." On the corpses of the people of Yugoslavia, the U.S. rulers are. "We had a very good day," U.S. secretary of state Madeleine Albright June 8. Two days later 2,000 U.S. Marines were landing at a port in northern Greece, on their way to Macedonia. There they will join 1,700 U.S. troops coming from Albania along with Cobra and Apache attack helicopters among the first to enter Kosova behind the British-led force of more than 17,000 NATO troops already in Macedonia, London the most vocal backer. Greece prevented for a few days U.S. ships carrying Marines from docking at Thessaloniki. Athens, Rome, and Bonn. Athens backed down, and Beijing? What's behind the instability in Russia? Are Washington and the other imperialist powers tightening a military encirclement of Russia? "The hot-button issue in the 1950s was, 'Who lost China?' " Nixon said in his memo in 1992, "If Yeltsin goes down," Nixon said, "the question of 'who lost Russia' will be infinitely more devastating in the 1990s." DETROIT - Eighty members of the United Steelworkers of America on strike against Titan Tire here, a busload of strikers, Local 164 Des Moines, Iowa, Local 303L Natchez, Mississippi, 25 who struck Detroit News and Free Press in July 1995, and other unionists the day's activities the annual shareholders meeting Titan International, parent company of Titan Tire. Early in the morning security guards tried to prevent about 120 workers walked into the room, the handful of stockholders a stockholder had signed over a share to each unionist, gain access, opening comments, the boss opened the floor, strikers asking answered by him attacking the negotiating committee as liars, union members fools, stalked out the door, ending the meeting, after lunch, Grosse Pointe Farms, picket signs in hand, the strikers, a private gated community, a house, the strikers stopped by private cops, the strikers chanting, "Hey, this is your wake up call!" An impromptu rally held on the highway drawing the cops and honks from supporters passing by. Tim Bartlett, a mill room worker 11 years in the Des Moines plant, "Going back is not an option." NEAH BAY, Washington - Native American indigenous rights the Makah Nation a gray whale here, May 17, the Makah the whale hunt keep their culture alive among youth the tribe their hunt the whale hunt the Makahs the anti-Native surrounding the Makah whale hunt anti-whaling "Save a whale, harpoon a Makah." May 23 Seattle Times-Post Intelligencer, "These people want to rekindle their traditional way of life by killing an animal that has probably twice the mental capacity they have." On Vancouver Island, the Huu-ay-aht, traditional lifestyle of sustainable whaling. Canada in 1996 the right of Inuit to hunt one bowhead whale, a species fallen from 10,000 in 1990 to about 700 in 1996. Here in Neah Bay, Makah hunters a hand-hewn cedar canoe three harpoons two high-caliber rifle shots kill the first gray whale the tribe has since the 1920s depletion of stocks commercial whaling hunted the gray whale, the day the Makahs killed the whale children abandoned their classrooms and adults their jobs, Native American tribes from around the Northwest along with the Makahs, for the Makahs, indigenous peoples from around the world and the Makahs on May 22 more on the Makah the whale hunt the Makahs joined by Native peoples from all over the West Coast, the Plains, Alaska, Canada, Fiji, and Africa. Makah Tribal Chairman Ben Johnson, "The whale hunt brought us all together. I'm happy, overwhelmed to see this many native people together." In a statement called the "Makah Manifesto." Unemployment on the Makah reservation is as high as 75 percent for much of the year. Most of the housing for the 2,000 residents consists of trailers and small houses. Lieff Gutthiudaschmitt is a member of Union of Needletrades, Industrial and Textile Employees. SAN JUAN, Puerto Rico - U.S. Navy war maneuvers in Vieques, uranium-tipped shells at firing ranges in Vieques and Torii Shima, an uninhabited island off the coast of Okinawa. The Navy claims the radioactive shells the aircraft by mistake. David Sanes, a Vieques resident working as a security guard, was killed April 19 during an "accidental" bombing by U.S. Navy on the eastern end of Vieques, an island off the east coast of Puerto Rico inhabited by 9,300. Protesting Northern Fishermen's Association occupying La Yayi' Cay, on the northeast tip of Vieques. The Puerto Rican Independence Party. Navy, 263 uranium shells in Vieques, the Navy 1,520 uranium bullets in Torii Shima in 1996. Uranium bullets are radioactive and toxic destructive power, carcinogenic uranium. Vieques has a cancer rate twice that of the rest of Puerto Rico. . ========================================================================= Date: Fri, 25 Jun 1999 12:53:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: DEAD MEN TALKING / Brink MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit had to reformat this message. Chris -- From: "Leonard Brink" Date: Thu, 24 Jun 1999 08:57:45 -0700 DEAD MEN TALKING is a collaboration by Spencer Selby (as Andre Breton) & John Olson (as Tristan Tzara). The complete text is on-line at http://home.sprintmail.com/~windhover/deadmen.html ========================================================================= Date: Thu, 24 Jun 1999 12:46:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: limited supply of bromige diffs. MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Recently I closed out my account at Small Press Distribution. And so I have a few copies of the fabled David Bromige Issue of The Difficulties to offer for sale. After these copies are gone the thing will be officially out of print. A check for $10 made to Tom Beckett will result in a copy sent by first class mail. Confirm your copy by back channel e-mail and then send your check to: Tom Beckett 131 N. Pearl Street Kent, OH 44240 ========================================================================= Date: Thu, 24 Jun 1999 10:25:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: epistle Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi, I'm preparing a graduate level course on epistolary fiction. If any of you have any suggestions, please, please backchannel me. I want to extend the discussion to include The First Person and The Document. I'm especially interested in background/ historical/ theoretical readings on these issues--not particularly to assign, but to get my knowledge up to snuff. Also suggested epistolary fictions would be great. Plan so far to include Kathy Acker, Berndette Mayer's Mothers and Letters book (any article about that would be great), Dracula, probably stretch the envelope with Spicer's Letters to Lorca. Some older stuff, and probably some "real" letters to give context to the fiction. But, this is just a beginning. Thanks for any help. Dodie ========================================================================= Date: Thu, 24 Jun 1999 16:19:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: gratitude toward authors MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII = gratitude toward authors and j g suicide down by the river, gratitude towards authors, after doing ichikawa no reason to do so celan does it all abjection of violette leduc how could i do you nicole brossard does nothing to do after j g ballard but what do you think zeami does of my angst and angels rilke who does and holderlin really does just does that ichikawa could do his breath murasaki shikibu does me kimono kraus and tears and violette leduc and j g suicide down by the river and ichikawa on the radio down by the river where nicole does the slow sashes with zeami and celan half in half out of the water drying off there's also the aspect of gratitude towards authors, doing what they're doing, we don't have to do the authors, as in 'have you done ryuichi tamura yet,' there's a knowledge in the container, open container, in the container's the wisdom we want, we don't have to open it container's marked, floated down the river, j g ballard's there, body gone by, celan can't swim either, it's these moments grateful for the water in the jar, open it up, close it again, open it, close it, open it, close it, gratitude towards authors in the choice of the thing or the making of it, what might be called an after thought, better again, future anterior, held close to the abdomen, breathed in slowly, in and out of the river, in the river, out of it, in the river, out of it, and grati- tude toward authors in the choice of the world and the rectitude of names, in the gift of the names, and forgetting the thing __________________________________________________________________________ ========================================================================= Date: Fri, 25 Jun 1999 12:40:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kenneth Goldsmith Subject: ___ U B U W E B: N E W R E S O U R C E S :: J U N E 9 9 ___ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE ___ U B U W E B___VISUAL, CONCRETE + SOUND POETRY___ =09=09 http://www.ubu.com NEW RESOURCES JUNE 1999 Aram Saroyan, USA Pages (Random House, 1969) Aram Saroyan (Random House, 1968) Flower Power (essay, 1999) Antonin Artaud, France Alienation et Magie Noire (rec. 1946) Robert Ashley, USA In Sara Mencken, Christ and Beethoven there were men and women (1972) Erik Belgum, USA Bad Marriage Mantra (1997) ee cummings, USA Two Sound Poems Marcel Duchamp, France The Creative Act (1957) Fran=E7ois Dufrene, France Ouverture san Fin (1976) Oyvind Fahlstrom, Sweden Sound Poetry Raoul Hausmann, Austria Sound Poetry (1918 / 1959) Richard Hulsenback Phantastische Gebete (1916 / 1967) James Joyce Anna Livia Plurabelle (rec. 1929) Kurt Schwitters Complete Ursonate (1922-32) Tristan Tzara Pour Compte (1949) Michael Basinski, Buffalo, NY, USA The Feast of the Transfiguration of Acteon Ode to Dee's Labels Neil Hennessy, Canada dam bam: a kerning exercise Brian Kim Stefans, NYC, NY, USA, The Naif and the Bluebells ___ U B U W E B___VISUAL, CONCRETE + SOUND POETRY___ HISTORICAL - Guillaume Apollinaire Carlo Belloli Max Bense Wallace Berman Bob Brown Jean Francois Bory Claus Bremer Jose A. Cáceres John Cage Julio Campal Henri Chopin Augusto de Campos Haraldo de Campos Paul de Vree Early Visual Poetry 1506-1726 Ian Hamilton Finlay Carl Fernbach Flarsheim John Furnival Heinz Gappmayr Jochen Gerz Mathais Goeritz Eugen Gomringer Corrado Govoni Philip Guston's Poem-Pictures Vaclav Havel Dom Sylvester Houedard Ronald Johnson Jiri Kolar Ferdinard Kriwet Lilian Lijn Duda Machado Armando Mazza Franz Mon b.p. Nichol Clemente Padín Decio Pignatari Antonio Riserio Aram Saroyan Kurt Schwitters Gino Severini Takahashi Shohachiro Mary Ellen Solt Vagn Steen Salette Tavares Arrigo Lora Totino Ivo Vroom Emmett Williams Pedro Xisto Louis Zukofsky SOUND POETRY - Guillaume Apollinaire Pierre Andre Arcand Antonin Artaud Robert Ashley Erik Belgum Theo Bleckmann Jaap Blonk Lars-Gunnar Bodin Anton Bruhin John Cage Augusto de Campos Henri Chopin Jean Cocteau ee cummings Marcel Duchamp Francois Dufrene Oyvind Fahlstrom Brion Gysin Sten Hanson Raoul Hausmann Richard Hulsenback Bengt Emil Johnson James Joyce Joan La Barbara Ilmar Laaban Wyndham Lewis Jackson Mac Low + Anne Tardos F.T. Marinetti Phil Minton David Moss Takayuki Nakano bp Nichol Kurt Schwitters Gertrude Stein Demetrio Stratos Cecil Taylor Edwin Torres Tristan Tzara Gregory Whitehead Trevor Wishart CONTEMPORARY - Bruce Andrews Michael Basinski Connie Beckley Susan Bee Laurel Beckman Felix Bernstein Charles Bernstein Jake Berry John Cayley Cheryl Donegan Johanna Drucker Craig Dworkin Elgar Elson Froes Loss Pequeno Glazier Jesse Glass Kenneth Goldsmith Kenneth Goldsmith + Joan La Barbara Julie Harrison + Joe Elliot Neil Hennessy Dick Higgins Peter Jaeger Alison Knowles Brian Lennon Tan Lin Bill Luoma William Marsh Juliet Ann Martin Mark Peters Janan Platt John Reeves Dirk Rowntree Blair Seagram Spencer Selby Alan Sondheim Brian Kim Stefans Ward Tietz Edwin Torres Nico Vassilakis Ron Wakkary Irving Weiss Darren Wershler-Henry Doc Wright Jody Zellen Paul Zelevansky Komninos Zervos Janet Zweig FOUND AND INSANE POETRY PAPERS RESOURCES ___ U B U W E B___VISUAL, CONCRETE + SOUND POETRY___ =09=09 http://www.ubu.com ========================================================================= Date: Thu, 24 Jun 1999 00:47:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: quandry In-Reply-To: <63e7206b.24a07a55@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Jessica, just be careful. Sometimes a school will accept you without financial aid, and you'll be assured by some teachers there, "don't worry, the aid will come later in the summer. Just move here, etc." and the aid won't come and they'll say "funny, this never happened before" etc.... c On Tue, 22 Jun 1999, Jessica Pompeii wrote: > QUESTION? > I want to get a loan to put me through a great school. I live in Santa Monica > and I hate driving, but I might hate idiot teachers more. I suppose I could > move but my rent is cheap. I want to write. And study.. Any suggestions? > These days no nunneries. > Recommendations? I have no credentials. I went to Cal-Arts, but mom wouldn't > pay. I went to Loyola but mom wouldn't pay. I went to Santa Monica City > College, so mom didn't have to pay. I was accepted into UCLA but the thought > of large classes, i.e.. parking was too much. I facilitate a poetry workshop > at Beyond Baroque, but it doesn't pay for me to sit around and study and > write. > Mom says I should become a stock broker/consultant to old ladies whose > husbands have died. Actually cousin Mickey made the suggestion to her. (She > lives in Wisconsin, and wears a Mickey Mouse applique on her over coat.) > Because mom reminds me women live longer then men. > I can see the advertising already. Are you an old stupid hag who can't handle > your money because you are a women and your husband is dead? > Help!! Serious replies appreciated!! > -Jessica > ========================================================================= Date: Thu, 24 Jun 1999 11:50:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adeena Karasick Subject: Message from Internet MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1 Louise Bak e-mail is louisebak@hotmail.com cheers, Adeena ========================================================================= Date: Thu, 24 Jun 1999 14:15:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Neff Organization: Web Del Sol Subject: test MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit -- ================================ Web Del Sol http://webdelsol.com LOCUS OF LITERARY ART ON THE WWW ========================================================================= Date: Fri, 25 Jun 1999 10:46:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: epistle Comments: cc: Dodie Bellamy In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dodie, Not really on epistolary fiction per se, but a few months ago Jocelyn Saidenburg pointed me toward DeQuincey's essay on the English mail coach, and I thought I should pass along the provocation. It works well to open up some of the hidden intersections of first-person subjectivity and state power in the letter form, and might serve as a starting point to get students thinking critically about the more conventional lit-crit approach to epistolary forms as hallmarks of the domestic. (Or to look at ways in which the domestic itself is implicated in more "public" kinds of power?) Along oddly similar lines, and since, judging from the Mayer text, you're considering "fictive" as well as narrative-fictional approaches, might Dickinson's letters be of interest? Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Dodie Bellamy Sent: Thursday, June 24, 1999 10:25 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: epistle Hi, I'm preparing a graduate level course on epistolary fiction. If any of you have any suggestions, please, please backchannel me. I want to extend the discussion to include The First Person and The Document. I'm especially interested in background/ historical/ theoretical readings on these issues--not particularly to assign, but to get my knowledge up to snuff. Also suggested epistolary fictions would be great. Plan so far to include Kathy Acker, Berndette Mayer's Mothers and Letters book (any article about that would be great), Dracula, probably stretch the envelope with Spicer's Letters to Lorca. Some older stuff, and probably some "real" letters to give context to the fiction. But, this is just a beginning. Thanks for any help. Dodie ========================================================================= Date: Fri, 25 Jun 1999 11:22:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: NAW 17 and Movie showing this week In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII NAW 17 is just out: Cover by Susan Bee, work by Welish, Wheeler, Ratcliffe, Bernstein, Shoptaw, Revell, Keelan, Bedient, Sobin, Snow, Foss, Sikelianos, Willis, Equi, Messerli, Wellman, Tranter, Robinson, Schultz, Powell, Selby, Albon, Latta, Johnston, Baron, Loden, Muratori, Stroffolino, and many others. Order from NAW, 369 Molino, Mill Valley, CA 94941 or subscribe for $21/3 issues. "Regret to Inform", a "tragic epic poem" about Viet Nam, written and directed by Barbara Sonneborn, is showing at Art Greenwich Theater for one week. It's a wonderful, important film, and everyone should see it. Maxine Chernoff ========================================================================= Date: Sat, 26 Jun 1999 00:21:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: epistle In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Hi, I'm preparing a graduate level course on epistolary fiction. If any of >you have any suggestions, I once wanted to do such a course, but never got round to it. One of the most interesting novels I wanted to do was Robert Kroetsch's _Gone Indian_. In that one it is done not with letters (and the attendant question of narrator's meddling), but with tapes, made by this graduate student from upstate NY in northern Alberta. George Bowering. , fax: 1-604-266-9000 ========================================================================= Date: Fri, 25 Jun 1999 15:00:50 +0000 Reply-To: archambeau@LFMAIL.LFC.EDU Sender: UB Poetics discussion group From: Robert Archambeau Subject: SAMIZDAT #3/Free Offer MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit SAMIZDAT #3 will be going to press later this month, and as usual I'm wrangling things so as to set a few free copies aside for POETICS folks. The current issue is a special number devoted to Scandinavian poetry, and includes work by: Anslem Hollo Tomas Transtromer Gunnar Harding Marie Lundquist Goran Sonnevi Goran Print-Pahlson Pia Tafdrup and other amazing poets no one on this side of the Atlantic has read Also: Reviews of experimental Irish poetry and Michael Anania's new book and CD And: A new column from Russia, by Masha Zavialova (some of you have seen her writing on the subsubpoetics list). ----- So here's the deal on the free issues: IF you haven't received a free issue of Samizdat #1 or #2 AND you live in North America (sorry, postage on gratis issues to Europe and Australia is a killer) THEN just e-mail me your street address, and we'll get an issue out to you as soon as they're printed. ----- Better yet, SUBSCRIBE: $10 for three annual issues, checks made out to me, and sent to: Samizdat 14 Campus Circle Lake Forest, IL 60045 Single copies of current or back issues $3.50 each. Robert Archambeau ========================================================================= Date: Sun, 27 Jun 1999 16:25:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poetics Program Announcements Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I am very happy to announce that Samuel R. Delany will be joining the Poetics Program Core Faculty starting this Fall. It will be great to have Chip in Buffalo, teaching in both the graduate and undergraduate programs. Meanwhile, we have just redesigned the Poetics Program pages at the EPC -- more work is to be done, but for the moment it makes information about the Program as well as the Poetics List more easily accessible. Check it out: http://epc.buffalo.edu/poetics/ Charles ========================================================================= Date: Sun, 27 Jun 1999 10:22:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Naylor Subject: epistle MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Dodi, Seems that Nate Mackey's novels would be a perfect fit for your class. Sun & Moon has the first two out, _Bedouin Hornbook_ and _Djbot Baghostus's Run_, and they will publish the third _Atet A.D._, well, whenever. Paul Naylor ========================================================================= Date: Sun, 27 Jun 1999 13:29:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Re: epistle MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit If you are going to take any sort of historical perspective, it would be interesting to ask, why does the novel begin as an epistolary genre? Part of the answer might involve transformations in reading practices & new forms of privitazation in the 17th century. A good place to begin to look for answers is A HISTORY OF PRIVATE LIFE vol 3 PASSIONS OF THE RENAISSANCE. Also the controversy between Henry Fielding & Samuel Richardson over the ethical consequences of the epistolary novel is a fascinating one--and extremely relevant to our present day constructions of the idea of "author" & "authorship." ========================================================================= Date: Sun, 27 Jun 1999 12:42:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: NAW 17 and Movie showing this week In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Forgot to mention D. Bromige among distinguished contributors to NAW. On Fri, 25 Jun 1999, MAXINE CHERNOFF wrote: > NAW 17 is just out: Cover by Susan Bee, work by Welish, Wheeler, > Ratcliffe, Bernstein, Shoptaw, Revell, Keelan, Bedient, Sobin, Snow, Foss, > Sikelianos, Willis, Equi, Messerli, Wellman, Tranter, Robinson, Schultz, > Powell, Selby, Albon, Latta, Johnston, Baron, Loden, Muratori, > Stroffolino, and many others. Order from NAW, 369 Molino, Mill Valley, CA > 94941 or subscribe for $21/3 issues. > > "Regret to Inform", a "tragic epic poem" about Viet Nam, written and > directed by Barbara Sonneborn, is showing at Art Greenwich Theater for one > week. It's a wonderful, important film, and everyone should see it. > > Maxine Chernoff > ========================================================================= Date: Sun, 27 Jun 1999 12:48:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: epistle MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I just read two critical books I checked out of the library, and renewed the maximum numnber of times. The best books ever? no, but they were very useful as I was exploring relationships between love poetry and other poetry and occasional poetry and love letters. They gave me lots of ideas for a mini class I'm teaching six months from now. One's about a courtesan who used letter writing to bolster her literary reputation (also epistolary) in Venice, and another arguing that epistolary fiction written by women during a time in France when very little lyric poetry was written defined the genre. Author De Pree, Julia Knowlton. Title(s) The Ravishment of Persephone : epistolary lyric in the Siècle des Lumières Publisher Chapel Hill, N.C. : University of North Carolina Press, 1998. No. 258 North Carolina studies in the Romance languages and literatures ; Notes Includes bibliographical references (p. 159-164) and index. Subjects Epistolary fiction, French History and criticism. French prose literature 18th century History and criticism. French prose literature Women authors History and criticism. Author Rosenthal, Margaret F. Title(s) The honest courtesan : Veronica Franco, citizen and writer in sixteenth-century Venice Publisher Chicago : University of Chicago Press, 1992. Series Women in culture and society Notes Includes bibliographical references (p. 349-376) and index. Subjects Franco, Veronica, 1546-1591. Courtesans Italy Biography. Authors, Italian 16th century Biography. Venice (Italy) Intellectual life. Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Sun, 27 Jun 1999 14:36:56 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: another shameless self promo Mime-Version: 1.0 Content-Type: text/plain; format=flowed New from Dead Metaphor Press: _Desire Series_ by Mark DuCharme. ISBN 1-880743-12-4. 24 pages. $5.00. "The domestic is a crash test in Mark DuCharme’s party-of-the-first-part telling. He outs ‘Genders of the obvious’ and gets into ‘Gestures capped in answerable wool.’ The ‘desire’ in this series is warier than that of, say, Barthes, where it is ‘taxidermy’ which is ‘lovely’ and where ‘The heart being nothing/ Agitates slightly.’" --Michael Gizzi "In Mark DuCharme’s thoughtful and expansive poems, details accumulate around the magnetic poles of dream and experience, while the center of the field acts as a vanishing point between namables. It is in this shifting scale of dimension and focus that DuCharme’s work finds its cutting edge; he is a keen observer of the mind’s changing perspectives and transformational elements." --Charles Borkhuis Mark DuCharme’s books include _Contracting Scale_ from Standing Stones Press, _Three Works (Invasive Map)_ from Oasis Press, and _Near To_ forthcoming from Poetry New York. He lives in Boulder, CO where he is co-director of the Left Hand Reading Series. Order from: Small Press Distribution 1341 Seventh Street Berkeley, CA 94710-1409 (800) 869-7553 or Dead Metaphor Press P.O. Box 2076 Boulder, CO 80306-2076 (303) 417-9398 _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Sun, 27 Jun 1999 18:49:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Clay Subject: 2,500+ poetry books, pamphlets and magazines Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Granary Books has prepared a catalog "Poems All Over the Place" and offers for sale books and pamphlets (used, out-of-print, & rare - at reasonable prices) from such writers as: Acker, Adam, Andrews, Antin, Armantrout, Auster, Benson, Berkson, Bernstein, Berrigan, Berssenbrugge, bissett, Blackburn, Blaser, Brainard, Brautigan, Brodey, Bromige, Cage, Celan, Ceravalo, Clark, Clarke, Coolidge, Corbett, Corman, Corso, Creeley, H. D., Dahlen, Davidson, Davies, Dawson, di Prima, Dlugos, Dorn, Drucker, Dull, Duncan, DuPlessis, Economou, Eigner, Elmslie, Enslin, Eshleman, Fagin, Finlay, Fraser, Gadd, Gilbert, Godfrey, Greenwald, Grenier, Grossinger, Guest, Harryman, Hejinian, Heller, Henderson, Higgins, Hocquard, Hollo, Howe (Susan and Fanny), Irby, Ignatow, Jess, Johnson, Jonas, Joris, Kamin, Kaufman, Kelly, Kiyooka, Knowles, Kyger, Lachance, Lansing, Lauterbach, levy, Loewinsohn, Loy, Lyons, Mac Low, Mayer, McCaffery, McClure, Melnick, Meltzer, Myles, Nichol, Notley, O'Hara, Olson (Charles and Toby), Oppen, Owen, Owens, Padgett, Palmer, Perelman, Prynne, Quasha, Rakosi, Rattray, Reed, Robinson, Rodefer, Rothenberg, Samperi, Sanders, Saroyan, Scalapino, Schiff, Schneeman, Schneemann, Schuyler, Schwerner, Silliman, Sondheim, Spicer, Stein, Tarn, Tate, Van Vliet, Veitch, Violi, Vostell, Wakoski, Waldman, Waldrop (Keith and Rosmarie), Warsh, Watson, Watten, Weiner, Welch, Whalen, Wieners, Williams, Winkfield, Wodening, Woolf, Young, Zelevansky, Zukofsky, Zweig, to name but a few. There are three primary ways to access this material: 1) Search or browse our database on-line through our website: http://granarybooks.com click on "search rare/op poetry books" the on-line inventory is updated every week or so. 2) Our present catalog (basically a snapshot of the on-line inventory) can be e-mailed to you in the form of a text document. It is in a Claris 4.0 word processing file. One could scroll this document or print out a paper copy. The printout runs to some 130 pages (single-sided). Email your email address to: sclay@interport.net 3) We can snail mail a paper copy. Printing front and back the catalog runs to over 75 81/2 x 11 pages. Cost for photocopying and priority shipping is $15 within the domestic U.S.; $22 everywhere else (global priority). We can accept visa and mastercard to speed up the process if you wish to receive a catalog via the mail. Thanks! Steve Clay ========================================================================= Date: Sun, 27 Jun 1999 20:56:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Lusk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" If anyone happens to have a contact for Dorothy Trujillo Lusk, please pass it along. Thanks Patrick F. Durgin www.avalon.net/~kenning ========================================================================= Date: Mon, 28 Jun 1999 04:43:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bradford J Senning Subject: Moving to NYC In-Reply-To: <000501bebf32$a569d8c0$08db0d04@doswlan> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Greeting everyone, I'm making the big move to Manhattan this summer and am currently going through the motions of finding a place there. If anybody on the listserv knows of any places opening up, I'm currently looking. In the general vicinity of NYU is preferable. Inexpensive is also good (my girlfriend and I will be living there on student loans). But any information will be valuable. Besides that, I wish to say that I'm looking forward to attending many of the poetry readings I keep hearing about on this listserv. Perhaps I will meet some of you at readings in the coming years. Thanks for your time, Bradford Senning ========================================================================= Date: Mon, 28 Jun 1999 06:57:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Billy Little Subject: Vancouver report Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Haven't been in Coquitlam for fifteen years, but Friday evening, Rojeanne, Jim and i braved rush hour traffic to catch the first poetry reading at the new Evergreen Culture Centre. Pierre Coupey, George Stanley and Sharon Thesen read to an appreciative crowd of fifty including Jerry Pethick, Michael DeCourcy, Marya Hindmarch, Goh Poh Seng, and Diane Forsythe. Pierre, the founding editor of the Capilano Review, whose paintings and prints graced the walls of the gallery opened the evening, reading a series of short, crisp, imagistic? poems, dedicated to the memory of his parents: VI what did we speak when we spoke figmental phantoms leopards shooting stars as if rest or dream were possible imaginary hand grief & echo the tones of you taking us to some knowledge of love we did not know we could be moved to (comet in sky square inch of earth There's a nicely produced chapbook of these poems including the prints that accompany them and family snapshots, Requiem Notations I-IX, which was originally produced for a show of paintings and prints he hund last year at the Canadian Embassy in Tokyo. George Stanley, the North American Rilke, followed starting of by reading Creeley's poem Histoire de Florida, then a few poems from his most recent collection, Gentle Northern Summer, ending too quickly with the brave and brilliant VERACRUZ In Veracruz, city of breezes & sailors & loud birds, an old man, I walked the Malecon by the sea, and I thought of my father, who when a young man had walked the Malecon in Havana, dreaming of Brazil, and I wished he had gone to Brazil &learned magic, and I wished my father had come back to San Francisco armed with Brazilian magic, & that he had married not my mother, but her brother, whom he truly loved. I wish my father had, like Tiresias, changed himself into a woman, and that he had been impregnated by my uncle, & given birth to me as a girl. I wish that I had grown up in San Francisco as a girl, a tall serious girl, & that eventually I had come to Veracruz, & walking on the Malecon, I had met a sailor, a Mexican sailor or a sailor from some other country-- maybe a Brazilian sailor, & that he had married me, & I had become pregnant by him, so that I could give birth at last to my son--the boy I love. After a short break, Sharon Thesen, the finest poet ever to come out of Prince George, acknowledging George's profundity, promised to be entertaining in contrast, she began with the poem George had requested: I Drive The Car I drive the car while the choir ascends toward a far transparency these words tap at with a show of politeness I drive my car and my friend also drives hers & takes a detour to watch crows assemble & disperse over the Cassiar Connector They hang out there I drive the car afraid of the earthquake & drive it afraid of myself, what is it I do, I wonder, & also what others do, are they also afraid? Or else go crazy I drive the car around in that too, like a maniac like the wind In the car someone's playing the piano with an eye-patch on & the helium voice of a drugged-out-poet, Besame Mucho, & mucho federales at the border Where you can't step out past a certain point painted with certitude across the pavement & why would you want to, anyway enter that foreign country all aplomb and curiosity No, I drive the car, I hope it works that the engine don't fall apart. I think oh, it will last five or ten years. Then what. Another car. My car I drive back & forth around the town over bridges & here and there, like everyone else driving their cars. In the back seat sits the ghost of your grandma. I drive the car & pick up my friend at her house, she comes out the red door, I'm five minutes late & we're laughing tragically by the time we go past the SPCA The road is black after dark rain and it ends in the sea. Big semis are minotaurs, some have smoke-stacks. The air stings from tiny black particles they blow at it, burdened and in a hurry I put her in drive & then I drive her & this is what I do, I drive the car. from her sixth book, Aurora then she read from unpublished poems, quickly terrifying herself by lapsing into profundity. A great evening, too short most agreed. forbidden plateau fallen body dojo 4 song st. nowhere, b.c. V0R1Z0 canadaddy zonko@mindless.com zonko ========================================================================= Date: Mon, 28 Jun 1999 11:58:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Philip Whalen MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit There was a downer review of Whalen's new Penquin collection (with intro by Leslie Scalapino) in yesterday's San Francisco Sunday Chronicle Book Review. I am not sure what the Chronicle critic was trying to perform other than he somehow missed and hardly gave a clue to the rich and various brilliance(s) of Whalen's work. While this work has fortunately managed to get published over the years, Whalen remains a wry counter-careerist which unfortunately has kept the poems from larger public assessment, celebration and/or review. Maybe obscurity is part of the character structure of some West coast giants. Kenneth Rexroth (who was very public) had a paranoid streak that caused him to slash every critic who crossed the horizon, leaving him dismissed from any real consideration in the modernist Canon. Retrieval efforts to recognize his work remain ongoing. Then there is Beverly Dahlen in hermetic, apparently quite non-careerist retreat. Lyn Hejinian (gratefully) (among a few others) for example, seems to have figured it out - keeping her generous critical mind and creative work at the public forefront - east, middle and west. Well, I diverged from my original intent. I'm pissed off at the Chron review. Which is to ask, has anyone read a good, substantial review of Whalen's new Collected? Cheers, Stephen Vincent ========================================================================= Date: Mon, 28 Jun 1999 14:04:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: SHAMELESS PROMOTION MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit >came like it went > by Greg Fuchs > >Buck Downs Books >Washington, D.C. >1999 >ISBN 1-886353-05-0 > >Available through Buck Downs Books, P.O. Box 50376, Washington, D.C. 20091 >and Small Press Distribution, 1341 7th Street, Berkeley, 94710-1403; (510) >524-1668; www.spdbooks.org > > Andrei Codrescu > "Greg Fuchs is building a stubborn island in the panic of late century >techne. Like a bird, he gathers and defends bits of childhood, optimism of >love, scents of New Orleans, political indignation--and glues them together >with the spit of poetry. You can see this birdnest island from many miles >off. Point your canoes to it--it's habitable." > >Stephen Rodefer > "Greg Fuchs and his eponymous off-Broadway exploits amid the sometime >murderous refurbishment of Times Square, are living proof of Gramsci's >seamless theorem: derricks rain down upon our beds faster in hell. In other >words, it is en route between Philly and New York that America at last >succumbs to the subtraction of some of its parts. And labor's nuts awake, >downsized from the last ditch effort to become a champ for her love. A great >way to arrive or to leave, smelling of gingko, wallpaper, and booty at the >great cheetah banquet." > >Elinor Nauen > "Greg Fuchs' poems are suave and charming, open and unafraid, sly, >generous, gorgeous, edgy. It's clear that he "falls in love every morning" >yet he's not sentimental--instead he hangs on to dis and dish. "The world >shoves right >on in" in these poems and we can't wait to grab a handful of real words: >giddy, grace, tang, gumption, reckless, blue plate crayola, scuzzy, rogue. >Scarcely a poem goes by that doesn't have a terrific line or two ("menage a >trois is apparently the fin de siecle/cigar we're all preparing to smoke"; >"The love doll/deflates on the knoll"). There's more stuff here than you can >imagine--friends, romance, a life, adventures, thoughts deep and silly. >"I've forgotten almost everything that's happened to me" he announces, but >of course that's only after he's told us everything." > > > > > > > ========================================================================= Date: Mon, 28 Jun 1999 19:08:38 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: a+bend press Hello All, I've gotten some inquiries concerning how to order my new little book, so I'm posting that along with some information about the press. The a+bend press small book series is published in conjunction with literary events organized by the editor, Jill Stengel. Titles include: book three "as far as" by Jen Hofer book four "Genealogy" by Kathy Lou Schultz book five "22" by Katherine Spelling book eight (forthcoming) by Susan Gevirtz & Myung Mi Kim Books cost $5.00 each plus $2.00 shipping and handling. Make checks payable to Jill Stengel. 3862 21st Street San Francisco, CA 94114 ========================================================================= Date: Mon, 28 Jun 1999 13:34:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Garrett Caples Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Seeking email contact for Garrett Caples. Thanks. Outlet Magazine -&- Double Lucy Books P.O. Box 9013, Berkeley, California 94709 U.S.A. http://users.lanminds.com/dblelucy ========================================================================= Date: Tue, 29 Jun 1999 10:14:22 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: epistle MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit seems to me epistles are rich in the forms of fiction & love poetry before the epistolary novel, read Vincent Voiture's letters? + courier service in early 17th century made horse-mail a reality, 2 weeks for a letter Paris to Rome is not bad by 20th c standards, -- provided the courier didnt get killed by brigands. Epistles ruined by pistols. B ut then there were rumours (just rumours) not long ago of Italian mail service getting so overloaded that tons of mail was burned to speed delivery up a bit. (& by the way, that made the Republique des Lettres possible, a widespread exchange on intellectual matters that wd if it cd have heartily embraced e-mail lists such as this) -- Hats off to our epistolary ancestors! Tony Green ========================================================================= Date: Mon, 28 Jun 1999 21:18:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: A Terrific Tale with a Save at the End! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII = A Terrific Tale with a Save at the End! Tha faallng th$t flash h$s laft ma, th$t bpnas $ra hald by phpnamas np lpngar sppkan, th$t tha Symbpl by tha Ha$rth h$s ch$rrad: If I can't write, I won't be able to wait for you, O Existence! I am afraid of opposites, each and everywhere.:W$ltlng: I $m $fr$ld pf lpslng my $blllty tp wrlta! I $m $fr$ld pf npn-axlstanca.:dissolved forever: W$ltlng: I $m $fr$ld pf lpslng my $blllty tp wrlta! I $m $fr$ld pf npn-axlstanca! transforms Your Tha faallng th$t flash h$s laft ma, th$t bpnas $ra hald by phpnamas np lpngar sppkan, th$t tha Symbpl by tha Ha$rth h$s ch$rrad on Effaced Skin... Ah, Living with No Longer Spoken! Ch$rrad Phonemes: That Flash Has Left Me! Spaachlass Bafora Thaa! But then I know that if I get to Non-Existence first, I can beat it at its own game and really do it in, I can stomp and squish Non-Existence, Heh! already wet with the energy of it all, and then I'll return to speaking and singing and murmuring and whispering and talking and saying and tell- ing and even screaming and yelling and even speaking some more! Yes I will! Yes I will! Even speaking some more! ___________________________________________________________________________ ========================================================================= Date: Mon, 28 Jun 1999 22:20:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Marks Subject: Re: epistle In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Although not strictly epistolary, the cronicas (chronicles) written by Clarice Lispector for the Sat. edition of The Brazilian News read like letters. She wrote these pieces over a period of six years and they are like a private six-year conversation to the public. New Directions published Selected Cronicas about two years ago. ========================================================================= Date: Tue, 29 Jun 1999 17:47:13 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Whalen review in Jacket # 7 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" In a recent posting, Stephen Vincent asked: "Which is to ask, has anyone read a good, substantial review of Whalen's new Collected?" Jacket number seven (free, and published on the Internet only), not yet quite complete (mea culpa!) has a wonderful review by Tom Clark, at this URL http://www.jacket.zip.com.au/jacket07/whalen-clark.html from John Tranter, 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Homepage: five megabytes of glittering literature, free, at http://www.alm.aust.com/~tranterj/index.html ========================================================================= Date: Tue, 29 Jun 1999 07:10:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Whalen Comments: To: Poetics List Comments: cc: Stephen Vincent MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Steve Vincent is being diplomatic in not saying that "the Chronicle critic" is Tom Clark (whom I presume must think it to have been a warm, generous and positive review of his one-time neighbor on the mesa). Whalen's counter-careerism certainly has been a factor, and Steve's right about Rexroth and Dahlen also. But I'd add Bob Grenier and even Joanne Kyger to that list. All folks who deserve to be read closely (and widely). Ron "There was a downer review of Whalen's new Penquin collection (with intro by Leslie Scalapino) in yesterday's San Francisco Sunday Chronicle Book Review. I am not sure what the Chronicle critic was trying to perform other than he somehow missed and hardly gave a clue to the rich and various brilliance(s) of Whalen's work. While this work has fortunately managed to get published over the years, Whalen remains a wry counter-careerist which unfortunately has kept the poems from larger public assessment, celebration and/or review. Maybe obscurity is part of the character structure of some West coast giants. Kenneth Rexroth (who was very public) had a paranoid streak that caused him to slash every critic who crossed the horizon, leaving him dismissed from any real consideration in the modernist Canon. Retrieval efforts to recognize his work remain ongoing. Then there is Beverly Dahlen in hermetic, apparently quite non-careerist retreat. Lyn Hejinian (gratefully) (among a few others) for example, seems to have figured it out - keeping her generous critical mind and creative work at the public forefront - east, middle and west. Well, I diverged from my original intent. I'm pissed off at the Chron review. Which is to ask, has anyone read a good, substantial review of Whalen's new Collected? Cheers, Stephen Vincent" ========================================================================= Date: Tue, 29 Jun 1999 10:52:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: funky butt Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII If any of y'all are gonna be in the Big Easy the next few days, please come to this reading! L I V E A T T H E F U N K Y B U T T Joel Dailey and Camille Martin Joel Dailey's numerous chapbooks include _Release Window_ (Semiquasi Press) and _Public Storage_ (Tight Press). His collection _Lower 48_ (Lavender Ink) was recently unleashed. Camille Martin is the author of _Plastic Heaven_ (Fell Swoop) and the forthcoming _Magnus Loop_ (Chax Press) and _Sesame Kiosk_ (Lavender Ink). 9 pm, Tuesday, July 6 714 N. Rampart St. New Orleans ========================================================================= Date: Mon, 28 Jun 1999 20:31:24 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Re: epistle On the poetic front, Erica Hunt's "Dear" and "Dear Dear" series (don't have the title in front of me) in _Local History_ is also a good example. Kathy Lou Schultz > Dodi, > > Seems that Nate Mackey's novels would be a perfect fit for your class. > Sun & Moon has the first two out, _Bedouin Hornbook_ and _Djbot > Baghostus's Run_, and they will publish the third _Atet A.D._, well, > whenever. > > Paul Naylor ========================================================================= Date: Tue, 29 Jun 1999 15:09:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther,John" Subject: burnt epistles MIME-Version: 1.0 Content-Type: text/plain tony green wrote; "...there were rumours (just rumours) not long ago of Italian mail service getting so overloaded that tons of mail was burned to speed delivery up a bit." & it made me think of nepal in 1990 during the riots when none of our mail was being delivered and i went with a friend to see if we cd collect it from the p.o. it was closed around back we found many huge piles of ash with the odd corner of an envelop here and there ========================================================================= Date: Mon, 28 Jun 1999 22:12:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: VinceT@AOL.COM Subject: Re: Philip Whalen Comments: To: "undisclosed-recipients:;"@igc.org Hi Stephen, The man that reviews poetry for the chronicle has been writing those piece of shits for a long time. They don't do anything to shed light on the poets in question work, only show that he reviewer has bland taste and only seem to know poetry from the professional and encyclopedia not emotional or religious persective. Recently, I know there was new poetry reviews by somebody different that was on the mark, and direct, and honest, a review of John Ashberry and one other one, review of another poet. But I havent seen anything by him the past weeks of the book reviews. Maybe the Whalen reviewer got mad at the editor for encorachment of territory or something. I definitely admit that Whalen is amazing poet, but this book is not the best. To much Buddism, kind of corny. But the introduction is terrible, hardly even readable. so maybe the whole book is cursed, anyway, but that would be sad but funny for a professional Buddist. Good luck finding more reviews. Vincent ========================================================================= Date: Tue, 29 Jun 1999 13:36:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: john coletti Subject: Berrigan Sightings Mime-Version: 1.0 Content-Type: text/plain; format=flowed Does anybody here know if Edmund Berrigan is giving a reading for his new book this weekend in San Francisco? & if so where & when? Thanks, John Coletti _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Tue, 29 Jun 1999 13:00:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: burnt epistles In-Reply-To: <5D5C5C8C3A41D211893900A024D4B97C6A6ED0@md.facstaff.oglethorpe.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >tony green wrote; > >"...there were rumours (just rumours) not long ago of Italian mail service >getting so overloaded that tons of mail was burned to speed delivery up a >bit." I saw a TV news programme with footage of such a thing being done in the late seventies in Italy. It involved little forklifts and bulldozers. At the time I thought: why cant this procedure be instituted for poetry? George Bowering. , fax: 1-604-266-9000 ========================================================================= Date: Tue, 29 Jun 1999 17:07:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: A H Bramhall Subject: re(ad) Grenier MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit this isn't about me. as a teacher Robert Grenier was a sensitive, generous listener who found excitement and communicated it. tracking American Poetry from Whitman and Dickinson thru to Williams, Zukofky, Olson. Creeley, Levertov, O'Hara, Ashbery, Ginsberg, Coolidge, Saroyan... encompassing the range, tho it was with Olson that he showed the most warmth, or maybe that was my response (this isn't about me). a picture of Grenier with Olson, a good foot shorter than the Big Fire Source, the giant and the kid. Grenier moved north of Boston (teaching at Tufts I think) to be within hailing distance of Olson. reading "Skunk Island" by Robert Lowell as if it were a Zukofsky poem, syllable by syllable. he didn't seem distracted by the varying interests and abilities of students. he didn't slap you on the shoulder and say, great poem. he asked questions, he reread, he asked you to read, and read again. the discussion was in the air, he listened to the air. 3rd eye staring. sometimes you, or I, would speak a phrase, somehow, perhaps unwittingly, happen upon an arrangement of words in writing or speech, as one does, that struck him, and he would excitedly explain what struck him. then he would credit you for finding. it wasn't encouragement, it was commitment. to Poetry, which seems such a flat statement as I type. the job at hand. recording his young daughter's Figures of Speech, found things. he made use of a hallway lined with cork bulletin boards, usually devoted to student artwork. carefully pinned 5x8 cards along the entire length, each card containing one poem (later to become Sentences). he asked, what will I do with these, his pile of 5x8 cards. a word gallery. could go quiet any time he arranged for Larry Eigner to read at the school. informally gathered around a couple of cafeteria tables, but an event nonetheless. if you want to call that a gesture (which it wasn't, it was interest, it was genuine), then call it a generous one. could we call Robert Grenier a pioneer? with the idea that pioneers walk forth with or without paths. 'career' simply describes his path. just responding to, seconding, Ron Silliman's push of RG. ========================================================================= Date: Tue, 29 Jun 1999 22:40:28 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Re: Whalen Mime-Version: 1.0 Content-Type: text/plain; format=flowed If anyone is really interested in reading this "downer" review of Philip Whalen by Tom Clark, you can browse: www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1999/06/27/RV105857.DTL. Tom's review in Jacket, or a 1996 review in the SF Chronicle of Whalen's Canoeing Up Cabarga Creek might seem more "generous and positive" to those used to book reviews reading like PR blurbs rather than critical engagements with poetry. > >Steve Vincent is being diplomatic in not saying that "the Chronicle critic" >is Tom Clark (whom I presume >must think it to have been a warm, generous and positive review of his >one-time neighbor on the >mesa). Whalen's counter-careerism certainly has been a factor, and Steve's >right about Rexroth and >Dahlen also. But I'd add Bob Grenier and even Joanne Kyger to that list. >All >folks who deserve to be >read closely (and widely). > >Ron > > >"There was a downer review of Whalen's new Penquin collection (with intro >by >Leslie Scalapino) in yesterday's San Francisco Sunday Chronicle Book >Review. >I am not sure what the Chronicle critic was trying to perform other than he >somehow missed and hardly gave a clue to the rich and various brilliance(s) >of Whalen's work. >While this work has fortunately managed to get published over the years, >Whalen remains a wry counter-careerist which unfortunately has kept the >poems >from larger public assessment, celebration and/or review. Maybe obscurity >is >part of the character structure of some West coast giants. Kenneth Rexroth >(who was very public) had a paranoid streak that caused him to slash every >critic who crossed the horizon, leaving him dismissed from any real >consideration in the modernist Canon. Retrieval efforts to recognize his >work >remain ongoing. Then there is Beverly Dahlen in hermetic, apparently quite >non-careerist retreat. Lyn Hejinian (gratefully) (among a few others) for >example, seems to have figured it out - keeping her generous critical mind >and creative work at the public forefront - east, middle and west. >Well, I diverged from my original intent. I'm pissed off at the Chron >review. >Which is to ask, has anyone read a good, substantial review of Whalen's new >Collected? >Cheers, >Stephen Vincent" _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ========================================================================= Date: Tue, 29 Jun 1999 19:36:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Re: gratitude toward authors MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit T H I N K I N G O F Y O U [think/thank = denken/danken Dankbarkeit f(--;) gratitude Denkarbeit f(--;) brainwork] "Du mußt dein Leben ändern." There is a question to ask. Or has it been asked as it has always been asked, indirect and artificial and abstract: "Who's there?" Is it the parrot in the opening paragraph of Toni's JAZZ that says. (The snow she ran through so windswept she left no footprints). Who has the right to take down a road of no return, if the time has come to ask what poetry is for, a form "for love," or love of form? Is it "just between us" or is it a fist raised in the face of the world (Mexico City, Olympics, 1968). Power and Protest. Or conversational intimacy, material taste of one who can withstand my ideality of the empirical presence as condition to the possibility of making any art at all, someone other than my propaganda? There is an art that brings into existence in its strictest sense its maker's signature, and it trusts its news. Deleuze's glass bird that eyes the Sarajevos of destroyed relations, dominating. "Defense or attack?--he asked, as if the military operations had been taking place just outside London. This was written in April 1871: THEY SHOULD HAVE MARCHED ON VERSAILLES. (Lenin, Preface to the Russian Translation of Marx's Letters). The Regents of the University of California, copyright 1977: "[W]ithin--or between-these texts of Marx . . . a strange theoretical novel . . . in the comedy of dialectic . . . into the conceptual orbit of Eros . . . Marx (Engels, Lenin), the Commune--in which is condensed a maximum of 'dreamwork,' of 'unconscious,' of 'the repressed'--to cathect the term STATE . . ." The philosopher thinks outside the rectitude of the propagandist, the one who hawks the News, the question of every art's use or usefulness--how can it be made more harmful, to whom or what can it do the most harm? Robin at New College Chapel, Friday, June 20, 1986: "I would love to do that to all of you, I even thought of it. I thought well we'll just ask everyone in this audience to write a blasphemy. I wonder how many of us even know what to blaspheme." P R O P A G A N D A B E M Y B E A T R I C E ! Philosophy, you who would be with me, be with me One and the Same, speak to me a little, draw me back from Error. Wrongly understood and wrongly posed, I am wrong as I am wronged. There is, somewhere, a simple "there is." I l y a. There is a world that exists only in the expression on our faces, not the words for them, even if the words are Wittgenstein's. There is an area ab that belongs equally to a and b, a neighborhood, vicinity, "zone de voisinage," area of a point, or point to be made, ideology according to its neighborhood. I l l y i c h. This is a wall where everything holds together along hard, sharp lines. There is no point in asking am I right or wrong. My propaganda is positional. Affect infused with a proper name solidifying the historical nature of its link to speaking tools. In the Parmeides the One is two. They pass into one another. The "I" and the "Other," 'soi par soi,' inseparable, exterior. Conceptual personae, your pseudonyms serve a secret singularity whose "I" defers all meaning, until our meeting, made necessary, where truth will serve the function of making us more than imaginary. ========================================================================= Date: Tue, 29 Jun 1999 22:38:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: Philip Whalen MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Vincent, I have to disagree about the introduction. I think it did a great job of describing a poetics of hypertext by someone 20 years ahead of his time. Now I'll admit my abysmally poor cultural knowledge: I would like to know who wrote _Tha Art of the Fugue_ mentioned there, Leslie if you are on the list or anyone please bc. tom bell VinceT@AOL.COM wrote: > > Hi Stephen, The man that reviews poetry -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Tue, 29 Jun 1999 22:21:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leonard Brink Subject: Announcement, Windhover #3 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Windhover #3 is now on-line at http://home.sprintmail.com/~windhover and features poetry by: Paul Hoover Ray Ragosta Craig Watson Maxine Chernoff Sheila E. Murphy Spencer Selby Jeffrey Jullich Cole Swensen Joe Noble & Avery E.D. Burns Henry Gould ENJOY! ========================================================================= Date: Wed, 30 Jun 1999 11:39:40 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lawrence Upton." Comments: To: british-poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The next Sub Voicive Poetry event is at The Three Cups, Sandland Street, London WC1 at 8 pm on 6th July 1999 when Elizabeth James and Patricia Farrell read. I tell you this because The Sub Voicive Poetry website has been taken down in view of Yahoo / Geocities claim to have copyright in its contents. It's a pity because in terms of the programme list and documentation it was as up to date as possible and not far behind in other areas. . All that was there was information on current readings, documentation of the last six or seven years and the texts of introductions: nothing to make a million from. But the manner in which this change was swung is outrageous and SVP has joined the boycott. It will be up again in a few days, perhaps a day, once a new site has been set up and the geocities scripts have been stripped out. ========================================================================= Date: Wed, 30 Jun 1999 05:23:39 -0400 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Philip Whalen MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Stephen Vincent wrote: > > There was a downer review of Whalen's new Penquin collection (with intro by > Leslie Scalapino) in yesterday's San Francisco Sunday Chronicle Book Review. > I am not sure what the Chronicle critic was trying to perform other than he > somehow missed and hardly gave a clue to the rich and various brilliance(s) > of Whalen's work. > While this work has fortunately managed to get published over the years, > Whalen remains a wry counter-careerist which unfortunately has kept the poems > from larger public assessment, celebration and/or review. Maybe obscurity is > part of the character structure of some West coast giants. Maybe. But at least he got a review in the Chronicle. Think of all the poets better than Whalen who'd never be able to get even that. --Bob G. ========================================================================= Date: Wed, 30 Jun 1999 09:50:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: Edmund Berrigan, Barbara Guest Mime-Version: 1.0 Content-Type: multipart/mixed; Boundary="0__=rPyCeuRNxoP80k9IPvx63FtmwoAUCIyQimTsFr9NbQJt4jY1Udk5GGI5" --0__=rPyCeuRNxoP80k9IPvx63FtmwoAUCIyQimTsFr9NbQJt4jY1Udk5GGI5 Content-type: text/plain; charset=us-ascii Content-Disposition: inline Speaking of reviews, here are a few things I wrote for a trade journal that were altered completely (mostly cut) prior to their publication. But I have permission to "publish" the original versions, so voila. Edmund Berrigan, Disarming Matter 0-9669430-07, The Owl Press "I have a desire to transcend conscious speech / not to the exclusion of words or letters, / it is not a scholarly wish, must be removed / from the present past future inclusive everything / beyond understanding," writes Berrigan in "The Orbit Room" (76). While not always so heady, the underlining feature to this debut volume --0__=rPyCeuRNxoP80k9IPvx63FtmwoAUCIyQimTsFr9NbQJt4jY1Udk5GGI5 Content-type: text/plain; charset=windows-1257 Content-Disposition: inline Content-transfer-encoding: quoted-printable =97 ranging in tone from the beat goofiness of a Gregory Corso to the Symbolist-tinged collages of early Ashbery, from the rich dailiness of a Bernadette Mayer to the more heat= ed "boheme" of Rimbaud =97 is a negotiation between the dream-like irreal= ities of daily life, a polyvalent sexuality that is not out of tune with much= Gen X flirtation with extremes, and a figure called "God" who occasionally drops in as something like a placeholder for the channel to the "other"= world. The beautiful long sonnet sequence "Cross House" is a mysteriou= s affair, like a traipse through a virtual haunted mansion, with figures = of love and desire teaming among the threat of limitless possibility: "The= persons I have seen in patterns / were so torn as to be absolute traips= / [...] She had never seen him trusted above all / earthly things. They = were leaning on the / screen before the fire. 'You bear your / wrongs more gently than I can bear / mine.' He bent over the group / in a caressin= g way, with renewed violence." (54) The quiet surety of Berrigan's meter= s are perfect for the wavering between "violence" and the "caress," and h= e resembles a 17th century methaphysical =97 Herbert the closest =97 in h= is decorous rhetoric, which he dons most strongly when asking the "big questions": "I have something, a major contribution / to the record of life, in a world winter-obscene, that / works with fingers peel back a series of inventions / for mortality. Armchair comfortable for those w= ho desire it. / Absence from the physical being as strong a security as an= y." (34) These are big issues for such a poet in his mid-twenties, one who= , consequently, never takes himself too seriously, and is as pop-sensible= , funny and crazily improvisatory as any grunge lyricist: "I am a heartfe= lt bulging crotch / when I take on the swiss initiative / [...] I made lov= e to Nico a lot, I dug her a lot / it was like hanging out with a guy except= / she had girl pants." (16) This combination of addresses to the higher powers with a mischievous running-with-the-disaffecteds of the present makes Berrigan a Hamet-like figure for the nineties -- not the highbrow= of Eliot, but a thoughtful, late-century rebel engaged in his deep, "irrational" discourse with Yorick while the world only dreams. Barbara Guest, Rocks on a Platter 0-8195637-22, Wesleyan Rocks on a Platter is a book-length work by a poet who has, over the pa= st decade or more, increasingly come to be seen as a major force in innova= tive poetics. Guest is often associated with the =93New York School=94 of p= oets (Ashbery, O=92Hara, Schuyler) but is traditionally overlooked by chauva= nistic scholars preferring a homogenized version of the literary/art nexus of activity in Manhattan in the 50=92s and 60=92s -- notably David Lehman = in his recent history The Last of the Avant Garde. It appears that she may ha= ve the last laugh, as the yet-living poets of that group have retreated in= to blase irony and, occasionally, the poetic equivalent =93pot-boilers,=94= while Guest has forged onward with her near-flawless ear and synaesthetic eye= for word values, in the process breaking down her syle into a more spare, b= ut never less than rich, idiom, for which she has come to be praised. As = if echoing Ashbery, the poem starts: =93Ideas. As they find themselves. = In trees?=94 but nonetheless moves on to a declaration of intent peculiar = to herself, finding =93Dreams set by / typography. A companionship with crewlessness...=94 Though the figure of Rimbaud doesn=92t appear in thi= s work -- Shelly, Byron, H.D., Ovid, and Eliot are among the figures inescapab= ly alluded to -- Guest displays a =93taste only for earth, and rock,=94 as= her carved jewels of word-clusters illuminate the white space: =93Pockets j= ingle highly responsive place in the shelter / of those rocks at last the jingle of your pockets / HEARD ON THE PAGE.=94 Time, presence, the abi= lity of the eye to create time out of word patterns, are perhaps the central= subjects here -- though she writes blankly =93suspicious / of fragmenta= tion=94 this poem is highly =93fragmented,=94 though joined symphonically in th= e play/space of the page as =93score=94 -- a concern that exhibits itself= in what can be read as commentary on the poem itself, making this an essay in poetics as much as an epistomological cat-and-mouse. =93Without shynes= s or formality /// =91a gesture of allowing oneself time=92=94 she writes (t= he immense white space between these spaces, where this gesture occurs, cannot be reproduced here), and later: =93=91flotsam of the world of appearances=92= / drifting by and out of the picture,=94 pointing to a Herecletian, but a= lso defiantly feminine (i.e. non-determinate both rhetorically and ideolectically) poetics. This is a very approachable book by a poet wh= o is bound to show you something you didn=92t know was possible in American poetry, though the French may have been trying to tell us this for some= time: that the whiteness of the page can be radiant. = --0__=rPyCeuRNxoP80k9IPvx63FtmwoAUCIyQimTsFr9NbQJt4jY1Udk5GGI5-- ========================================================================= Date: Wed, 30 Jun 1999 15:30:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: summer announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Well, today is our last day in the office for two months. The best way to reach us is via regular mail. We recommend not e-mailing us until September, when we re-open. But still feel free to visit our web site, especially as there's work by L.S. Asekoff Eddie Bell Merry Fortune Josie McKee James Wilk brandly new up at http://www.poetryproject.com/poets.html/ and also, there are new and exciting pictures at the Tiny Press Center, so now you can see what some of those teeny publications look like: http://www.poetryproject.com/mention.html/ Readings will begin again in October with Anselm Berrigan coordinating the Monday Night Series, Mitch Highfill coordinating the Wednesday Night Series, and Regie Cabico coordinating the Friday Night Series. The new Newsletter Editor is Katherine Lederer. If you have any questions, we'll be here until 5 pm. After that, we will be: a) home, sleeping b) at the beach c) climbing Mt. Everest, or, excuse us, K2 d) in the New York Public Library's reading room Have a great summer and see you in the fall! ========================================================================= Date: Tue, 29 Jun 1999 16:13:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Would the real Tom Clark please stand up? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The reviews in Jacket and the SF Chronicle are exactly the same, aside from formatting Cheers, David ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Kellogg Duke University kellogg@acpub.duke.edu Program in Writing and Rhetoric (919) 660-4357 Durham, NC 27708 FAX (919) 660-4381 http://www.duke.edu/~kellogg/ ========================================================================= Date: Wed, 30 Jun 1999 14:17:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Fagin Subject: Leroy Chapbook Series Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Announcing the publication of Cartographies of Error by Rachel Levitsky (4$, 39 pages, hemp leaf spine binding), book one of the LEROY chapbook series, edited and published by Renee Gladman. LEROY books feature original prose works and serial poems by emerging innovative writers. Forthcoming authors in the 1999 series are Summi Kaipa, Roberto Tejada, and Hoa Nguyen. Send all correspondence to Renee Gladman c/o 3180 18th Street, Suite 201, San Francisco, CA 94110 or rgladman@php.ucsf.edu . Subscriptions are available. ***For those in the San Francisco area, Rachel Levitsky and Summi Kaipa will read on July 6th (Tuesday) at Modern Times Bookstore at 7:30 p.m. Modern Times is located on Valencia Street (in the Mission) between 19th and 20th streets. Cartographies of Error will be available on the night of the reading. >From Cartographies of Error Coney Island after Cesar Vallejo I'll die drinking I remember it already in Paris, slow, maybe Peoria, or Brooklyn on a Thursday, like today, in fall or I'll die on a Thursday, maybe today, thursday promises poems while the bad humors pass me by to join other bad and, like never before, I have returned with all my cards, my ways and means, and smiles to see myself alone. You see I have died, they fought me I did nothing--they gave it to me hard with a stick and hard With a story; without testimony on Thursdays, bleached bones solicitude, stone stoops, the rides. . .