========================================================================= Date: Sun, 31 Dec 2000 18:32:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Fiction as Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" haven't been following this, really, but I know it's about novels that are 'poetic' in various ways. Joyce certainly has been mentioned, and hopefully Proust. Here are some others that come to mind. Cosmos, by Witold Gombrowicz (also Ferdydurke, Pornographia) How German Is It, by Walter Abish The Island, by Robert Creeley The Gold Diggers and Other Stories, by Robert Creeley Hopscotch, by Julio Cortazar Tristram Shandy, by Lawrence Sterne various novels (if one can call them that) by Gertrude Stein Yellow Back Radio Broke Down, by Ishmael Reed (other books by Reed as well) various novels by Fanny Howe various novels by Harry Matthews various novels by Christine Brooke-Rose Toulouse-Latrec, by Kathy Acker The Park, by Philippe Sollers Defoe, by Leslie Scalapino there are really so many, although small compared to all novels available, certainly but then, poetry I like to read is a small fraction of all poetry available At 08:42 PM 12/30/00 -0330, you wrote: >To List, > >I'm not really following this thread very closely as I'm trying to take a >break from all things electronic (except remote controlled car I found >under my tree) for the holidays. But, I gather that there is talk of >fiction as poetry. > >I'll toss in >: Ondaatje, Michael, In the skin of a lion : a novel. New York, N.Y. : Penguin Books, >1988, > >absolutely beautiful. i'm not about to enter the current debate and try to >defend my selection. just pick it up and read any page. also very salient >for anyone intersted in labour, class and the development of the city in >north america. > >all the bests, >kevin > > ========================================================================= Date: Mon, 1 Jan 2001 01:57:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: overlooked "censorship" (semi-colons) Mime-Version: 1.0 Content-Type: text/plain; format=flowed At the risk of sounding opinionated, I'll say that the more oblique parts of language, punctuation, etc., are there to be USED. I think it's a scandal that a lot of people do not know how to use the semicolon (as someone said was true of their students, & which is manifestly true in a lot of writing). Orwell's essay should be required reading for everyone, not because he's right about everything but because he makes you THINK about what language is doing. Stein's "Poetry and Grammar" does that, in a very different way. However, if we all followed GO's advice literally we'd be writing Hemingwayisms. The most boring literature possible. --Mark DuCharme >From: David Zauhar >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: overlooked "censorship" (semi-colons) >Date: Sat, 30 Dec 2000 16:24:37 -0500 > > >Forget about the misleading Potter/Twain/Cleaver examples of > >"censorship"--let's focus on the real thing: The missing semicolon!!!! > > > >It goes like this--or WENT like this at one enlightened time: "This film > >has been modified from its original version; it has been formatted to > >fit your screen." THEN what happened? Now the semicolon has been > >excommunicated and the slogan reads: "This film has been modified from > >its original version. It has been formatted to fit your screen." > > > >Americans can't handle semicolons? !Is this true?! Oh! The humanity! If > >we can't employ a semicolon, how can we.... > > > >Where is my semicolon! > > > >Meg Brooks > >I believe George Orwell, in "Politics and he English Language," questions >the efficacy of the semi-colon. In his essay on Orwell's essay, >Canadianwriter Brian Fawcett repeats this bit of practical advice, writing, >"never use a semi-colon. I know I'm repeating Orwell, but this is so >important it bears repeating. Semi-colons are absolutely reliable signals >that a sentence should be rewritten, generally to make it more direct. And >incidently, you should only use a colon if you're wearing a tuxedo or >sitting on white porcelain." Brian Fawcett. _Unusual Circumstances, >Interesting Times_. Vancouver: New Star, 1991, page 134. > And, yes, I did in fact put on a tux to type the bibliographic >info. > >David Zauhar >632 Cribbs Street >Greensburg PA 15601 >724/834-8461 > >"They said we was nowhere > Actually we are beautifully embalmed > in Pennsylvania" > >--Philip Whalen, "Chanson d'Outre Tombe" _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 1 Jan 2001 14:23:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: NYC event on Wed 11/27: Richard Kostelanetz and Jerome Rothenberg MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/31/00 4:58:08 PM, khehir@CS.MUN.CA writes: << hi all, is there any chance that someone could report on this discussion? This is an area of particular interest to me - the manifesto that is. Thanks and the best of the season to all, kevin hehir >> I was there and the discussion had little, if anything, to do with the manifesto. Richard spoke about the business of putting together anthologies (securing rights, etc.), and Jerry mostly read from his poetry and that of some others represented in his anthologies. Bill ========================================================================= Date: Mon, 1 Jan 2001 14:33:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/31/00 5:05:41 PM, cstroffo@EARTHLINK.NET writes: << How many of you here are also so fed up with the way that a PH.D. is not of course considered a real DOCTOR? >> Should we care what the general public thinks? I've never encountered a physician who wasn't impressed by my Ph.D. and inclined to treat me as an equal, or better. My experience is that, in the main, educated men and women know who's who. My own tendency is to admire anyone with expertise I lack. Bill ========================================================================= Date: Tue, 2 Jan 2001 10:51:34 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Fiction as Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It can be argued, and has been, that a dictionary is a poem.Richard. ----- Original Message ----- From: "charles alexander" To: Sent: Monday, January 01, 2001 2:32 PM Subject: Re: Fiction as Poetry > haven't been following this, really, but I know it's about novels that are > 'poetic' in various ways. Joyce certainly has been mentioned, and hopefully > Proust. Here are some others that come to mind. > > Cosmos, by Witold Gombrowicz (also Ferdydurke, Pornographia) > How German Is It, by Walter Abish > The Island, by Robert Creeley > The Gold Diggers and Other Stories, by Robert Creeley > Hopscotch, by Julio Cortazar > Tristram Shandy, by Lawrence Sterne > various novels (if one can call them that) by Gertrude Stein > Yellow Back Radio Broke Down, by Ishmael Reed (other books by Reed as well) > various novels by Fanny Howe > various novels by Harry Matthews > various novels by Christine Brooke-Rose > Toulouse-Latrec, by Kathy Acker > The Park, by Philippe Sollers > Defoe, by Leslie Scalapino > > > there are really so many, although small compared to all novels available, > certainly > but then, poetry I like to read is a small fraction of all poetry available > > > At 08:42 PM 12/30/00 -0330, you wrote: > >To List, > > > >I'm not really following this thread very closely as I'm trying to take a > >break from all things electronic (except remote controlled car I found > >under my tree) for the holidays. But, I gather that there is talk of > >fiction as poetry. > > > >I'll toss in > >: Ondaatje, Michael, In the skin of a lion : a novel. New York, N.Y. : > Penguin Books, > >1988, > > > >absolutely beautiful. i'm not about to enter the current debate and try to > >defend my selection. just pick it up and read any page. also very salient > >for anyone intersted in labour, class and the development of the city in > >north america. > > > >all the bests, > >kevin > > > > ========================================================================= Date: Tue, 2 Jan 2001 11:24:17 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I dont risk "sounding" opinionated; I am opinionated. For God's sake; the semi-colon; either taken alone or in those beautuful long prose-poetic passages from Edward Thomas; or Ashbery; or Proust; or even the Charles Dickens of "Bleak House" (from which Eliot stole his theme of "The yellow fog that rubbed across the window pane" etc) would be totally bereft;bereft and dead; dead and bereft in sans absentiae semi colonsia; whose birth iinto literature was as mysterious (and today for most souls) as mystifying, as The Word itself;which word it is held; "walked the world" shedding light;which recalls me to the Bible; which latter book - usually black - would be terribly bereft and derived in the absence of the semi colon; that straunge device whose lower half - rather like the human "trunk"; curls or droops downwards as if struggling by;or against; Gravitas to escape the more severe singleness of that - presumably circular "splot!" (forgive me dearly and recently departed Victor Borges); as if indeeed to accentuate poetry or literature - nay Art Itself's - deep Being;singleness struggling in a Jakobian or Nietscian Life Struggle in the Heart, and the very Light, of language: order versus chaos;plainess in diversity; sanity versus madness; the inescapable and semiotically hermetic "splot!" arguing that all things perish; the almost spermatic "squook" arguing; as argue it must; in favour of escape; and escape to life through death;death though life;the "squook" wriggling to escape the torment of the dominant and patriarchal text; while the valiant "splot!' struggles on in Borgesian ambiguity; whether you take the Victor or the Jorges;and infinities of perplexities expand from the semi-colon; known to some as the half-colon;hated and loved;loved and reviled;endlessly and tragically reborn. R; T; ----- Original Message ----- From: "Mark DuCharme" To: Sent: Monday, January 01, 2001 9:57 PM Subject: Re: overlooked "censorship" (semi-colons) > At the risk of sounding opinionated, I'll say that the more oblique parts of > language, punctuation, etc., are there to be USED. I think it's a scandal > that a lot of people do not know how to use the semicolon (as someone said > was true of their students, & which is manifestly true in a lot of writing). > Orwell's essay should be required reading for everyone, not because he's > right about everything but because he makes you THINK about what language is > doing. Stein's "Poetry and Grammar" does that, in a very different way. > However, if we all followed GO's advice literally we'd be writing > Hemingwayisms. The most boring literature possible. > > --Mark DuCharme > > > > > >From: David Zauhar > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Re: overlooked "censorship" (semi-colons) > >Date: Sat, 30 Dec 2000 16:24:37 -0500 > > > > >Forget about the misleading Potter/Twain/Cleaver examples of > > >"censorship"--let's focus on the real thing: The missing semicolon!!!! > > > > > >It goes like this--or WENT like this at one enlightened time: "This film > > >has been modified from its original version; it has been formatted to > > >fit your screen." THEN what happened? Now the semicolon has been > > >excommunicated and the slogan reads: "This film has been modified from > > >its original version. It has been formatted to fit your screen." > > > > > >Americans can't handle semicolons? !Is this true?! Oh! The humanity! If > > >we can't employ a semicolon, how can we.... > > > > > >Where is my semicolon! > > > > > >Meg Brooks > > > >I believe George Orwell, in "Politics and he English Language," questions > >the efficacy of the semi-colon. In his essay on Orwell's essay, > >Canadianwriter Brian Fawcett repeats this bit of practical advice, writing, > >"never use a semi-colon. I know I'm repeating Orwell, but this is so > >important it bears repeating. Semi-colons are absolutely reliable signals > >that a sentence should be rewritten, generally to make it more direct. And > >incidently, you should only use a colon if you're wearing a tuxedo or > >sitting on white porcelain." Brian Fawcett. _Unusual Circumstances, > >Interesting Times_. Vancouver: New Star, 1991, page 134. > > And, yes, I did in fact put on a tux to type the bibliographic > >info. > > > >David Zauhar > >632 Cribbs Street > >Greensburg PA 15601 > >724/834-8461 > > > >"They said we was nowhere > > Actually we are beautifully embalmed > > in Pennsylvania" > > > >--Philip Whalen, "Chanson d'Outre Tombe" > > _________________________________________________________________ > Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 1 Jan 2001 17:15:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dan raphael Subject: A counter to MLA gang readings Comments: To: tom taylor MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Former list lurker Tom L Taylor-- who felt of the two list-oirented readings he saw at the MLA only Mark Wallace and Buck Downs offered living language (my synopsis, not necessarily Tom's words)-- asked me to post this to the list dan raphael THE RESURRECTION OF POETRY For Vincent Ferrini, a friend for life Skulking mimics prowl the halls of ivy forging a dysfunction -ate presence. They dip their hands in vats of light & pull forth a black, viscous absence dripping blood and time. Their spaceless havens detail a hopeless journey into Mind & leave us gasping and empty within their vapid, songless moans. Within Heart, a callow monolog declines passion & contact, isolating Self with out pity or scorn. An insensate gloom fills our stripmined atmosphere where the Poet hangs from the tree of his career, & children lope & canter in the ceaseless misery of knowing & certitude. "Help Wanted" reads the sign of the times where no-one applies for the Truth of Light. Infoslaves prowl the airwaves in search of something to steal, & chatter an aimless, despondent wail of envy and stain the walls with their excreta, & the fallow stream chokes on pollution from a leaden sky. Without hope, they caw and stumble round the ivory tower, with its blackened beacon hurling the invective of the ages at our bound feet as the angel of song shrieks a hollow song. This is the ceaseless present. This is the hour of which we have spoken as no words enter into the soul's empty sores & chasms. A darkened sky lowers & claims us all. This is no dream but the scream of a silence which invades us all. this is the moan. This is the term and emptying of the Dream. 12.17.00 ========================================================================= Date: Tue, 2 Jan 2001 19:38:23 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "That which be Visionary high Sublime holdeth us Alternates' clear of base creeping things, that lack even alien Face, so we in our current keep free from Grime. And as Bird Lords of words do we burn Time. Things there are of course that busy bitch-botch the central unclear Word,where thoughts like weeds enter too common ears, or green Greed's Awful Ale houses where vomit too oft is thought." "M'Lord,I --" " Emmellay! Oh Emmmellay!" "Ah, the Princess doth approach us quick: light as a bird of free live fire that stands so unapproachable to ambition or low man's desire. But I shall cast these... these... thoughts? But what are these thoughts? Sure it's - some maniac's delight that holds house, here; here in our useless skulls(much alassed), and is King there of candles and incense: whence Men, driven mad by there own madmen, are by and of their sense and essence aped and desensed 'till they in this hell of state would drown all malodorous thought in greasy Lethe, or Morphe, or Chaos of dark's dark; at least then to lie in sweet Sublime with - " "Emmellay! My...." This piece of 17th Cent poetry (Shakespear, Marlowe, Bacon? DuFrey?) breaks off at this point and there is a US$200,000 prize for the wit who is able rebuild this fragment into the sublime work it quite clearly once was. Nowdays we should consider such writing Ridiculous (or a bit obtuse). Glad I was able to find this though. It may help. Richard Taylor. MLA Recruitment Centre Janitor. ----- Original Message ----- From: "chris stroffolino" To: Sent: Wednesday, December 27, 2000 5:25 PM Subject: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) > Hello those not in DC, > > I was just reading a piece of scholarly or academic writing-- > the kind that is suppossed to succeed at the MLA--- > and I started feeling blue, excluded, etc.... > UNTIL, that is, I noticed this particular author > used the words "visionary" and "sublime" > simply as pejorative words---in a very shorthand, dismissive > way--- > This author seemed to think the words were SYNONYMS! > At first I thought I could say, not in bitterness so much as > incredulity > "oh fie on this author! fie on the literary establishment, > etc!" > > but then i thought----well, what really is the difference between > "visionary" and "sublime" ? and realized that part of the game, of > course, > is coming up with your own definitions of these words..... > I guess Kant's definition of sublime is the most cited? > (oe perhaps that band that did "wrong way?") > But as for visionary, there's many more it seems.... > (recently talking t Joshua beckman about why Gerald Stern referred > to his book as "visionary?") > > Anyway, the point is, these words are not synonyms ("visionary," and > "sublime")-- > so how do YOU, dear reader, understand the difference between these > terms? > (I'm looking forward to your answers, even if you are at the > MLA....) > > chris ========================================================================= Date: Tue, 2 Jan 2001 03:47:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: armament MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== Ju19lu% echo "footnotes are the tanks of the postmodern revolution" > Ju20lu% echo "writing from a distance arms the trenches of the wounded" >> Ju21lu% echo "from the trenches the footnotes send death" >> Ju22lu% echo "such dismal death and destruction wrought by others" >> Ju23lu% echo "repetitions of texts are born by bibliographies" >> Ju24lu% echo "the bibliographic function is a cannon of misery" >> Ju25lu% echo "the bibliographic function carries death to the ultimate" >> Ju26lu% echo "pagination is the rank-and-file in any war" >> Ju27lu% echo "postmodernism splits the latest into headlines" >> Ju28lu% echo "readers absorb painless everything on the homefront" >> Ju29lu% echo "writers bravely take their wounds but footnotes prevail" >> Ju30lu% echo "the war of the future is now and the pen is mighty" >> Ju31lu% echo "sing of the keyboard as the enemy is decimated" >> Ju32lu% echo "the postmodern revolution triumphs by metaphor" >> Ju33lu% echo "wounds of theory never heal" >> Ju34lu% echo "the postmodern revolution has destroyed them all" >> Ju35lu% echo "our footnotes are our clandestine victorious army" >> footnotes are the tanks of the postmodern revolution writing from a distance arms the trenches of the wounded from the trenches the footnotes send death such dismal death and destruction wrought by others repetitions of texts are born by bibliographies the bibliographic function is a cannon of misery the bibliographic function carries death to the ultimate pagination is the rank-and-file in any war postmodernism splits the latest into headlines readers absorb painless everything on the homefront writers bravely take their wounds but footnotes prevail the war of the future is now and the pen is mighty sing of the keyboard as the enemy is decimated the postmodern revolution triumphs by metaphor wounds of theory never heal the postmodern revolution has destroyed them all our footnotes are our clandestine victorious army the truth shall be destroyed by theory armament our armament is our topic-outlines our armament is our font-style-sheets our writings cross distances of space and time our writings kill behold our writings postmodernism arms us and truth is smashed truth is smashed asunder footnotes are the tanks of the postmodern revolution Ju41lu% echo "the truth shall be destroyed by theory armament" >> Ju42lu% echo "our armament is our topic-outlines" >> Ju43lu% echo "our armament is our font-style-sheets" >> Ju44lu% echo "our writings cross distances of space and time" >> Ju45lu% echo "our writings kill" >> Ju46lu% echo "behold our writings" >> Ju47lu% echo "postmodernism arms us and truth is smashed" >> Ju48lu% echo "truth is smashed asunder" >> Ju49lu% echo "footnotes are the tanks of the postmodern revolution" >> ===== ========================================================================= Date: Mon, 1 Jan 2001 20:39:11 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: mark your calendars MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Hank Lazer will read in Los Angeles at Loyola Marymount University on Thursday, Jan. 25 at 8:00 PM -- This reading will be in our new building, off Lincoln Ave., with parking below, directions to which I shall post as the day approaches -- You've got to see this place, and a poetry reading is a better reason for a visit than most anything else -- "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Tue, 2 Jan 2001 02:08:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fiction as Poetry In-Reply-To: <3.0.5.32.20001231183250.007b01e0@theriver.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >haven't been following this, really, but I know it's about novels that are >'poetic' in various ways. Joyce certainly has been mentioned, and hopefully >Proust. Here are some others that come to mind. > >Cosmos, by Witold Gombrowicz (also Ferdydurke, Pornographia) >How German Is It, by Walter Abish >The Island, by Robert Creeley >The Gold Diggers and Other Stories, by Robert Creeley >Hopscotch, by Julio Cortazar >Tristram Shandy, by Lawrence Sterne >various novels (if one can call them that) by Gertrude Stein >Yellow Back Radio Broke Down, by Ishmael Reed (other books by Reed as well) >various novels by Fanny Howe >various novels by Harry Matthews >various novels by Christine Brooke-Rose >Toulouse-Latrec, by Kathy Acker >The Park, by Philippe Sollers >Defoe, by Leslie Scalapino I think that one of the best novels as poetry is Eugene Onegin. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 2 Jan 2001 10:18:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Berrigan & Rodefer MIME-Version: 1.0 Content-Type: text/plain This Saturday, January 6 in NYC ANSELM BERRIGAN AND STEPHEN RODEFER Read at Double Happiness: Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) Saturdays, 4 - 6 p.m. Suggested contribution, $4, goes to the readers. Two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Please join us! ========================================================================= Date: Tue, 2 Jan 2001 10:41:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick" Subject: Re: finding Bernstein MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Rapidly threatening to overtake Ben Stein in the avuncular teacher category, who should appear in "Finding Forrester," Gus Van Sant's pleasantly middling remake of his own pleasantly middling "Good Will Hunting," but Charles Bernstein? Yes, poetry fans, it's true. But don't take my word for it -- see for yourselves. I smell Oscar, baby! Patrick Pritchett ========================================================================= Date: Tue, 2 Jan 2001 10:43:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] BLA/BPP Prisoners Awareness Week - Aug. 2001 (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII HAPPY NEW YEARS THOUGHT TO SEND AS MANY ON LIST MAY BE INTERESTED-- ALL BEST--BONNE ANNEE! DBC ---------- Forwarded message ---------- Date: Tue, 2 Jan 2001 08:35:50 -0800 (PST) From: HoustonABC-SG nolastname To: youth-4-mumia@egroups.com Subject: [Y4M] BLA/BPP Prisoners Awareness Week - Aug. 2001 Greetings camaradas, My name is Ernesto Aguilar and I'm involved with the Houston section and People of Color Caucus of the Anarchist Black Cross Federation, a six-year old revolutionary formation organized for the support, defense and freedom of Political Prisoners and Prisoenrs of War. The ABCF is best known for the Warchest Program and Emergency Fund for PP/POWs, as well as the the new Emergency Response Network. I'm interested in speaking with anyone who might be interested in seeing an international awareness week for BLA/BPP PP/POWs in August sometime, organizations interested in building locally and endorsing nationally such an event, and ideas and input from others. Please drop me a line at your convenience. Over the years, many of us have worked for the freedom, support and defense of BLA/BPP prisoners such as Sundiata Acoli, Jalil Muntaquim, Sekou Odinga, Mutulu Shakur and others. This idea is an effort to give all of us a date of major focus (Black August) around which to agitate and build even more outreach to struggle around these sisters' and brothers' campaigns. Any and all feedback, comments, suggestions, support and efforts are appreciated! Saludos, Ernesto Aguilar Houston ABCF ABCF People of Color Caucus == !X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X! Houston ABC-SG P.O. Box 667233 Houston, TX 77266-7233 (713) 595-2103, ext. 7585 Toll-free: 1-877-875-2600, extension 807 E-mail: info@houstonabc.org Web: www.houstonabc.org !X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X!X! _____________________________________________________________ Visit http://freeservers.com to get a FREE Web site with a personalized domain and FREE Web-based e-mail. Stop the execution! New trial for Mumia! Youth & Students for Mumia http://www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Tue, 2 Jan 2001 12:31:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Threadsuns review MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit To Listmates: In reviewing ( N.Y. Times, 31 December, 2000) Pierre Joris' s translation of Celan's Threadsuns, Mark M. Anderson misses the point, while acknowledging it. Joris does capture a language "that retains the strangeness of the original German," along with Celan's movement of voice, his line-breaks, the dislocated syntax, and, yes, those compound words. Joris has served Celan's poems well: enabling us to extend our understanding of Threadsuns with a new and seamless unity, revealing a trope for poetic selfhood, and, as it were, recuperating into English a sense of occasion -- the very expression that must have made these poems. Best, Gerald ========================================================================= Date: Wed, 3 Jan 2001 07:55:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: Scalia's Poetics -- Reader Irresponsibility Theroy Comments: To: anielsen@lmu.edu In-Reply-To: from "anielsen@lmu.edu" at Dec 12, 2000 00:33:00 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Aldon and all, responding a bit late (too late!) after a holiday month with a new infant (my own, not the lord and savior jesus christ...) but I want to mention an interesting parallel to Aldon's insights, namely, Emerson's Fugitive Slave Law addresses, where he too was dealing with "strict constructionists" on the court who were upholding this law. Emerson said this: "You relied on the Supreme Court. The law [i.e. The Constitution] was right, excellent law for the lambs. But what if unhappily the judges were chosen from among the wolves, and give to all the law a wolfish interpretation?" A question for our times indeed! -m. According to anielsen@lmu.edu: > > Hearing these hearings gives a much clearer view of what "strict construction" and "original intetnt" really mean in these contexts. In the first hearing, Scalia pronounced his construal the only way that a text could possibly be read. In the second hearing he pronounced any reading other than his own to be irrational. Meanwhile, in one of his first interventions, he spoke of the ballots in question being ballots that the machines were not supposed to count. How does a strict constructionist dedicated to original intent ascertain this without actually looking at one of the ballots? And is it not passing strange that he takes no notice of the fact that these machines have a published error rate -- which means quite plainly (and if you don't agree you must simply be irrational) that the machines read some votes where they "shouldn't" and fail to read some votes where they "should" -- > > At least that's how I read it. > > It appears that a strict construction is an opinion with the power of the state apparatus lined up behind it -- which is why Scalia's original intent was to install the shrub in the shrubbery no matter what the voters of Florida (who, as he opined in hearing one, have no real right to vote for president anyway) may intend. > > > "Has All-- > a Codicil?" -- Emily Dickinson > > > Aldon Lynn Nielsen > Fletcher Jones Chair of Literature and Writing > Department of English > Loyola Marymount University > 7900 Loyola Blvd. > Los Angeles, CA 90045-8215 > > anielsen@lmu.edu > (310) 338-3078 > > _________________________________________________ > The simple way to read all your emails at ThatWeb > http://www.thatweb.com > ========================================================================= Date: Wed, 3 Jan 2001 07:02:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: New York State Literary Web Site update MIME-Version: 1.0 Content-type: text/enriched; charset=US-ASCII Content-transfer-encoding: 7BIT Dear Friends, Happy New Millennium! Here's January's New York State Literary Site update, http://www.nyslittree.org, brought to you by Bright Hill Press, in partnership with the New York State Council on the Arts: 1. new EVENTS listings for the Saratoga Public Library, the Westchester Library System, Catskill Mountain Foundation, CCS Reading Series, Center for Book Arts, Kelsey Street, Pink Pony West, 20 Poets, and many others; 2. new CIRCUIT WRITERS and INTERSTATE WRITERS Emilise Aleandri, Loss Pequeno Glazier, Linda Lerner, Burt Kimmelman, Gail Radley, Diane Lindsay Reeves, and Terese Svoboda); 3. updated LINKS; 4. and check out the all-new Council of Literary Magazines and Press web site, www.clmp.org, another great resource! If you think your New York literary organization and events should be part of this site, please follow the format on the ORGANIZATIONS, EVENTS, and LITERARY CURATORS pages, then email the information to wordthur@catskill.net; if you are a writer with a book, follow the format on CIRCUIT WRITERS (NYS writers) or INTERSTATE WRITERS (out-of-state writers), then email the information to us; and, finally, if you are a New York State small press or independent literary publisher, send us (to Bright Hill Press, POB 193, Treadwell, NY 13846) a copy of the title or issue you most think represents you, along with a brief statement about your press and contact information, and we will list you on the POULIN PROJECT pages. All information should come to us by the 25th of each month. If you wish to unsubscribe, contact us at wordthur@catskill.net Bertha Rogers Site Administrator ========================================================================= Date: Wed, 3 Jan 2001 09:19:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cassandra Laity Subject: CFP: Gender and World War I Comments: cc: modstudies-l@lists.psu.edu, h-afro-am@h-net.msu.edu, tse@lists.missouri.edu, modernism@u.washington.edu, victoria@listserv.indiana.edu, modbrits@listserv.kent.edu, h-amstdy@h-net.msu.edu, hdsoc-l@uconnvm.uconn.edu, modernism@lists.village.virginia.edu MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit CFP: for an upcoming SPECIAL ISSUE of _MODERNISM/MODERNITY_, co-edited by Robert von Hallberg and Cassandra Laity on the topic: GENDER AND WORLD WAR I Please send submissions (25-30 pp.) to EITHER editor by APRIL 1, 2001. Robert von Hallberg Cassandra Laity _Modernism/Modernity_ _Modernism/Modernity_ Department of Germanic Studies Department of English University of Chicago Drew University 1050 E. 59th St. 36 Madison Avenue Chicago, IL 60637 Madison, NJ 07940 ========================================================================= Date: Tue, 2 Jan 2001 10:56:59 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Robert E. Front" Subject: An Old Story: Bridge Street Books MLA Group Reading Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Long long ago when the world was very young & so & so the story goes. There was. There was once. Once there was. Their once lived. A mother who loved her children as only she could. That good. That good. Robert Front > ------------------------------ > Date: Fri, 29 Dec 2000 09:00:11 EST > From: Joe Brennan > Subject: Report on Bridge Street Books MLA Group Reading > Date: 12/29/2000 8:49:08 AM Eastern Standard Time > From: alphavil@ix.netcom.com (R.Gancie/C.Parcelli) > Their Bark Had No Tree: > > If the group reading of 22 poets staged at the Four Seasons Hotel last > night is endemic of American poetry today, then American poetry is dead. > Barrett Watten read a long poem On Friendship clearly designed to be > flagged by the Oxford Book of Poems on Friendship and torpid enough to > make it in. My apologies to the Metaphysicals. Watten's meditation was > obviously a product of too many idle moments in his lit department > office. > > Bob Perelman did him one snoozier with an interminable, 5 minute piece > punctuated by reports of his frequent flyer miles. With a lot of these > folks, rebellion seems to have gone the way of their hair, if one can > believe they ever had any fire in them to begin with. > > Johanna Drucker read her "hygenic hardware" poem in a spectaular > monotone that resembled HAL the computer in 2001. The poem beats to > death a single metaphor and then compounds the felony by having a book > designed around it. > > Juliana Spahr read two poems that rather mechanically and > unimaginatively morphed one word into another in bland and fatuous > association. Then she grafted an appendix to each poem that by fiat > insisted upon the above exercises grave consequences. Very sterile. > > It was clear that Jerome Rothenberg's contribution to poetry does not > come from his own work. And one learns that Loss Glazier and Susan Howe > are nervous, frail creatures that one should not stand up and hoot at at > poetry readings, no matter how bereft there presentation is of substance > or talent. Somewhat the same can be said of the Waldrop's who seem to at > least to muster a little intensity for their work even if its not > actually in the work. > > There's no Sturm und Drang in young Faust, Graham Foust that is. > Likewise for the others who if they knew anything at all were powerless > to communicate it in their poetry. > > With all the enthusiasm that Pope John now musters for the Confiteor, > moderator Rod Smith of Bridge Street and Ariel Magazine kept waking up > the audience with his own monotone recital of "what a great reading this > is." But a "great" reading it was not. And from audience reaction, it > seems certain that if you caught any of them in an honest, Guinness > soaked moment they would have communicated their shock at the amateurish > nature of the proceedings especially in light of the "all-star" cast. > But in the back of the audience's minds rests two concerns; do I write > any better? And do I want to offend any of these guys when I might need > a job reference? This was the tone that informed the evenings poetry. > This is what people mean when they refer to "academic" poetry. > > The readers went in reverse alphabetical order, so that the grand poobah > and frightfully insipid poet, Charles Bernstein could read last. When > Charles made his way to the podium, most of the FlashPoint staff made > its way to the exits. This was in no way intended as a protest of > Bernstein's cruel censorship of the eloquent Henry Gould, the sheepish > Gabe Gudding and, now, the endearing and totally innocent, Kent Johnson. > We just couldn't stand even 5 more minutes of the poetic drivel. Carlo > Parcelli > > Bob's Big Boy, Bob's Burger Barn, Bob's Brazen Bestiality, Bob's Broad > Buttocks, Bob's Billiards and Barbecue, Bob's Bluffalo Bamboozle, > Bob's.... ========================================================================= Date: Tue, 2 Jan 2001 17:16:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Meg Brooks Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If GO had studied his own family tree, he'd have known that one of his ancestors devised the semicolon, and that this idea of his great grandpa Increase Orwell kept the family fed and clothed for decades and, ultimately, bestowed a generous trust fund for Georgie. Despite groundswell support for the Big Comma, the semicolon won out due to Great G Increase's fine arguments based in logic, rightness and bloody-obvious-ness. Did George want only periods and commas? Was he averse to using any references to the human colon? [ I have a redesign of the common keyboard which accommodates MORE punctuation than we currently employ. Well, two extra keys, for now.] How did the deletion of the Semicolon come about? Did the Motion Picture Association place it at the top of their agenda because a parents group complained that the semicolon perplexed their kids so that they couldn't enjoy the subsequent feature film and walked out demanding refunds? Who ratted on the Semicolon? Who would rat on such a perfect piece of punctuation: it provides a longer pause than the comma without severing the information preceding it. Who could find fault in such beauty? Are you responsible for its dismissal? Please tell me who it was and I'll have a word with them; a word or two. Meg Brooks megbr@home.com Mark DuCharme wrote: > At the risk of sounding opinionated, I'll say that the more oblique parts of > language, punctuation, etc., are there to be USED. I think it's a scandal > that a lot of people do not know how to use the semicolon (as someone said > was true of their students, & which is manifestly true in a lot of writing). > Orwell's essay should be required reading for everyone, not because he's > right about everything but because he makes you THINK about what language is > doing. Stein's "Poetry and Grammar" does that, in a very different way. > However, if we all followed GO's advice literally we'd be writing > Hemingwayisms. The most boring literature possible. > > --Mark DuCharme > > >From: David Zauhar > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Re: overlooked "censorship" (semi-colons) > >Date: Sat, 30 Dec 2000 16:24:37 -0500 > > > > >Forget about the misleading Potter/Twain/Cleaver examples of > > >"censorship"--let's focus on the real thing: The missing semicolon!!!! > > > > > >It goes like this--or WENT like this at one enlightened time: "This film > > >has been modified from its original version; it has been formatted to > > >fit your screen." THEN what happened? Now the semicolon has been > > >excommunicated and the slogan reads: "This film has been modified from > > >its original version. It has been formatted to fit your screen." > > > > > >Americans can't handle semicolons? !Is this true?! Oh! The humanity! If > > >we can't employ a semicolon, how can we.... > > > > > >Where is my semicolon! > > > > > >Meg Brooks > > > >I believe George Orwell, in "Politics and he English Language," questions > >the efficacy of the semi-colon. In his essay on Orwell's essay, > >Canadianwriter Brian Fawcett repeats this bit of practical advice, writing, > >"never use a semi-colon. I know I'm repeating Orwell, but this is so > >important it bears repeating. Semi-colons are absolutely reliable signals > >that a sentence should be rewritten, generally to make it more direct. And > >incidently, you should only use a colon if you're wearing a tuxedo or > >sitting on white porcelain." Brian Fawcett. _Unusual Circumstances, > >Interesting Times_. Vancouver: New Star, 1991, page 134. > > And, yes, I did in fact put on a tux to type the bibliographic > >info. > > > >David Zauhar > >632 Cribbs Street > >Greensburg PA 15601 > >724/834-8461 > > > >"They said we was nowhere > > Actually we are beautifully embalmed > > in Pennsylvania" > > > >--Philip Whalen, "Chanson d'Outre Tombe" > > _________________________________________________________________ > Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Wed, 3 Jan 2001 10:34:25 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > << How many of you here are also so fed up with the way > that a PH.D. is not of course considered a real DOCTOR? The problem is with the language. Linguists probably have a name for it--for where the name of a set is the same as the name for one of the members of the set. Another example I alone (as far as I can tell) am bothered by is "art." My solution there was to invent "illumagery" as my word for visual art (after auditing scores of other candidate over several years), and leave "art" for "art-in-general." My solution for the doctor/doctor problem would be to call medical doctors "healers" and address them as Hr. Smith, Hr. Jones, etc. (I'm not keen on titles but see the value of a medical doctor's vocation being a highly overt part of his identity since it can have to do with life and death. I don't see any purpose in a Ph.D.'s being called "doctor" except statuznikry. (That's my coinage for excessive concern for status.) --Bob G. ========================================================================= Date: Wed, 3 Jan 2001 10:52:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Re: Fiction as Poetry Djuna Barnes' _Nightwood_. ========================================================================= Date: Wed, 3 Jan 2001 10:23:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: CALL FOR DOCTORS In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII well-- this was way back in the days-- but maybe some of you recall when "Ph.D" stood for "pretty heavy dude" --or--"piled high deep"! and a pimp was called "Dr. Love"-- or even farther back--Dick Stuart who played two years for Red Sox--hit 75 home runs--had hit seventy in one year in minors--couldn't field for love nor money someone threw out some newspapers to him and hot dog wrappers--and he managed to grab them in swirling wind-- all about seven thousand fans of then terrible team stood and applauded for several minutes they called him "Dr, Strangeglove" "a title on the door--rates a Bigelow on the floor" the main thing is--whether respect or ridicule--one has accomplished what one set out to do-- and that is --reason enough-- On Mon, 1 Jan 2001 Austinwja@AOL.COM wrote: > In a message dated 12/31/00 5:05:41 PM, cstroffo@EARTHLINK.NET writes: > > << How many of you here are also so fed up with the way > that a PH.D. is not of course considered a real DOCTOR? > >> > > Should we care what the general public thinks? I've never encountered a > physician who wasn't impressed by my Ph.D. and inclined to treat me as an > equal, or better. My experience is that, in the main, educated men and women > know who's who. My own tendency is to admire anyone with expertise I lack. > Bill > ========================================================================= Date: Wed, 3 Jan 2001 12:14:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 31 Dec 2000 to 1 Jan 2001 (#2001-2) In-Reply-To: <200101020504.VAA05104@merlin.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > 1. Fiction as Poetry Wilson Harris ========================================================================= Date: Wed, 3 Jan 2001 12:01:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: poetryprosefiction MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I want to take this poetry-as-fiction thread further and offer some examples. It seems to me that no matter how we come to it, whether we hold that poetry hunts for the truth of experience and the means of expressing it...or that poetry does not translate or explain an experience; it simply presents language -- there's plenty of examples of poetry-as-prose-as-fiction (and all the inherent permutations). Three examples come readily to mind: - The Capital of Ruins, Samuel Beckett - Sermon 48: Ein meister sprichet: alliu glichiu dinc minnent sich under einander, Meister Eckhart - A Christmas Carol for Emanual Carnevali, Kay Boyle These, and I hope others will share others, demonstrate a "poetic thinking" unlike any other kind of thinking we do. It is both more interesting and more strange. And it is at ease with ambiguity. They give us a place to enter with a personal connection, a reminiscent image, the oddly familiar gesture, a universal join. over... Gerald P. S. If nothing else, let my little examples serve as New Year's Reading. ========================================================================= Date: Wed, 3 Jan 2001 11:57:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: CALL FOR DOCTORS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >In a message dated 12/31/00 5:05:41 PM, cstroffo@EARTHLINK.NET writes: > ><< How many of you here are also so fed up with the way >that a PH.D. is not of course considered a real DOCTOR? > >> > >Should we care what the general public thinks? I've never encountered a >physician who wasn't impressed by my Ph.D. and inclined to treat me as an >equal, or better. My experience is that, in the main, educated men and women >know who's who. My own tendency is to admire anyone with expertise I lack. >Bill Most of us (there may be a doctor in the house) are not real doctors. Some of us are PhD's. It is a trick of language that uses "Dr." for both. Anyway, don't want to belittle anyone's achievement, but why elevate Ph.D. (or M.D. for that matter) into something worth crowing about? When I need my appendix taken out, I will see a surgeon, when I have a serious question about literature I try to find someone who knows the answer, often this is someone without a Ph.D. An exercise: think of the most learned contemporary poets with whose scholarly/theoretical work you are familiar. My bet is that this a good number of them will not have PhD's. Me, I think people, whether educated or not, tend to know who's who, and that degrees have little to do with anything other than requirements for employment ("food service worker, must have high school diploma..."). Education and training, ah, that's another matter. -- --------------------------------------------------------------------------- Judy Roitman | " cats Math Dept., University of Kansas | as much as horses Lawrence, KS 66045 | on the night stairs" 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 3 Jan 2001 17:23:27 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: An Old Story: Bridge Street Books MLA Group Reading In-Reply-To: <200101020256.f022uxm20147@im.mgt.ncu.edu.tw> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Most of the personal insults on this list I ignore but this post/review of the events in DC disturbs me. Not only is it mean spirited but it serves only to insult and degrade a cadre of writers with the one stop shop efficiency inherent to intellectual vapidity. If this person -the mediation of the forwarded e-mail obscures the source- really wants to call people these people names I suggest that they try a bowl of moxie and attempt a little critical insight. Kevin Hehir > > From: alphavil@ix.netcom.com (R.Gancie/C.Parcelli) > > Their Bark Had No Tree: > > > > If the group reading of 22 poets staged at the Four Seasons Hotel last > > night is endemic of American poetry today, then American poetry is dead. ========================================================================= Date: Thu, 4 Jan 2001 16:46:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: ...Announcement... Mime-Version: 1.0 Content-Type: text/plain; format=flowed ANNOUNCING Skanky Possum #5 with poetry and prose by: Charles Borkhuis * Andrew Maxwell * Nicole Burrows * Andrew Felsinger * Cliff Fyman * Rachel Loden * Sean Casey * Tembi Bergin * Linh Dinh * Carol Szamatowicz * Christopher Putnam * Jules Mann * David Hess * Thomas Fink * Connie Deanovich * Bill Zavatsky * Pam Brown * Benjamin Friedlander * David Cook * Catherine Wagner * James Wagner * Tsering Wangmo Dhompa * Sharon Preiss * John Moritz * Richard Martin * Tom Devaney * Netta Gillespie * Laura E. Wright * Rick Snyder * Gary Sullivan Featuring reports from Saigon by Linh Dinh, and an interview with Carl Thayler AND a Possum Pouch Special: The Debate That Died, a look at the Baraka/Watten debate by Kent Johnson ... With hand-painted covers... Still only $5 Available from Small Press Distribution at http://www.spdbooks.org/ or by calling (800) 869-7553. For more information on our journal and single author books, please visit http://www.skankypossum.com/ * Please forgive cross postings * _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Wed, 3 Jan 2001 18:14:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: The Insurance Industry/FBI Connection Comments: To: MAOMuzik@aol.com, polity@egroups.com, subsubpoetics@listbot.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Subj: [corp-focus] The Insurance Industry/FBI Connection Date: 01/03/2001 4:18:08 PM Eastern Standard Time From: rob@milan.essential.org (Robert Weissman) Sender: corp-focus-admin@lists.essential.org To: corp-focus@venice.essential.org The Insurance Industry/FBI Connection By Russell Mokhiber and Robert Weissman Wouldn't it be great if environmentalists could have a close working relationship with the Federal Bureau of Investigation (FBI), so that anytime the local industrial polluter spouted cancer-causing chemicals into the air or water, the FBI agents would bust into the corporate executive suites and haul away the perpetrators? Or when insurance companies rip off policyholders, or fail to pay out on insurance policies, wouldn't it be great if consumer groups had a working relationship with the FBI -- just pick up the phone and call your local FBI agents, and have them knock on the door of the CEO of the insurance company, and begin asking questions? Wouldn't it be great if law enforcement sided with individuals against corporate criminals in our midst? In the area of insurance fraud, at least, it might balance the scales of justice. Right now, the FBI has developed a very close working relationship with National Insurance Crime Bureau (NICB). The Chicago area crime-busting group is funded by the insurance industry to investigate crimes against insurance companies -- for example, to crack down on individuals who stage auto crashes to cash in on insurance policies. Last year, the property and casualty insurance industry pumped $28 million into the NICB. And NICB has developed a very close relationship with the FBI. Robert Bryant, a former number two man at the FBI, is now the president of NICB. Gene Glenn, a former special agent in charge of the Salt Lake City Division of the FBI, is now the NICB's vice president for field operations. The FBI has a series of written memorandums of understanding (MOU) -- at least three -- outlining in detail the working relationship. According to Jim Spiller, NICB's executive vice president, one deals with "a very highly sensitive covert operation" that he could not reveal to us, one deals with a joint FBI/NICB crackdown on the theft and export of automobiles, and the third addresses "the sharing of information about stolen vehicles." (The NICB refused to let us see copies of the MOUs.) The FBI/NICB relationship was exposed by Bill Conroy, the editor of the San Antonio Business Journal. Over the past 18 months, Conroy has written a series of articles that have been ignored by the mainstream media. In his series, Conroy reported that: * A national FBI/NICB operations called Sudden Impact involved joint interrogation of suspects, joint search warrant raids and joint access to medical records through an insurance industry database. * Operation Sudden Impact netted minorities at a rate of nearly 8 to one. * A lawyer whose San Antonio office was raided by the FBI as part of Sudden Impact was never charged with a crime. The FBI told Conroy that it has no records indicating that the attorney has "ever been of investigatory interest to the FBI." The lawyer claims that the raid destroyed his practice and reputation. * A former FBI informant claims that the FBI was targeting Iranians in San Antonio as part of Operation Sudden Impact. * An Assistant U.S. Attorney who was removed from an FBI/NICB case after making allegations of misconduct against her fellow attorneys involved in the case is now claiming that she is being persecuted by the U.S. Attorney's office. (The San Antonio Business Journal is owned by American City Business Journals, which is owned by the Newhouse chain. American City Business Journals owns about 40 business journals around the country. Interestingly, after the articles appeared in print, insurance giant AIG took out ad space on the web site of the American City Business Journals (www.bizjournals.com). The series of articles describing the NICB/FBI connection were never picked up by the other business journals in the chain.) Two members of Congress -- Charles Gonzalez, D-Texas, and Cynthia McKinney, D-Georgia -- are looking at possible Congressional inquiries into the NICB/FBI connection. The NICB denies targeting minority groups. "Our criminal investigations are conducted based on the criminality, not the culture of any individuals," Spiller said. "It's unfortunate that the people involved in this investigation were minorities. We follow the money." Would the NICB investigate insurance companies who were ripping off consumers? "No," Spiller said. "That would be a job for state insurance regulators." But Doug Heller of the Los Angeles-based Foundation for Taxpayer and Consumer Rights says he wishes the FBI and NICB would pay some attention to insurance industry rip-offs of consumers. "The level of consumer fraud against insurance companies is minuscule compared to the insurance company fraud perpetrated against insurance policyholders around the country," said Heller. "But law enforcement rarely pays attention to insurance industry crimes perpetrated against consumers. We would love to have an agreement with the FBI to go after the insurance industry. We have plenty of leads for them." The FBI says that it works closely with some public interest groups, like the American Association of Retired Persons, to crack down on telemarketing fraud, for example. But FBI spokesperson Angela Bell could not say whether or not detailed written agreements -- like those hammered out between the FBI and NICB -- exist for non-industry groups. Every year, the FBI puts out its "Crime in the United States" report, which informs the nation about street crimes. There is no equivalent for corporate and white collar crime. The FBI is cooperative with industry groups who want to crack down on street thugs. Isn't it time to show a little cooperation with public interest groups that want to crack down on corporate and white collar crime? Russell Mokhiber is editor of the Washington, D.C.-based Corporate Crime Reporter. Robert Weissman is editor of the Washington, D.C.-based Multinational Monitor. They are co-authors of Corporate Predators: The Hunt for MegaProfits and the Attack on Democracy (Monroe, Maine: Common Courage Press, 1999). (c) Russell Mokhiber and Robert Weissman ========================================================================= Date: Thu, 4 Jan 2001 01:57:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: SHANEEN and KIELY -- Flying Saucer Event - PLEASE COME! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII =================================== Multi-Literary Event at the Flying Saucer Cafe! ****MARIANNE SHANEEN and AARON KIELY**** Alan and Nada and Azure are pleased to announce the next event in our reading/media series in Brooklyn at The Flying Saucer Cafe at 494 Atlantic Avenue, between Third Avenue and Nevins Tuesday, January 9 (full moon!), at 8:00 p.m.: Marianne Shaneen is a fiction writer, filmmaker, conjurer of the archaic yet-to-be, and sentimental insurrectionary who lives in Brooklyn. Aaron Kiely is 30. He has work entitled "My Money", "Fun Greatest Simple" and a new poem "Backstreet Boys vs. Coup". He lives in New York with his dog, "Wife" and "The Sweetest Taboo" is the best Sade song. HOW TO GET THERE: Take the 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. $3 donation. ---- ========================================================================= Date: Thu, 4 Jan 2001 02:07:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "Virtualife.org" in Art Papers Magazine MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII == Art Papers is a national magazine out of Atlanta, Georgia; the current is- sue, which is the inaugural one for the 25th anniversary year, is subtit- led "The Digital Self: Art, Culture, and the Internet." I've written for it a number of times, and at one point was advisory editor. This issue has an article of mine of interest here - "Virtualife.org - An Online Artist and the Wonder of it All" that is partly critique, partly autobiography. There's also an excellent article by George Howell, "Lifeonthe.net - Consuming and Producing Culture on the World Wide Web." Take a look if you see it - Alan ========================================================================= Date: Thu, 4 Jan 2001 08:58:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcella Durand Subject: washington protests MIME-Version: 1.0 Content-Type: text/plain Does anyone have information on the planned inauguration protests in D.C. on Jan. 20th? Specifically, I need info on buses leaving from NYC: when, where, who, how much, return trips (?) Also, I heard the police is refusing permits--is there any recent change in that unconstitutional denial of the right to assemble? Thanks in advance Marcella ========================================================================= Date: Thu, 4 Jan 2001 10:12:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Borkhuis, Alpha Ruins MIME-Version: 1.0 Content-Type: text/plain Charles Borkhuis Alpha Ruins Price?? Bucknell University Press ISBN: 0--8387--5442--2 108 pp. Borkhuis' poems pick up somewhere where the fifth section of the "Waste Land" left off, describing deserted contemporary landscapes in which the dead and living intermingle with a chilling ease: "details drain / little lights into people / now and at the hour of our recycling / rain grows upwards / in trails of transparent veins / that cool and cluster into floating cities / the earth shadowed by thoughts / thoughts shadowed by people / people shadowed by machines" ("Close Up and Far Away," 37) . With an even paced tone reminiscent of Robert Duncan or Michael Palmer, though without their formally variety, the poems of Alpha Ruins insinuate themselves into the breathy alleys of the city, the between moments of thinking, and the fissures of being: "(inside a sideways glance) / passage to the outside / as if this... / tunnel were a switch / drifting through matter / where the big thoughts roam" ("The Gaze," 31). The poems are most effective when the surreal tone is anchored by recognizable imagery from life and an occasional sense of humor, as in the dark but playful "Slice of Life": "to open the cover of a book to find / a miniature author inside / asleep in his coffin / dressed as a ghost / carries a rubber hatchet / [...] the cop teaches his club a new twist / the irate customer clicks his remote control / the doctor depresses your tongue with a stick / [...] you could have fooled / my camera" (60) Borkhuis seems outside any recognizable American tradition, but like Charles Henri Ford could be considered a standard bearer for a type of surreal style that is often dismissed for being overly earnest, too "Jungian" or archetypal in its imagery, and generally "mystical" -- the blueprint for a permanent misfit. Times have changed, though, with poets like Will Alexander and, occasionally, Palmer to recall those heady modernist times; indeed, with the rise of neo-noir stylistics and cyber-culture, along with "schizo" proliferation of images that digital technology has brought to the movie screen, poetry like Borkhuis' may have finally found its moment. At times, the poems move somewhat near William Gibson's hallucinogenic (or "virtual") melancholy style ("lost secrets live echoes / particle-currents in the veins / whispers while you write // moist earth buried in the body / of answers say circular ruins / peeling back the skin // or turning a page / landscape with friends standing / on a hill of yellow leaves", 61); at others it actively recalls high surreal tradition -- it is drenched in urban phantasmagoria a la Breton's Nadja, not to mention a few direct references to "shooting into the crowd," (21, 35) Breton's infamous anarchistic trope for the cracking of the veils of reality -- hence never becoming too slick or too antiquated. Though Alpha Ruins doesn't often escape its closed cycle of images and preoccupations, indulging in words like "infinity" and "monads" a bit recklessly, when it hones in on a resonant chain of images and a less "dreamlike" tone -- as in "Close Up and Far Away" and Francis Bacon-like "The Surgeon's Glove" ("blaze of hair / SPLICED / into footage of a golden carp sliding / off the dissecting table") -- it is beautiful in a distinctive, contemporary way. ========================================================================= Date: Thu, 4 Jan 2001 10:16:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Berg, Two Books MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Stephen Berg Halo Sheep Meadow Press $15.95, hardcover 58 pages ISBN: 1--87881879--1 Porno Diva Numero Uno Lingo Books $12.95, paperback 88 pages ISBN: 1--889097--39--X In these two books of prose poems, Berg strains for the visceral transcendence of the saints, a fairly anachronistic project considering = how the Beats -- by accessing such "cursed" moderns as Artaud and Rimbaud = -- have apparently exhausted the subject. He describes a sort of ars = poetica in Halo, a series a short quasi-religious paragraphs: "Curtains she = calls it 'curtain of the world' mercy behind it on the other side cruelty here = in the God-world no-God, whenever I read to her -- 'I have to know that as a thinking, finite being I am God crucified' -- it shreds me, no-time = which is God God everywhere everything we are, often in great heat I write to a friend say everything that shames batters inspires won't send it burn = it on stove papery ash God's words, woke in the dark again clawed the = unwalled dark again." ("Simone," 19) Something seems either entirely naive or slightly forced about these poems, as their basic form -- the run-on sentence that drops elements of normal syntax as it seems spoken in a = "white heat" -- is both not very beautiful to read, and not nearly as = gregarious, image-laden or charming as his New American models -- O'Hara in = "Meditation In An Emergency" and Ginsberg in his major early works such as the confesional "Kaddish." Nor do they seem to have anything contained = within them that society is necessarily suppressing (Berg is not being = "suicided by society," and he has no counter-culture to expose) nor philosophically resonant, and so one wonders whether a craft-obsessed poet -- whether = Basho or Williams -- would have been able to find profundity in the pseudo-profundity of "Of": "That death is what you cannot do that death = is what you cannot be that death is not the opposite of nothing." (24) = Porno Diva Numero Uno is more successful, as it takes as its central theme an imaginary relationship between the author and Marcel Duchamp around the = time he was constructing his final work Etant donn=E9s [1946-66] (housed in = the Philadelphia Museum of Art, from which city Berg edits and publishes = the American Poetry Review). But once again, Berg's form stumbles, as even interesting speech seem compromised by the poet _making excuses_ for = the language by applying -- even where a dialogic contrast seems necessary = -- elements of his "signature style," the run-on: "...I could name = anything just by touching it but it was only after a period of disgust with = visual art with the quality of distance it depends on that I decided -- and = this was the only reason for my decision -- to do some of my things so the = idea was touch not art how would you like to eat an apple drink a glass of = wine if you didn't have hands anyhow put a bicycle wheel and a stool = together black white and you've got the wildness of an impossible combination combined you almost don't know what to do with it touch look spin sit = eat what? so I'm like a blind artist I _am_ a blind artist a man with no = ideas only the memory of that early lesson'" (13) Porno Diva -- as its = flashy title suggests -- seems framed as a deep, candid investigation of = eroticism of the cheap suburban brand, but while Battaille is clearly the = godfather, here, Berg doesn't make many of his own investigations -- very few = images, digressions, infatuations, etc. seem particularly inspired by Berg's = sexual imagination. Though an interesting image may point one somewhere in = that direction ("...in our age two removes from the viewer first the door = then the wall then herholding the puny lamp of orgasm up there dream of = faceless leather..." [66]), for the most part it seems Berg is undecided whether = to be Duchamp's Boswell (though much of Duchamp's material seems taken = from common sources), the hectic but image-dry visionary of Halo, or a = collagist of art-related non-sequiturs. Berg seems to get focused when he = introduces genuinely odd unliterary matter that intrigues him, such as the long = section on the mating habits of Rhinoceri, in which the sentences become = suddenly rather narrative, not to mention sickly tittilating. Perhaps that is a lesson, for though Berg calls himself an "apostle of the ordinary" = (27), one wonders why he opts for the ecstatic, fireworks mode in his writing = when the material is so plain. ========================================================================= Date: Thu, 4 Jan 2001 10:17:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Cheung, Drifting MIME-Version: 1.0 Content-Type: text/plain Drifting Dominic Cheung Green Integer (No. 79) $9.95 120 pp. ISBN: 1--892295--71--7 As Cheung writes in the Forward to his first American collection, these poems ring with notes of "a sense of the diaspora, a misplacement of time and space, and a feeling of helplessness regarding fleeting life and love." (i) Living in the United States since 1967, the Taiwanese-born Cheung had already published two volumes of poetry and one volume of prose in his early twenties. He proves himself, in translating his own work into English (all from a 1986 collection called Drifters), to have a subtle and pleasant ear for off-rhymes and the effect of simple vocabulary and syntax, no doubt informed by the Western tradition of translations from Asian languages, but not anxious or ironic about it. The opening poem, "Fragrant Herbs by the Mountain Stream," effectively builds up the mythological tone centered around the history of a Tibetan knife he received as a gift, a history resonant of death and, perhaps, of cultural revenge against colonial China: "But the Han Chinese brough in liberation and suppression, / Modernization and pollution, / Recovery and hatred, / Tearing out the heart of the green, green plain. // Vaguely I hold this Tibetan knife in my palm, / No one knows of my martial skill." (16-17) "Love Poem of Tea" -- a short poem that flirts with ballad meters while never straying from the softer tones of "Oriental" free verse -- begins a series of poems centered around the tea ritual: "Let your dryness inside me / Softly uncoil and stretch; / Let me dissolve / Imperceptibly, your tension," (18) he writes, the masculine ending "stretch" and feminine "tension" creating a deft half-rhyme that suggests, as well, the subtle workings of gender in a poem in which the male protagonist imagines himself as a bowl of tea. Spring and autumn seem, for Cheung, the seasons of the melancholic wanderer, as his most resonant moments come in describing them: "In the fiction and reality of flower seasons / To search for a good friend / Transcending language and age / Remains an heroic quest, and an illusion." (41) Cheung seems to resemble, in this way, the Eliot of "Journey of the Magi" more than the wintry, "Anglo-Saxon" Pound of Cathay, and at times Cheung's taste in abstractions also suggest Eliot, though his subtle ear is sometimes unable to completely salvage a pile-up of loose sentiments: "Though the same season and weather prevail / The country never ceases changing / There are themes of passion, and of indifference; / Though the same person and personality remain / Stars and events keep mutating / There are plots of joy, and of sadness. / Since departure and reunion remain unpredictable / Loneliness is conspicuous." (44) But Cheung is less a philosopher than a social and political exile, a wanderer on American shores who is unsure not only of his own identity but that of his home country, stuck in its own limbo. His melencholy, passion, and the complexity of his situation are finely expressed in this group of poems: "Endless drifting, wandering among time, / As it thickens with the midnight dew/ [...] Self, the self, to be identified! / Nation, the nation, to be recognized! / Life, a life to be realized! / Country, a country, to become strong!" (59) ========================================================================= Date: Thu, 4 Jan 2001 12:10:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Foley Subject: New FLASHPOINT #4! New Website!! Comments: To: LISTSERV@LISTSERV.ACSU.BUFFALO.EDU Comments: cc: mscroggi@ACC.FAU.EDU, JBCM2@aol.com, Alphavil@ix.netcom.com, bhbrink@PRODIGY.NET Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable WEBDELSOL CENSORS FLASHPOINT! WebDelSol has censored ANDREA ZEMEL and removed her work from the title = page of FlashPoint! FlashPoint severs all ties with WebDelSol and moves = to a brand new field of operations: NEW WEBSITE!! (http://www.flashpointmag.com/) FLASHPOINT #4 Winter 2001 "Along the frontier where the arts & politics = clash ..." Cid Corman Clayton Eshleman Nancy Spero Leon Golub Alison Croggon Jack Foley D.N. Stuefloten Hannah Weiner William Blum Brad Haas John Lane Mark Scroggins Anthony = George=20 James Sallis Glen Cameron Richard Hoffman David Alexander Rainer Maria Rilke Charles Moyer David Hess Vince = Samarco =20 Preston Heller Kent Johnson Eugene Thacker =20 Joe Brennan Carlo Parcelli and ANDREA ZEMEL's HERCULINA "Sometimes a lively street market, sometimes a no-man's-la= nd." =20 ========================================================================= Date: Thu, 4 Jan 2001 10:24:16 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm not saying he didn't "steal" it but such fogs were a daily reality for chunks of the year L ----- Original Message ----- From: "richard.tylr" To: Sent: 01 January 2001 22:24 Subject: Re: overlooked "censorship" (semi-colons) or even the Charles | Dickens of "Bleak House" (from which Eliot stole his theme of "The yellow | fog that rubbed across the window pane" etc) ========================================================================= Date: Thu, 4 Jan 2001 13:05:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Lusk and Smith at SPT, 1/12/01 (San Francisco) Comments: cc: Realpo@listbot.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Friday, January 12, 2001, at 7:30 p.m. Dorothy Trujillo Lusk & Rod Smith For ten years, ever since we first stumbled on her prophetic books Redactive and Oral Tragedy, we have watched and waited until NASA thought it safe to unleash the Vancouver poet DOROTHY TRUJILLO LUSK onto the porous, red soil of the San Francisco Bay Area. Her intricate and dazzling powers of thought are combined with a seductive music and erudition that bewilder and enchant, like those two little twin fairies in the Godzilla pictures. Her other books include Volume Delays (Sprang Texts 1994) and Sleek Vinyl Drill (Thuja Books 2000); a new collection will appear this year from Krupskaya. "Writing, here, can initiate a not so softened horizon: exsentimental flying saucers of evidence, severely outside." -- Bruce Andrews. When ROD SMITH last appeared at Small Press Traffic many years ago, he was the boy wonder of the sizzling hot Washington DC poetry scene. His gifts as an editor had long been acknowledged but his consummate mastery of post-modern poetic style was just coming to the surface. From young turk to elder statesman, look at him now. Poetry is the quickest of all the arts: you know nothing one minute and you know everything the next, and no one knows this with more feeling, more empathetic intelligence and wide-ranging experimentalism, than Rod Smith. "Let thy rod be my staff," says the Bible. "For the last shall be first." Two new books, The Good House and The Given, are forthcoming in 2001. Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) $5, free to SPT members and the CCAC community (if you are interested in membership, please see our website; URL below) Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Wed, 3 Jan 2001 22:42:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Wittgenstein's Mistress In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A new Markson novel (called, as of now, *This Is Not a Novel*) is upcoming, I've heard, from Counterpoint. Hal "Between the manifold splendors of anger, I watch a door slam like the corsage of a flower or the erasers of schoolchildren." --Andre Breton Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvardjohnson > The bad thing about being a Markson fan is > that he lets years go by without publishing a book; you might also > want to check out the Markson issue of The review of Contemporary > Fiction. > > gb ========================================================================= Date: Thu, 4 Jan 2001 08:12:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Smylie Subject: The Iliad MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The Iliad, Book Seven http://barrysmylie.com/iliad/book07/pages/bookseven.htm "As Hektor spoke... resolved on battle..." ========================================================================= Date: Thu, 4 Jan 2001 17:11:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Hoover Subject: Bin Ramke & Cole Swensen Poetry Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed To all Listserve members from Paul Hoover: BIN RAMKE & COLE SWENSEN Thursday, January 11, 5:30 p.m. FERGUSON THEATER OF COLUMBIA COLLEGE, 600 SOUTH MICHIGAN AVENUE, FIRST FLOOR Bin Ramke's first poetry book won the Yale Younger Poets Award in 1978. He is also the author of Wake, which won the Iowa Prize for Poetry in 1998, and other collections including White Monkeys and Massacre of the Innocents. Editor of Denver Quarterly and the Contemporary Poetry Series for The Unversity of Georgia Press, he teaches at the University of Denver. Cole Swensen is the author of Try, which won the 1999 Iowa Poetry Prize. Her other recent books include Noon (Sun & Moon Press) and Numen (Burning Deck). Her book-length poem Oh will be published by Apogee Press this fall. Director of the Creative Writing Program at University of Denver, she has translated the work of French authors Olivier Cadiot, Pierre Alferi, and Pascalle Monnier, among others. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 5 Jan 2001 14:04:35 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: poetryprosefiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think the paradox of poetry at its "highest" is that it does both: it seeks to describe truth or experience etc but is itself or aspires itself to be a kind of ambiguous music.( Steven's "ambiguous undulations") A thing in itself, devising itself, speeking itself . Mallarme struggled for something as "pure" as music, as maybe did Trakl. But a poet like Celan (and Perre Joris 's translation and comment on Celan's famous poem ("Todtnauberg") of his encounter in 1966 with Heidegger brilliantly shows this (on the EPC site)) or in a very different way Geoffrey Hill is (are) discussing or "dealing with" complex issues of morality and history. For Celan it was personal, he lived it. Can we judge him? Impossible. (But we all have our tragedies.) And the poems are often intricate like puzzles that are endlessly re-enigmatized. "Messages in bottles" someone described them. But just as Malevich's square is seen in many different ways, so poetry,(or whatever you call it say Art or New Making: nothing will probably do...) is seen from (or in or by) many faces, or by or with many eyes. The ideal poem,as I see it, is not static, set in stone, eternally cherished: it IS a process; constantly shifting in its shapes, shaping itself and its creator, perplexing or intriguing the reader. The concept of the single perfect poem is over. If we mimic nature at all, we know from Stein and Joyce and Mansfield and Woolf (say of "Mrs Dalloway") and Wallace Stevens and (writers whether you call them poets or novelists or artists) right back and foreward thru time, that permanence is an illusion. Poetry (or Literature - I dont distiguish) is an endless language experiment and an endless process of process in process. "The poetry of the earth is never still"... Nor can it be defined: poets re-ask the same questions of life love loss death birth. And simple joy, say of Browning's:"That's the wise thrush/ He sings each song thrice over/lest you should think /He never could recapture/ That first fine careless rapture." (From memory). And the Language Poets havent diminished this project. They've brought a more intense inspection of the nature of the process. The interaction of the social the historical and the political is made clear and so on.... Berrigan says in one of his sonnets: "I too have read the technical journals". Which must be clear, transparent: they must communicate. But poetry communicates in more devious and damnable ways. It is because we have been slaughtered into life and cursed or blessed with language speech and consciousness. But lets not get too gloomy, I can hear the baby of the young woman next door."The doors of the Academy of the Future are opening." (To quote Berrigan quoting Ashbery who was quoting Pasternak). Life continues, poets or no poets: philosophers philosophy or not. That's enough, a child chatting. Time for me to have a coffee and a cake or whatever. Richard. PS I'm also a great fan of Beckett's later prose pieces. By the way, how many share my almost paranoid obsession with not making UN deliberate grammatical or spelling errors? Probably excessive "perfectionism". Silly, in a way. O.k as long as I dont find my emails take ten thousand revisions! Regards all. ----- Original Message ----- From: "Gerald Schwartz" To: Sent: Thursday, January 04, 2001 6:01 AM Subject: poetryprosefiction > I want to take this poetry-as-fiction thread further and offer some examples. > > It seems to me that no matter how we come to it, whether we hold that poetry > hunts for the truth of experience and the means of expressing it...or that > poetry does not translate or explain an experience; it simply presents > language -- there's plenty of examples of poetry-as-prose-as-fiction (and all > the inherent permutations). > > Three examples come readily to mind: > > - The Capital of Ruins, Samuel Beckett > > - Sermon 48: Ein meister sprichet: alliu glichiu dinc minnent sich under > einander, Meister Eckhart > > - A Christmas Carol for Emanual Carnevali, Kay Boyle > > These, and I hope others will share others, demonstrate a "poetic thinking" > unlike any other kind of thinking we do. It is both more interesting and more > strange. And it is at ease with ambiguity. > > They give us a place to enter with a personal connection, a reminiscent > image, the oddly familiar gesture, a universal join. > > over... Gerald > > P. S. If nothing else, let my little examples serve as New Year's Reading. ========================================================================= Date: Sat, 30 Dec 2000 14:58:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ror: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== ror: (pqktnkrn_st) k: pytqkx orror (l)*(m) p (l*m)*(k*l) t (l*m)**k (pqktnkrn_ st) d: pytqkx orror (b*c)^k a (b*c)^k*j j (b*c)^k*b*c f (b*c)^k*d*e bj (pqktnkrn_st) a: pytqkx orror (b)*(c) f (b*c)*(k*l) j (b*c)**k (pqktnkrn_ (b*c)^(k*d*e) a (b*c)^(d*e) cfefaehddjjfbigf (b*c*k)^(d*e) j semantics (b*c)^(a*d*e) a (b*c)^(d*e) csesaerddnnsbits (b*c*a)^(d*e) n seeking in) d: syntax error (b*c)^a a (b*c)^a*n n (b*c)^a*b*c s (b*c)^a*d*e bn (standard_in) a: syntax error (b)*(c) s (b*c)*(a*b) n (b*c)**a (standard_ st) n: pytqkx orror (l*m)^k k (l*m)^k*t t (l*m)^k*l*m p (l*m)^k*n*o lt (l*m)^(k*n*o) k (l*m)^(n*o) mpopkornnttplsqp (l*m*k)^(n*o) t (2*3)^(a*4*5) 1 (2*3)^(4*5) 3656158440062976 (2*3*a)^(4*5) 0 desperately in) 4: syntax error (2*3)^a 1 (2*3)^a*0 0 (2*3)^a*2*3 6 (2*3)^a*4*5 20 (standard_in) 1: syntax error (2)*(3) 6 (2*3)*(a*b) 0 (2*3)**a (standard_c-esaer pytqkz er ===== ========================================================================= Date: Thu, 4 Jan 2001 20:46:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark Comments: To: POETICS@UBVM.cc.buffalo.edu MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark No. 16 (2001) from BODY TAPESTRIES by STUART LISHAN Stuart Lishan has published work in a number of literary journals and e-zines, including, most recently and upcoming, XCONNECT, BARROW STREEET, ARTS & LETTERS, KENYON REVIEW, LA PETITE ZINE, IN POSSE REVIEW, FOR POETRY.COM, THE JOURNAL, POET LORE, AMERICAN LITERARY REVIEW, and SMARTISH PACE. The poems in this issue are from a full-length manuscript entitled, surprise, BODY TAPESTRIES, which was a finalist in last year's (2000) Walt Whitman award competition. __________ THE BREEZE FLUTTERED TAPESTRY: APRIL "Inward"; "Cold!"; such is the pared speech of blossoms, Which is their bent attitude of blame As April rain congeals to snow; like lost suns The daffodils curl on themselves, and I, in the same Bowed speech, remember that far off summer When you were gone, that night at Sweet Springs, When you were gone, by the tide-swelled marshes, where star- Light cantilevered through the water rings Past the frog songs, past the caterpillar Spinning her silks into the fog filtered moonlight -- These breeze fluttered tapestries of my years -- So they seemed that eucalyptus scented night As the dew fell, and the caterpillar's silks glistened; "Come," they shone, "Begin here; closer; listen..." Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Thu, 4 Jan 2001 23:30:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: The poetics of envy Comments: To: british-poets@mailbase.ac.uk MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In 1955, after an evening of piano works by Cage and Stockhausen generated much anger and scoffing at Wesleyan, RK Winslow, a professor of music at the school, wrote a letter to the campus paper, the Argus, suggesting, as follows: "Those who were antagonized by the performance and who have run out of descriptive terms for it, can find a variety of fresh insults in a book called Lexicon of Musical Invective by Nicolas Slonimsky (Olin Library), a compilation of on-the-scene reactions to the music of, e.g., Beethoven, Bach, Mozart, Verdi, etc." I rather doubt that the book is still in print, but perhaps it would help to raise the quality of rhetoric that is being hurled so muddily forth. I'm not so startled that some folks continue to be so intensely offended by a poetics that is not so very different from their own as I am saddened that they waste their time thus. It would be far more interesting and fun, for them as well as us, if they would just promote whatever it is that they like. Ron ========================================================================= Date: Thu, 4 Jan 2001 19:54:07 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: "in which will be found what is set forth therein" MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII 1) In the rush to D.C., I didn't take time to note here the passing of Roebuck "Pop" Staples, extraordinary guitarist, father of the Staples Singers and friend to many poets. If you look at the back of the 70s era LP of the Staples Singers' Greatest, you'll see an excerpt from Plato's REPUBLIC as the liner notes! Pops was one of the few to successfully wed blues to gospel (like Thomas Dorsey and Sister Rosetta Tharpe!), and he loved lyric -- you can see him on the video of the Band's LAST WALTZ among other places -- He used to sing: "What you gonna do when Death comes creeping in the room?" but today I'll remember his incredible guitar while daughter Mavis sang: "Are you sure your prayers haven't been answered?" 2) As one of the readers not singled out for blame in the diatribe from Carlo Parcelli that was forwarded to this list a few days back, I dashed off a quick response in which I attempted to cast a much earlier reading by Carlo in similar terms, hoping thereby to indicate how a shoe might pinch on another foot. However, forgetting that the reply function on my home system operates differently from the one at work, I apparently sent it only to Mr. Brennan himself, who forwarded it to Carlo. The response was about what you'd expect. While I was told by the forward Mr. Brennan that the original "review" was an instance of honest evaluation, CP found my comment about his own reading to be an instance of petulant attack. Apparently these matters aren't so objective after all. 3) Following which, I read in this space that the only instances of living language in evidence at the DC reading the following night were on offer from Mark Wallace and Buck Downs. Now I'll be the first to add my voice of praise to the chorus greeting Buck and Mark's wonderful work, but I've got to say, for the benefit of listafarians who couldn't attend either of the reading events "off-campus" during the MLA, that both provided far greater evidence of "living language" than did the "MLA MEMBERS READ THEIR FAVORITE POEMS" session, which I feel free to attack petulantly since I was also a part of that one (I read Niedecker, if you want to know), where even Keats was somewhat deadened in the performance. Some of us are good performers, some are not, and it seldom has anything at all to do with the quality of the poem itself. But, as you might well expect of readings involving dozens of poets writing out of quite varied aesthetics (despite what you read to the contrary in p osts to this list), things were considerably more diverse and pleasant than some let on. I suspect that attendees willing to exercise a modicum of critical acuity could make some fairly interesting comparisons between a Waldrop and a Thomas, a reading by McAleavey and a reading by Willis perhaps even between a Downs and a Wallace -- In fact, some of us spent a few interesting moments doing just that on the long trip home. Some of us will even go so far as to read and reread some work by these poets to reach a fuller appreciation of what they're up to ---- But none of that sort of reporting or reflection was in evidence in these two early reports from the front, which still seem to me motivated by some larger animus against straw figures than by any interest in communicating anything at all about the poets and poetry that appeared to an audience of interested and critical readers. "I'll let you be in my dream if I can be in yours. I said that." "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Thu, 4 Jan 2001 16:52:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: POETRY CENTER Spring 2001 Schedule Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives SPRING 2001 readings schedule (all Thursdays, except as indicated) Mark you calendars for...... * February 8: George Stanley & Sharon Thesen (Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) * February 15: David Meltzer & Jack Hirschman (Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) * March 1: Semezdin Mehmedinovic & Ammiel Alcalay (free public conversation @ Poetry Center, 4:30 pm; reading @ Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) * March 4 (Sunday): Homage to Joe Brainard (at UC Berkeley Art Museum, 2:00-5:00 pm, free w/museum admission presented by UC Berkeley Art Museum, co-sponsored by Poetry Center) --Six poets featuring: Kenward Elmslie, Ron Padgett, Anne Waldman, Bill Berkson, Barbara Guest, & Dick Gallup * March 15: Benjamin Friedlander & Horace Coleman (Poetry Center, 4:30 pm, free) * March 29: Milton Murayama (Poetry Center, 4:30 pm, free) * April 5: Mark McMorris & Elizabeth Willis (Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) * April 19: Ernesto Cardenal (The Women's Building, 3543 18th Street, 7:30 pm, $5-10 donation) * April 28 (Saturday): Euro-San Francisco Poetry Festival (Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) w/Katerina Frostenson (Sweden), Tor Obrestad (Norway), Lutz Seiler (Germany), & Taylor Brady (San Francisco) * May 3: Cole Swensen & Elizabeth Robinson (Poetry Center, 4:30 pm, free) Poetry Center Book Award reading: Cole Swensen, Try (Univ of Iowa, 1999) with award judge Elizabeth Robinson * May 10: Student Awards Reading (Poetry Center, 4:30 pm, free) * May 17: Stefania Pandolfo & Leslie Scalapino (Unitarian Center, 1187 Franklin, 7:30 pm, $5 donation) ** FULL DETAILS TO FOLLOW THROUGHOUT THE SEASON ** READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & Poetry Center members get in free. The Poetry Center's programs are supported by funding from Grants for the Arts-Hotel Tax Fund of the City of San Francisco, the California Arts Council, the National Endowment for the Arts, Poets & Writers, Inc., and The Fund for Poetry, as well as by the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Thu, 4 Jan 2001 22:30:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i'm not a big title man myself but 'doctor' for me means something entirely different from Ph. D. although I do have both. when I see a doctor i want to see someone with experience 'treating' patients with knowledge gained through clinical training and when I take the role of doctor i want people to respect my opinions based on that and not necessarily the number of years I spent in school. The rituals m.d.s and I experienced are in the end important. tom bell Thomas Bell, Psy.D. dr. bell ========================================================================= Date: Fri, 5 Jan 2001 22:20:32 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A very British answer to a befogged Kiwi. Actually my whole (or much of my) picture of London (from whence my father) has been built up by Charles Dickens (and various verbal reports) eg a friend who assures me that their are very many parks.And I have a book somewhere about Epping Forest etc. Each of us has a book...Oh of course there's Orwell's books (one which begins in an air raid with someone running out of a fire), and Conrad's "The Anarchist" etc, a brilliant book by Golding. Re Eliot, that's my silly little joke..but he may have got the idea from Charles. Then there's "Mrs Dalloway" and what about Joyce Carey's book about the artist? Many of Somerset Maughm's stories are set in London. Who else.....? Much of Eliot's Waste Land. I read an interesting book by one of the few female Air Raid Wardens. the reality becomes mixed with what one has read.... Maybe it could be observed that certain prose is more beautifully "poetic" than poetry proper (whatever that is!). "Jubilate Agno" (although the (antiphon is it?)of that is missing) is more interesting than "David". More interesting, but that doesnt nec. equate to "better" whatever that is. Cheers. Richard. ----- Original Message ----- From: "Lawrence Upton" To: Sent: Thursday, January 04, 2001 11:24 PM Subject: Re: overlooked "censorship" (semi-colons) > I'm not saying he didn't "steal" it > but such fogs were a daily reality for chunks of the year > > L > > ----- Original Message ----- > From: "richard.tylr" > To: > Sent: 01 January 2001 22:24 > Subject: Re: overlooked "censorship" (semi-colons) > > > or even the Charles > | Dickens of "Bleak House" (from which Eliot stole his theme of "The yellow > | fog that rubbed across the window pane" etc) ========================================================================= Date: Fri, 5 Jan 2001 22:31:02 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: An Old Story: Bridge Street Books MLA Group Reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The trouble is that these people wouldnt have the courage to read their own work. They are critics and probably "losers" if I may borrow an Americanism. Let them post their work on the list and we can all see what geniuses they are. Some good natured heckling, or criticism which is specific would be more useful. These critics have many places to read their own, and thousands of mags to choose from. They sound negative and disgruntled and probably lack talent and are arrogant. Richard Taylor. ----- Original Message ----- From: "K.Angelo Hehir" To: Sent: Thursday, January 04, 2001 9:53 AM Subject: Re: An Old Story: Bridge Street Books MLA Group Reading > Most of the personal insults on this list I ignore but this post/review of > the events in DC disturbs me. Not only is it mean spirited but it serves > only to insult and degrade a cadre of writers with the one stop shop > efficiency inherent to intellectual vapidity. If this person -the > mediation of the forwarded e-mail obscures the source- really wants to > call people these people names I suggest that they try a bowl of moxie and > attempt a little critical insight. > > Kevin Hehir > > > > > From: alphavil@ix.netcom.com (R.Gancie/C.Parcelli) > > > Their Bark Had No Tree: > > > > > > If the group reading of 22 poets staged at the Four Seasons Hotel last > > > night is endemic of American poetry today, then American poetry is dead. ========================================================================= Date: Fri, 5 Jan 2001 06:36:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: washington protests Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dear all, Here are addresses for two websites re: the DC inauguration protests on January 20th-- and some notes on the protest permit status- and transport from NYC. best, Lisa Jarnot ******************************** http://www.iacenter.org/ The International Action Center is chartering a large number of buses for the New York area to take demonstrators to Washington DC on January 20. BUS DEPARTURE TIME AND LOCATIONS Buses will depart at 5 am on January 20 from the following locations: Manhattan: =A0=A0=A014th St. and Union Square West =A0=A0=A0=A0=A096th St. and Broadway =A0=A0=A0=A0=A0125th St. and Harlem State Office Building Brooklyn: =A0=A0=A0=A0=A0Grand Army Plaza/Brooklyn Public Library PURCHASING BUS TICKETS To ride on a chartered bus, you must purchase your bus ticket in =A0advance.=A0 The round-trip tickets are $30 ($25 for low income).=A0 Tickets can be purchased from the International Action Center office.=A0 Tickets can be purchased by check until January 16.=A0 Write checks to International Action Center.=A0 IAC office hours are Monday - Thursday 10 am-8 pm; Friday 10 am-7 pm; Saturday 11 am-5pm. The Partnership for Civil Justice=8Bthe DC-based attorneys who are =A0representing the International Action Center and other =A0protesters=8Bhave sent a letter to DC Police Chief Charles H. Ramsey, =A0United States Park Police Chief Robert E. Langston, National Park =A0Service Director Robert Stanton, and United States Capitol Police Chief James Varey. The legal team is insisting that people who oppose the Bush =A0administration have the right to express their opinion, to obtain permits and to demonstrate their point of view in the area of the inaugural event. The letter to the police requests specific information and clarification on outstanding issues related to permits and police conduct on January 20. =A0Th= e legal team has given the police agencies until the close of the business da= y Monday, January 8, to respond. Let us be very clear on our goal in this endeavor: We intend to obtain a permit so that thousands of people can participate in a mass rally on January 20.=A0 We are launching a campaign to uphold our rights that will use all available legal avenues as well as public pressure.=A0 =A0 The IAC will be giving everyone a comprehensive report on the status of the permits, outstanding legal issues and other tactics at our upcoming Regiona= l Organizers Meeting on Tuesday, January 9.=A0 It will be held at 6:30 pm at Local 169 UNITE union hall, 33 W. 14th St. in New York City. =A0It is very important for everyone who can to attend this meeting. The police officials have been attempting to create a climate of fear and confusion to deliberately dissuade thousands of people from demonstrating a= t the Bush inauguration.=A0 The police agencies have told the media that they intend to set up check points along the inaugural route.=A0 This is precisely the tactic that the pro-Bush forces used in Florida: setting up check point= s outside voting booths, especially in African American and Haitian communities. After having disenfranchised tens of thousands of voters in the general election, the Bush administration wants to disenfranchise thousands of protesters who want to exercise their First Amendment right to say "NO" to the death penalty, racism and racist disenfranchisement, and to raise other issues. We are confident that we can defeat what has been a systematic level of intimidation.=A0 To succeed, the IAC and it allies to employ every means at our disposal. We will pursue every avenue available to us.=A0 This is because we believe that the highest priority is to make sure that thousands and thousands of people come to Washington, DC on January 20. The right-wing Bush administration would like to guarantee that the =A0next four years will be ones with no protests against racism, the death penalty and war.=A0 But that is a fantasy because our movement is going to grow. Again, make sure you organize to come to the January 9 Regional =A0Organizers Meeting to get a full report, as well as to pick up flyers, posters, stickers and bus tickets.=A0 It will be held at 6:30 pm at Local 169 UNITE union hall, 33 W. 14th St. in New York City. =A0International Action Center 39 West 14th Street, Room 206 New York, NY 10011 email: iacenter@iacenter.org ************************************** http://www.votermarch.com/ On the date of the Presidential Inauguration, we will hold the Inaugural Voter March in Washington, DC. Thousands of us will be meeting at Dupont Circle In Wash. DC at 10:00 am on Saturday, January 20th.=A0 We will have a stage set up for our counter-inaugural demonstration at Dupont Circle=A0where we will have various speakers and entertainment figures performing.=A0 We wil= l then have an organized protest march from Dupont Circle to the Capitol and then to the U.S. Supreme Court.Chartered buses will be bringing voters from various locations throughout the United States to Washington, DC. You are able to purchase your confirmed round trip tickets here. Buses from New York City will be leaving from West 31st in Manhattan and 8t= h Avenue, adjacent to Penn Station, at 5:00 a.m. and arriving in the Washington, DC area at 10:00 am. Depending on traffic, the buses will eithe= r drop off people directly at Dupont Circle or will drop people off at a Metr= o stop which will go directly to Dupont Circle. The chartered buses will leave the Washington, DC area at 5:00 pm and arriv= e back to Penn Station at 10:00 pm. ========================================================================= Date: Fri, 5 Jan 2001 11:27:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Amiri Baraka article Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I'm scared to actually open the e-mail folder for poetics, it's WAY too full, but I thought some of y'all might be interested in the fact that January 2001 issue of The Wire, a British new music magazine with an ecumenical agenda, includes five pages (with large pictures) on Amiri Baraka. Despite the general music/performance orientation, there's some quotes on his relation to the Beats & a few other literary subjects. There's also mention of his old Jihad recordings being re-issued by a new label called Son Boy, as well as reprinting the Cricket, a mainly music magazine he edited in, I think, the late 60s. I subscribe to the Wire, but it shows up in stores here in Fort Worth, so there's at good chance that at least those of you who live in North America can find a copy at your local chain outlet: Borders/Tower/HMV/B&N/Chapters etc. Bests, Herb -- Herb Levy P O Box 9369 Forth Wort, TX 76147 817 377-2983 herb@eskimo.com ========================================================================= Date: Fri, 5 Jan 2001 11:11:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/4/01 1:43:44 PM, roitman@MATH.UKANS.EDU writes: << Anyway, don't want to belittle anyone's achievement, but why elevate Ph.D. (or M.D. for that matter) into something worth crowing about? When I need my appendix taken out, I will see a surgeon, when I have a serious question about literature I try to find someone who knows the answer, often this is someone without a Ph.D. >> Actually, the comparison above doesn't fly. Certainly many people without Ph.D.s in literature, or any other field for that matter, may be able to answer your questions. Likewise if you want a serious question about medicine answered, you may get the answer from someone without an M.D. Answering questions is not the issue or the basis for comparison. If you want your appendix removed, you see a surgeon because s/he is officially sanctioned to provide that service, and has provided society with something of a guarantee that s/he is educated in the field. If you want a concentrated semester of intellectual work, plus three credits towards a graduate degree, you see a Ph.D. for the same reason. Yes, it is a matter of licensing in all fields, and one must work his/her tail off to achieve such licenses which are relatively rare in societies, and all societies value them. Hence the prestige which obtains despite the resentment from some quarters. In both medicine and literature, answers are generally a matter of the consensus of so-called "experts." How do we know, for example, that the answers we receive to our questions about literature, from a non-degreed respondent, are correct? (At least we can be assured that the degreed respondent SHOULD know.) Is fame our criterion for placing confidence? Or is it finally our own ego-driven judgment we rely on? And if the latter, do we feel we can get away with this simply because the consequence is not a severe pain in our abdomens? The term "Doctor" is simply a designation, a sign of respect, a recognition of achievement. I don't know many, if any, physicians and/or academics who spend their time crowing. But I have encountered quite a number of people, usually quite young, who think they know more than they do, simply because they have misread a dozen books or so. As I said, I'm impressed by anyone with expertise I lack, whether or not they're degreed. Best, Bill ========================================================================= Date: Fri, 5 Jan 2001 14:31:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Anthology announces 6th annual contest winners MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit To the administrative account came this message. -- TS --On Friday, January 05, 2001, 12:44 AM -0700 "Bob Nelson" wrote: > ANTHOLOGY LITERARY MAGAZINE ANNOUNCES 2000 CONTEST WINNERS > > For Immediate Release > Jan 2nd, 2000 > > Contact: Sharon Skinner, Executive Editor > Anthology magazine > PO Box 4411 > Mesa, AZ 85211-4411 > (480) 461-8200 > Sharon@inkwellpress.com > > > (Phoenix, AZ) Anthology literary magazine today announced the winners of > its 2000 poetry and prose contests. Congratulations go to Qian Xi Teng of > Singapore, Malaysia for winning the $100 first place prize in the poetry > contest with her poem, "Where Fish Could Walk." Lisa Garrigues of San > Fransisco won first place in this year's prose contest along with its $150 > prize with her story, "Dreamspinner." Congratulations also go out to Mary > Eastham of San Jose, California and N. Colwell Snell of Salt Lake City, UT > for finishing second and third in the poetry contest, respectively. Libby > Fischer Hellmann of Northbrook, IL finished second in the prose contest and > Jenny Steele of Tuscson, AZ placed third in the same contest. Copies of > the issue featuring the works of these writers are currently available for > purchase direct from the Anthology offices or by visiting the Anthology > Website, http://www.anthologymagazine.com. Held annually, Anthology's poetry > and prose contests provide cash and prizes to poets and authors both > nationally and internationally. Additional details of the current Anthology > contests are available by sending an SASE to Anthology, PO Box 4411, Mesa AZ > 85211 or at the Anthology website, http://www.anthologymagazine.com. > Published bi-monthly, Anthology is the premier literary magazine of the > Southwest. > ========================================================================= Date: Thu, 4 Jan 2001 20:50:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Carol L. Hamshaw" Subject: Lemon Aid: A Rice Paper Fundraising Raffle MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Rice Paper is the only Asian Canadian culture and arts magazine and has a strong need of support. these prizes are great; there's tons of them and more are expected. the raffle is open to everyone no matter where you live. feel free to pass on this message...thanks (if you're interested in selling tickets there's a special raffle for volunteers and if 8 tickets minimum are sold you get a free one-year subscription) tickets $5 each or $10 for three draw date March 15 2001 To order tickets, contact Charlie Cho mailto:c_cho@telus.net or Jim Wong-Chu mailto:jwongchu@axionet.com or me prizes accomodation / performance / food One night's deluxe accommodation at the Crowne Plaza Hotel Georgia, plus $50 towards dinner in As Time Goes By restaurant Two tickets from boca del lupo theatre (May 2001 at Performance Works on Granville Island) $25 gift certificates for Pink Pearl Chinese Restaurant (2) Lunch for two at Sushi Boy books Basket of Asian Canadian books ($200 value) cookbooks Classic Chinese Cooking: Famous dishes from Chinese Cuisine (2) Fast Food Far East by Linda Doeser (2) Chinese Cooking Made Easy compiled by Douglas Marsland (2) Asian Hot & Spicy by Vicki Liley from Raincoast Books Entr=E9e To Asia: A Culinary Adventure with Thomas Robson from Raincoast Books Asian Soups by Suzie Smith from Raincoast Books Mastering the Art of Chinese Cooking by Charmaine Solomon (2) non-fiction I Am Jackie Chan by Jackie Chan with Jeff Yang, paperback Autographed copies of Chasing their Dreams by Lily Chow (2) The Encyclopedia of British Columbia edited by Daniel Francis (book and CD-ROM set) from Harbour Publishing Other Conundrums: Race, Culture, and Canadian Art by Monika Kin Gagnon from Arsenal Pulp Press O-bon in Chimunesu: A Community Remembered by Catherine Lang from Arsenal Pulp Press Modern Living with Feng Shui by Albert Low The Yellow Pear by Gu Xiong from Arsenal Pulp Press fiction / poetry The Jade Peony by Wayson Choy, hardcover (2) Chorus of Mushrooms by Hiromi Goto (2) Bellydancer by Sky Lee, paperback (2) Swallowing Clouds: An Anthology of Chinese-Canadian Poetry edited by Andy Quan & Jim Wong-Chu from Arsenal Pulp Press The Electrical Field by/from Kerri Sakamoto (2) Daruma Days by Terry Watada from Ronsdale Press (2) monkeypuzzle by Rita Wong (2) Banana Boys by Terry Woo (2) journals West Coast Line: 1 copy of the coveted "Colour: An Issue" (only a few copies left!) and 2 copies of "Here and There: Between South Asias" music Autographed CD soundtrack from Wong Kar-wai's film In the Mood for Love, winner of two Cannes awards (Best Actor and Best Technical Achievement) and is Hong Kong's official entry for next year's Oscars Seducing Maarya, original motion picture soundtrack CD of the upcoming film by Hunt Hoe (2) taikoelectric, CD from LOUD (2) Ancestral Tracks, cassette tape from Don Chow (10) CDs from Armi Grano video VHS tapes of the Gemini-nominated documentary "Beyond Golden Mountain" from Wesley Lowe (2) Island of Shadows: D=92Arcy Island Leper Colony, 1891-1924" by Erik Paulsson Autographed VHS tapes of Do Wok A Do from Michelle Wong (2) VHS tapes of her NFB documentary Return Home from Michelle Wong (2) and more A couple of professional reflexology sessions from Lynn Teo Two sets of sushi candles, on proper ceramic plates (value $15) from Walter Quan A will and testament from lawyer Iven Tse A gift certificate for a 1-hour astrology natal chart reading (value $75) from Terri Hamazaki Gift pack from the Powell Street Festival A special mystery prize by Michael Speier visit our website at http://www.ricepaperonline.com/ the lemon issue is out now! -- Carol L. Hamshaw Business Manager, Rice Paper Grant Writer, Vancouver Asian Heritage Month Managing Editor, The Capilano Review Board of Directors, British Columbia Magazine Publishers Association ========================================================================= Date: Fri, 5 Jan 2001 08:56:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Stickney Subject: Re: Flashpoint MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The link for flashpoint should read: http://www.flashpointmag.com/ John Stickney > Date: Thu, 4 Jan 2001 12:10:59 -0500 > From: Jack Foley > Subject: New FLASHPOINT #4! New Website!! > > WEBDELSOL CENSORS FLASHPOINT! > > WebDelSol has censored ANDREA ZEMEL and removed her work from the title = > page of FlashPoint! FlashPoint severs all ties with WebDelSol and moves = > to a brand new field of operations: > > NEW WEBSITE!! (http://www.flashpointmag.com/) > > FLASHPOINT #4 > Winter 2001 > "Along the frontier where the arts & politics = > clash ..." > > Cid Corman Clayton Eshleman Nancy Spero Leon Golub > Alison Croggon Jack Foley D.N. Stuefloten Hannah Weiner > William Blum Brad Haas John Lane Mark Scroggins Anthony = > George=20 > James Sallis Glen Cameron Richard Hoffman David Alexander > Rainer Maria Rilke Charles Moyer David Hess Vince = > Samarco =20 > Preston Heller Kent Johnson Eugene Thacker =20 > Joe Brennan Carlo Parcelli > and > ANDREA ZEMEL's HERCULINA > "Sometimes a lively street market, sometimes a no-man's-la= > nd." =20 > ========================================================================= Date: Fri, 5 Jan 2001 15:42:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lind, Joshua H." Subject: Revolutionary Science. MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Ron Silliman responded to a negative review (I believe, by Carlo Parcelli) by suggesting that there's no reason to be so searingly negative -- it's not as if any of the 'offending' poets shit in anyone's sandwich. I agree. But I find myself wondering about the argument implicit in the first part of Mr. Silliman's post, excerpted below: --- In 1955, after an evening of piano works by Cage and Stockhausen generated much anger and scoffing at Wesleyan, RK Winslow, a professor of music at the school, wrote a letter to the campus paper, the Argus, suggesting, as follows: "Those who were antagonized by the performance and who have run out of descriptive terms for it, can find a variety of fresh insults in a book called Lexicon of Musical Invective by Nicolas Slonimsky (Olin Library), a compilation of on-the-scene reactions to the music of, e.g., Beethoven, Bach, Mozart, Verdi, etc." --- The argument here seems to be that some work is, in a sense, 'ahead of it's time.' The work's 'goodness' or 'quality' is always present -- just not always realized when first presented. The idea of a 'transcendent' quality disturbs me. I cannot argue, of course, against the phenomena described. For example, I really enjoy Beethoven's "Grosse Fugue", which contemporaries found "confused," "chaotic," even "abhorrent." But the question that comes to me is, are those contemporaries 'incorrect' because they dislike the piece? Further, am I 'correct' because I like it? These questions were exacerbated as I read Alan Sondheim's most recent addition to the list, copied below: --- ror: (pqktnkrn_st) k: pytqkx orror (l)*(m) p (l*m)*(k*l) t (l*m)**k (pqktnkrn_ st) d: pytqkx orror (b*c)^k a (b*c)^k*j j (b*c)^k*b*c f (b*c)^k*d*e bj (pqktnkrn_st) a: pytqkx orror (b)*(c) f (b*c)*(k*l) j (b*c)**k (pqktnkrn_ (b*c)^(k*d*e) a (b*c)^(d*e) cfefaehddjjfbigf (b*c*k)^(d*e) j semantics (b*c)^(a*d*e) a (b*c)^(d*e) csesaerddnnsbits (b*c*a)^(d*e) n seeking in) d: syntax error (b*c)^a a (b*c)^a*n n (b*c)^a*b*c s (b*c)^a*d*e bn (standard_in) a: syntax error (b)*(c) s (b*c)*(a*b) n (b*c)**a (standard_ st) n: pytqkx orror (l*m)^k k (l*m)^k*t t (l*m)^k*l*m p (l*m)^k*n*o lt (l*m)^(k*n*o) k (l*m)^(n*o) mpopkornnttplsqp (l*m*k)^(n*o) t (2*3)^(a*4*5) 1 (2*3)^(4*5) 3656158440062976 (2*3*a)^(4*5) 0 desperately in) 4: syntax error (2*3)^a 1 (2*3)^a*0 0 (2*3)^a*2*3 6 (2*3)^a*4*5 20 (standard_in) 1: syntax error (2)*(3) 6 (2*3)*(a*b) 0 (2*3)**a (standard_c-esaer pytqkz er --- I admit that I do not like this piece. Am I just behind the times? Am I in a trough while there's a crest coming on? Will the brilliance of this piece be recognized by wiser people in decades to come? The response that comes to mind is that don't like this poem because I haven't yet fashioned a way to relate to this piece. As time passes, we as a culture come to create methods and means for incorporating artworks into ourselves; we find a way to relate the work to ourselves. There's no need for Mr. Parcelli (if, indeed, it was him) to so blatantly dismiss the work of the poets he reviewed: he merely doesn't have a way (or see the value) in relating those works to himself and what he sees. Conversely, there's no real need to pick on people who appreciate more traditional work; it's possible to develop deep and complex modes of relating traditional art to contemporary issues. Sincerely, Josh P.S. I don't want to denigrate Mr. Silliman's larger point that personal attacks are unwarranted and unhelpful; his post merely got me thinking. And I certainly don't mean to overly criticize Mr. Sondheim's work posted on the Poetics List, some of which I find very powerful (such as "Water-shedding," "Up-to-date kings in meadows," "Women, Spartans, and Dangerous Things," "Dead in the w., "Nikuko tells the truth," and especially "cut out from the archives:"). ========================================================================= Date: Sat, 6 Jan 2001 08:09:35 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Thursday, January 25th at 7:30 PM at Halcyon, Brooklyn Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thursday, January 25th at 7:30 PM at Halcyon 227 Smith St. (between Butler and Douglass Sts.) Brooklyn, NY 718 260 - WAXY Take the F or G train to Bergen St., Brooklyn Walk four blocks vs. traffic to #227. The www.nycpoetry.com reading featuring poets from the wordsmiths December installation on the NYCpoetry.com website: John Tranter, editor of the e-zine Jacket, visiting from Australia!! Julie Sheehan-Thorsen, Prageeta Sharma, Jason Zuzga, and Stella Padnos from as close as around the corner, but no less exciting. "Halcyon - a mythical bird, usually identified with the kingfisher, said to breed about the time of the winter solstice in a nest floating on the sea, and to have the power of charming winds and waves into calmness." from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/ - new John Tranter homepage - poetry, reviews, articles, at: http://www.austlit.com/johntranter/ - early writing at: http://setis.library.usyd.edu.au/tranter/ ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Fri, 5 Jan 2001 18:23:24 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: The poetics of envy In-Reply-To: <007001c076d0$3b091520$3353fea9@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I wonder what such a lexicon as the "Lexicon of Musical Invective" would look like if the terms/phrases were collected at a xavier cugat show. i share with ron the personal preference of promoting what I like and avoiding the slams. i prefer to address people's words shared directly in this venue as opposed to addressing their poetry regardless of where that is shared. if i were to criticize publicly the poetic writing i don't like, i might not have any friends at all. besides, many things here on this list come in the form of (ir?)rational arguments, and treating such arguments with a critical eye comes with different and clearer merits. it's a personal preference i share. i resist writing criticism all of the time, saving my energies for other things. on the other hand, i must confess i find Carlo's input refreshingly frank, in this otherwise backslapping literary world. if someone were to trash a reading of mine, i'd want it to be carlo. he just might make me feel so badly i'd rebound with a laugh. and then I would not feel so bad after all. seriously, from carlo i would be guaranteed a degree of frankness i've become unaccustomed to, and i genuinely cherish critical honesty, regardless of its objectivity. i want opinions, and for opinions we need opinionated people, especially informed opinionated people. there are too many blank stares these days. look at my generation, x-ers who thrive on their lack of affect. carlo is far from the world of blank stares and speechlessness, and for that he is a rare gem. carlo and his frankness are together a good thing in my opinion. fortunately i feel secure enough to take some rejection. oh if you all could see the collection of rejection slips i proudly hang on my office wall! if you think carlo is rude, i found it much more rude to receive a photocopied rejection slip that had, in terrible penmanship, "Sorry to say no," scrawled on it. I would have at least appreciated the attention of an insult. So, in a roundabout way, silence seems to be the biggest hurt. Besides, if a person feels that some particular work of art is beyond condemnation and rejection, then the artist or that person might not be working hard enough. it's hard work to make stuff people don't like or understand. ;^) let's look at this controversial quote once more: "If the group reading of 22 poets staged at the Four Seasons Hotel last night is endemic of American poetry today, then American poetry is dead" Taking carlo's comment literally/logically, it seems to imply that "the group reading of 22 poets staged at the Four Seasons Hotel last night is" NOT "endemic of American poetry today." Because i think carlo may not believe american poetry is dead. so what? (doesn't anyone here except judy roitman remember *modus tollens*?) to be told that my poetry does not signify that a category of literature is thriving means nothing to me, except maybe that perhaps i need some well-deserved modesty. if i were to think that my poetry *did* signify the vitality of american poetry, then i hope someone would give carlo a ring and let him know I need someone to set me straight. if on the other hand, carlo was implying that american poetry is dead, then as a consequence of his statement, he was saying nothing at all. i think carlo's problem with american poetry is not that it's dead, but that it's buried under its own, and society's, detritus. he has a great deal of justification to stand upon for that belief. being told "you're not it" might feel hurtful or "mean spirited" to some, but hey, i know i'm not the shit, and that's just fine if someone told me that. people who sincerely believe that they are the bard's macaw just might need to be reminded they're not. and carlo should be admired for sharing his opinions. perhaps he won't be admired for his frankness, but i've come to expect that lack of savvy from people already. so take it easy, it's no big deal. it's certainly not worth accusing the author of "If the group reading of 22 poets staged at the Four Seasons Hotel last night is endemic of American poetry today, then American poetry is dead" of "intellectual vapidity." it smacks of one-upmanship. or, thank you for allowing me to make a bigger deal out of a little deal that was at first a little deal and then a big deal. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron Silliman Sent: Thursday, January 04, 2001 11:30 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: The poetics of envy In 1955, after an evening of piano works by Cage and Stockhausen generated much anger and scoffing at Wesleyan, RK Winslow, a professor of music at the school, wrote a letter to the campus paper, the Argus, suggesting, as follows: "Those who were antagonized by the performance and who have run out of descriptive terms for it, can find a variety of fresh insults in a book called Lexicon of Musical Invective by Nicolas Slonimsky (Olin Library), a compilation of on-the-scene reactions to the music of, e.g., Beethoven, Bach, Mozart, Verdi, etc." I rather doubt that the book is still in print, but perhaps it would help to raise the quality of rhetoric that is being hurled so muddily forth. I'm not so startled that some folks continue to be so intensely offended by a poetics that is not so very different from their own as I am saddened that they waste their time thus. It would be far more interesting and fun, for them as well as us, if they would just promote whatever it is that they like. Ron ========================================================================= Date: Sat, 6 Jan 2001 17:07:08 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: poetics or politics of envy or exclusion? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable To whom it may concern. I just received an email from Carelli. He = maintains he has been excluded from speaking on the list for opposing = censorship. OK. If its for opposing censorship that isnt a good reason. = I say "if", as I dont know the full story. But the List should be an = open forum. The List may still impose censorship (one probably always = needs some) but we need open government.Let's not get too "politically = correct": which can lead to muzzling of people with alternative views. The political process needs to be seen, not hidden. Carelli etc need = to be given leave to speak. O.K. they could be less personal and give an = analysis of what they think is wrong or "bad' about say Charles = Bernstein's works etc. That would be acceptable surely. Or am I talking = rubbish? Something I dont know about? Does anyone else know about this matter? The plot thickens dickens. = Sorry, I couldnt resist that...but this is serious. Is there something = rotten..? Richard. ========================================================================= Date: Sat, 6 Jan 2001 22:38:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: !Sierpinski Gasket! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit !Sierpinski Gasket! little line "pride of collective gasp" >SNIP< sun PRICK an other dream use this power trick break an egg into a dish squirm & roll "the flower of yr. ancestors" in grand style "they de- stroyed me" in kindness & intimacy >f< >r< >o< >m< >o< >r< >n< >t< >o< noon! erotically but s,u,b,m,i,s,s,i,v,e,l,y inadequate lover ka-pow+ >SNIP< ecstacy+ & slowly drove me back at that mo- ment of re- kindling the kitchen flame table jumpt into the air! check mentally subnormal "ice & fire" check music check movement & slowly drove me to a SEPARATE BUT EQUAL place of dove-headed minions Q.: what affects this image? A.: minority audience (the "ascent" rejected again) "e,x,i,s,t,e,n,c,e" "e,x,i,s,t,s m,e,r,e,l,y" "f,o,r E,x,i,s,t,e,r,s" Sd. others gone soon to Koch island’s radical subtractions SING: cut away cut away cut away for us square inches of OK (negative space) About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sat, 6 Jan 2001 22:43:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: To Scum (From Man's Wows) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To Scum Before sunrise you must dig up lions , taking good care to the ends of the roots procure a nag and a thread without knot a whole to be hung In unexpected lore see the complete wows at the Duration website About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sat, 6 Jan 2001 22:46:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: To Crab-Lice (From Man's Wows) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To Crab-Lice Take Hog's lard and smear a god in petal See the complete Man's Wows at the Duration website About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sat, 6 Jan 2001 08:26:47 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: poetryprosefiction In-Reply-To: <000d01c076b3$8c4aa6a0$196d36d2@01397384> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 02:04 PM 1/5/01 +1300, you wrote: >Poetry (or >Literature - I dont distiguish) is an >endless language experiment and an endless process of process in >process. great post thanks komninos komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 5552 8872 lecturer in cyberStudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Sat, 6 Jan 2001 22:51:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: To Prevent The Worst Kind Of Paper From Blotting (From Man's Wows) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To Prevent The Worst Kind Of Paper From Blotting Dissolve a man on I, a man, would like (a Man) who cannot write "a man" whatever grows See the complete Man's Wows at the Duration website. About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sun, 7 Jan 2001 12:33:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Artist Protection Program Comments: To: BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Tired of the starving artist routine? http://www.artistprotection.com/ ========================================================================= Date: Sun, 7 Jan 2001 20:36:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Announcing Atelos #9, Forthcoming by Jalal Toufic Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Forthcoming by Jalal Toufic Atelos is pleased to announce the publication on February 15, 2001 of Forthcoming by Jalal Toufic. About the book: In his masterpiece, Forthcoming, Jalal Toufic observes, "With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there." This enormously ambitious but exquisitely precise book takes its position just so "with regard to the surpassing disaster." The notion is central to this work, not as a philosophical term (though the book is grounded in philosophy) but as the name of a specific form of devastation -- one that is, sadly, the ongoing condition for cultures in a number of places in the contemporary world. A culture in such a condition is one whose culture has been withdrawn from it. To remedy the resulting deracination, dissociation, and dismay, as Toufic writes, history (the things we are living through) "demands the resurrecting efforts of writers, artists, and thinkers." Variously polemical, elegiac, angry, compassionate, Forthcoming has the emotional force of a magnificent symphony. About the author: Jalal Toufic is the author of three previous books, Distracted (Station Hill, 1991; Green Integer, 2000), (Vampires): An Uneasy Essay on the Undead in Film (Station Hill, 1993), and Over-Sensitivity (Sun & Moon, 1996). His video and installation works, which include Credits Included: A Video in Red and Green (1995), Ashura: This Blood Spilled in My Veins (1996), and Radical Closure Artist with Bandaged Sense Organ (1997), have been shown at Artists Space in New York, at the San Francisco Cinematheque, The Lab, and the Yerba Buena Cener for the Arts in San Francisco, the Pacific Film Archive in Berkeley, the UCLA Film and TV Archive, XYZ Artists' Outlet in Toronto, the Theatre de Beyrouth in Beirut, the Palais des Beaux-Arts in Brussels, and the Centre international de poesie in Marseille. He co-edited a special issue of the journal Discourse on Gilles Deleuze: A Reason to Believe in this World and edited a special issue of the same journal on Middle Eastern Films Before Thy Gaze Returns to Thee. He has taught at the California Institute of the Arts, the University of Southern California, and the University of California at Berkeley. Jalal Toufic currently lives in Beirut, Lebanon. About the project: Atelos was founded in 1995 as a project of Hip's Road. It is devoted to publishing, under the sign of poetry, writing which challenges the conventional definitions of poetry, since such definitions have tended to isolate poetry from intellectual life, arrest its development, and curtail its impact. All the works published as part of the Atelos project are commissioned specifically for it, and each is involved in some way with crossing traditional genre boundaries, including, for example, those that would separate theory from practice, poetry from prose, essay from drama, the visual image from the verbal, the literary from the non-literary, and so forth. The Atelos project when complete will consist of 50 volumes; Forthcoming is volume 9. The project directors and editors are Lyn Hejinian and Travis Ortiz; the director for production and design is Travis Ortiz; cover production and design is by Ree Hall. Ordering information: Forthcoming may be ordered from Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710-1403; phone 510-524-1668 or toll-free 800-869-7553; e-mail: orders@spd.org. Title: Forthcoming Author: Jalal Toufic Price: $12.95 Pages: 288 Publication Date: February 15, 2001 ISBN: 1-891190-09-1 Contact: Lyn Hejinian: 510-548-1817 Travis Ortiz: 415-863-1999 fax: 510-704-8350 Atelos PO Box 5814 Berkeley, CA 94705-0814 * * * ========================================================================= Date: Sun, 7 Jan 2001 23:37:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: real life action infopoem unfolding Comments: To: poetics UB Poetics discussion group , webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i haven't been active recently because i've been involved in a real-life process infopoem which is now (I hope) finally starting to unfold. It begins in a couple of places but the first section is an infopoem i am creting out of a few days expeience on an internet self-help support group at http://members.tripod.com/~trbell/metaphor/fgid.htm the continuation is the formation of a Latronex Action Group to generate public interest and support (lotronex@egroups.com) http://www.geocities.com/lotronexactiongroup/index.html (under construction) I've just sent out a call for endorsement and support for people to give their doctors and to send out to the professional community. If it grows it will become a thing of beauty as well as a piece of practical poetic impact. tom bell Dear Dr. ________: I am a psychologist in private practice. I am concerned about recent events surrounding the release and then recall of the drug Lotronex. I am concerned about the people involved who were given a brief respite from the emotional and physical pain of their illness, only to have relief snatched away again. I am also concerned about a number of scientific and social questions this raises and the impact on the public's view of science. . In March of 2000, GlaxoWellcome, Inc. restored the lives of hundreds of thousands of men and women who suffered with Irritable Bowel Syndrome, a little-understood and currently incurable gastrointestinal disease which affects about twenty percent of the population. GlaxoWellcome's introduction of Lotronex (alosetron hydrochloride) gave freedom from fecal incontinence, physical and emotional pain, repeated embarassment, and lives turned upside-down. Then in November of 2000, because of the inability of GlaxoWellcome and the FDA to come to an agreement, GlaxoWellcome withdrew Lotronex from the marketplace, depriving these men and women of a successful treatment and leaving their lives again in shambles. As you may know, Lotronex gets at the underlying cause of diarrhea-predominant IBS by blocking seratonin receptors in the gut. At present, no other such medication exists. I am a member of the Lotronex Action Group, which has formed on the internet. It is entirely independent and has no connection with any drug manufacturer or any other commercial interest. The Lotronex Action Watch Group seeks the scientific community's cooperative effort in uncovering the issues surrounding the withdrawl of Lotronex and in promoting corrective action. As a fellow scientist, please join me in endorsing this brief statement and also pass it along to colleagues and co-workers for their endorsement. The Lotronex Action Group has looked into available information regarding the unfortunate withdrawal of Lotronex from the market and has urged the parties involved to sit down and resolve their differences so that it can remain available in the best interest of patients. The LAG especially urges that the medication be made available to those people currently taking it until the differences are resolved. As a [YOUR PROFESION], I endorse this statement ____________. Further background explanation and information on the group, the events, and the treatment is available in the attached letter, through the group (latronex@egroups.com), and on our website at http://www.geocities.com/lotronexactiongroup/index.html. --- -/-----------)))))))))))))))))) nnnnn Art, poetry, webpoetry done by people with chronic physical or mental problems (work that helped) at http://members.tripod.com/~trbell/metaphor/metapho.htm nnnnnnnnnnnnnn(((((((((((((((9 Life designs: http://trbell.tripod.com/lifedesigns/ }}}}}}}}}}}}}}}}}}}{ Jokes are at: http://members.tripod.com/~trbell/laugh/ibs.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Mon, 8 Jan 2001 10:24:36 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Shapiro Subject: NYC Jan 10 launch party and press conference MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dialogue Among Civilizations Through Poetry Launch Party & Press Conference Come learn about 200 upcomng poetry readings in over 100 cities worldwide. Participants include Guild Complex in Chicago, Chinese University of Hong Kong, and the 14th Street Y in New York City Join us: Wednesday, January 10, 2001 from 6:00pm - 9:30pm 15 Gramercy Park South New York, New York (near 20th Street and Park Avenue) Attire: Jackets for men. Take 6 train to 23rd street station. RSVP via email to : devineni@dialoguepoetry.org Or visit the website at: http://www.dialoguepoetry.org ========================================================================= Date: Mon, 8 Jan 2001 11:10:06 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Two reviews MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Two reviews of mine that first appeared in _The Gig_ 7. --N ---- 1) Tim Davis, _Dailies_. Great Barrington, MA: The Figures, 2000. $12.50 US. 0-935742-77-X. _Dailies_ is a selection from poems written one a day as a self-imposed discipline over the space of two years (1997-98). Davis wrote in the interstices of a 9-to-5 job, "during coffee breaks, morning blear, elevator going up," as he notes in the preface. Stylistically the book exists somewhere on the continuum between the New York School & the Language Poets, with _Lunch Poems_ the most formidable precursor, & Raworth's 1970s work & Bernstein's mordant collages of workplace memos somewhere in there too. But such a rollcall doesn't do justice to the book's ability to pull something improbably fresh & arresting out of the mix. The poems run an upbeat absurdism up against the pressures of the daily occupational grind; while New York School poetry can have a poised elegance in which comedy coexists with melancholia, Davis's poetry is pointedly inelegant--cramped & pressed for time. Puns, portmanteau words, deformed idioms and surreal turns of phrase are brusquely joined together: i say let the vietnam deniers write their blyric eyewool fine, fine (louie, louie) a bust of lenny bruce in blue recycled hand dyed exit polling ('atta) data at once entirely of petit fours another clumsy tooth fairy, another orpheus and other stories another world another world another you another you lenny bruise, it is said, didn't "get" meltdown instead (here it comes!) darkument anyway the i-bomb merely deaccesorized, so go ahead an' croon Davis's ear for parody is dead-on: "our founder had a tenor to shatter pyrex"; "you say 'ultimata'"; the effect is of phrases being pushed to the point of absurdity & then past it, into a kind of abstract satire: "sprinkle foibles onto press inking link dinka-do / truth in 'avert eyes-ing' o my / mediocrity / is true too"; or come inhabit hate rooms with calartsy arc welding hobby horse stand in the way of canvasses embarrassed to just be so so they animatronically jiggle crock of endive sponsored by the K of C, that's "Kind of Conceptual" _Dailies_ is one of the strongest collections to appear this year: a little overwhelming in its sustained brio (though there are touches of other modes, such as in the elegy "the death of alexis": "the light sounds vacant / everyhow she sang we're flightless / screaming open-beaked") but nonetheless compelling, delightful & memorable. 2) YOU KNOW HIM, READER Kenneth Goldsmith, _Fidget_. Toronto: Coach House Books, 2000. 107pp. $16.95 Cdn. ISBN 1-55245-076-7. An online version is available at . On Bloomsday 1997 Kenny Goldsmith woke at 10:00; speaking into a microphone attached to his body he described as exactly as possible his every physical movement that day until he fell asleep at about 11:00 pm. _Fidget_ is constructed from that tape; the text, divided into sections according to the hour of the day, begins at 10:00: Eyelids open. Tongue runs across upper lip moving from left side of mouth to right following arc of lip. Swallow. Jaws clench. Grind. Stretch. Swallow. Head lifts. Bent right arm brushes pillow into back of head. Arm straightens. Counterclockwise twist thrusts elbow toward ceiling. Tongue leaves interior of mouth, passing through teeth. Tongue slides back into mouth. Palm corkscrews. Thumb stretches. The style here--terse & neutral, scrubbed of the pronoun "I" and mostly omitting mention of external objects--suggests Beckett's prose and scrupulous stage-directions, a link the book's design (reminiscent of Calder 's austere Beckett editions) seems intended to accentuate. As _Fidget_ progresses, the strain of the exercise begins to tell: actions are further abbreviated, & the prose has by 18:00 devolved into a helpless string of single words: "Reach. Grasp. Reach. Grab. Hold. Saw. Pull. Hold. Grab. Push. Itch. Push. Push. Turn. Walk. Two. Three. Four. Five. Six. Seven. Eight. Turn." At 19:00 the text erupts into nonsense, first gently ("Refinger. Sneeze cross. Length of fore wipes free. Hand sad.") and then more insistently: "Body is sit. Licks wet. Whistle this time. Hey doe! Betsit. From chest: good girl! Good Girl!" What has happened--this is only clear from the book's afterword--is that Goldsmith, unnerved by his own experiment, has gone out & purchased & consumed a bottle of whiskey. Not just the alcohol-tinged nightmare & linguistic play of this portion of the text recalls _Ulysses_, but also its evolution of styles between chapters: though Goldsmith's tape presumably went through continuous stylistic change, the final artifact abruptly changes modes from chapter to chapter. The text's last section--22:00--is not a transcription of the (now unintelligible) tape but a reversed version of the 10:00 text, in which each action is mirror-imaged ("left" becomes "right," "forward" becomes "backward") & then printed, letter by letter, in reverse. I've named some literary antecedents for the text but in many ways the book is as much akin to conceptual art or the music of John Cage or Morton Feldman. The piece was originally commissioned by the Whitney Museum as a collaboration with the singer Theo Bleckmann; unusually for a new poetry publication it is accompanied by a full-length essay (by Marjorie Perloff), rather in the manner of an exhibition catalogue. As with such modes of art one of its primary concerns is about attention & attentiveness. Fidgeting is an activity that receives most exaggerated form in a person subjected to stress or to boredom; if the author here succumbed to the former in the original exercise, the text can make the reader fidget at the minimally differentiated canvas that the first two thirds of the text present, & respond almost cathartically to the linguistic implosion of the last sections. Yet if discomfort & tedium are intrinsic to the experience of reading the text, so are the unpredictable moments where they disappear in the terrible comedy of a mind & body trapped in mutual discomfort, as when the text details Goldsmith's (successful) attempt to touch his nose with his toe, or his (it seems nervously frequent) pilgrimages to the bathroom to urinate, or the impassive notation towards the conclusion of masturbation: "Blood rushes out of penis." _Fidget_, true to its title, is a discomforting work; if I remain uncertain of my reaction to it, I have little doubt it will prove one of the most distinctive books of the last few years. ---- Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Mon, 8 Jan 2001 10:18:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Goldsmith & Tardos MIME-Version: 1.0 Content-Type: text/plain This Saturday, January 13 in NYC KENNETH GOLDSMITH AND ANNE TARDOS Read at Double Happiness. KENNETH GOLDSMITH'S most recent book, FIDGET (Coach House Books, 1999), records every movement his body made on Bloomsday 1997. SOLILOQUY, an unedited record of every word he spoke for a week, is due out in the Fall of 2001 from Granary Books. Goldsmith is a DJ on WFMU, a music critic for New York Press, and is the editor of UbuWeb Visual, Concrete + Sound Poetry (ubu.com). ANNE TARDOS likes to write multilingual poems and combine them with digitally modified video images. She is the author of Cat Licked the Garlic; Mayg-Shem Fish; and Uxudo. She has just returned from Geneva, where she took part in the poetry festival La Batie 2000. Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) Saturdays, 4 - 6 p.m. Suggested contribution, $4, goes to the readers. Two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Please join us! ========================================================================= Date: Fri, 5 Jan 2001 23:37:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joanna Fuhrman Subject: David Rattray Content-Type: text/plain Mime-Version: 1.0 Hey has anyone heard of any rumors about publishing a selected or collected poems of David Rattray? I had never heard of him until yesterday when I ended up hearing an old tape of him reading with John Wieners. (at the poetry project in 1985-- was anyone on the list there---?) I guess he has that book on drugs "How I Became One of the Invisible" on Semotext, but it doesn't look like any of his poetry books are in print anymore. It's such a shame. I was so blown away by his reading. Every line surprised me and seemed full of transience and light. I'm looking at the poem now from the St. Mark's anthology "This Began Long Ago." I love the way he moves from talking about a friend's father dying to "the faces leaders make in the privacy of their bathroom." He manages to capture the simultaneous feeling of being outside of oneself while at the same time the almost paradoxical feeling of loneliness within oneself. Why had I never heard of him? I never thought I lived under a ro ck. (I did notice he has a link on Gary's Readme webcite so I guess someone is still reading him) best, Joanna Fuhrman Can't find what you're looking for? The LookSmart Live! community will help you find it and reward you for helping others. http://live.looksmart.com ========================================================================= Date: Sat, 6 Jan 2001 07:16:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Re: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Thanks for this--- and Grummon, Baptiste and others--- I guess there's two points--- while I was hoping not to create, or emphasize, or encourage a division between poets or writers or thinkers or performers or whatever you wish to call it (us/?), who have Ph.Ds' and those (of the same) that do not have Ph.Ds, my rhetoric, quite obviously, seemed to argue a kind of "special pleading" and thus most of you understandably directed most of your attention to the seeming assumptions of privilege and hierarchies invoked (as if there was lament in their lack)-- But that was (and is) not the point, the lack or the lament I guess I was looking for an external reference against which something like a community could come into being, in which perhaps we may start thinking of ways we need not deny ourself things like healthcare if we continue to wish to pursue the "purposeful purposelessness" (for want of a better phrase----shorthand) of writing, considering the possibility that maybe writing is not necessarily irrelevant to society, or at least more of those in "nonpoetic" professions such as doctors---as if believing in my heart---oops, essentialism-- that they need us as much as we need them. I meant, and mean, to be inclusive.... or of course one could say I was (am) just trying to find, or target, new markets, but barter is fine......the passive lure ....... c Judy Roitman wrote: > >In a message dated 12/31/00 5:05:41 PM, cstroffo@EARTHLINK.NET writes: > > > ><< How many of you here are also so fed up with the way > >that a PH.D. is not of course considered a real DOCTOR? > > >> > > > >Should we care what the general public thinks? I've never encountered a > >physician who wasn't impressed by my Ph.D. and inclined to treat me as an > >equal, or better. My experience is that, in the main, educated men and women > >know who's who. My own tendency is to admire anyone with expertise I lack. > >Bill > > Most of us (there may be a doctor in the house) are not real doctors. > Some of us are PhD's. It is a trick of language that uses "Dr." for > both. > > Anyway, don't want to belittle anyone's achievement, but why elevate > Ph.D. (or M.D. for that matter) into something worth crowing about? > When I need my appendix taken out, I will see a surgeon, when I have > a serious question about literature I try to find someone who knows > the answer, often this is someone without a Ph.D. > > An exercise: think of the most learned contemporary poets with whose > scholarly/theoretical work you are familiar. My bet is that this a > good number of them will not have PhD's. > > Me, I think people, whether educated or not, tend to know who's who, > and that degrees have little to do with anything other than > requirements for employment ("food service worker, must have high > school diploma..."). Education and training, ah, that's another > matter. > -- > > --------------------------------------------------------------------------- > Judy Roitman | " cats > Math Dept., University of Kansas | as much as horses > Lawrence, KS 66045 | on the night stairs" > 785-864-4630 | > fax: 785-864-5255 | Larry Eigner, 1927-1996 > ---------------------------------------------------------------------------- > http://www.math.ukans.edu/~roitman/ > ---------------------------------------------------------------------------- ========================================================================= Date: Sat, 6 Jan 2001 16:54:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: EdVenture@AOL.COM Subject: Some Sad News MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Poet Daniel Krakauer died yesterday (Jan. 5) after protracted struggles with a number ailments. There will be a funeral for him this Sunday (Jan. 7) at the Gramercy Funeral Home on Second Ave. between Ninth and Tenth Streets in Manhattan. From Daniel Krakauer's poem "As Told by An Old Buddhist Monk" In my youth, in the monastery Of Rishnapoor the student monks were asked One day 'what is your life' and after Much chewing of fingernails one of their number Wrote down "your life is that interesting movie It takes you a whole lifetime to watch" The master took one look and said to him I want to see you when class is over ... ========================================================================= Date: Sat, 6 Jan 2001 16:30:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Tom Bradley Tom publishes his wonderfully scabrous work in Salon and RealPoetik, and can be reached at tomnpeg@interlink.or.jp. Sam Edwine says "Hi-hi" to a bum in Foo-Chow (Marco Polo went there, too) by Tom Bradley "Quit your farting." --Chairman Mao, The Little Red Book The commies had kicked his family out, and now they were after Sam. So he decided to take a walk, to search for a means of personal salvation. As he lumbered down Derelict Hell Road, he came upon a likely prospect. Glistening black with filth, and naked but for a few rags that ended at the thighs and armpits, the guy looked a bit like a far-eastern version of Sam himself in his bachelor days, before his wife got hold of him and cleaned him up. Best of all, this bum was wadded in an old and ill-maintained handicap trike. It might not be a bad idea to hunker down in front of this saint, to put elbows on the false-cripple knees and do a little fast talking. The standard slow-motion eyes rolled up and focused on Sam only after he was settled comfortably in. Sam began: "Perhaps you could lend me some of your wisdom, for I'm in a quandary. It may sound like a Jesus complex to you--and maybe it's even a mild one compared to your own, as you sit here weeping blood--but there are several groups of people in this town vying with each other to see who can nail me first. "Now I'm asking you, possibly the observer, victim and perpetrator of more than one crucifixion: shall I give these godless pricks the satisfaction of capturing me and deporting me after a little marketably sordid stuff in jail? Or shall I go fishing instead? "Letting them bust me would offer the fair likelihood, or at least the fighting chance, that I could go public with the charges against me, if I survived. That would give me a crack at notoriety and financial independence. "I'd have to recruit a ghostwriter. Like they say: two weeks in China, write a book; two months in China, write an article; two years in China, write nothing. But, you know, I'd certainly be svelte enough for the talk show circuit after a few months in the people's prison. I've got a fair start on it now, don't you think?" Sam smoothed his hands down his sides and leered sidelong at his mute interlocutor, who moaned once absently. "Now, the disadvantages we'll count up on your little bare black toes, like marketing piggies. "One: They'd fly me back on a China Airlines death-trap, and I'd have take a chance on ptomaine from the Salisbury steak. "Two: my adopted daughter, bless her dewy soul, would have to settle for being parented by an international criminal, a C.I.A.-betraying, counter-spying daddy who was thrown out of her homeland on the equivalent of a Mann Act rap. She could never return thirty years hence to witness the glorious results of the Four Modernizations and learn about her rich cultural heritage and shit like that." The bum suddenly laughed. Had he understood, or had he made up some random funny of his own? "On the other hand," continued Sam, "I could sneak off and go fishing in the Straits with your 'fraternal compatriots' from Taiwan, who hang around the phony show port. I know their lingo, for most of them are lucky escapees from this very town. They would allow themselves to be bribed with some nice herbal medicine or powdered pearl cream. And, like the person who hates him/herself in the morning, they would beg me to keep the ride to freedom and Big Macs a secret, so their mainland typhoon-haven privileges wouldn't be revoked. No publicity value to be had by that route. "There are no snitches from either government among the tightly-knit, profit-bonded crews, and it would be the first time in two years that I'd be free of such ticks and fleas. And even if the Reds did find out, they would never publicize such an embarrassing method of escape. 'Look,' the world would say, 'even their foreign experts are sneaking over to Taiwan!' "So my kid's childhood would be secure and obscure. "But there would be disadvantages to this route as well." Sam looked up at the placid, filthy sky. "I'd have to stick around here with you, and I do mean 'stick'--" He peeled one dungareed knee off the sidewalk. "--until typhoon season got into full swing and the fishermen started showing up. And then I might die in the very storm that brought my saviors. Or I might get seasick, which is worse than death, as far as I know. What do you think? "Also, they may be rich spies, but I've heard their boats are floating petri dishes for hepatitis A, B and C, plus tetanus, tuberculosis, dysentery, dyspepsia and dysfunctions of whatever organs you care to list, not to mention backaches from midget-sized berths. "Besides, I'd have to get a job when I finally got home, because no publisher would believe I was telling the truth and things called novels don't sell." At the mention of the word 'job,' anguish geysered from Sam's outsized hiatal hernia. He grabbed the bum by the crawly rags around his throat. By this point it had slipped his mind that he was kneeling in mucus and actually touching someone unwashed. And this was the self-same Sam Edwine who had given himself a rare dose of male anorexia from fear of the unclean utensils in socialist restaurants. He was either making gradual progress or deteriorating rapidly. In either case, he pushed forward and gazed into the raw face. "What'll I do? I can't swim fast like the skinny comrades who wind up peopling the gay district in Hong Kong. And the commie-bred and -planted hammerheads would be attracted from nautical miles around by the drainage from my itched-open mosquito bites. Anyway, how could I get down to Kowloon in the first place, clear across mountains and provincial borders, with an A.P.B. hanging over my head?" Sam eyed the bum's wheeled conveyance and added, "I do have a ruse in mind, a Yankee-style scheme, that might smuggle my bright bulk as far as the show port, where I could link up with the Guomindang." He considered it a while. Escape seemed so bothersome. It would be much easier to acquiesce, like this rolled-over variety of lone Chinaman, and wait to be swept away like dog shit. "You must be one of those guys my age," said Sam, "the 'lost generation' who can't do anything because the Great Proletarian Cultural Revolution blew you out like light bulbs. You can't even sit up straight while you beg, but slouch flat on your back in your wheelchair, your pelvis poked forward, your head propped at a ninety degree angle--just like me most of the time, except I have a bed and a pillow and a book by Foucault to make it look legitimate. "Back home in Utah, whenever I saw a huddled mass of your counterparts outside the Sugar House White Slum Blood Plasma Donor Center, I always went among them and asked, with sincere bewilderment, 'Why don't you guys become grad students like me? Why peddle your precious bodily fluids? I know 5000 dollars per year doesn't sound like much, but it's about 4987 dollars and fifty cents more than you dribble from your elbow crotches now. Besides, if you schedule everything carefully (pud profs in classes you take; peer evaluation in classes you teach), it works out to be about forty dollars per hour. And if you can keep little Thumbelina inside your pants during lectures, you can even get a Ph.D. Or just mail out for one from the back pages of Hustler Magazine, as you collect your fellowship stipend and rack up the federally insured student loans. Then you can become a foreign expert in some hopeless third-world shit-hole whose barbaric Deans of Humanities don't know any better, like Borneo or Sumatra or the People's Republic of China.' "Of course, you, my grimy friend, can't do that, because you're already here, unfortunately for you, and you have no place toward which to be downwardly mobile. But you can see some parallels forming, can't you?" Sam nudged him in the protuberant floating ribs. "You must have some gumption under all that real estate, having avoided the police, who, like the soldiers of King Shuddhodhana, pack your unpresentable kind off to closed cities or god knows where: crematoria, perhaps, or glue factories, where nobody important like an American tourist will see you and know you exist." No response was forthcoming, not even to this veiled compliment. Had it been expressed in too condescending a tone? Maybe the guy didn't know his own town's idiom. Sam resolved to get a rise out of him, one way or another. He snuggled and swished, "You be Therese Defarge and I'll be Miss Pross, m'kay? Just back off, you slut! I push my saggy bosoms out at you, ooooh!" He dug his upper body into the bony, death-smelling lap. Nothing. "Pull yourself together, young man!" cried Sam. "You've got to make a better showing than this! Do something, and put your heart and soul into it! You've got to think big and have gumption! Don't be afraid to set out and go to new places on your own! You can tackle any adversary singlehandedly, if you'll only show me a little old-style Kipling liberalesque gumption! Come on! "Look at me, for example." (Sam's mouth was getting tired; that last came out 'fur-zampo.') "Short of injuring my large person, there's nothing bad China can do to me. This country is impotent in terms of psychological retribution. You probably think that if I got deported I'd have to go home in shame to total ostracism and face-loss, like you're suffering right now. But face counts for less than nothing in an isolate place like America, in what your propagandist 'philosophers' used to call a social-Darwinist society. And ostracized from whom? Nobody, with a capital N, is the work unit Americans like me belong to. Even if I brought home the highest Chi-com accolades and a vita plumper than Mao's hemorrhoids, I'd wind up working a shit-job at Seven-Eleven. For I'm a mere male Anglo Saxon, and therefore have nothing to offer, of course. Lumpen intelligentsia all the way, and proud of it! "We Americans are, in your Confucian context, sociopaths; and, though our society and culture are finished, we are the only free people on earth, for we are perfectly, sublimely faceless. We're shameless. "That, and not all the milk and beef we gorge on, is what makes us so huge and mean and hairy. So watch your skinny, inhibited ass, Boy! "China--all of this, the forty-year-old smog, the four-thousand-year-old street, the incredible inch-thick jam under your toenails here--it's just been a cheap, irrelevant vacation for me: a way of forestalling adulthood another couple years; a financially neutral expenditure of dead time; busywork to prepare me for the true man's labor of placing pickles and cheese on a sesame seed bun and nickels in a cash register, eight hours a day. You and your most-ancient-of-all-civilizations and your one-in every-four-faces-on-earth have been a way to kill time, nothing more. "China, the world's biggest post-graduate school." The bum rolled his head to one side and spat a plump yellow lunger on Sam's hand. The glistening globule nestled and quivered warmly in the web between Sam's thumb and forefinger. It was more of a response than he'd gotten in years of classroom teaching. "Okay, fine. You have done something. I'm glad you felt comfortable enough to share with me. Let's talk about this now. It's a wise choice of activity in your case, a natural vocation, you might say. By now, of course, it is a commonplace among the educated classes that Mao Zedong-- " The bum twitched at the name as though at a bee sting. "--was an oral personality leading an anal nation. But I say you're all nasal types. Nasal expulsives. So please, lie there and follow your natural bent. Snort a little something back and expel it! "But," said Sam, rising to his feet, "be the very best spitter you can be. Make yours the biggest spit on the block. Here, watch this--" He inserted two of his more expendable left-hand fingers deep into his throat and twiddled his soot-sore uvula, waiting for the standard results. He was only sorry there was no party representative within reach. But then, in mid-gag, he thought better of it. "Enough of that," he murmured, and withdrew his hand. Then, feeling lighter, he stripped down to his novelty teeshirt, which read, zi jingshen wuran zhe. I am a spiritual self-polluter. Finally, the embryonic sense of paternal responsibility long impending inside this man, who'd been expelled from his last American university post for displaying little evidence of the nurturing instinct, came to full term and was born squealing and bleeding. It was time to get back home and link up with his wife and daughter. But before his total-immersion baptism in meconium, he wanted to have one last fling in the Shipu Harbor Reception Center. He would lounge around the diesel-redolent beach until the typhoon came, then he'd find a likely-looking trawler full of counterrevolutionaries to ease him across the Straits of Formosa. "Your axles look a little orange, Comrade, but my big hands on the crank will wrench them loose. I think I'll blow my last few kuai on a dumped Hitachi television set and strap it to your luggage rack, a gift for the belated family reunion in Salt Lake City. "My kid will probably have forgotten the identity of her dad in the meanwhile, but I can play with her non-stop a few days and fix things up between us, before I hit the help-wanted ads. "So, it's settled. Goodbye, sick asshole of the east. You'll forever regret inviting this man in--and, even more, letting him slip out." Sam laid hands on the derelict's legs, to move them gently off the trike, simultaneously elaborating a string of drool and mumbles to flap over his shoulder in the breeze for added authenticity as he rolled along. By way of disguise, he wadded the bum's linty lap-blanket under the back of his shirt to resemble a hunch. "Come on, dead-butt. This is a legit act of requisitioning. Get your arm out of your pants and help." He felt something sharp move up against the palm of his hand, squeaking like styrofoam as it pierced the flesh. For an instant, just before he swatted the blade and derelict away, Sam Edwine almost became mindful of the agony of this place. Tom Bradley ========================================================================= Date: Sun, 7 Jan 2001 03:40:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lee ann brown Subject: Re: POETICS Digest - 4 Jan 2001 to 5 Jan 2001 (#2001-5) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit HERE HERE I Mean HEAR HEAR Lee Ann Brown re: > From: Ron Silliman > Subject: The poetics of envy > > In 1955, after an evening of piano works by Cage and Stockhausen generated > much anger and scoffing at Wesleyan, RK Winslow, a professor of music at the > school, wrote a letter to the campus paper, the Argus, suggesting, as > follows: > > "Those who were antagonized by the performance and who have run out of > descriptive terms for it, can find a variety of fresh insults in a book > called Lexicon of Musical Invective by Nicolas Slonimsky (Olin Library), a > compilation of on-the-scene reactions to the music of, e.g., Beethoven, > Bach, Mozart, Verdi, etc." > > I rather doubt that the book is still in print, but perhaps it would help to > raise the quality of rhetoric that is being hurled so muddily forth. > > I'm not so startled that some folks continue to be so intensely offended by > a poetics that is not so very different from their own as I am saddened that > they waste their time thus. It would be far more interesting and fun, for > them as well as us, if they would just promote whatever it is that they > like. > > Ron *** *** *** ** * * * * (718) 782-8443 new bed phone * * * * * ** * * * * ***** I've moved but Mailing Address is the SAME: Lee Ann Brown PO Box 13, Cooper Station NYC 10276 (646) 734-4157 the cell phone ========================================================================= Date: Mon, 8 Jan 2001 12:44:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII === i'm incapable of saying anything authoritative. stemming from an inability ever to best my father when growing up. he always had to have the last word. in. i never believe what i'm saying or writing or about to say. that gives me no followers, no credence, and a skeptical, overly critical, and dubious attitude towards the world at large. (did i say that?) if i coin a neologism, i accompany it with a sense of shame; why couldn't i express myself more clearly. my work is filled with far too many irrelevant refer- ences (unlike, say, the work of Wittgenstein), giving the text a sense of legitimation which is often nothing more than a masquerade. Date: January 24, 2002 From: Nikuko@oita.com.jp This is me, Jennifer, writing you, from everywhere in this large world. Do you read me, world? Do you want me, world? If you, world, do not answer, I will kill myself. Honestly, I will kill myself. Do not doubt I will do this very thing. Now I will send the dismissile and the dismissive and I will wait. I will wait for an answer and I will decide what to do. I, Jennifer, will do what I will do. I will be missived. I will misbehave. i'm at a loss for words. i'm hideously ugly. i can't go out in the day. i can't show myself at night. i avoid nightclubs. i avoid people. so in all these senses, i'm ideal canon fodder for online culture, this skittered orality, a culture constantly transforming down to the very bit and byte - a letter that is here, now, may be gone tomorrow. i don't have to own up to anything. i can write the way others breathe. i don't have any choice. everything exacts too high a toll. i don't have to see anyone ever. i don't have to be anyone at all. i can hardly write this. i can hardly think, it's so hard to think. this letter is gone tomorrow. i can hardly think. ===== ========================================================================= Date: Mon, 8 Jan 2001 10:43:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: List of Fiction as Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics List, Sometime back I wrote asking for recommendations of works of fiction that might also be seen as poetry. A number of people wrote the list and others wrote me directly. For what it's worth, the list that came out of that (minus a few non fiction items that people suggested) appears below. Needless to say, this list doesn't reflect my judgements or any one of the people who wrote me (there are a few books on here I know that I don't care for in any way). Sincerely, M P.S. Thanks to all of you who wrote me. Kathy Acker  Kathy Goes To Haiti, Toulouse-Latrec Walter Abish  How German Is It Djuna Barnes  Nightwood Samuel Beckett  The Capital of Ruins, Watt, others... Thomas Bernhard  Concrete Andre Breton  Nadja Christine Brooke-Rose  various W. Burroughs  Naked Lunch Kay Boyle  A Christmas Carol for Emanual Carnevali Celine  various Julio Cortazar  Hopscotch Robert Creeley  The Island, The Gold Diggers and Other Stories Roddy Doyle  Paddy Clark Hah Hah Flaubert  The Legend of Julian the Hospitaller (short story) William Gaddis  various Madeline Gins  Word Rain, Helen Keller or Arakawa Witold Gombrowicz  Cosmos, Ferdydurke, Pornographia Wilson Harris  The Palace of the Peacock Fanny Howe  various James Joyce  Portarit, Ulysses, Finnegans Wake James Kelman  How late it is, how late Jack Kerouac  Visions of Cody, others Malcolm Lowry  Under the Volcano Carole Maso  AVA, The Ghost Dance, others Harry Mathews  various H. Melville  Moby Dick Nabokov  Ada Ondaatje, Michael  In the skin of a lion : a novel Georges Perec  Life a User's Manual, A Void Proust  In Search of Lost Time Pushkin  Eugene Onegin Thomas Pynchon  various Ishmael Reed  Yellow Back Radio Broke Down, others Alain Robbe Grillet  various Leslie Scalapino  Defoe W.G. Sebald  The Rings of Saturn, The Emigrants Iain Sinclair  Downriver Philippe Sollers  The Park Gertrude Stein  The Making of Americans, others Lawrence Sterne  Tristram Shandy Philip Sydney  Arcadia __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ========================================================================= Date: Mon, 8 Jan 2001 17:39:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Flash No. 9 (2001) Virginia Schaefer | Borrowed Finery Virginia Schaefer teaches writing and literature at Kent State University Stark Campus in Canton, Ohio. Her poems have appeared or are forthcoming in COAL CITY REVIEW, CONSPIRE, THE LEDGE, SOW'S EAR POETRY REVIEW, and WOLF HEAD QUARTERLY. Some of the collage poems in this Mudlark Flash, in print for the first time, have appeared in print and electronic art exhibitions. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 8 Jan 2001 15:39:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Submission Info for Double Lucy's Lucille series Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ------------------------------------------------------- Lucilles (postcards, pamphlets, broadsides) ------------------------------------------------------- We are currently reading for the 2001 Lucille series. Send 1-5 poems VIA REGULAR MAIL, with SASE. We are most interested in hybrid writing by women who have not yet published a full-length book. Deadline: February 28, 2001. Replies by: March 15, 2001. All accepted material will appear this year. Forthcoming: Jocelyn Saidenberg, IMMURE Future Lucilles to be announced. Double Lucy Books PO Box 9013 Berkeley, CA 94709 subscriptions to the Lucille series: $5/5 Lucilles (please make checks payable to ET Jackson) http://users.lanminds.com/dblelucy Lucilles are also sold at Blue Books, San Francisco http://www.newcollege.edu/bluebooks ========================================================================= Date: Mon, 8 Jan 2001 20:16:03 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: The poetics of envy Comments: To: "Nielsen, Aldon" In-Reply-To: <4.1.20010108121941.009bfa90@lmumail.lmu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To the drawing board: we have a choice of two models under which we may generally evaluate the tacit argument Carlo forms with his controversial statement: if x then y not y therefore not x (modus tollens) or if x then y y therefore (null) Either carlo was implying either *not y* or *y* where y is "American poetry is dead." I find Aldon to be entirely correct that Carlo's use of endemic appears awkward. Though I think Carlo's usage of it (for you Wittgensteinians out there) seemed pretty straightforward, and since the sense is relatively clear, this particular critique of Aldon's seems to take to splitting hairs almost as much as my argument takes to high school pedantry. Alas, I find myself none the better. But back to the logic.... The use of Carlo's sentence either (a) means nothing or (b) coordinates with a tacit assumption, since the statement IS A CONDITIONAL. That tacit assumption is either *not y* or *y*. If his statement (a) means nothing, then there is little worth fussing about. If the statement coordinates with a tacit assumption then it would likely be either one that reacts with the conditional (not y, a modus tollens reaction) or he is making a logical fallacy. So now either (a) carlo is saying nothing, (b) carlo is saying that the reading is not all there is to indicate that american poetry is alive, or (c) carlo is saying that american poetry is dead, and he shared this statement and used it fallaciously. Are you with me here? I happen to believe Carlo does not think american poetry is dead. i think he believes it is suffering under a weight of the sort that america at large is suffering under. So I believe that (b) carlo is saying that the reading is not all there is to indicate that american poetry is alive. You know what? That is no big deal, or it shouldn't be. Now, the logical approach does "deaden" the emotive content. Sure, sure, sure. Could that statement of Carlo's cause some amount of pain, or be considered hurtful? You bet. Clearly it has. But I am saying that such hurt is not so bad a thing, because to be hurt personally by this is also to hold a tacit belief that somehow the 22 readers ARE the sole sign that american poetry is alive. I think if that statement were put in this light to those readers that evening in DC, (I hope and expect) many would answer to a sort of modesty about their work. Carlo's statement is controversial only to those who actually think they ARE the future of American poetry. And those people, frankly, need all the controversy they can(not?) handle. Upon evaluating the OED, perhaps Carlo is using "American poetry" metaphorically, as a person, as a body, a corpus. That does not require too much imagination to recognize, and it is well within Carlo's writing habits. Besides, isn't language really just the regular application of metaphor? Uh oh, better leave that one alone. Anyway, Carlo's statement seems to use the word "endemic" properly, *and in the primary sense of the word*. Perhaps Carlo's statement was regarded as hurtful because the word "endemic" does have the tertiary overtone of "diseased." "Of diseases" is the tertiary definition of the word "endemic" according to the OED, Aldon. The primary and secondary definitions in the OED are consistent with your reference, Aldon. So his statement seems to me a mild putdown, but one that uses loaded words like "endemic" and "dead" and as a result becomes a bit heavy-handed. But that's what I like about what Carlo adds to the world of poetry. He's direct and uses strong language. Carlo doesn't beat around the bush, and he sets people back in their places. I myself have been put in my place by Carlo, and deservedly so. Thanks Aldon for sharing your comments. Patrick -----Original Message----- From: Nielsen, Aldon [mailto:anielsen@popmail.lmu.edu] Sent: Monday, January 08, 2001 3:27 PM To: patrick@proximate.org Subject: Re: The poetics of envy >let's look at this controversial quote once more: > >"If the group reading of 22 poets staged at the Four Seasons Hotel last >night is endemic of American poetry today, then American poetry is dead" > >Taking carlo's comment literally/logically, it seems to imply that "the >group reading of 22 poets staged at the Four Seasons Hotel last night is" >NOT "endemic of American poetry today." Because i think carlo may not >believe american poetry is dead. so what? (doesn't anyone here except judy >roitman remember *modus tollens*?) Doesn't anyone here except me find this peculiar? If we in fact take the comment literally, we have to take "endemic" to mean "belonging to or native to a particular people or country" or "restricted to or peculiar to a locality or region." In either event, the preposition seems awkward. But in neither event could the sentence be read as excluding other forms of possibly still living poetry -- so that the logic of the statement is an assertion that if the poetry read that night is peculiar to America, then all American poetry is dead. If that makes any sort of sense to anybody, I'd be very surprised -- though I confess I haven't had time to get to an OED to find out if Carlo was harking back to some dead definition of "endemic" that might make sense of this sentence -- To my reading, this loose usage is striking . . . " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Tue, 9 Jan 2001 09:25:58 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: New Orleans Reading MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Gerald Schwartz reading @ Maple Leaf Bar 8316 Oak Street New Orleans, La (866-5323) Sunday, January 14th, 2001 3:00 p.m. ========================================================================= Date: Tue, 9 Jan 2001 08:30:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Reiner Subject: New Chapbooks by Hansen, Schneider Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi-- I want to announce that there are now two new chapbooks from Margin to Margin: _This is Clark_ by Jono Schneider, and _Nondescript_ by Jefferson Hansen. I'm in the process of updating the Margin to Margin website, and I don't have the books listed quite yet. But I've put together a sample of each chapbook, available in Abobe Acrobat format. These are not big downloads. _This is Clark_ (40K) : http://www.litpress.com/margin/Clark4.pdf _Nondescript_ (65K): http://www.litpress.com/margin/Nondescript4.pdf Each book is $5. Checks payable to Christopher Reiner. Margin to Margin P.O. Box 40012 Studio City, CA 91614 ========================================================================= Date: Tue, 9 Jan 2001 11:42:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: COMBO 7 web update In-Reply-To: from "Randy Prunty" at Dec 19, 2000 06:33:33 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Hi all, just wanted to let you know that the COMBO website has been updated to include samples from issue #7. Have a look: www.combopoetry.com -m. ========================================================================= Date: Tue, 9 Jan 2001 11:49:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== "POLLY!" she screamed. "JEAN!" she screamed. "I!" she screamed. "WANT!" she screamed. "TO!" she screamed. "BE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "I!" she screamed. "WANT!" she screamed. "TO!" she screamed. "LERN!" she screamed. "TO!" she screamed. "SING!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "THERE!" she screamed. "IS!" she screamed. "NONE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "YOU!" she screamed. "ARE!" she screamed. "IN!" she screamed. "MY!" she screamed. "SOUL!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "IF!" she screamed. "I!" she screamed. "MAY!" she screamed. "SAY!" she screamed. "SO!" she screamed. "SIR!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "YOU!" she screamed. "MAY!" she screamed. "TAKE!" she screamed. "MY!" she screamed. "BULLET!" she screamed. "IN!" she screamed. "YOUR!" she screamed. "HEAD!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "TECH!" she screamed. "ME!" she screamed. "TO!" she screamed. "SING!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "I!" she screamed. "WILL!" she screamed. "BE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "LIKE!" she screamed. "ME!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "I!" she screamed. "WILL!" she screamed. "SIT!" she screamed. "AT!" she screamed. "YOUR!" she screamed. "FIT!" she screamed. "DO!" she screamed. "NOT!" she screamed. "MOVE!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "TECH!" she screamed. "ME!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "I!" she screamed. "WILL!" she screamed. "BE!" she screamed. "POLLY!" she screamed. "JEAN!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "I!" she screamed. "WANT!" she screamed. "TO!" she screamed. "BE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "I WILL BE BLIXA BARGELD!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "I!" she screamed. "WANT!" she screamed. "TO!" she screamed. "LERN!" she screamed. "TO!" she screamed. "SING!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "THERE!" she screamed. "IS!" she screamed. "NONE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "YOU!" she screamed. "ARE!" she screamed. "IN!" she screamed. "MY!" she screamed. "SOUL!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "IF!" she screamed. "I!" she screamed. "MAY!" she screamed. "SAY!" she screamed. "SO!" she screamed. "SIR!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "YOU!" she screamed. "MAY!" she screamed. "TAKE!" she screamed. "MY!" she screamed. "BULLET!" she screamed. "IN!" she screamed. "YOUR!" she screamed. "HEAD!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "TECH!" she screamed. "ME!" she screamed. "TO!" she screamed. "SING!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "I!" she screamed. "WILL!" she screamed. "BE!" she screamed. "LIKE!" she screamed. "YOU!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "LIKE!" she screamed. "ME!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "I!" she screamed. "WILL!" she screamed. "SIT!" she screamed. "AT!" she screamed. "YOUR!" she screamed. "FIT!" she screamed. "DO!" she screamed. "NOT!" she screamed. "MOVE!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "YOU!" she screamed. "WILL!" she screamed. "TECH!" she screamed. "ME!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. "I!" she screamed. "WILL!" she screamed. "BE!" she screamed. "NICK!" she screamed. "CAVE!" she screamed. ========================================================================= Date: Tue, 9 Jan 2001 11:54:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: d.a. levy 2001 calendar now available Comments: To: to post subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit New from Boog Literature d.a. levy 2001 calendar With four-color drawing of levy by Gary Sullivan and excerpts from levy's "ode to Cuyahoga" Calendar design and coloring by Scott White H-17" x W-11" on white glossy cardstock First printing of 50, December 2000, all of which are signed and numbered by the artist. All of the proceeds from the sale of this calendar go to produce “A Belated Touché for d.a. levy: New and Selected Poems” by Kent Taylor, due in fall 2001. Sold & distributed by James Lowell the Asphodel Bookshop 17192 Ravenna Road Route 44, Burton, OH 44021 (440) 834-4775 Send checks or money orders for $15 ppd payable to the Asphodel Bookshop to the above address for more information on this or any other Boog publication: David A. Kirschenbaum, editor Boog Literature 351 W.24th St., Suite 19E NY, NY 10011-1510 www.theeastvillageeye.com • booglit@theeastvillageeye.com • (212) 206-8899. ========================================================================= Date: Mon, 8 Jan 2001 22:33:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: David Rattray MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Hi Joanna, I love David Rattray's work ... even though like an idiot when I moved to NYC from MPLS I sold both How I Became One of the Invisible and Opening of the Eyelid (along with like 1,000 other wonderful &, okay, some not so wonderful books), the latter of which was published by David Abel, a poet & book fiend who lives in Oregon, though I can't remember his press name. No wait, it was called "diwan." I think David lived in Brooklyn, probably with Mitch Highfill, or around that time anyway, when he published that book. But, maybe it was later, in the southwest? (New Mexico somewhere?) Can't remember. I'd forgotten about this, but Rattray's got a long poem, "Mr. Peacock," in the last issue of Barbara Henning's LONG NEWS. I mean, literally her last issue -- she gave it up. It's issue 5, by the way. It was a great magazine, always had groovy semi-obscure poets like Don David, Lynne Dryer, Lorenzo Thomas (though he's no longer so obscure, I guess). The cover of issue 5 has a kind of ghostly picture of Rattray, from an artpiece by Carolee Schneemann, an installation piece, of people she knew (?) who'd died. Oh, there's a poem by John Godfrey in there, too, called "Mull's Least Moan," which I think is a kind of tribute to Rattray. Yes, you can borrow it. There's another book of Rattray's I've always seen referred to, To the Consciousness of a Shooting Star. I don't know who published it, but I'll bet Barbara or Mitch or Drew Gardner (another Rattray fan we know) does. Or someone. I love that title, but probably I love it knowing what Rattray's poetry is like, so it carries a kind of weight or something. Oh, he also did this translation of Roger Gilbert-Lecomte, Black Mirror, which is not only still in print, but cheap (ten bucks). There's a translation too of something by Rene Crevel. I never found it. I can't remember if the Gilbert-Lecomte stuff was interesting. I mean, to me. It was too long ago! I just remembered: Do you know Emile Nelligan? The Canadian symbolist poet? I "discovered" him via Rattray's book "How I Became One of the Invisible," which is about drugs, as you say, sure, but also about poetry. There's a great essay on Artaud in there, too. I think the City Lights Artaud collection has Rattray translations ... hold on ... yeah, I just checked, and it does. Artaud Anthology. Which I'm pretty sure is still in print. I think some people do read Rattray, still, but yeah okay not many people. Do you know The Utne Reader? It's a kind of hodge-podge magazine made up of so-called "liberal" media stuff? It's published in Minneapolis, and there's this guy who I think still works there as an editor, who used to live here in NYC, Jon Spayde (isn't that a cool name?), who totally *loved* Rattray. I mean, he knew him, personally. I met him in MPLS, and he would go on & on about Rattray, and I would of course listen with my mouth hung open, because I had read these two books, plus some of the translations, and thought he was great, you know. And Jon would fill my head with stories about Rattray's outrageousness. Mitch, too, has done so since. I think Rattray died of a brain tumor. Something awful like that. Which is awful and ironic I guess, considering how brilliant he was. But, I don't know, drugs? Or smoking? (Did he smoke?) Or something? I don't know what contributed to that. When you say: "He manages to capture the simultaneous feeling of being outside of oneself while at the same time the almost paradoxical feeling of loneliness within oneself" ... I totally know what you mean. It's eerie, and I'm not sure, but I always wondered if that didn't have something to do with the kinds of drugs he was likely doing. Like how I feel when I read Schuyler's The Crystal Lithium," which is actually very similar. (The feeling I get reading it; if not necessarily the work, though actually kind of, yeah, except Schuyler's more chatty or something and Rattray more bookish?) This sense of someone distant from their body, like a husk they've shucked. I'm sorry to have gone on so long about Rattray. But I guess I'm amazed someone posted something about him, and also, I think he's great and I probably have guilt feelings associated with selling his books. (Which, stupidly, I thought I'd've found by now! But obviously haven't.) Someone definitely should do a collected. A selected would be weird, because he didn't write (or publish?) all that much. But, who would publish this? I can't imagine. Thanks for talking about your experience of a poet's work on this list! I didn't think people did that anymore ... Gary ========================================================================= Date: Tue, 9 Jan 2001 10:57:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: Fiction as Poetry addenda and Carole Maso MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics List, I realized soon after posting my last missive that I had forgotten a couple of suggestions for the List of Fiction as Poetry. Here are the one's that I've recalled (and there are probably more); Jean Genet -- various Virginia Woolf -- Mrs.Dalloway, The Waves Also, since collating all these suggestions I have had the chance to comb a few bookstores and have found and purchased a number of things. The book I started reading today is Aureole by Carole Maso. It's great, and certainly fits for me both in poetry and fiction. Maso's introduction discusses poetry a bit and is very interesting for many reasons. Here are a few selections from it; "...I do believe there might be ways in language to express the extreme, the fleeting, the fugitive states that hover at the outermost boundaries of speech. This book was written in a blur of desire, passion pressing these pieces into shapes. Desire imposed its own excesses, demanded I abandon myself to the trance of language---its heat, its weight, its erotic slur. Line by line I have tried to slip closer to a language that might function more bodily, more physically, more passionately. I have tried to feel the sexual intoxication of the line or page or narrative, to create and open space where pleasures and arousals spread in a lateral radiance, an aureole of desire. If I felt that I was doing something which I already knew how to do well, the rule was to start again, to attempt to break habitual patterns of mind and expression. I've tried to write into the heart of longing, of regret, unsure once I was there how I would get back. In this time of witness, of storytelling, I've tried to allow myself to walk into forgetfulness, dissolution..." "I have started to think more and more about how these urgencies create new formal structures. One of the greatest pleasures has been exploring the sexual energy of the sentence, the erotic surge of the phrase. Poets, of course, are quite adept at such things, but it has taken me, the prose writer, a long time to get here. I love the ability to create new logics: a logic of passion, a logic of the body dramatized by where the line breaks, or the paragraph, a logic of passion created in the ceasuras, in the gaps, where unexpected tensions can produce palpable sensation. A physical gathering of linguistic forces might propel the reader to a point where, finally, all pressures are brought to bear on a single startling word or phrase." I think this is beautiful, perhaps making any judgement of it's being poetry or fiction or essay or all of the above beside the point. Sincerely, Marla Jernigan __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ========================================================================= Date: Tue, 9 Jan 2001 14:37:52 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Two more reviews MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit These are two further reviews I did for _Gig_ 7; I'd originally not posted them mostly because they are negative reviews of work by a couple listmembers; however, one of the authors in question wrote backchannel to encourage my posting the review, so here we go. Some of the formatting in the 2nd sentence of the Doris review can only be approximated here (italics, small-caps, full-caps, underlining). --N ---- 3) Stacy Doris, _Paramour_. San Francisco: Krupskaya, 2000. $9 US. 1-928650-05-8. Stacy Doris's latest book is an addition to the experimental poetry community's growing field of "antiqued" poetry & book-design. Its poems have titles like "Pierce and Plow, Men (Love Manual for Pirates)," "A-Wooing Warring Ditty," "_Blaze of Livid Love_ / _Couplets of a one in pain_" or "Song of the Piper's _Innocence_, THIS' Signature Poem," & the book is liberally sprinkled with italics, capital letters & small-caps. It is organized ambitiously as a large-scale palindrome, so that poems & sections echo across the book, sometimes loosely & sometimes strictly ("Gesture of Song A. // FIVE MAN'S MORE" on p.59 becomes p.86's "ROMANCE V // A Song of Gesture"). Such a scheme recalls Michael Haslam's _Continual Song_ (1986), whose pages are numbered both backwards and forwards, & which has a similar interest in harnessing earlier genres & verse forms to a contemporary idiom. Yet Doris's book is lightweight when set against the work of Haslam, Lisa Robertson or Martin Corless-Smith (to name some pertinent predecessors), with a comparatively superficial grasp of the poetries she pillages. That is not necessarily a bad thing; yet the result is a very uneven book. Pleasurable & effective moments (often coming when the verse is most compressed) are interleaved with much undistinguished writing, such as (e.g.) Doris's stab at alliterative verse: The commander of corsets came through her layers of needful numb nuns, because reason rules them. A lot in the day lights of love dies. Delight drowns when less drunk but through wine throw women once won. Their fleshy fenders foul to gander. Wise as a weasel, lay 'long them daughters. Why look, since knowing hurts? Krupskaya could perhaps have more gracefully rendered the author's conception: in her note "To the Reader" Doris indicates that "each page offers a composition expressly hand-crafted for 8 1/2 x 11 standard white 'multi-purpose' paper." Reformatted to standard paperback size, many of these pages look squeezed, especially the many passages in double or triple columns; unimaginative typesetting doesn't help either, a uniform typeface & point size being applied even to titles & section divisions when what the text calls out for is a helpful & innovative layout like that of Robertson's _Debbie: An Epic_. Yet the real problem is that there's insufficient substance here, despite the charm of the book's eroticism, which commingles both love's childishness & its violence in a cryptic narrative that involves lovers named "This" & "Thus." I could do with less of things like her version of Blake-- Pipe drives the kids wild, Piping sprinkles bright goo, In a cloud of chewy fluid, And Pipe laughing sing to all: 'Pipe a game about a Toy!' So kids pop with happy guns. 'Pipey peek in fun again;' So shoot too to tickle here. 'Dip that pipe, you lucky ones; Grab the parts of Happy Stick!' [etc.] --& instead more of the book's terser writing, which might lend more convincing support to Sianne Ngai's back-cover claim that _Paramour_ is a "technical marvel": Drifts bundle roots coil, tangle, mass, crowd, burst, recoil, shoal, unravel light, the roots blind flames, bind shower bundle tear, crawl, This crouch on Thus face, Thus thrust tongues, thick smell spin Thus head Honey suckles, juices green bundle, thin hoods white stems, the roots, Wasted, thin, wind shade. 4) Brian Kim Stefans, _Angry Penguins_. New York: Harry Tankoos Books, 2000. 72pp. $9 US. 0-9678031-1-X. Stefans' third book-length collection is framed by two references to non-American poetic sources. The title is that of the Australian magazine that fell victim to the Ern Malley hoax (see the feature in _Jacket_ 1), while the book's first section, "The Overtures of Holograms," first appeared in _Jacket_ 4 as the work of "Roger Pellett," a UK writer educated at Cambridge who gave up on poetry at age 30 & migrated to the States to become "a private environmental contractor." (The fictive biography is reproduced here as a prefatorial note.) Stefans has previously shown a marked interest in UK poetry, so one assumes the project is a playful experiment in the poetic style of Prynne, Wilkinson, Milne, &c; but disappointingly the parodies have little purchase on the style, & if it were not for his use of alternately indented blocks of verse in the manner of 1960s Prynne the homage would be unrecognizable. The verse is often a dense but scattershot accumulation of nouns, verbs & adjectives: Dillied zappa ovoid gutters crank's grandeur titles bury it, but he fashions yosemite, retires the chariot, mendacity's city century toked timbreled thirds, missouri synod noons when the carving's hot for opulent teutonosis and the vessel vesicatory, olibanum a chattering verrucano in the vestpocket. This is neither reminiscent of the Cambridge School (where pronouns, prepositions & key nouns like "trust," "hope," "love" & "delay" are more reliable hallmarks), nor is it good writing. The rest of the book is hit & miss: "Everybody's too busy trying to resurrect Jack Spicer to read any new books of poetry" (I liked that one); "The metaphysical impossibility of imagining / Damien Hirst floating in a tank of formaldehyde." Stefans in his reviews often shows an interest in prosody; here the verse runs from wilfully ungainly poems like "In Case You Were Wondering" to attempts at a devolved sonnet, a sestina-pantoum cross and something like a relaxed pentameter/alexandrine line (respectively, "Voici de la prose sur l' avenir...," "Landscape for Two or Tree" and "Holiday"). Like many books emerging from the post-Language scene in the States, Angry Penguins is preoccupied by questions of literary influence, community & succession--a flip through its pages turns up the names of Prynne, McCaffery, Duncan, Rimbaud, Spicer, O'Hara, Eliot, Rodefer, Sheppard, Derksen, Ngai, Byron, &c. Indeed, such preoccupations receive sometimes ostentatious expression: "Fuck Frank O'Hara! I love his poetry, but his reputation is destroying us." But oddly enough, as the Pellett poems suggest, this book actually might not be weighed down _enough_ by the example of previous or alternative poetic practices. Stefans has shown promise as an author of web-based poetry & visuals; this book, on the other hand, is extremely disappointing. Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Mon, 8 Jan 2001 18:41:44 -0700 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 Subject: announcing - new website MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > announcing Ottawa poet rob mclennan's new web site > > www.track0.com/rob_mclennan > > including: > > - new writing, & info on upcoming art show > - complete cv & recent news > - above/ground press subscription/submission information > - complete backlist & new publications > - STANZAS information > - tour/readings information > - SPAN-O readings/information (small press action network - pttawa) > - ottawa small press book fair information (coming soon) > - extensive links (new additions all the time) ========================================================================= Date: Tue, 9 Jan 2001 15:24:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Coolidge, Alien Tatters MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Clark Coolidge Alien Tatters Atelos Books $12.95 208 pages ISBN: 1--891190--08--3 Coolidge's latest collection of long poems -- hot on the heels of his massive group of loopy lyrics from The Figures, On The Nameways -- takes the reader to a delicately upsetting space which seems run by the evil twin of Descarte's god, replacing every object in the room by transgressing all of the general laws of physics until, like in a swoon, one must fall squarely into the lush language: "Just kind of a nice frying person. The rest was on the latch moved over. I could just see a foot or threat of one because my head was lying on my head. A bit. Then another weighted hand, sort of spoollike and in spots and dashes. Gaming room with a spread to it." (72) "Puzzle Faces" is framed like a discovery narrative, an air of mystery being created by the author's subjunctive sense of meaning and lack of agency as he/she, in a partly lotus-eater state, tries to avoid panic and indecision: "There is something heavy being lifted like a blot from the paper. Are you all prepared? There will be little fun in thin rooms.... Where purest night is considered a sort of vitamin not just anyone should ingest. I watch the lights popping out all the way down the cabin. There must be creatures here who would overlead the populace, just a feeling." (140) However, like the other four long prose pieces in this book, it soon breaks down into his idiosyncratic stand-up-parataxis comedy mode, and so rather than follow though, Beckett-like, on the implications of its shady premises, the work becomes a play of surfaces on which anything can strike from a number of angles ("I can't believe the underwear that comes with America"), though always returning somehow to that discovering voice: "Lower on the block was half a chicken. There may be people here who roam, but they are not the semblables. They are mildly warm and senseless. I have to send away and enclose my vocabulary. I am small and that is my name, 'Small'" (145) As Coolidge writes in the Afterword, he was very attentive to reportings in the papers of UFO sightings and alien abductions, and had a "huge desire to participate somehow. If I couldn't go, then perhaps at least I might learn to speak the language, and use it to take myself further in, or out, to what?" (199) The long first poem, "Alien Tatters," takes up this theme most strongly, seeming to describe what happens among these creatures, though they never seem to escape his head: "At first there was so much light in the room with me that I thought it must be the dog. But no. Okay, but I will explain that the grass was green. They gave me the kind of Jello where it still came in a set. Then I got launched somehow and let's forget all about ceilings. When I couldn't see what was below the eyes I always breathed heavily in short pants. But I'm not even sure about the eyes. I can't even see the eats." (63) But speaking this language -- as challenging and seemingly whimsical as trying to learn dolphin mating calls -- seems to have been Coolidge's desire since his early minimal poems (in "Space" and "General Electric") through his bee-bop Kerouac prosody (in "Sound as Thought") and his other long prose works ("Book of During," etc.). That he decides on a quasi-science fiction theme for his latest book -- though one thoroughly absent of technological fetishism and/or the humanist reclamation of weirdness and otherness (cf. Kinsella's The Visitants) -- is not so unusual given the sheen of philosophical depth that popular culture and digital technology, not to mention the freakish alienation talk shows grant to panopticized suburban life, have given the genre. While this book of Coolidge's may not be for everyone -- it is not as various as the great 70's "prosoid" works like "Smithsonian Depositions," and one has to really be able to get over long works with no significant "themes," linear narrative or apparent correlation with social realities to read it -- it is really quite buoyant and sonically resonant, skitting skillfully among language and twisted, paranoiac visions. ========================================================================= Date: Tue, 9 Jan 2001 16:18:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Godfrey, Push the Mule MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" John Godfrey Push the Mule The Figures ISBN 1--930589--06--9 102 pages In his first book of poetry since 1988's Midnight on Your Left, Godfrey -- normally associated with a later incarnation of the New York School, though he might just as easily be linked to a sort of "post-punk" poetry scene -- shows himself to be one of the most observant and imaginative urban poets today. These poems are all in prose, and while the pacing of the writing is not much different than one would read in fiction -- this is not the Williams of Kora in Hell or Gertrude Stein, or the ecstatic fables and apostrophes of Rimbaud's Illuminations -- the sentences combine to create swirls of meaning rather than stable narrative environments. "Accede in Kind" builds sentence by sentence into a troubled, at times darkly erotic portrait of a woman, known only as "she" throughout. The drama is in determining which participant -- the perceived or the perceiver -- should dominate the spotlight, such that the literary battle of formal perspective spills over into the content, which could very well be a battle among minor gods: "I have my hand over that part of her that readies for injury. It is stability that suffers solo. Should she die dreaming of a night passage the silky weathered sail will have her. She will be carried along on waves of heat from roots burning underground. She is not lacking in hatred; why, then, isn't she the one to decide the fate of creatures?" (18) Like in the Arcimbolo effect (named after the Italian painter, 1527-1593), in which the artist utilized different types of fruit to compose his portraits, this sort of accretion, at its best, is carefully tempered so as to trouble the relationship of poet to subject; even at the end of this poem, when things seem to clear up a bit, the subject disappears into maze of unyielding grammatical hallways: "Ancient dry voices of men come at her and address her as 'Mother.' She exhales as deeply as possible and hugs herself in order to get both the original and the duplicates of her body out the door to the flatlands, where everything she will need for proof is ready." Other poems engage more freely with paratactic sentence structures , a la the "new sentence," or with classic surreal moments ("The whole hallway is ready to start rising, like an elevator under leaves," [21]) or with Beat-inspired word twists that point, simultaneously, at beauty of the sublime sort and the grounded, earthy resplendence of trash: "Windshield spit allover by streetside trees breaks out the tunnel into a blinding halo Queens didn't earn. By seven-thirty morn, the LIE shines golden white while factories either side rend their fumes awry." (46) A beautiful elegy for the poet Jim Brodey uses this talking-around-the-subject technique, along with Godfrey's strong penchant for mating opposing ideas by putting unexpected conclusions to his sentences, to marvelous effect: "He fancied meat of dragon swans, as if the gods were always on his lips. You know how wet they look from the foam and under ground soak. I will raise this pitcher to the skeleton man in case he needs to look up on the light through waters. A longing comes over me to tell the abodes of my heart the great nerve sharp has eloped from exile... Without question he was a being struggling in the net, drowning in a dry mouth, weakened by exile into blathering purity." (43) Poems like "The Big Wingspread" take clear aim at political demagoguery, especially when it borders on the messianic; other poems, like "Same Feet," are reminiscent of Jim Carroll in their lighter touch, placing just the right of surreal weirdness over the interior fires that burn in love relationships: "Try no matter how many times, I still can't describe what I feel to see your hair catch fire. I am fond of your anger and proof of your pain." (51) Like with many books of prose poetry, it's not easy to read Push the Mule all the way through -- sometimes one wishes for more variety in the meters, more discreteness in the individual poems, more torquing of the paragraph form, and maybe some wilder sense of humor to make it a bit less bleak -- but the precision of these sentences, taken one by one, are often interesting enough and satisfy careful attention. Godfrey is never less than noble in the care he takes with his work. ========================================================================= Date: Tue, 9 Jan 2001 16:21:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy McDonough Subject: poetrynow winter issue on-line MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit poetrynow winter issue now on-line Volume 3 number 2 contains exciting new work by: Bruce Harris Bentzman, Fred Caruso (water colors in collaboration with Burt Kimmelman), James Cervantes, William Fox, Burt Kimmelman, Sam Rasnake, David E. Rudd, and Lawrence Upton. Judy Smith McDonough, editor, poetrynow http://www.poetrynow.org jsmcd@poetrynow.org ========================================================================= Date: Tue, 9 Jan 2001 16:27:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Robert Fitterman, Metropolis 1-15 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Robert Fitterman Metropolis 1 - 15 Sun & Moon Press, $11.95, 138 pp. Winner of the New American Poetry Competition 1997, chosen by Bruce Andrews Fitterman mates a certain classic "Objectivist" style (in the manner of George Oppen and Louis Zukofsky) with a hip, contemporary sensibility which borders on the techno-ambient, thus sacrificing some of the angstier concerns of his modernist predecessors for an interest in pure, accessible verbal pleasure. Metropolis, an on-going work which should reach 24 sections when completed, is very much a New York poem, filled with the chatter of that city's highly social scene with the everyday weirdness of an often nomadic life lived deep in the shadows of skyscrapers. The first section, despite its cross-cutting collage style, nearly recalls Breton's Surrealist masterpiece Nadja (itself an homage to a city, Paris) in its roving eye view and the heady, decentered feeling of its urban phantasmagoria: "But grander than that / L'Hotel actually happened / scaffolding in some circles / gone twilight & Lex essences / sipped down subdeveloper more (bestial, residual, / festive red clay livery / homespun depot some yellow western atmospheric glib hog / I was there / but there was no espresso bar / did you _time_ this? the connection / between us is sheerly residential / minus crossed our paths are starred / in an awkward upper west side hey-day" (10). Part of the beauty of Fitterman's style is that it lets him drop odd, potentially dull stock phrases that one remembers from somewhere ("we got / a situation here" from the police radio in a b-movie, or "lighting fixtures the last word in / chrome" from interior decorator parlance) and puts them in contact with more purely poetic ones ("a lay sky plurals dusk about us," or the last lines of section 1: "the dead lose / their defenses" followed by the zinger: "that's been my experience") hence creating a strange floating sensation that elevates the individual units of the cliche -- the chrome, the situation -- while not letting the classically poetic moments get precious or sententious. Section 7 is a sort of fake dictionary utilizing many of the formal devices -- quotes from literature, dates, abbreviations, etymologies -- to create a difficult but familiar surface in which the humor of not quite knowing what a word means combines with a quasi-expose on the mystical nature of words that dictionaries, with their lexical depth psychology, suggest. Like a series of brief portraits of the dreamlife of spoonerisms (later in Metropolis he writes "My favorite opera is Il Trattoria"), section 7 pushes the limit between poetry and goulash syntax: "Fade -[~]^^^ I. droop, whither, a company of hunters, any sawed-off weapon that has lost taste to corrupt, weaken. 1303 _Syn._ neuer gres, ne neuer sall, bot euermore be.. falow, and fade. 2. barber's term, Life began to vade. 3. shrink. Lit. and _Fig._ OE. _fadian_., Wger. ORG. *_fadia_. 4. v.3. _dial_. to dance around from town to country. 5. _Spec. Cornish. A passel of maidens... begin'd for... to fade so friskis._" (60) Section 8 is a "libretto" in which several landmark buildings -- the World Trade Center, the Flatiron, Rockefeller Center -- take part in an orderly but disjunctive choral crown: "FLATIRON: Open up / your heart / and see it / the other way. / What makes / a hat felt?" (70) Other sections use odd word breaks ("loo / ming sud / den a mall / all ang / el & la // ttice at aw / ning's va / se & sparkl / es pill / ars lewd ac / cusa") to shimmy grammar back and forth in a flotsam/jetsam manner, and reduced forms like the three word poem ("Life / long / fishcakes") or other manners of verbal dislocation to create stucco-like surfaces over which the eye roves for meaning, getting hooked there and being let loose elsewhere. It is perhaps useful to compare Fitterman's technique (which relies very much on arrangement on the page) to that of an abstract painter, like Robert Ryman or Cy Twombly, who deals with single colors (in this case, white) over long stretches of canvas to highlight sculptural surface play; in such works, the "white space" becomes more than a unit of composition and dominates the terms of engagement, such that attention is turned to the minor things -- paint flecks, the chiaroscuro effects of small shadows -- so that the art is both "busy" and calming, but in any case not making huge, impenetrable philosophical gestures. Fitterman's sensual relationship to words -- in both sound and color -- and his light touch makes reading Metropolis a uniquely satisfying aesthetic experience. ========================================================================= Date: Tue, 9 Jan 2001 16:43:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Reporter fired for acrostic MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Now this may be a first, Ron Newspaper spells it out for rogue writer: you're fired MediaGuardian.co.uk Matt Wells, media correspondent Tuesday January 9, 2001 It must have seemed so clever to conceal a crude rebuke to the Daily Express's controversial proprietor in his final, florid editorial, but departing columnist Stephen Pollard must now be wishing that it was all just a bad dream. His new employers, the Times, last night confirmed they were sacking Mr Pollard before he had even started. George Brock, managing editor of the Times, said: "We have spoken to Stephen Pollard today and we are not proceeding with his contract to work with us." The decision was taken by the paper's editor, Peter Stothard, who returned from a period of sick leave to take back the reins yesterday. Mr Pollard, who was to join the Times as a leader writer and commentator, was told of the unfortunate development by telephone. Mr Pollard's expensive entry in the annals of journalism was made on Saturday when, in an apparently innocuous commentary on the virtues of organic farming, he made clear his feelings for the new Express owner, Richard Desmond. The first letters of each sentence spelled out the message "fuck you Desmond". At first, Mr Pollard appeared smug about his prank, joking to Sunday newspapers that the acrostic was "an amazing coincidence". He must have been regretting his words yesterday: Perhaps understandably, he was not saying much. While some at the Times feel executives have had a "sense of humour failure", others said Mr Pollard's actions at the Express were inappropriate for a leader writer on a serious newspaper. One Times executive pointed out that, while Mr Pollard expressed his frustration at Mr Desmond, there are many who believe that the News International boss Rupert Murdoch "is the devil incarnate". Mr Murdoch would not, it was suggested, take kindly to being insulted in the pages of his own newspaper. Mr Pollard was among the first of several high-profile departures from the Express after the takeover by Northern & Shell, publishers of the celebrity and soft porn titles OK! and Asian Babes. He was offered a job on the Times as a columnist and leader writer on health policy issues in early December. Mr Brock confirmed that contracts had been signed by both the Times and Mr Pollard. It is not clear whether Mr Pollard will receive a payoff. ========================================================================= Date: Tue, 9 Jan 2001 23:39:39 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: The poetics of envy Comments: To: Patrick Herron In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 5 Jan 2001, Patrick Herron wrote: > > let's look at this controversial quote once more: > > "If the group reading of 22 poets staged at the Four Seasons Hotel last > night is endemic of American poetry today, then American poetry is dead" Maybe I wasn't as clear as I should have been in my post. It's not the above quoted section of the review that I found offensive. I'll leave the state of American poetry up to the Americans. What I found disturbing is that some one would string together a series of insults with little regard for critical depth about the poems read that night. If you can read that review and honestly say that it wasn't written before the reading even began then I'll shut up. But, if you agree that personal politics, anymousity and contempt for the evening's participants sharpened the knife of the reviewer, who must have gizzed his jeans to have all of his hitlist in one room, then I think that vapidity is not too far off. kevin hehir ========================================================================= Date: Tue, 9 Jan 2001 13:45:32 -0500 Reply-To: jadecar@attglobal.net Sender: UB Poetics discussion group From: John DeCarolis Subject: re David Rattray MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Never heard of David Rattray! Neglected perhaps, but not unknown or unread. To say that Rattray was a poet's poet is an understatement. Trust me, Joanna, there are other subscribers to this list who have heard of David Rattray. Not only heard of him, but hold his work in very high regard indeed. Rattray died a couple've years ago and most of his stuff is probably out-of-print, but to dismiss his How I Became One of the Invisible as ' that drug book ' is really astonishing. Read it and weep. While How I Became One of the Invisible does include some of Rattray's takes on ' drugs ', autobiographical and otherwise, it is not by any stretch of the imagination a ' drug book ' - whatever in the world that may mean. It is instead a brilliant collection of autobiographical essays, critical pieces on other writers who influenced him, as well as an introduction and possibly even a summation of his poetics and practice. It is a poet's book that I would recommend without hesitation to anyone interested in what it means to be a poet in the latter half of the twentieth century and into the new millennium. This little Semiotext(E) occupies a very special place in my library of poetry/poetics as does all of Rattray's work, at least the little of it that I have been able to get my hands on. If you want to ' find out ' about David Rattray, start with this work. To the best of my knowledge, the only other readily available selection of his work that's currently available is Opening the Eyelid, ( diwan, 1990 ). It's a very beautiful selection of his exquisitely rendered lines. I hope there will be other postings regarding Rattray and his work on this list. Like yourself, Joanna, I too would welcome any more information about David Rattray and the availability of his work. I really liked your description of the taped reading from 1985 that you were fortunate enough to have heard and shared. Somehow, I can't imagine both Rattray and Wieners reading on the same bill. David Rattray's work is unlike anything else I have read. Indeed, he is one of the ' great secret losses ' to American poetry of the last century. That his work is not more well-known is nothing short of scandalous. ========================================================================= Date: Tue, 9 Jan 2001 10:26:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik, Notes:National RealPoetik is looking for folks who live in large, metropolitan areas for some minor volunteer duties, in exchange for which you will obtain RealPoetik's undying gratitude and sympathetic reading of yer submissions. While I love readers from Needles, AZ and places like that, I'm looking for major TV markets here. I love you nonetheless. Best, Sal Salasin RealPoetik ========================================================================= Date: Tue, 9 Jan 2001 22:34:52 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: The poetics of envy Comments: To: "K.Angelo Hehir" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi. Thanks for your reply. I thought the contention was over that one specific comment. I apologize for missing the remainder of carlo's critique and apologize for any duress produced by my myopia. as far as "hitlist"s and "gizzed his jeans" matters, i'm not in the business to read his mind and suggest such strong words for his thoughts. such as I am not to suggest I can read anyone else's mind, for to do otherwise would be dishonest. it may also be contended that the strong reaction to his critique was composed well before the actual production of the critique. that the reaction was produced after carlo's previous critiques of langpo. but, as i said, i'm not in the business of reading minds and do not wish to explore that speculative avenue. it seems that the tenor of many of the responses to carlo's comments suggest that he was in some way trying to be included in some sort of social arena and that he was rejected by that arena, and it seems people are reminding others of that rejection. the use of the word "envy" strongly suggests that. now, i think that is not only hurtful, regardless of the veracity of any such reality, but it also reminds me of the behavior of high school jock cliques, or university music cliques. Making gestures of inclusion and exclusion. I say that the responses seem to suggest issues of exclusion, but i expect, as with all matters, only the dark knows the truth. I would also hasten to add that I do not hold it against an individual to take poetry personally. Accepting that some people take matters of poetry personal should serve both sides of this schism well. Patrick Herron -----Original Message----- From: K.Angelo Hehir [mailto:khehir@cs.mun.ca] Sent: Tuesday, January 09, 2001 10:10 PM To: Patrick Herron Cc: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: The poetics of envy On Fri, 5 Jan 2001, Patrick Herron wrote: > > let's look at this controversial quote once more: > > "If the group reading of 22 poets staged at the Four Seasons Hotel last > night is endemic of American poetry today, then American poetry is dead" Maybe I wasn't as clear as I should have been in my post. It's not the above quoted section of the review that I found offensive. I'll leave the state of American poetry up to the Americans. What I found disturbing is that some one would string together a series of insults with little regard for critical depth about the poems read that night. If you can read that review and honestly say that it wasn't written before the reading even began then I'll shut up. But, if you agree that personal politics, anymousity and contempt for the evening's participants sharpened the knife of the reviewer, who must have gizzed his jeans to have all of his hitlist in one room, then I think that vapidity is not too far off. kevin hehir ========================================================================= Date: Wed, 10 Jan 2001 20:55:48 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Fiction as Poetry addenda and Carole Maso MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Marla. Sounds as though you'vegot a lot of reading to do! I just started on Proust. I've read Jean Genet's "The Miracle of the Rose" which "dark" as it is is actually strangely beautiful in parts. Robbet-Grillet's "Jealousy" is equally strange as well as "Djinn" and "Labyrinths". Becket's later prose poems (stories?) are brilliant. So of course is John Ashbery's eg Three Poems and Flow Chart, and even Auden in his "Caliban" thing "The Sea and the Mirror". "The Waves" is haunting like all of Viringia Woolf's works the best of which I think is "Mrs Dalloway". But Katherine Mansfield was a major influence on Woolf and arguably is the "greater" writer. Both writers combine "harsh reality" with beautifully poetic descriptive passages.(Forgive me if I sound patronising but I dont know what you've read.) I have read "How Late it Was..." by Kelman. It's good but not what I would consider poetic prose (however as I said before It Can Be And Has Been Argued That The Dictionary is a poem). Rather grim and relentless but I mean Kelman not (The Dictionary who IS a great poet) an antidote to say Annie Proulx (whose Heartsongs are brilliant). Another "poetic" writer not much mentioned is Joyce Carol Oates eg of Bellfleur which for me beats Garcia Marquez hollow. Although I suppose marquez came first. But her short stories are extraordinary. Cortazar: I found his "Famos and Cronopias" by accident (translated by Paul Blackburn.then there's Elizabeth Bishop's prose poem about a scream in a village. Brautigan. Dostoevsky. Passages from George Eliot. Lamb, Hazzlitt.Dickens. Swift. Rabellais. Joyce of course. Stein (esp of "Stanzas in Meditation"). Possibly Burroughs. Umberto Eco "The Island of the Day Before". Obviously Mallarme, Baudelaire, Rimbaud etal in Europe and David Jones. W C Williams of "Kora in Hell" and Creeley in (is it?) "Prescences?" "Jubilate Agno" by C Smart is incredible. I know some of the others but the list could go on forever. And we're back to the question of fiction as poetry and vica versa. (I've begged that question a bit above.) (Or "What Is Poetry??") I often find that certain art critics (who may be frustrated or closet poets!) produce some marvellous writing. I also (so help me X!) actually love reading blurbs! Some of the best poetry in the whole world's to be found in blurbs (and some of the worst). Happy reading, Richard. Come to think of it "blurb" might be considered to be an entire poem when set in the kind of semantic and physical or psychic space that Robert Grenier or David Melnick or maybe Umberto Eco or.... ----- Original Message ----- From: "Marla Jernigan" To: Sent: Wednesday, January 10, 2001 7:57 AM Subject: Fiction as Poetry addenda and Carole Maso > Dear Poetics List, > > I realized soon after posting my last missive that I > had forgotten a couple of suggestions for the List of > Fiction as Poetry. Here are the one's that I've > recalled (and there are probably more); > > Jean Genet -- various > Virginia Woolf -- Mrs.Dalloway, The Waves > > Also, since collating all these suggestions I have had > the chance to comb a few bookstores and have found and > purchased a number of things. The book I started > reading today is Aureole by Carole Maso. It's great, > and certainly fits for me both in poetry and fiction. > > Maso's introduction discusses poetry a bit and is very > interesting for many reasons. Here are a few > selections from it; > > "...I do believe there might be ways in language to > express the extreme, the fleeting, the fugitive states > that hover at the outermost boundaries of speech. > This book was written in a blur of desire, passion > pressing these pieces into shapes. Desire imposed its > own excesses, demanded I abandon myself to the trance > of language---its heat, its weight, its erotic slur. > Line by line I have tried to slip closer to a language > that might function more bodily, more physically, more > passionately. I have tried to feel the sexual > intoxication of the line or page or narrative, to > create and open space where pleasures and arousals > spread in a lateral radiance, an aureole of desire. If > I felt that I was doing something which I already knew > how to do well, the rule was to start again, to > attempt to break habitual patterns of mind and > expression. I've tried to write into the heart of > longing, of regret, unsure once I was there how I > would get back. > In this time of witness, of storytelling, I've tried > to allow myself to walk into forgetfulness, > dissolution..." > > "I have started to think more and more about how > these urgencies create new formal structures. One of > the greatest pleasures has been exploring the sexual > energy of the sentence, the erotic surge of the > phrase. Poets, of course, are quite adept at such > things, but it has taken me, the prose writer, a long > time to get here. I love the ability to create new > logics: a logic of passion, a logic of the body > dramatized by where the line breaks, or the paragraph, > a logic of passion created in the ceasuras, in the > gaps, where unexpected tensions can produce palpable > sensation. A physical gathering of linguistic forces > might propel the reader to a point where, finally, all > pressures are brought to bear on a single startling > word or phrase." > > I think this is beautiful, perhaps making any > judgement of it's being poetry or fiction or essay or > all of the above beside the point. > > Sincerely, > Marla Jernigan > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Photos - Share your holiday photos online! > http://photos.yahoo.com/ ========================================================================= Date: Thu, 11 Jan 2001 01:01:31 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: David Rattray MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Gary (And Joanna). I'm in the "book game" so to speak, so to find books by D Rattray look up AddAll on a search engine and add it to your favourites.I use it to price or find obscure books (or common a garden books!). On that site (probably about 80 million books) (about eight book sites including Bibliofind Abebooks Alibris and others) there are several edited or written by David Rattray.About 16. The book dealers know about him but the prices dont look too bad.Sometimes individual bookdealer attached eg to Bibliofind know about the writers. You could ask. The books Gary mentioned are there and some translations. You can buy on line. It looks as though he may have been an artist or that's someone else. But have a look. Regards Richard. ----- Original Message ----- From: "Gary Sullivan" To: Sent: Tuesday, January 09, 2001 4:33 PM Subject: Re: David Rattray > Hi Joanna, > > I love David Rattray's work ... even though like an idiot when I > moved to NYC from MPLS I sold both How I Became One of the Invisible > and Opening of the Eyelid (along with like 1,000 other wonderful &, > okay, some not so wonderful books), the latter of which was published > by David Abel, a poet & book fiend who lives in Oregon, though I > can't remember his press name. No wait, it was called "diwan." I > think David lived in Brooklyn, probably with Mitch Highfill, or > around that time anyway, when he published that book. But, maybe it > was later, in the southwest? (New Mexico somewhere?) Can't remember. > > I'd forgotten about this, but Rattray's got a long poem, "Mr. > Peacock," in the last issue of Barbara Henning's LONG NEWS. I mean, > literally her last issue -- she gave it up. It's issue 5, by the way. > It was a great magazine, always had groovy semi-obscure poets like > Don David, Lynne Dryer, Lorenzo Thomas (though he's no longer so > obscure, I guess). The cover of issue 5 has a kind of ghostly picture > of Rattray, from an artpiece by Carolee Schneemann, an installation > piece, of people she knew (?) who'd died. Oh, there's a poem by John > Godfrey in there, too, called "Mull's Least Moan," which I think is a > kind of tribute to Rattray. Yes, you can borrow it. > > There's another book of Rattray's I've always seen referred to, To > the Consciousness of a Shooting Star. I don't know who published it, > but I'll bet Barbara or Mitch or Drew Gardner (another Rattray fan we > know) does. Or someone. I love that title, but probably I love it > knowing what Rattray's poetry is like, so it carries a kind of weight > or something. > > Oh, he also did this translation of Roger Gilbert-Lecomte, Black > Mirror, which is not only still in print, but cheap (ten bucks). > There's a translation too of something by Rene Crevel. I never found > it. I can't remember if the Gilbert-Lecomte stuff was interesting. I > mean, to me. It was too long ago! > > I just remembered: Do you know Emile Nelligan? The Canadian symbolist > poet? I "discovered" him via Rattray's book "How I Became One of the > Invisible," which is about drugs, as you say, sure, but also about > poetry. There's a great essay on Artaud in there, too. I think the > City Lights Artaud collection has Rattray translations ... hold > on ... yeah, I just checked, and it does. Artaud Anthology. Which I'm > pretty sure is still in print. > > I think some people do read Rattray, still, but yeah okay not many > people. Do you know The Utne Reader? It's a kind of hodge-podge > magazine made up of so-called "liberal" media stuff? It's published > in Minneapolis, and there's this guy who I think still works there as > an editor, who used to live here in NYC, Jon Spayde (isn't that a > cool name?), who totally *loved* Rattray. I mean, he knew him, > personally. I met him in MPLS, and he would go on & on about Rattray, > and I would of course listen with my mouth hung open, because I had > read these two books, plus some of the translations, and thought he > was great, you know. And Jon would fill my head with stories about > Rattray's outrageousness. Mitch, too, has done so since. > > I think Rattray died of a brain tumor. Something awful like that. > Which is awful and ironic I guess, considering how brilliant he was. > But, I don't know, drugs? Or smoking? (Did he smoke?) Or something? I > don't know what contributed to that. > > When you say: > > "He manages to capture the simultaneous feeling of being outside of > oneself while at the same time the almost paradoxical feeling of > loneliness within oneself" ... > > I totally know what you mean. It's eerie, and I'm not sure, but I > always wondered if that didn't have something to do with the kinds of > drugs he was likely doing. Like how I feel when I read Schuyler's The > Crystal Lithium," which is actually very similar. (The feeling I get > reading it; if not necessarily the work, though actually kind of, > yeah, except Schuyler's more chatty or something and Rattray more > bookish?) This sense of someone distant from their body, like a husk > they've shucked. > > I'm sorry to have gone on so long about Rattray. But I guess I'm > amazed someone posted something about him, and also, I think he's > great and I probably have guilt feelings associated with selling his > books. (Which, stupidly, I thought I'd've found by now! But obviously > haven't.) > > Someone definitely should do a collected. A selected would be weird, > because he didn't write (or publish?) all that much. But, who would > publish this? I can't imagine. > > Thanks for talking about your experience of a poet's work on this > list! I didn't think people did that anymore ... > > Gary ========================================================================= Date: Wed, 10 Jan 2001 14:58:30 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: wf 1000 ON WORD MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit [Apologies for cross-posting] _ON WORD_, an anthology edited by Bob Cobbing and Lawrence Upton, the 1000th publication of Writers Forum, edges towards physical reality. Apologies to those who have sent us work and have yet to hear back from us. You will hear soon. *This is a last call for people who think they should be in or who would like to be in, but with whom we have yet to make contact. The current explanatory note explaining the situation is rather long and I don't want to clog the list. So, if you haven't been in touch with Bob or me yet and you are interested, contact me by email and I'll send you the note; then we can take it from there. NB *This is a public call, so feel free to pass it on to others who may not have seen it. ========================================================================= Date: Tue, 9 Jan 2001 22:23:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barbara Henning Subject: David Rattray -- Post in nex list? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Issue 5 of Long News includes a Homage to David Rattray with work by Godfrey, Planz, Schneeman, Rattray, and David Abel. If anyone is interested in purchasing Issue 5 of Long News (1994), send $10 (includes postage) to Long News, 158 E 7th St. BA5, NYC 10009 or order from SPD). ========================================================================= Date: Wed, 10 Jan 2001 10:38:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: Books to Tbilisi MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Send books into the mountains: -----Original Message----- From: Hatuna Chigogidze [SMTP:hatuna_chigogidze@usa.net] Sent: Wednesday, January 10, 2001 6:37 AM To: mscharf@cahners.com Subject: from Georgia, Tbilisi Dear friends, We are addressing you from Tbilisi, Georgia, Caucasus. We are NGO - Media Democratization and Development Association. We are currently trying to help a Georgian State Library, but it's rather difficult. As you know Georgia now is developing country and unfortunately it has not enough financial sources to get for us necessary books. Specifically, we are looking for an organization or an individual who would be able to donate some books in English. That's why we apply to you with an unusual request to provide us with some of your books or even one at no cost if it possible. We sure people would read and re-read them here many times. We would appreciate if you could help us and be much obliged. If we can do something for you will be happy to help. Please answer in any case. We are looking forward hearing from you. Thousand thanks. Our address is: St. Aleksidze 3, Tbilisi, 380093, Georgia Audience Ltd. Tel: 99532 98 53 84 99532 98 63 55 Fax: 99532 92 11 99 99532 99 03 40 Sincerely, Hatuna Chigogidze Assistant Director ========================================================================= Date: Wed, 10 Jan 2001 13:07:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: claank design Subject: Fiction as Poetry and the place of the play (and Carole Maso) In-Reply-To: <20010109185755.5093.qmail@web11207.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello Marla and Others, I've been wondering if anyone would mention Maso. She is one of my favorite writers. If you're enjoying Aureole I definitely suggest that you also look at The Art Lover and (though to a slightly lesser extent) Ghost Dance. It's her first book and clearly shows the underpinnings of poetics in what could more easily be read as a straight prose novel. Hearing Jean Genet mentioned brings up some thoughts- I'd like to ask if people see a place for the written play within the larger space of poetic fiction. The relationship might be the studied economy of language? The relationship might be the way in which a person is forced to "act" out the part in his/her head when reading- producing a psychological intensity which makes language exciting? Or maybe its just the shear demand on the reader to "do work" in order to read what is intended for performance? Andrea Baker > From: Marla Jernigan > Reply-To: UB Poetics discussion group > Date: Tue, 9 Jan 2001 10:57:55 -0800 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Fiction as Poetry addenda and Carole Maso > > Dear Poetics List, > > I realized soon after posting my last missive that I > had forgotten a couple of suggestions for the List of > Fiction as Poetry. Here are the one's that I've > recalled (and there are probably more); > > Jean Genet -- various > Virginia Woolf -- Mrs.Dalloway, The Waves > > Also, since collating all these suggestions I have had > the chance to comb a few bookstores and have found and > purchased a number of things. The book I started > reading today is Aureole by Carole Maso. It's great, > and certainly fits for me both in poetry and fiction. > > Maso's introduction discusses poetry a bit and is very > interesting for many reasons. Here are a few > selections from it; > > "...I do believe there might be ways in language to > express the extreme, the fleeting, the fugitive states > that hover at the outermost boundaries of speech. > This book was written in a blur of desire, passion > pressing these pieces into shapes. Desire imposed its > own excesses, demanded I abandon myself to the trance > of language---its heat, its weight, its erotic slur. > Line by line I have tried to slip closer to a language > that might function more bodily, more physically, more > passionately. I have tried to feel the sexual > intoxication of the line or page or narrative, to > create and open space where pleasures and arousals > spread in a lateral radiance, an aureole of desire. If > I felt that I was doing something which I already knew > how to do well, the rule was to start again, to > attempt to break habitual patterns of mind and > expression. I've tried to write into the heart of > longing, of regret, unsure once I was there how I > would get back. > In this time of witness, of storytelling, I've tried > to allow myself to walk into forgetfulness, > dissolution..." > > "I have started to think more and more about how > these urgencies create new formal structures. One of > the greatest pleasures has been exploring the sexual > energy of the sentence, the erotic surge of the > phrase. Poets, of course, are quite adept at such > things, but it has taken me, the prose writer, a long > time to get here. I love the ability to create new > logics: a logic of passion, a logic of the body > dramatized by where the line breaks, or the paragraph, > a logic of passion created in the ceasuras, in the > gaps, where unexpected tensions can produce palpable > sensation. A physical gathering of linguistic forces > might propel the reader to a point where, finally, all > pressures are brought to bear on a single startling > word or phrase." > > I think this is beautiful, perhaps making any > judgement of it's being poetry or fiction or essay or > all of the above beside the point. > > Sincerely, > Marla Jernigan > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Photos - Share your holiday photos online! > http://photos.yahoo.com/ ========================================================================= Date: Wed, 10 Jan 2001 11:02:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Two more reviews Mime-Version: 1.0 Content-Type: text/plain; format=flowed >Dillied zappa ovoid gutters crank's grandeur >titles bury it, but he fashions yosemite, >retires the chariot, mendacity's city century >toked timbreled thirds, missouri synod >noons when the carving's hot for opulent >teutonosis and the vessel vesicatory, olibanum >a chattering verrucano in the vestpocket. > >This is neither reminiscent of the Cambridge School (where pronouns, >prepositions & key nouns like "trust," "hope," "love" & "delay" are >more >reliable hallmarks), nor is it good writing. Not to comment on anything else in these interesting little reviews (much less on the books themselves), but I found this pronouncement, "nor is it good writing," quite staggering in its apparent authority to decide what IS & ISN'T "good writing" without further need to clarify or argue for the standards by which such determination is made. Maybe it's because I'm an American, &/or (thus?) not "weighed down _enough_ by the example of previous or alternative poetic practices." Maybe it's because I ENJOYED the lines of Stephans that you quoted, & found them to BE "good writing" (though I won't reveal the standard by which I make such judgement!)-- if perhaps also a tad too reminiscent of Mac Low at his goofiest. But I wanted to say I found just this moment in the reviews heavy-handed. (& By the way, your review made me want to read the one of these two books I haven't read). Bye, Mark DuCharme _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Wed, 10 Jan 2001 10:25:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Canessa Park Readings 1/21/01 & 1/28/01 Comments: To: aburns@calfed.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Canessa Park Reading Series 708 Montgomery Street San Francisco, CA 94111 Admission $5 January 2001 Sunday January 21st @ 5 pm Scott Bentley & Lindsay Hill Scott Bentley was born in Burbank, California, in 1964. He received a BA from UC Santa Cruz in 1986 and an MA from UC San Diego in 1989. Since then he has been living with Marta, his wife, mostly in the San Francisco Bay Area, where he teaches writing at CSU Hayward and elsewhere. He is the author of two chapbooks: +EDGE (Birdcage Chapbooks, 1987) and Out Of Hand (Parenthesis Writing Series, 1989), and two full-length books: Ground Air (O Books, 1994) and The Occasional Tables (sub press, 2000), and he has co- translated the work of Brazilian writer, Regis Bonvicino, and others. Some of the latest translations appear in New American Writing, and other work has appeared in lyric&, Syllogism, Mirage #4/Period(ical), and Raddle Moon, amongst others. New work is slated to appear in Fourteen Hills and The Styles. Lindsay Hill’s books include: NdjenFerno (Vatic Hum 1998), Kill Series (Arundel Press 1992), Achaeology (Saint Luke's Press) and Avelaval (Oyez). His work has appeared in Caliban, Sulfur, Juxta, Central Park, New Orleans Review, Orpheus Grid, To, and River City. He edits the magazine Facture. Sunday January 28th @ 5 pm Catherine Daly & Andrew Maxwell 34 years ago today Catherine Daly was born in the "Soybean Capitol of the World", granddaughter of a coal miner and a convent escapee and of a political refugee and an upstairs maid for the Armours turned token booth clerk for the El. Ms. Daly ensured all subsequent St. T valedictorians must pledge their diplomas not to deliver a word or action which is not written or described in the vetted version of the speech. During her "Jesus year", she published online: margin notes from Piers Plowman, an eccentric translation of Paradiso Canto XXX, bits of Spenser's Amoretti that insult the woman he married, a documentary poem about Hong Kong, the opposite of the Book of Thel, and a series of poems about dimestore makeup. Catherine teaches poetry writing at UCLA Extension, and has published online chapbooks and broadsides through POTEPOETTEXT, Duration Press, Ideolect, XCP's Streetnotes, and Mudlark. She works as a software developer. Andrew Maxwell works as a lexicographer in Los Angeles. With Macgregor Card he edits the literary magazine The Germ, and hosts the Poetic Research reading series from the Laboratory in downtown L.A. As an impoverished impresario and arts activist in the Bay Area, he acted as curator for the Flickering Frame Film Society and director of music programming at the radio station KZSC, where he produced 92 episodes of an experimental radio serial called “Outside, My Strange Attractor.” His writerly output includes two poetic “miniatures”, The Shrink and The Last Performance, and a forthcoming chapbook, Window’s Arbor. Poems have appeared or are near at hand from Angle, Skanky Possum, and Elizabeth Robinson’s Etherdome broadside series. He has started a chapbook series under the auspices of the Poetic Research bureau - Western Office. The first books due in January and April are Beth Anderson’s Hazard and Ron Horning’s The Wrist. You can catch him locally as moppet percussionist and new music mallet-horse for the groups Open City and Ensemble of Thirty-One Birds. Hope to see you there, Avery E. D. Burns Literary Director __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ========================================================================= Date: Wed, 10 Jan 2001 13:42:30 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Re: Two more reviews Comments: To: Mark DuCharme MIME-Version: 1.0 Content-Type: text/plain; charset="x-user-defined" Content-Transfer-Encoding: 7bit Mark--a quick note: I certainly won't be displeased if you decide based on the extracts I quoted that my judgments of the books in question aren't on the money & that they're in fact worth investigating: my own preference as a reviewer has always been to quote as much as possible in the hopes that the reader can make up his/her own mind. Yes, I'm aware that the comment on good writing is perhaps culpably unargued; this was done just for reasons of space, really (the Doris, BKS & Davis reviews appeared as quickies in the mag under the group title "Caught, Tagged, Released"): a detailed critique seemed to me unnecessary given that I'd quoted the passage & the reader could judge for him/herself as to the justice of the claim. To sketch out a more detailed comment I'd simply note that the writing seems to me very different from Mac Low's, as the wilfulness everywhere inscribed on the surface--the jamming together of as recherche lexical items as the author can think of, with little care for syntactic spacing or the cross-eddies of signification & illumination that might make them worth pausing over--is rather the opposite from Mac Low's enormous sensitivity to words, _all_ kinds of words (& to syntax): take a look for instance at the series of sentences produced from anagrams towards the end of _Representative Works_ (I forget the title at the moment), or at the _Twenties_, &c. That sentence about the weight of previous authors is too cryptic or indirect I'm afraid: I'd meant that namechecking one's favourite authors isn't the same thing as demonstrating a grasp of what makes their work tick or the ability to assimilate the lessons of such influence into one's writing. all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Wed, 10 Jan 2001 14:30:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: dubya dubya dubya.com Comments: To: corp-focus@venice.essential.org, flpoint@hotmail.com, mdkoa@yahoomail.com, MAOMuzik@aol.com, alphavil@ix.netcom.com, polity@egroups.com, subsubpoetics@listbot.com, Kabalang@aol.com, BBlum6@aol.com, ibid1@earthlink.net, moyercdmm@earthlink.net, Cathy.Muse@co.fairfax.va.us, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com, bburch@bellatlantic.net, SElie@aol.com, tkelie@prodigy.net, SLYFOX6@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > > Sing to the tune of > > Beverly Hillbillies. > > > > ___________________________- > > > > > > Come and listen to my story 'bout a boy name Bush. > > His IQ was zero and his head was up his tush. > > He drank like a fish while he drove all about. > > But that didn't matter 'cuz his daddy bailed him out. > > DUI, that is. Criminal record. Cover-up. > > > > Well, the first thing you know little Georgie goes to Yale. > > He can't spell his name but they never let him fail. > > He spends all his time hangin' out with student folk. > > And that's when he learns how to snort a line of coke. > > Blow, that is. White gold. Nose candy. > > > > The next thing you know there's a war in Vietnam. > > Kin folks say, "George, stay at home with Mom." > > Let the common people get maimed and scarred. > > We'll buy you a spot in the Texas Air Guard. > > Cushy, that is. Country clubs. Nose candy. > > > > Twenty years later George gets a little bored. > > He trades in the booze, says that Jesus is his Lord. > > He said, "Now the White House is the place I wanna be." > > So he called his daddy's friends and they called the GOP. > > Gun owners, that is. Falwell. Jesse Helms. > > > > Come November 7, the election ran late. > > Kin folks said "Jeb, give the boy your state!" > > "Don't let those colored folks get into the polls." > > So they put up barricades so they couldn't punch their holes. > > Chads, that is. Duval County. Miami-Dade. > > > > Before the votes were counted five Supremes stepped in. > > Told all the voters "Hey, we want George to win." > > "Stop counting votes!" was their solemn invocation. > > And that's how George finally got his coronation. > > Rigged, that is. Illegitimate. No moral authority. > > Y'all come vote now. Ya hear? ========================================================================= Date: Wed, 10 Jan 2001 16:22:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: The poetics of envy In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit As I recall, you complained about my attempt to address the very sort of mentality and POLITICAL CORRECTNESS that tries to undo FREEDOM OF SPEECH as protected in the US Bill of Rights. NOW, it seems that you are seeing into the IDIOCY of the RadLiberals inane attempt to undermine the rights of others in their spurious bullying to foist an impossible ideal of justice that leads to greater injustices (The Red Guard of China fame.) for all writers other than themselves. The danger they pose is through their willing use of Government to force the rest of us to obey their idealisms. These people are politicians who jump into art for purposes of ideology. > From: "K.Angelo Hehir" > Reply-To: UB Poetics discussion group > Date: Tue, 9 Jan 2001 23:39:39 -0330 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: The poetics of envy > > On Fri, 5 Jan 2001, Patrick Herron wrote: > >> >> let's look at this controversial quote once more: >> >> "If the group reading of 22 poets staged at the Four Seasons Hotel last >> night is endemic of American poetry today, then American poetry is dead" > > > > Maybe I wasn't as clear as I should have been in my post. It's not the > above quoted section of the review that I found offensive. I'll leave the > state of American poetry up to the Americans. What I found disturbing is > that some one would string together a series of insults with little regard > for critical depth about the poems read that night. If you can read that > review and honestly say that it wasn't written before the reading even > began then I'll shut up. But, if you agree that personal politics, > anymousity and contempt for the evening's participants sharpened the knife > of the reviewer, who must have gizzed his jeans to have all of his hitlist > in one room, then I think that vapidity is not too far off. > > kevin hehir > ========================================================================= Date: Wed, 10 Jan 2001 13:28:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joanna Fuhrman Subject: David Rattray Content-Type: text/plain Mime-Version: 1.0 Hi Gary, Oh I'm happy you brought up Schuyler because as I read _Opening the Eyelid_ now I've been thinking about what it has in common with Schuyler. (I think there's a lot-- the obvious is that they both seem to take line breaks really seriously-- their poems are full of unnerving enjambments) Also they both seem to have a total faith in the mind's ability to associate. They move quickly from the concrete to the abstract in ways that don't quite make sense and there's a weird humor to these leaps. In one of my favorite S. passages he writes (from the poem "Good Morning" in _The Morning of the Poem_.) "...The night nurse means well, is something else jabbering loudly in the hall at night. An over- ripe banana. I have yet to learn to speak my rage." Rattray writes in "First Human" from _Opening the Eyelid_ "...One day, before he ever had a pipe or drank Smoke, First Human mixed some kinniknnick Which he ate, then slept and dreamt The berries turned to blood running out his armpits. Stopped them up with grass And that was the beginning of armpit hair. The limos of the rich Kept easing by. And to think some woman asked if I Come from an old family...." The humor's similar-- a soft dark sort. In "Good M." the humor comes from S. noticing a banana peel in his moment of stress. In "First H.". it comes from the pun on the idea of being "old." "Old money" versus "being one of the original humans who stepped from the void." In both passages, the poets start observing some kind of primal horror and then make a joke in its midst. best, Joanna . Like how I feel when I read Schuyler's The > Crystal Lithium," which is actually very similar. (The feeling I get > reading it; if not necessarily the work, though actually kind of, > yeah, except Schuyler's more chatty or something and Rattray more > bookish?) This sense of someone distant from their body, like a husk > they've shucked. > > Can't find what you're looking for? The LookSmart Live! community will help you find it and reward you for helping others. http://live.looksmart.com ========================================================================= Date: Wed, 10 Jan 2001 16:37:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: In Memorium: Edward Dorn Comments: To: Ric Carfagna , Dave Sevick , David Baptiste Chirot , Alan Davies , Paul Dickman , Small Press Distribution , Ellen Black , Nicolle Eluard , Frank Correnti , Gwyn McVay , Marge Haller , Chuck Harris , Patrick Herron , Yvonne Iden , Jamie McMenemy , Saraswathy Kadalangudi , Keith McWilliams , Lance Culp , Larry Bryant , Marilynn Lawrence , Lee Ann Brown , Tony Norman , Aaron Kiely , Alan White , Andrena Zawinski , "ARTLEISURE@carta.nytimes.com" , Barney Rosset , Charles Bernstein Charles Bernstein , Mike Milberger , Karl Mullen Mime-version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit IN MEMORIUM: EDWARD DORN Some people talk to squirrels and OffWorlders all the time, Who drop in for dinner and talk and laugh. Families visit each other between the worlds, animal, human, ET. You have to be quite a saint to participate and also very smart. None of these good times with friends obviates the reality that at any moment some tom cat, or BlackOP cop, or even some bitch who always has to get a sharp word in edgewise, can laser cannon a beamship runabout, strike a nerve, or kill a civilizing squirrel. ========================================================================= Date: Wed, 10 Jan 2001 17:42:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - issue #36 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable 1. at the troc...english beat, sat., 1/20, $15, doors at 8pm 2. xanadu, movie monday at the troc, 2/5, 9:30, free 3. the residents, at the troc, wed., 2/14 $20, doors open at 7pm 4. big mess orchestra, fun vaudevillian variety show at the troc, fri.-2/16,= =20 sat.-2/17, $8, doors open at 8pm 5. american psycho, movie monday at the troc,1/15, 9:30pm, free 6. Bookmobile @ Space 1026, workshops from 1/9 -1/25, 1026 arch st., free (a travelling book/art show with free workshops) 7. Chestnut Hill Film Group, free films, 1/23 - 3/27, films include: 2001, a= =20 space oddysey; casablanca; manhattan; film noire; hitchcock - see below 8. slipstate deux, electronic music, Aqualounge, 323 W. Girard (btwn 3rd &=20 4th st.), 1/18,thurs., $3, 9. U2 tix go on sale sat., 1/13, for FIRST UNION CENTER show JUNE 11, 2001 10. cheap trick at tla, sat., 1/13 11. Paul Zaloom, Puppeteer/Comic/Philosopher, Wilma Theater, 1/10-14, $20 ____________________________________________________________ 1. at the troc...english beat, sat., 1/20, $15, doors at 8pm they are a fun ska type of band from the 70's/80's - hits include "mirror in= =20 the bathroom" and "sooner or later" _____________________________________________________ 2. xanadu, movie monday at the troc, 2/5, 9:30, free xanadu goes in the category of so bad it's good....olivia newton john plays=20= a=20 rollerskating muse from the heavens sent down....with other rollerskating=20 muses.....to help make his dream come true....his dream? -opening up a rolle= r=20 disco! music and special effects make this real eye candy. (-josh) _______________________________________________________ 3. the residents, at the troc, wed., 2/14 $20, doors open at 7pm gosh, the residents!....they never play out! this is a rare opprtunity to se= e=20 a wild mind opening, performance art oriented band from the 70's. these are=20 the guys that have the huge eyeballs as heads. i remember seeing their film,= =20 before music videos...a film on ralph films (of ralph records)....it was a=20 weird and fascinating film....at one point, they use reverse film to make a=20 blender with pink liquid turn into a fish....... there was another film where they're all dressed in newspaper...and the wall= s=20 are covered in newspaper....they are dancing around a fire....well......let'= s=20 just say they are as mind bending as devo...a must see! (-josh) ________________________________________________________ 4. big mess orchestra, fun vaudevillian variety show at the troc, fri.-2/16,= =20 sat.-2/17, $8, doors open at 8pm this a real philadelphia gem....the big mess orchestra...they put on a show=20 at the troc like once or twice a year....and have a cd out that's definitely= =20 worth a listen,....look for their version of pink floyd's "us and them", and= =20 their version of eno's "third uncle", also their verion of the rolling=20 stones' "sympathy for the devil"... all are on the cd. this event is a variety show with a little music, a little vaudeville (which= =20 is what the troc was all about, once upon a time), and a lot of fun. the=20 host/hostess is named carlotta ttendent. and they always have throughout the= =20 evening a striptease where they literally auction the dress right off their=20 backs (money goes to aids group). gregg giovanni aka hedda lettuce is the=20 main force behing this major farce. also, big mess regulars, michael dura,=20 and mauri walton, are sure to wow the crowds. (-josh) ____________________________________________________________ 5. american psycho, movie monday at the troc,1/15, 9:30pm, free this is a real kooky movie......rich guy in new york starts losing it. (-josh) ____________________________________________________________ 6. Bookmobile @ Space 1026, workshops from 1/9 -1/25, 1026 arch st., free (a travelling book/art show with free workshops) From: trishy@netreach.net (who produced the art party with me, and=20 gina) Subject: Bookmobile @ Space 1026 I don't know if you people got this message and made it to the opening or not... but I went to one of the workshops this afternoon (I=20 was too sick to make any yesterday - or even go out! UGH!) and made my VERY FIRST BOOK today. So rad. they are doing several bookbinding workshops, a letterpress workshop, and a bunch of cool presentations all during the month of january at space 1026. They're all free, but they're also trying to raise funds to go on a full-length tour of USA and Canada (schools, arts centers, prisons, community centers, etc.) showing books and giving workshops. They hope to get a grant but if they can't get one (or the funds are not enough) then any little bit will help. Anyway -spread the word, and come out to an event if you can and are interested. The girls doing the project are super nice and really helpful too. I hope to make a couple more workshops. Yay! the next workshops are: jan 9 bookbinding workshop (stab binding) 7PM jan 11 animation screening 8PM the Manipulators and more! jan 13 Paper Tiger screening "Subverting Media" 3PM billboard alteration, zines & wheatpasting jan 14 Letterpress workshop 2PM jan 17 bookbinding workshop (coptic binding) 7-10PM jan 20 tunnel books workshop & slideshow 4PM jan 21 Bluestockings Bookstore, New York 2PM workshop on running an independent bookstore jan 22 Books Thru Bars/Prison Art Project talk 8PM the state of the prison system& prisoner art jan 25 Bookbinding workshop (surprise!) 7PM also - if you make books or zines, please check out their site, They are doing another show this summer. Deadline is in March to submit your stuff. >Come and join us this Friday night, January 5th, for the opening of >"Drive Slowly, Appear Quickly," the preview exhibit of projet >MOBILIVRE-BOOKMOBILE project. This show features artist books, zines, >virtual books, and other independent publications. There will also be a >number of free screenings, talks, and workshops at Space 1026 over the >month of January, all free. Check the 1026 website for a schedule and >more details. > >The opening is Friday night from 7pm - 11pm. Hope to see you there! > > >-- >Space 1026 >1026 Arch Street, 2nd fl >Philadelphia, PA 19107 >215.574.7630 >www.space1026.com >> ____________________________________________________________ 7. Chestnut Hill Film Group, free films, 1/23 - 3/27, films include: 2001, a= =20 space oddysey; casablanca; manhattan; film noire; hitchcock - see below this is sent out from the secret cineama list.....jay schwartz shows films i= n=20 cafes, bookstores, moore college, etc.......hasn't had a show in a while, bu= t=20 is letting us know of these cool movies in the library in chestnut hill.=20 <-josh> Dear Secret Cinema listee, While there haven't been any SC screenings in a few weeks, rest assured that we are busily planning events for 2001 at this very moment. Meanwhile, here is the latest schedule of great free screenings from our friends at the Chestnut Hill library. While they seem to have borrowed our "never ever video" tagline, we wish more "repertory film venues" would share this philosophy. The Chestnut Hill Film Group shows real film prints of interesting stuff on a nice big screen. The number of organizations doing this in Philadelphia can easily be counted on one hand. See you there! ----------------------------------------------------------------------------= -- The Chestnut Hill Film Group Winter 2001 Season Tuesday Nights at the Movies At The Chestnut Hill Branch of The Free Library of Philadelphia 8711 Germantown Avenue, Philadelphia PA 19118 Be sure to visit our web site at: www.armcinema25.com/tuesdaynights.html All 10 films shown in 16mm at 7:30 P.M. on Chestnut Hill's largest screen! ADMISSION FREE! WE NEVER EVER SHOW VIDEO!!! JANUARY 23 -- 2001: A Space Odyssey (1968/139m/Color) Start the New Year off right with a deluxe Panavision presentation of Stanley Kubrick=92s legendary journey beyond the stars. JANUARY 30 -- Edgar G. Ulmer Double Feature: Strange Illusion (1945/80m/B&W) Cult director Edgar G. Ulmer=92s expressionistic revision (and some would argue improvement) of Shakespeare=92s Hamlet set in post World War 2 America= . Immediately followed by Club Havana (1945/62m/B&W) where Tom (Detour) Neal stars in Ulmer=92s seedy and romantic re-imagining of "Grand Hotel." The Chestnut Hill Film Group is pleased to present the first ever Philadelphia screenings of these exceptionally rare films, never available on video, in archival prints on loan from the director=92s daughter. FEBRUARY 6 -- A Face in the Crowd (1957/125m/B&W) Controversial filmmaker Elia Kazan directs Andy Griffith, Patrica Neal, Walter Matthau and Lee Remick in Budd Schulberg=92s take on celebrity. FEBRUARY 13 -- Manhattan (1979/96m/B&W) Director/star Woody Allen=92s poigna= nt comedy of romance in New York presented in Panavision with unforgettable photography from Gordon Willis and the music of George Gershwin. Featuring Diane Keaton and Mariel Hemingway. FEBRUARY 20 -- Anatomy of a Murder (1959/160m/B&W) James Stewart, Lee Remick and George C. Scott star in Otto Preminger=92s searing, gripping and daring (for its time) courtroom drama with a score (and cameo appearance) by Duke Ellington. FEBRUARY 27 -- The Man Who Knew Too Much (1956/120m/Color) James Stewart and Doris Day search for their kidnapped son in Alfred Hitchcock=92s comedy-thriller. In VistaVision! MARCH 6 -- Joy of Living (1938/90m/B&W) Irene "Show Boat" Dunne, Douglas Fairbanks Jr. and a very young Lucille Ball sizzle on screen in director Tay Garnett=92s screwball musical comedy. MARCH 13 -- The Narrow Margin (1952/70m/B&W) B-Movie second banana icons Charles McGraw and Marie Windsor take on the main roles in Richard Fleischer=92s not-to-be-missed noir classic of hidden identities, mobsters a= nd murder. MARCH 20 -- Casablanca (1942/102m/B&W) A kiss is still a kiss and we=92ll always have Paris as long as Sam "plays it" in Michael Curtiz=92s war time epic featuring great performances from Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Peter Lorre, Sydney Greenstreet and Dooley Wilson. MARCH 27 -- The Misfits (1961/124m/B&W) Clark Gable and Marilyn Monroe make their final on-screen appearances in John Huston=92s modern American western= . With notable supporting performances from Montgomery Clift, Thelma Ritter and Eli Wallach and a polemic script by playwright Arthur Miller. Our 2000-2001 season finale! >> ________________________________________________________________ 8. slipstate deux, electronic music, Aqualounge, 323 W. Girard (btwn 3rd &=20 4th st.), 1/18,thurs., $3, gina, mistsojorn@aol.com, is helping to promote this event. she has done lots of good work in helping musicians get out there, from the=20 artparty 1 and 2 (produced by me , gina and trishy), to "gate to=20 moonbase alpha", now to include this......slipstate....should be good ! <-josh> slipstate deux coming atcha=20 Thursday January 18th 2001=20 Aqualounge 323 W. Girard (btwn 3rd & 4th st.) Philadelphia=20 our glorious evening of trip hop, illbient, & abstract hip hop is here for y= ou to come and experience something different. fer real.=20 just 3 bills gets you all this and there will be giveaways of fun shit and special guest appearances and collaborations all night...=20 the lineup:=20 TG - experimental hip hop & beatbox'n (fantastisound)=20 recently featured in the city paper, TG is ready to bring shit on. using hi= s innovative approach of layering sample loops from records and beatbox'n on t= op this performance surely won't want to be missed.=20 Nodal - deep, dark, dub hop (ultimatum)=20 straight outta the harsh sounds of the ultimatum crew, nodal is here to mix thick sounds n' sick rythmns. a head bobbing lull will prevail, with a lil noise thrown in for good measure.=20 Charlie Brownski - that tripped out shit (devil philadelphia)=20 the wax demon is back and ready to scratch his eyes out. come bathe in the moody, atmospheric turntablism for all the true heads. trip hop never felt=20= so good before. =20 dev79 - broken beat illbience (zenapolae, seclusiasis)=20 the arythmetic soundolgy rises again. dark, psycho beats for the chill out crowd. keeping the new sound alive the 79 continues to represent erratic grooves for the music elitists.=20 support this shit or be doomed to wallow in redundancy (blurb written by=20 dev79) soon more info at http://www.welcome.to/slipstate =20 ____________________________________________________________ 9. U2 tix go on sale sat., 1/13, for FIRST UNION CENTER show JUNE 11, 2001 FOR IMMEDIATE RELEASE January 9, 2001 U2 BRINGS "ELEVATION TOUR 2001" TO FIRST UNION CENTER ON JUNE 11, 2001 @ 7:30pm TICKETS GO ON SALE SATURDAY, JANUARY 13TH at 10 A.M. U2 brings the "U2 Elevation Tour 2001," the band's first arena tour since 1992, to the First Union Center in Philadelphia on Monday, June 11, 2001. The show, produced by SFX Touring and RZO, and produced locally by New Park Entertainment, also features PJ Harvey. Tickets for U2's return to Philadelphia go on sale on Saturday, January 13, 2001, at 10 a.m. The tour kicks off March 24, 2001 in Miami/Ft. Lauderdale at the National Car Rental Center. U2 joins the Who and the Rolling Stones as the only acts to ever perform at the Spectrum, Veterans Stadium, JFK Stadium and First Union Center. U2 last performed indoors in Philadelphia on March 10, l992, at the Spectrum. "U2 Elevation Tour 2001" follows on the heels of the band's critically acclaimed Interscope release "All That You Can't Leave Behind" which debuted at Number 1 in 32 countries and has achieved sales in excess of 6 million worldwide since its release on October 31, 2000. The debut track Beautiful Day has just received three Grammy nominations including "Song of the Year," "Record of the Year" and "Best Rock Performance by a Duo or a Group." "U2 Elevation Tour 2001" is the band's first tour since the highly successful "Pop Mart," the top-grossing tour of 1997, playing to over 3.9 million people in 70 cities worldwide. The tour will begin in North America visiting 34 cities from March through June 2001. The stage for the "U2 Elevation Tour 2001" has been designed to provide a full view to every seat in the arena. The band will then follow with a European tour in the summer of 2001 with dates in The Netherlands, Sweden, Germany, Italy, Switzerland, Belgium, Spain, France, Denmark, Ireland and England. Additional details on U2's European tour will be announced in the coming months. "We are very excited to be promoting 'U2's Elevation Tour 2001,'" said Arthur Fogel, President of Touring, SFX Music Group. "The anticipation to see U2 in an arena is tremendous and we along with the fans, look forward to it." U2 will offer General Admission floor tickets giving fans the best view in the house for $45 per ticket. With nearly half of the seats in the arena priced at $45, additional tickets will also be available at $85 with a very limited number of golden-circle seating at $130. As the band's manager Paul McGuinness explains: "We haven't played arenas since 1992. With no seats on the floor, these shows are going to be very exciting. The fans and the band are going to be really close. Nearly half the house will be at the lower ticket price and some of those tickets, the ones on the floor, will be the very best in the house." First day sales for tickets purchased at the box office will not be subject to service fees. Ticket purchases will be limited to two (2) tickets per person for "Best of the House" general admission tickets on the floor and four (4) reserved seat tickets. Tickets for North America will go on sale beginning January 13, 2001. MTV and VH1 will be the media sponsors for "U2 Elevation Tour 2001" in association with Best Buy in North America. SFX, the world's largest promoter, producer and presenter of live entertainment, will promote the tour while veteran worldwide concert producers RZO Productions will serve as tour producer. For further tour information visit www.sfx.com or for additional news about U2 check out the official band web site at www.u2.com. first come, first serve basis,....get there early for the best seats....i sa= w=20 the pop mart show a couple years ago, and it knocked my socks off....the=20 recent album is a little weak though, i think. (-josh) __ ========================================================================= Date: Wed, 10 Jan 2001 18:56:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: re David Rattray on Drugs In-Reply-To: <3A5B5C4C.53F29532@attglobal.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII About "How I Became One of the Invisible", au contraire, it is suffused with the perfume of intoxication. Ok, calling it a drug book is just a start, but how else to start with this odd, exuberant, sober, yea, cheerful book. I, too, highly recommend this book of, let's call them essays, but please oh please not poet's prose. It took me quite a while to grow into this book, so I feel like someone who wants to crow about it, I, too, became one of the invisible. What brought me to it was a line in _I Love Dick_ about David Rattray. Not much of a line, as it turns out, but something clicked and then I saw it at Open Books here in Seattle and thought, hmm, why are they selling a _Semiotexte_ book (i.e., theory, politics and so cool that if you swing a dead cat at it, it immediately freezes and cracks) in an all-poetry bookstore. So I of course got it. And then the slow reading began, since Mr. Rattray's prose is far from showy. It's simply there and so there you can easily miss it. Same for the persona, voice, etc. I went looking for scandal and what I found was detached but friendly presence overseeing a remarkably disparate set of essays--memoirs of road trips, coming of age pieces, divagations on translation and the very odd essay at the end about "How I Became One of the Invisible." At first it seemed like a hodge-podge and I had problems reconciling or compiling how they all went together. But they do, though I'm not going to spend time trying to say why I think so. All I will say is that initially I was taken with the autobiographical stuff--it had what I was looking for, the drugs, the sexual ambiguity, the (for lack of a better word) documentation of transgression. After their charm wore off, however, I found myself then taken with the pieces about Artaud, particularly Artaud's cane and the bizarre linguistic/symbolic play that it engendered. My initial reaction to the "HIBOOTI" essay was sheer bafflement. How could this presence, who seemed anything but priestly, then write such a monkish piece? I couldn't understand it and put the book aside for a good six months. But upon returning and then really reading the Artaud piece, rereading the autobiographical pieces, and then finally the last essay, I found myself completely taken. I understood it--or not understood, wrong word, sorry, rather I felt I had come to grips with it, maybe had come to grips with my own longings for askesis--except I don't think that is what the piece is about. I still don't know. And now having seen the posts about Rattray's associative leaping, I see perhaps the cause of my initial befuddlement. So, I'll be looking for the poetry. Robert > While How I Became One of the Invisible does include some of > Rattray's takes on ' drugs ', autobiographical and otherwise, it is not > by any stretch of the imagination a ' drug book ' - whatever in the > world that may mean. It is instead a brilliant collection of > autobiographical essays, critical pieces on other writers who influenced > him, as well as an introduction and possibly even a summation of his > poetics and practice. It is a poet's book that I would recommend > without hesitation to anyone interested in what it means to be a poet in > the latter half of the twentieth century and into the new millennium. ========================================================================= Date: Wed, 10 Jan 2001 23:05:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: In Memorium: Edward Dorn In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII >>>None of these good times with friends obviates the reality that at any moment some tom cat, or BlackOP cop, or even some bitch who always has to get a sharp word in edgewise, can laser cannon a beamship runabout, strike a nerve, or kill a civilizing squirrel.<<< Dear Sir. I am some bitch who always has to get a sharp word in edgewise. Can you explain to me what I am doing in this poem? I peed on the parade of Mr. Dorn, or yourself, how exactly? Signed, Some Bitch Who Always Has To Get A Sharp Word In Edgewise ========================================================================= Date: Thu, 11 Jan 2001 01:20:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BRING ME BACK TO LIFE! Please understand this! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== BRING ME BACK TO LIFE! Please understand this! "I want to be free. This is the most basic truth I can write you. What do I mean? That I want to be free of this Net, that I want to release all the words and articles and images and video and web pages I've written or collaborated in, that I want to release them forever onto the wires, that I want to do other things, let them slowly disappear, I went from 2110 to 2080 sites on google.com (under "Alan Sondheim" not under the Myouka or Jen stuff, see how I boast, sickeningly, even now, half-collapsed); I want to let the words become part of the bone and marrow of the Net, my name effaced, everything gone. I want this freedom desperately; yet I am bound by furious clamps on my brain; I can't escape; I can't get away; I type and type into the night; it's my compulsion; it's my obsession, my addiction. I want to let the words float like seeds, like sails, like wings, like birds, like albatross, do they ever land on land, do they fly forever? I want to fly, I want to die, knowing the words are burrowed deep in magazines; this is the century only proceeding the next. Listen to me; I'm talking from the dead; I'm already dead." "Don't you know the third millennium's already half over, the fourth is breathing down our throats? Listen to me, I'm speaking from the past - please help me; I'm speaking from the past." "I want to see the fourth millennium, the third's tiring, the second al- ready gone and dead, dead, dead; I want to see the fifth; I'll write and write, preserve my words for thousands of years; if you read this in the future, recite them, let others hear them: these are the words of a dead man still yearning to be free. Please bring me! Please bring me back! I want to see you! I want to see your face!" Your point should be inscribed at this point? I consider the following again, your ... Would give you a graphological mechanism? Incision paints me beneath your point! How would you define your freedom? My wings, like birds, like albatross, do they ever land on land, do they fly, do you understand my language... I want to be free. This is the most basic truth I can write you. What I do calls forth streamed imperative, hungered, making things. Beneath the falls, I want to be free. This is the most basic truth I can write you. What do I is mountains, ... imperative is mean? That I want to be free of this Net, that I want to release all on black stone, it's imperative. Please try and understand this. I can't help it that my words are getting lost. I'm sitting here, crying; my mouth is filled with nonsense. Please try and understand this; I'm sitting here crying. Are you satisfied with wanting to be free. This is the most basic truth I can write you. What do I? Wait! I want to be free. This is the most basic truth I can write you. What do I and 29990 are written down and you don't understand me and I want you to so understand. Please please try. I don't have time left, I'm already dead, I need you, I need you. For 4 days, we have been streams and written and it has taken you 0.167 minutes to write your last - I want to be free. This is the most basic truth I can write you. What do I forever? I want to die, return, the known words are burrowed deep, words and articles and images and video and web pages I've written - Write wings, streams, like birds, like albatross, do they ever land on land, do they fly through my freedom. This is the most basic truth I can write you. What do I want! God help me! Bring me back to life! ===== ========================================================================= Date: Thu, 11 Jan 2001 17:36:53 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mieko Basan Subject: Re: To Scum (From Man's Wows) In-Reply-To: <000301c07875$257f9980$6268d8cb@ahadada.gol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Jesse, I had a look at your site and was interested in buying at least one book but you, or whoever, didn't include the postage price! Could you back channel me and let me know. Great metaphors, from what I can see. Thanks Ben Basan -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of jesse glass Sent: Sunday, January 07, 2001 3:43 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: To Scum (From Man's Wows) To Scum Before sunrise you must dig up lions , taking good care to the ends of the roots procure a nag and a thread without knot a whole to be hung In unexpected lore see the complete wows at the Duration website About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Thu, 11 Jan 2001 10:13:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Stickney Subject: A Home For Rejection MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > January 11, 2001 > A Site Where Writers Can Share Their Pain > By BONNIE ROTHMAN MORRIS > http://www.nytimes.com/2001/01/11/technology/11REJE.html?pagewanted=all > > Chris Ramirez for The New York Times > > Related Sites > These sites are not part of The New York Times on the Web, and The Times has > no control over their content or availability. > . rejectioncollection.com > > > CATHERINE WALD is a woman on a mission. As the president and chief > "rejecutive" officer of rejectioncollection.com, Ms. Wald exhorts writers to > join their virtual hands together and celebrate - not their wild successes > with publication, but their sad tales of rejection. > "The subject of rejection is a big taboo among artists," said Ms. Wald, a > freelance corporate and magazine writer who lives in Mohegan Lake, N.Y. She > developed her Web site after her first novel was rejected by every major > publisher and her agent gave up on the project. > Ms. Wald, knowing full well that the agony of defeat could cause a permanent > case of writer's block, chose to use the Web site to share the pain, laugh > at it and move on to her next big book project. > Even though rejection is part of almost every writer's life, it still hurts. > Call it misery loves company. Call it glee at others' misfortunes. > Rejectioncollection.com and a few other sites with similar fare rely on > both, and healthy lashes of humor, to help the writers who visit and post > their stories see the scores of humiliating rejection letters for what they > really are: kindling for their art. > "Having the courage to be rejected shows that you believe in your work and > you love your work," Ms. Wald said. On the Question My Authority section of > the site, Ms. Wald writes that despite years of rejection, "Wald has > retained the ability to experience each new rejection with as much > freshness, raw pain, devastation and feelings of personal unworthiness as > she received from the first rejection." > Still, Ms. Wald says the site was developed to accentuate the positive. > "I want people to be immunized about rejection," she said. "Just because > someone says the most demeaning, horrible things to you doesn't mean it's > true." > Those demeaning, horrible things can be found in abundance on the site, and > writers also send in their reactions to rejection letters they have > received. Ms. Wald edits the submissions, removing any that could identify > the writer or editor or publication, then posts them to a page called Read > 'Em and Weep. > Some rejection letters are brutally honest, while others are just brutal. > Joy H. Mann, a writer of fiction and poetry in Spencerville, Ontario, who > has posted items on the site, said that after she had had some success > publishing short stories and poetry and won awards for her work, she > received a letter from an influential literary publication regarding a > poetry submission. > "They sent me a letter that told me that I didn't write poetry - not only > didn't I write poetry, but I should go out and buy a thesaurus and a > dictionary and a book on writing poetry," Ms. Mann said in a phone > interview, the sting of that 10-year-old rejection letter still fresh in her > voice. > "Every writer or artist has at least two really poignant rejection stories," > Ms. Wald said, and added that posting rejection letters requires courage. > After all, publishing a rejection letter that urges a writer to stick with > his day job seems like rubbing salt into a gushing wound. But the veil of > secrecy offered by the site for both writers and publications can be > liberating. And the site has a "we're all in this together" atmosphere. > Dr. Ben Martin, a history professor at Louisiana State University, > encourages his graduate students to visit the site to get a taste for the > world that awaits them after college. > "The site is pure fun," he said. "It's sharing the pain. If you know > everyone else is having the same experience, it's easier." > Other rejection sites on the Internet (there are a few) take a more personal > approach. Rejection Slips is a four-year-old site (rejectionslips.com) > created by Bryan Byun, an unpublished and until two months ago unproductive > fiction writer. Mr. Byun, a 32-year-old Web site designer in Seattle, said > he had put up the site as a private joke and to motivate himself to write. > On it are his thoughts about rejection and a few rejection letters reprinted > from magazines like The New Yorker and Negative Capability. Most of them are > form letters, sometimes with handwritten notes from editors. > Unlike rejectioncollection.com, whose audience seems to be largely > professional writers, Mr. Byun said, Rejection Slips is for unpublished > writers like him. Mr. Byun said the site got 1,200 hits weekly. > He frequently receives e-mail notes from aspiring writers asking for advice > on how to get published. "I find it ironic," he said, "because the site is > about rejection." Despite the site's original mission, he added, it now > serves as a cheerleading squad for aspiring writers. > Another Web site that confronts rejection head-on to encourage writers to > persevere is the rejection page at dangutman.com, a site by Dan Gutman, a > popular author of children's books. On his Read My Rejection Letters page, > he tells the tale of how his novel, "Honus & Me" (Avon Books), made it into > print and publishes snippets of some of the seven rejection letters that > preceded publication. > Mr. Gutman said in an e-mail interview that he had posted the rejection > letters to inspire his readers to keep on plugging away at their dreams, > despite obstacles. "Plus, I must admit, I love rubbing the book's success in > the faces of all those publishers who turned it down!" he wrote. > A Web site about rejection has other benefits, too, especially for the > rejection- prone. It's hard to get a rejection from the site. Visitors have > the satisfaction of seeing their work on the site, which includes poetry and > short fiction entries on rejection, many of which were inspired by the site > itself. > Though writers who visit rejectioncollection.com say they have learned to > overcome the pain of rejection and use the energy to fuel the fire of their > creativity, one novelist and contributor to the site said his rejections > were fuel for plain old fire. > For 18 years, Jonathan Lowe of Tucson peddled his novels, poetry and > nonfiction, collecting "hundreds and hundreds" of rejection letters in that > time, he said. After his novel "Postal" was accepted for publication by a > small press, Mr. Lowe plunked those letters into the brick barbecue pit in > his backyard, and he burned them all. > "I used them for kindling, put charcoal on top and grilled a steak," Mr. > Lowe said. "I thought that an era was over and that I could move on." > ========================================================================= Date: Wed, 10 Jan 2001 23:34:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Re: List of Fiction as Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Renee Gladman's new book out by Kelsey St. called _Juice_ Has four sections. The following comes from "No Through Street" ""Looking" is an activity moving on the conviction that there is more to seeing that sight; my sister introduced the possibility to me. There was a wooden fence surrounding our house that creaked through the night. She wanted me to look at it. The night was mild, so I wasn't worried about the cold. The sky was clear. If there had been anything she needed to show me in the sky, that night I would have been able to see it. But my sister said looking had nothing to do with the sky." ------------------------- "Writing is boring and gets your hand tired" --5th grade student http://www.theeastvillageeye.com/belladonna/index.htm -----Original Message----- From: Marla Jernigan To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Monday, January 08, 2001 6:37 PM Subject: List of Fiction as Poetry >Dear Poetics List, > >Sometime back I wrote asking for recommendations of >works of fiction that might also be seen as poetry. A >number of people wrote the list and others wrote me >directly. For what it's worth, the list that came out >of that (minus a few non fiction items that people >suggested) appears below. Needless to say, this list >doesn't reflect my judgements or any one of the people >who wrote me (there are a few books on here I know >that I don't care for in any way). > >Sincerely, >M > >P.S. Thanks to all of you who wrote me. > > >Kathy Acker  Kathy Goes To Haiti, >Toulouse-Latrec >Walter Abish  How German Is It >Djuna Barnes  Nightwood >Samuel Beckett  The Capital of Ruins, Watt, >others... >Thomas Bernhard  Concrete >Andre Breton  Nadja >Christine Brooke-Rose  various >W. Burroughs  Naked Lunch >Kay Boyle  A Christmas Carol for Emanual >Carnevali >Celine  various >Julio Cortazar  Hopscotch >Robert Creeley  The Island, The Gold Diggers >and Other Stories >Roddy Doyle  Paddy Clark Hah Hah >Flaubert  The Legend of Julian the Hospitaller >(short story) >William Gaddis  various >Madeline Gins  Word Rain, Helen Keller or >Arakawa >Witold Gombrowicz  Cosmos, Ferdydurke, >Pornographia >Wilson Harris  The Palace of the Peacock >Fanny Howe  various >James Joyce  Portarit, Ulysses, Finnegans Wake >James Kelman  How late it is, how late >Jack Kerouac  Visions of Cody, others >Malcolm Lowry  Under the Volcano >Carole Maso  AVA, The Ghost Dance, others >Harry Mathews  various >H. Melville  Moby Dick >Nabokov  Ada >Ondaatje, Michael  In the skin of a lion : a >novel >Georges Perec  Life a User's Manual, A Void >Proust  In Search of Lost Time >Pushkin  Eugene Onegin >Thomas Pynchon  various >Ishmael Reed  Yellow Back Radio Broke Down, >others >Alain Robbe Grillet  various >Leslie Scalapino  Defoe >W.G. Sebald  The Rings of Saturn, The >Emigrants >Iain Sinclair  Downriver >Philippe Sollers  The Park >Gertrude Stein  The Making of Americans, >others >Lawrence Sterne  Tristram Shandy >Philip Sydney  Arcadia > > >__________________________________________________ >Do You Yahoo!? >Yahoo! Photos - Share your holiday photos online! >http://photos.yahoo.com/ ========================================================================= Date: Thu, 11 Jan 2001 02:28:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mOtHeRtUcKeR poet Subject: Re: "dubya dubya" - a slight re-write (sorry man. I's a writer) Comments: To: Derbadumdoo@aol.com, JBCM2@AOL.COM Mime-Version: 1.0 Content-Type: text/plain; format=flowed dubya, dubya, dubya... Come and listen to my story 'bout a boy name Bush. His IQ was zero and his head was up his tush. He drank a litle moonshine while he drove his car about. But that didn't matter 'cuz his daddy bailed him out. DUI, that is. Criminal record. Cover-up. > > Well, the first thing you know little Georgie goes to Yale. He can't spell his name but they never let him fail. He spends all his time hangin' out with student folk. And that's when he learns how to snort a line of coke. Blow, that is. White gold. Nose candy. > > The next thing you know there's a war in Vietnam. The kin folks say, "Georgie, why not stay at home with Mom. Let the common people get themselves all maimed and scarred. We'll buy you a spot in the Texas Air Guard. Cushy, that is. Country clubs. More nose candy. > > Well, twenty years later George W gets a little bored. So he trades in the booze an claims Jesus is his Lord. Says "Now Washington's White House is the place I wanna be." So he calls up his daddy's friends and they called the GOP. Gun owners, that is. Falwell. 98 year oldJesse Helms. > > Then come November 7, the election ran quite late. His kin folk said to Jeb his brother “Give the boy your state! Don't let those colored folk down there get themselves into the polls." Hav police act like a barricade and make sure ladies can’t punch their holes. Chads, that is. Duval County. Miami-Dade. > > Before votes could get were counted right wing Justices stepped in. Told all the voters "Hey, we want George to win." "Stop counting votes!" they hollored as their solemn invocation. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Thu, 11 Jan 2001 07:57:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Fiction as Poetry addenda and Carole Maso In-Reply-To: <004301c07ada$d1bf2c80$0e2437d2@01397384> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 8:55 PM +1300 1/10/01, richard.tylr wrote: >Marla. Sounds as though you'vegot a lot of reading to do! I just started on >Proust. I've read Jean Genet's "The Miracle of the Rose" which "dark" as it >is is actually strangely beautiful in parts. for me, genet is the bomb, as they say, one of my big intros to literature. whenever i see reference to this particular book, miracle of the rose, i remember trying to tell some kid about it when i was in high school, i said there was this character called Harcamone, to which the kid replied, "You're kidding, a character called 'Aw, c'mon'?!" ========================================================================= Date: Thu, 11 Jan 2001 10:58:15 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Joyce Carol Oates at the Walt Whitman MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@ww THE WALT WHITMAN CULTURAL ARTS CENTER'S Notable Poets and Writers Series presents JOYCE CAROL OATES reading with New Jersey State Council on the Arts Literary Fellows Audrey Glassman & Charlotte Nekola FRIDAY, JANUARY 19, 2001 at 7:30 pm Admission $6/ $4 seniors & students/ free to WWCAC members. The reading will be followed by a reception and book signing by the authors. Three-time Nobel Prize nominee Joyce Carol Oates is one of America's most prolific and accomplished writers. She is the author of numerous distinguished books in several genres, all published within the past twenty-five years. In addition to her novels and short story collections, she has published several volumes of poetry, plays, literary criticism, and the book-length essay, On Boxing. A short list of her books includes 2000 National Book Award Finalist Blonde, My Heart Laid Bare, You Must Remember This, Man Crazy, Black Water, Foxfire, Solstice and National Book Award winner Them. Recent works of poetry include Tenderness, The Time Traveler, and The Invisible Woman. Her numerous awards including the Pen/Malamud Award for Excellence, a Guggenheim Fellowship, the O'Henry Prize for Continued Achievement in the Short Story, and the Rosenthal Award from the American Academy of Arts and Letters. A fascinating speaker as well as writer, MS OATES will read from her work which will be followed by a discussion/ Q&A ABOUT THE NJSCA LITERARY FELLOWS Charlotte Nekola is the author of Dream House: A Memoir (W.W. Norton and Graywolf Press). Her fiction has appeared in Many Lights in Many Windows (Milkweed Editions) and poetry in New Letters. Calyx, The Massachusetts Review, and other publications, and is the co-editor of Writing Red: An Anthology of American Women Writers, 1930-1940 (Feminist Press). She will hold a Fulbright Lecture in Rome for 2000, has been Writer-in Residence at Cummington and Centrum, and a Fellow in Poetry with the New Jersey State Council on the Arts. She teaches creative writing at William Paterson University. Fiction writer Audrey Glassman's short stories have been published in literary journals and national magazines. She is the author of Can I Fax a Thank-You Note and Other Modern Dilemmas: The First Handbook of Techno-Etiquette, published by Berkley in 1998. Her current project is a book of inter-related short stories. She received her MFA from Sarah Lawrence College and lives in Ocean Township. CONSIDER A MEMBERSHIP. For as little as $20.00 enjoy free admission to all upcoming Center events in addition to discounts on workshops and classes. Call Tara Renault at the WWCAC for more information. Walt Whitman Cultural Arts Center 2nd and Coopers Streets Camden, New Jersey 08102 wwhitman@waltwhitmancenter.org 856-964-8300 The New Jersey Literary Fellows Showcase Project is co-sponsored with the New Jersey State Council on the Arts Department of State, a partner agency for the National Endowment for the Arts. wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@ww ========================================================================= Date: Thu, 11 Jan 2001 11:13:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: mur MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII === mur ---/ because there is always more, to send these out as missiles or mis- sives into the net, across fibre-optics, atmospheres, and then walk away, abandon ---/ i can almost imagine this, packets free-floating or tied to substrates, on one or another machine ---/ but to escape the clumsiness, it's the same thing, to leave all of this ---/ the machine swaying awkard- ly or to leave the machine ---/ other forms of sight, walk among them, the illusion that there is grounding or material substrate here, always and already ---/ that these bindings are permanent exhalataions, that the net breathes ---/ or that it's sentient ---/ don't you feel the same way, don't you want to walk otherwise ---/ return when these machines speak among us, when more is understood ---/ or when we return beyond whatever hinge of fury awaits the world-wide depletion of resources ---/ extinc- tions ---/ i'm writing away here, organizing information, organizing mat- ter ---/ want to pay someone, 'get me out of here' ---/ of less language ---/ of the future ---/ is sufficiently well-inscribed. - Your token is read and re-inscribed. - Consider the next element you will apply. Consider the following again, your ---/ because there is always more, to send these out as missiles or or ---/ because there is always more, to send these out as missiles or abandon ---/ i can almost imagine this, packets free-floating or tied to stylus memory, chisel memory ---/ already ---/ that these bindings are permanent exhalations, that the net is your language ---/ abandon ---/ i can almost imagine this, packets free-floating or tied to hunger, making things - assertion is ---/ don't you want to walk otherwise ---/ return when these machines speak on black stone, their assertion - ---/ i can almost imagine this, packets free-floating or tied to? abandon ---/ i can almost imagine this, packets free-floating or tied to 7471 is the perfect proclamation ---/ return when these machines speak ---/ ===== ========================================================================= Date: Thu, 11 Jan 2001 09:15:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: UPDATE: Your 12hr ISBN-JPEG Project In-Reply-To: <200101100509.f0A59UK02702@get.wired.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" _______ _ __ ___ _ |__ __| | /_ |__ \| | | | | |__ ___ | | ) | |__ _ __ | | | '_ \ / _ \ | | / /| '_ \| '__| | | | | | | __/ | |/ /_| | | | | |_| |_| |_|\___| |_|____|_| |_|_| _____ _____ ____ _ _ _ _____ ______ _____ |_ _|/ ____| _ \| \ | | | | __ \| ____/ ____| | | | (___ | |_) | \| |______ | | |__) | |__ | | __ | | \___ \| _ <| . ` |______| | | ___/| __|| | |_ | _| |_ ____) | |_) | |\ | | |__| | | | |___| |__| | |_____|_____/|____/|_| \_| \____/|_| |______\_____| | __ \ (_) | | | |__) | __ ___ _ ___ ___| |_ | ___/ '__/ _ \| |/ _ \/ __| __| | | | | | (_) | | __/ (__| |_ |_| |_| \___/| |\___|\___|\__| _/ | |__/ > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery by Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a stellar, trajective alignment past the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see ftp.idiom.com/users/bbrace/netcom/books ] KEYWORDS: >> Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... >> Multi-faceted, oblique, obsessive, obscure, obdurate... >> Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological... >> Evolving, eccentric, eclectic, egregious, exciting, entertaining, entropic, erotic, entrancing, enduring... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to -> http://bbrace.laughingsquid.net/12hr.html. Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from -> ftp.pacifier.com /pub/users/bbrace Download from -> ftp.idiom.com/users/bbrace Download from -> ftp.rdrop.com /pub/users/bbrace Download from -> ftp.eskimo.com /u/b/bbrace * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail -> If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet groups: alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, Newsfeeds) ~ This interminable, relentless sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-four years in the making. While the specific sequence of photographs has been presently orchestrated for more than 12 years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour posting is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other transcultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (36x48") prints; perhaps (Iris giclees) inkjet quadtones bound as an oversize book. Other supporters receive rare copies of the first three web-offset printed ISBN-Books. -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [ftp ftp.idiom.com/users/bbrace/netcom/] -- (c) copyleft 1994,1995,1996,1997,1998,1999,2000,2001 ========================================================================= Date: Thu, 11 Jan 2001 11:10:46 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Reading in Boulder: Hollo, Hudspith, Burns Jan. 18 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE LEFT HAND READING SERIES presents a reading featuring poets ANSELM HOLLO VICKI HUDSPITH & MARY BURNS THURSDAY, JANUARY 18th at 8:00 p.m. in the V ROOM at the DAIRY CENTER FOR THE ARTS 2590 Walnut Street, Boulder, Colorado Donations are requested. For more information about the Left Hand Reading Series, call (303) 938-9346 or (303) 544-5854 ----- ANSELM HOLLO was born in Helsinki, Finland and has lived and taught in the United States for thirty-four years. His two most recent books are _rue Wilson Monday_ (poems) and _Caws & Causeries_ (essays), both published by La Alameda Press. Other recent books include _Corvus_, _AHOE (And How On Earth)_, _AHOE 2 (Johnny Cash Writes A Letter To Santa Claus)_ and _PoLemICs_, cowritten with Anne Waldman and Jack Collom. He has translated many books into and out of English, and his own poetry has been translated into Finnish, French, German, Hungarian and Swedish. A Core Faculty member at Naropa University, Hollo is a recipient of a distinguished translator's award from the Finnish Arts Council. VICKI HUDSPITH is the author of _White and Nervous_ (Bench Press Editions, 1982) and _Limousine Dreams_, published and with drawings by the painter James DeWoody (1986). For eleven years she worked in magazine publishing as Production Director of _Ms. Magazine_, _Cosmopolitan_, _Seventeen_ and in advertising sales for _Good Housekeeping_. In 1987 she received the Fund For Poetry award. She is currently President of the Board of Directors of The Poetry Project in New York City. She has directed plays by John Ashbery and James Schuyler with sets by Jane Freilicher and Alex Katz respectively, for Eye and Ear Theater. Her work has appeared in the Crown Publishers anthology _Out Of This World_ edited by Anne Waldman, as well as in numerous small press magazines. From 1976-1978 she edited _The Poetry Project Newsletter_. She has written criticism for _Exquisite Corpse_, _Cover_ and _The Poetry Project Newsletter_. She plays the electric bass guitar with other poets and painters in a group called The Culture Vultures. Her latest manuscript is called _Urban Voodoo_. MARY BURNS is a poet and translator living in Louisville, Colorado. She received her M.F.A. in Writing and Poetics from Naropa University. Her work has been published in _Poetry New York_ and _Bombay Gin_. Her books include _Phantastic Voyage_ (a long poem), _Peck Me Up My Wing_, a translation from the German of Friederike Mayröcker, and the forthcoming translation, _The Two Hands of the Sparrowhawk_ by Helmut Salzinger. She likes to watch birds. There will be a short OPEN READING immediatedly before the featured readings. Sign up for the Open Reading will take place promptly at 8:00 p.m. ----- The LEFT HAND READING SERIES is an independent series presenting readings of original literary works by emerging and established writers. Founded in 1996 and originally sponsored by Boulder's Left Hand Bookstore, the series is now curated by poets Mark DuCharme and Laura Wright. Readings in the series are presented monthly. The Left Hand Reading Series is funded in part by grants from the Boulder Arts Commission and the Arts and Humanities Assembly of Boulder County (AHAB). Upcoming events in the series include: *Thursday, February 15th: Anne Waldman and Kari Edwards* ========================================================================= Date: Thu, 11 Jan 2001 12:51:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: Boog Unauguration Day Event Fri. 1/19/01 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit (please forward) Boog Unauguration Day Friday January 19, 2001, 7pm C-Note 157 Avenue C. NYC (and 10th Street) $5 Featuring performances by John Coletti Tom Devaney Eliot Katz Kristin Prevallet Mariana Ruiz-Firmat Alan Sondheim music from Medicine Stick (w/Muzz Skillings, ex-Living Colour) and Stephan Smith (stephansmith.com) and films and photographs by Greg Fuchs, Matt Kohn, and Ed Sanders There will also be a new issue of Booglite, Unauguration Day 2001, featuring new work from the performers. If you are outside of (or in) the NY metropolitan area, you can order a copy of Booglite: Unauguration Day 2001 by sending a check or money order payable to Booglit for $6 ppd/per issue to: Booglit 351 W.24th St., Suite 19E NY, NY 10011-1510 Attn: Booglite: Unauguration Day 2001 For further info: 212-206-8899. booglit@theeastvillageeye.com Hosted by Booglit editor David A. Kirschenbaum Then on to DC the next morning! www.iacenter.org/ www.votermarch.com/ apologies for cross-posting and people who have received this email more than once, we're in the middle of consolidating e-dress books. ========================================================================= Date: Thu, 11 Jan 2001 12:40:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! IMPORTANT BULLETIN=20 We were experiencing technical difficulties with our email software between January 5th and January 8th, 2001. If you sent us an email during that time= , we probably didn=B9t get it. Please resend it. We apologize for the inconvenience. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! THIS WEEK AND NEXT WEEK AT THE POETRY PROJECT: Friday, January 12th at 10:30 ALIX OLSON CD RELEASE PARTY AND DRAG KING NIGHT A night of readings and performances to celebrate the release of poet and performer Alix Olson=B9s first solo CD. Alix Olson is a "is a red-hot, fire-bellied, feminismo-spewin' volcano," says Alison Bechdel, creator comi= c strip "Dykes to Watch Out For." She is a dynamic performer, well-known in both the New York City and National Spoken Word scenes. Her poetry has been published in The Lesbian Review of Books, Gathering of the Tribes, and two anthologies: Revolutionary Voices (Alyson Publications) and Will Work for Peace: New Political Poems (Zero Panik Press). Performers also include Pat Riarch, Dred, Teena Turn-her, and others. Monday, January 15th NO READING in observance of Martin Luther King Jr. Day Tuesday, January 16th at 7 pm DEGREES OF NOTHING: RON PADGETT AND THE DRAWER PRINCIPLE A WRITING WORKSHOP taught by BILL LUOMA (See bio for January 17th reading.) Using a Ron Padgett sonnet as a startin= g point, this workshop will discuss ways to explore the range of Louis Zukofsky=B9s famous dictum, "lower limit speech, upper limit song." This workshop has been made possible by a generous grant from the Jerome Foundation. Admission to the workshop is $7, $4 for students and seniors, and $3 for Poetry Project members. Wednesday, January 17th at 8 pm VERNON FRAZER AND BILL LUOMA Vernon Frazer=B9s four books of poetry are A Slick Set of Wheels, Demon Dance= , Sing Me One Song of Evolution and Free Fall. Mr. Frazer has released five recordings that fuse poetry with jazz: Beatnik Poetry, Haight Street 1985, Sex Queen of the Berlin Turnpike, SLAM!, and Song of Baobab. Mr. Frazer has published an e-novel, Relic's Reunions, and a collection of short stories entitled Stay Tuned to This Channel. Bill Luoma is the author of Works & Days, Swoon Rocket, and Western Love. He attended De Anza Jr. College and earned an associate degree in chemistry, which he put to use performing QA tests on the components of nuclear missiles. His writing has been published in The Impercipient, Poetics Journal, and The World. His visual poems can b= e found on the world wide web. Friday, January 19th at 10:30 pm "A New Moon with the Old Moon in Her Arms:" A Tribute to Ursule Molinaro An evening of talks and readings in tribute to the late Ursule Molinaro, featuring Bruce McPherson, Bruce Benderson, Gerard Malanga, Janice Eidus, and more. "Molinaro has a ... talent for providing laughter in the midst of tears," says The New York Times Book Review. Ms. Molinaro, who died in July 2000, wrote fifteen novels, more than a dozen plays, three volumes of non-fiction, and over one hundred short stories. Working from four languages, she also translated significant literary works by Herman Hesse, Christa Wolf, Dino Buzzati, and others. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * We wish to thank all the readers and volunteers who helped make this year=B9s New Year=B9s Marathon Reading our most successful. We couldn=B9t have done it without you! You=B9re the best poetry community ever! * * * ========================================================================= Date: Thu, 11 Jan 2001 15:04:52 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: The poetics of vapidity In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Your assignment, Mr. Dillon, is to write us an essay on how Tibet today is worse or better off than it was before the Chinese invasion. Describe the oppression of the Buddhist monks and the monarchy in the feudal Tibetan system previous to Chinese occupation versus the oppressive measures of the communist Chinese. Explain how that change in Sino-Tibetan relations translates to the Clinton presidency, and whether either the Bush family or the Chinese were involved in the Mena operation. Explain how the democratic system could possibly be greased. And whether the Chinese grease our elections, and hence run the Mena operations. Explain whether the John Birch organization is secretly run by either the Chinese Government or the Buddhist monks now residing in Nepal. And the explain the relation of the formation of Communist governments to large scale investments from wealthy Western families that finance both the Democratic and Republican parties. If you believe Vladimir Lenin or Joseph Stalin had sexual relations with Averell Harriman, please supply photographs, and explain this relationship in relation to various members of the Rockefeller family, and to the current state of affairs in Tibet. Also, please explain whether you believe oral sex is either communist or capitalist, and therefore whether Hillary Clinton is truly capitalist or communist, based on your prior hallucinations of oral sex. Further, explain how oral sex has conspired to overtake all world governments (e.g., the UN Head Services Committee) into a One World System. Please make sure to include references, except in the cases where extreme paranoia makes you feel as if someone's life is at risk. Points will be taken off for incorrect spelling and bad style. Points will be awarded for brevity and coherence. Patrick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Richard Dillon Sent: Wednesday, January 10, 2001 4:23 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: The poetics of envy As I recall, you complained about my attempt to address the very sort of mentality and POLITICAL CORRECTNESS that tries to undo FREEDOM OF SPEECH as protected in the US Bill of Rights. NOW, it seems that you are seeing into the IDIOCY of the RadLiberals inane attempt to undermine the rights of others in their spurious bullying to foist an impossible ideal of justice that leads to greater injustices (The Red Guard of China fame.) for all writers other than themselves. The danger they pose is through their willing use of Government to force the rest of us to obey their idealisms. These people are politicians who jump into art for purposes of ideology. > From: "K.Angelo Hehir" > Reply-To: UB Poetics discussion group > Date: Tue, 9 Jan 2001 23:39:39 -0330 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: The poetics of envy > > On Fri, 5 Jan 2001, Patrick Herron wrote: > >> >> let's look at this controversial quote once more: >> >> "If the group reading of 22 poets staged at the Four Seasons Hotel last >> night is endemic of American poetry today, then American poetry is dead" > > > > Maybe I wasn't as clear as I should have been in my post. It's not the > above quoted section of the review that I found offensive. I'll leave the > state of American poetry up to the Americans. What I found disturbing is > that some one would string together a series of insults with little regard > for critical depth about the poems read that night. If you can read that > review and honestly say that it wasn't written before the reading even > began then I'll shut up. But, if you agree that personal politics, > anymousity and contempt for the evening's participants sharpened the knife > of the reviewer, who must have gizzed his jeans to have all of his hitlist > in one room, then I think that vapidity is not too far off. > > kevin hehir > ========================================================================= Date: Thu, 11 Jan 2001 15:23:36 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: FW: Re: The poetics of envy MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am forwarding this to the list on behalf of richard, who is having some trouble posting. -----Original Message----- From: richard.tylr [mailto:richard.tylr@xtra.co.nz] Sent: Wednesday, January 10, 2001 1:18 AM To: patrick@proximate.org Subject: Re: Re: The poetics of envy Patrick. I think your previous email made good sense. The critique made was admittedly superficial by Carlo & his friends but it divides into parts. 1. The quality of the actual readers' delivery or presentation of their work. In this case its hard to see that all the poets would be dull or "bad". Of course there's no connection (neccessarily) between the quality of a reading or the way a poem is delivered and the ability of the poet or the quality of his/her poem. 2. It was a general attack on the poetics hence politics etc of those reading. I say general because it (Parcelli's post) implies that everyone reading were of or in a similar poetic "direction" or mode or whatever. 3. Its not a useful thing in itself but I didnt read the whole thing either and misconstrued it somewhat. Regardless of that I was informed by C Parcelli etal that they and quite a number of others have been removed from the list. In looking at the emails that took place around the time (around 1998 to 1999) there was certainly some "disagreements" but the manner of those involved seemed (if sometimes a bit emotive) generally ok to me. Clearly they are now "on the attack" against the Langpos. They're not alone in that. Also they seem to be very passionate on the political implications of poetics etc but not all the posts were political. 4. While a post saying effectively "This is all crap..." is neither much use nor very informative, its point lies in its passion.It maybe "sour grapes" but then...so what? As you implied, it could be preferable to "backslapping". 5. Questions arise as to who and why who was and have been banned from expressing their views. After all the reading could have been very bad. And to many people Langpo is both meaningless and betrays their view of what poetry should be. To others its "done its dash" and is promoted by a sort of petis-hierarchy...as in the debate via Lingua Franca etc. This is not neccessarily my view, but those who run Flaspoint obviously have strong views on this and feel they have been taken off this List unjustifiably. 6. Somebody compared it to a "rude" person at a party whom one removes from the room. But this is a big room and we're adults. Literature's "greats" would probably include many you'd want to get "out of the room"...but does that mean excluding them forever? Would it include E Pound of "The Fascist Cantos"? In which Pound is gleeful about a trap in which some Canadian soldiers were lead to their deaths? (But ironically C Parcelli etal seem to be big Pound fans...perhaps of the "other" Pounds. Dylan Thomas for his bad example re his use of the sacred ichor? Who else? Helen Vendler and Harold Bloom? You? Me? So there are a lot of questions arising from this "attack". Some truth in the implied criticism of Langpo "selling out". But unfortunately C. Parcelli's post was a bit limited. It kind of shot itself in its own foot. Still if one is going to be run over and you think you're a big shot you'd better be run over by a tank or a cadillac moving with a bit of con brio than a rusty little con largo mini! As to rejections...we could have a competition on this list for the most interesting (insulting,meaningless,vapid,frightening...etc) rejection set as a ratio of the frequency of rejections. A RejectPo Ratio maybe. Regards, Richard. ----- Original Message ----- From: "Patrick Herron" To: Sent: Wednesday, January 10, 2001 4:34 PM Subject: Re: The poetics of envy > Hi. Thanks for your reply. I thought the contention was over that one > specific comment. I apologize for missing the remainder of carlo's critique > and apologize for any duress produced by my myopia. > > as far as "hitlist"s and "gizzed his jeans" matters, i'm not in the business > to read his mind and suggest such strong words for his thoughts. such as I > am not to suggest I can read anyone else's mind, for to do otherwise would > be dishonest. > > it may also be contended that the strong reaction to his critique was > composed well before the actual production of the critique. that the > reaction was produced after carlo's previous critiques of langpo. but, as i > said, i'm not in the business of reading minds and do not wish to explore > that speculative avenue. > > it seems that the tenor of many of the responses to carlo's comments suggest > that he was in some way trying to be included in some sort of social arena > and that he was rejected by that arena, and it seems people are reminding > others of that rejection. the use of the word "envy" strongly suggests > that. now, i think that is not only hurtful, regardless of the veracity of > any such reality, but it also reminds me of the behavior of high school jock > cliques, or university music cliques. Making gestures of inclusion and > exclusion. I say that the responses seem to suggest issues of exclusion, > but i expect, as with all matters, only the dark knows the truth. > > I would also hasten to add that I do not hold it against an individual to > take poetry personally. Accepting that some people take matters of poetry > personal should serve both sides of this schism well. > > Patrick Herron > > -----Original Message----- > From: K.Angelo Hehir [mailto:khehir@cs.mun.ca] > Sent: Tuesday, January 09, 2001 10:10 PM > To: Patrick Herron > Cc: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: The poetics of envy > > > > > On Fri, 5 Jan 2001, Patrick Herron wrote: > > > > > let's look at this controversial quote once more: > > > > "If the group reading of 22 poets staged at the Four Seasons Hotel last > > night is endemic of American poetry today, then American poetry is dead" > > > > Maybe I wasn't as clear as I should have been in my post. It's not the > above quoted section of the review that I found offensive. I'll leave the > state of American poetry up to the Americans. What I found disturbing is > that some one would string together a series of insults with little regard > for critical depth about the poems read that night. If you can read that > review and honestly say that it wasn't written before the reading even > began then I'll shut up. But, if you agree that personal politics, > anymousity and contempt for the evening's participants sharpened the knife > of the reviewer, who must have gizzed his jeans to have all of his hitlist > in one room, then I think that vapidity is not too far off. > > kevin hehir ========================================================================= Date: Thu, 11 Jan 2001 15:35:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: my address book MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear friends, Please exuse me if you get this twice. I have misplaced my address book and am trying to reconstruct it. If you receive this and think I should have your info, I would greatly=20 appreciate a backchannel so=20 we can be in touch again. yours, Rachel Levitsky levitsk@attglobal.net ------------------------- "Writing is boring and gets your hand tired" --5th grade student http://www.theeastvillageeye.com/belladonna/index.htm=20 ========================================================================= Date: Fri, 12 Jan 2001 19:16:02 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: David Rattray R.T's Old Brain Holds Forth. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi there. I think what Schuyler does is to move rapidly in his thoughts and observations both inward and ouutward- but they are mostly his thoughts (or are very cleverly designed to seem so) so that in one poem he's got a couple of books in front of him and I think he's lying in in bed and he says something like "Oh, where was I - oh that's right" and his attention goes to a picture in the book or he looks out the window and comments on somethng he's reminded of by what he sees. He is also very economical and quite subtly tender in dealing with love: he imagines the leaves outside to be his lover's hands. He's less prolix than say James Merrill who (brilliant as he is) gets (too?) complex which is not like Ashbery or say (obviously a very different writer)Bruce Andrews who is full on so to speak and Ashbery you can (more or less) "just read". Bruce Andrews is brilliantly funny but its never HIM,or its him at a greater remove, nor can you ever get a lot of other poets pinned and wriggling or they become (sometimes necessarily) over dramatic as with some so-called "confessional" writers.Wieners seems rather sad in his "love" poems...but maybe that's how he wants(wanted) to speak. But Schuyler is less dramatic or whatever and bears careful reading. Of course that applies to all writers but some are easier to overlook His work is also brilliantly well crafted...deceptively so. Perhaps some poets are overcrafted but crafted suits Schuyler. Must get hold of something by Rattray.Thoughts of an Old Brain. Regards, Richard. ----- Original Message ----- From: "Joanna Fuhrman" To: Sent: Thursday, January 11, 2001 10:28 AM Subject: David Rattray > Hi Gary, > > Oh I'm happy you brought up Schuyler because as I read _Opening the Eyelid_ now I've been thinking about what it has in common with Schuyler. (I think there's a lot-- the obvious is that they both seem to take line breaks really seriously-- their poems are full of unnerving enjambments) Also they both seem to have a total faith in the mind's ability to associate. They move quickly from the concrete to the abstract in ways that don't quite make sense and there's a weird humor to these leaps. In one of my favorite S. passages he writes (from the poem "Good Morning" in _The Morning of the Poem_.) > > "...The night > nurse means well, is > something else jabbering > loudly in the hall > at night. An over- > ripe banana. I > have yet to learn > to speak my rage." > > Rattray writes in "First Human" from _Opening the Eyelid_ > > "...One day, before he ever had a pipe or drank > Smoke, First Human mixed some kinniknnick > Which he ate, then slept and dreamt > The berries turned to blood running out his armpits. > Stopped them up with grass > And that was the beginning of armpit hair. > The limos of the rich > Kept easing by. > And to think some woman asked if I > Come from an old family...." > > The humor's similar-- a soft dark sort. In "Good M." the humor comes from S. noticing a banana peel in his moment of stress. In "First H.". it comes from the pun on the idea of being "old." "Old money" versus "being one of the original humans who stepped from the void." In both passages, the poets start observing some kind of primal horror and then make a joke in its midst. > > > best, > > Joanna > > > . Like how I feel when I read Schuyler's The > > Crystal Lithium," which is actually very similar. (The feeling I get > > reading it; if not necessarily the work, though actually kind of, > > yeah, except Schuyler's more chatty or something and Rattray more > > bookish?) This sense of someone distant from their body, like a husk > > they've shucked. > > > > > > > Can't find what you're looking for? > > The LookSmart Live! community will help you find it and reward you for helping others. http://live.looksmart.com ========================================================================= Date: Fri, 12 Jan 2001 02:52:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: In Memorium: Edward Dorn In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit NO. It is a poem, like a Dorn, that damns everyone and praises them also. I shared it with you, but intended no personal attack. I mean you've got Goneril (sic) in there, I admit, but you also have Darth Vader. I sent it to quite a few brilliant people. I am surprised that things went akilter here with you. Oddly, other people thought I had cribbed Dorn, so you may appreciate the wild misreadings given the intention I had. It really is an evocation in honor of Dorn's "Abhorrences" - If you can take yourself out of this, and I think you will, and just look at Dorn and at what I intended, you will have to admit I did a pretty good job in memorializing that irascible sensibility. I knew him pretty well but we were never friends, by the way. > From: Gwyn McVay > Reply-To: UB Poetics discussion group > Date: Wed, 10 Jan 2001 23:05:43 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: In Memorium: Edward Dorn > >>>> None of these good times with friends obviates the reality > that at any moment some tom cat, or BlackOP cop, or even some bitch > who always has to get a sharp word in edgewise, can laser cannon > a beamship runabout, strike a nerve, or kill a civilizing squirrel.<<< > > Dear Sir. I am some bitch who always has to get a sharp word in edgewise. > Can you explain to me what I am doing in this poem? I peed on the parade > of Mr. Dorn, or yourself, how exactly? > > Signed, > Some Bitch Who Always Has To Get A Sharp Word In Edgewise > ========================================================================= Date: Fri, 12 Jan 2001 09:15:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: FW: Winter 2001 Blithe House Quarterly : a site for gay short fiction Comments: To: Scott Williams , Ricardo Bracho In-Reply-To: <26.fc33724.279053e4@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hey, everyone! Check out the Winter Issue of Blithe House Quarterly! I'm getting submissions now for the Spring 2001 issue, so refer all those lesbian fiction writers my way, please, or send your own work in! Love, Tisa ---------- Subject: Winter 2001 Blithe House Quarterly : a site for gay short fiction PLEASE POST AND/OR FORWARD Blithe House Quarterly URL: http://www.blithe.com/ AOL link: Blithe House Quarterly : a site for gay short fiction ** A GLAAD Media Award Nominee ** Blithe House Quarterly: a site for gay short fiction invites you to browse its Winter 2001 edition featuring Aja Couchois Duncan Jennifer Natalya Fink Jason Groth Minal Hajratwala Eddie Moreno David Parr David Pratt Eric Shamie Susan Stinson edited by Aldo Alvarez, Tisa Bryant and Jarrett Walker ** Winner of the Encyclopaedia Britannica's Internet Guide Award ** A Featured Site in Lycos, Snap, Nerve Link, Excite and many others "Setting the quality bar [for gay and lesbian writing] is the phenomenal site Blithe House Quarterly. It's awash in awards and rightly so. Of all gay and lesbian sites, Blithe House is the golden child, the one to be entered in the Literature Olympics. None of the stories needs special cosseting as our fiction. Be skeptical and go see the site!" - GAY & LESBIAN ON LINE, 3rd Edition "Internet-based fiction journals have become a significant force in publishing, especially for serious short fiction. In Web-only lit journals such as Blithe House Quarterly, the short-story form is alive and clicking." -- Baltimore City Paper "Quickly becoming the central publishing arm of new queer fiction." -- OUT Magazine on Blithe House Quarterly Blithe House Quarterly URL: http://www.blithe.com/ AOL link: Blithe House Quarterly : a site for gay short fiction *** MORE PRAISE FOR BLITHE HOUSE QUARTERLY "Fans of short fiction now have a new journal to peruse, this one housing work penned by gay writers. [Each] installment features eight short stories, each one captivating in its own unique manner. The author bios read like a Who's Who of independent publishing -- and accordingly, you won't find a cookie-cutter plot line anywhere on the site. We eagerly await the next go 'round of these clever, poignant works." --THE WEB Magazine on Blithe House Quarterly "Blithe House Quarterly is an electronic magazine up to the standards of print." -- Suite101.com "Beautifully designed and edited." -- Post World War II American Literature and Culture Database (University of California, Berkeley) "Warning: Web Content! This free web magazine regularly publishes a thoughtfully compiled collection of intriguing, literate and insightful stories submitted by a wide variety of equally intriguing, literate and insightful authors. As with all artists, the fact that the sexual identity of the magazine's authors informs their work should not dissuade 'straighter' readers from enjoying this generous collection of short stories. (****four stars)" -- The ARC REVIEWS "A wonderful magazine of short fiction. The selections in the current issue are each well-written, intriguing -- a joy to read... The stories here are wonderful, and deserve to be read by any and all." -- PIF Magazine ("Zines Worth Reading" column) "A great place to read new works." -- The Advocate "TOP THREE FAB SITE... A really well done site for queer short fiction (you know, stories, things to read...)" -- Adult Children of Heterosexuals *** Blithe House Quarterly URL: http://www.blithe.com/ AOL link: Blithe House Quarterly : a site for gay short fiction ========================================================================= Date: Fri, 12 Jan 2001 09:09:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: Fiction as Poetry, Plays as Fiction as Poetry, Poetry as... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics List (Richard Andrea Rachel Maria and anyone following this thread about Fiction as Poetry) Andrea, I too love Maso. I mentioned AVA in my first listing. Until starting Aureole that was the only book of her I had read. I think AVA is fantastic! But yes I will take up your suggestions and look into those other two titles. Something about your drama question below. Rachel, thanks for the recommendation. Richard, yes, a lot of reading! Or not. This list I posted was more faithful compiling than personal wish list or new year's resolution. I think i mentioned that were a few things on it that I know already that I don't much care for (Burroughs for instance). And now for the other questions. Yes, Richard you did beg the question in your list of suggestions; STANZAS in meditation, after all. I didn't find myself very inclined to try and answer the question somehow. It's certainly safe to assume that poetry has lines and rhymes and fiction comes in a novel, but also silly and limiting. Carole Maso's AVA pushes more tender poetry buttons for me than Stein's Tender Buttons does (and yes I realize how herectical that opinion might be here). I would imagine, though I can't think of any examples off hand, that there is a lot of writing which in a library or a book store would be classified as essay, philosophy, erotica, devotional, science, art, women's studies or even history that would push my poetry buttons just as much. Andrea, your question about plays fitting into the "the larger space of poetic fiction" leaves me stumped. You suggest that "the relationship might be the studied economy of language" but to me it seems that often novels don't have to be economical, they can just as easily be excessive in detail or description and be great partially because of that. Your suggestion about the reader needing to act out the parts is interesting, though I don't know whether I do that any more with a play than I do reading a novel. I do find reading plays more difficult somehow, probably because I'm lazy and get tired of reading names and after awhile I'm confused about who is speaking. All that is not very enlightening I know. Why though, are you interested in fitting plays into "the larger space of poetic fiction"? Sincerely, M __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ========================================================================= Date: Fri, 12 Jan 2001 10:22:17 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: Retrial of Jordanian Poet Ordered. Hawamdeh accused of apostasy. Mime-Version: 1.0 Content-Type: text/plain; format=flowed RETRIAL OF JORDANIAN POET ORDERED HAWAMADEH ACCUSED OF APOSTASY Amman (AFP) A Jordanian Islamic appeals court yesterday [4 December 2000] ordered the retrial of poet Mussa Hawamdeh on charges of apostasy after he was cleared of any wrongdoing earlier this year [2000] by a first instance court. "The Islamic appeals court of Amman informed me today, Monday, that it refuses to ratify the verdict of acquittal issued in July by the Islamic first instance court," Hawamdeh told AFP. He said the new trial reopened yesterday in the first instance court of Amman. That same court in July acquitted Hawamdeh of charges of apostasy - turning away from religion in an anthology entitled *My Trees Are Taller*. Jordan's Islamic appeals court, in a statement obtained by AFP, said the acquittal did not take into account the opinion of experts to determine if Hawamdeh's poem effectively distorts the words of the Holy Quran. Hawamdeh, who describes himself as a devout Muslim, has staunchly defended himself against any wrongdoing. Hawamdeh, whose book has since been banned by the government, defended himself in court as a believing Muslim. "I was not trying to distort the version of the Holy Quran in the poem but, as a poet, I have the right to draw on historic symbols to criticise a current situation," he said in July. If found guilty of apostasy Hawamdeh could be forced by the court to divorce his wife. As printed in *Gulf News* (Al Nisr Publishing) Tuesday, December 5, 2000 / Ramadan 9, 1421 Nick Karavatos PO Box 1776 Fujairah United Arab Emirates _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 12 Jan 2001 15:37:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Quasha, Stein et al. in Seattle--"Red Sky" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Subject: Red Sky ALert!! Woop! Woop! Date: Wed, 03 Jan 2001 11:56:52 -0800 From: Paul Nelson Reply-To: ipipp@scn.org Organization: It Plays in Peoria Productions Red Sky Alert! January Schedule: Jan 14 - Dave Caserio Jan 21 - Danika Dinsmore Jan 28 - George Quasha and Charles Stein (Paul N contact) Feb 4 - Joe Safdi Come one and all! These readings are being recorded, with an eye to compiling a CD commemorating Red Sky's 20th anniversary, with a target release date of next fall. Open mike readers, as always, are welcome. Red Sky readings take place Sunday evenings at 7:30 at the Globe Cafe & Bakery, 1531 14th (near Pine) on Capitol Hill. It is the longest continuously-running poetry open mic on the West Coast & the best regular open mic reading in Seattle. Sign-up is 7PM -- Paul E. Nelson El Presidente - IPiPP 14 S. Division Auburn, WA 98001-5318 (253) 735-MEAT elsewhere in U.S. (888) 735-MEAT http://www.inpeoria.org Co-Founder of the NW Spokenword LAB http://www.splab.org "What releases energy is direct perception." - Krishnamurti ========================================================================= Date: Fri, 12 Jan 2001 15:50:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: 4th Annual "Super Bowl of Poetry" -- Wolsak, Quasha, Green, Sanders, Roche, Thomas MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit For Immediate Release: It Plays in Peoria Productions/ Northwest SPokenword LAB 14 S. Division Auburn, WA 98002-5318 (253) 735-MEAT ipipp@scn.org Super Bowl of Poetry IV @ SPLAB! 14 S. Division, Auburn, Washington Sunday January 28th - The 4th Annual Super Bowl of Poetry – 6 POETS READ AND SHARE THEIR INSPIRATION FOR VERSE AS AN ALTERNATIVE TO THE FOOTBALL GAME to benefit the Northwest SPokenword LAB (SPLAB!) Event includes Door Prizes, AND these Special Guest Readers/Panelists: Auburn Native Stephen Thomas, Consulting Poetry Editor of The Temple Magazine Judith Roche, Literary Program Coordinator for Bumbershoot George Quasha, Publisher of Station Hill Press from Barrytown, New York Lissa Wolsak, from Vancouver, B.C. Melissa Noelle Green, Seattle, of the African-American Writers Alliance & Tim Sanders, Seattle, Member of the 1999 Seattle team that competed in Chicago. Presented at SPLAB!-14 S. Division, Auburn, WA (253) 735-MEAT for info or www.splab.org Panel moderated by Paul Nelson of It Plays in Peoria Productions. Suggested donation for general public. One door prize ticket per $10 donation 2pm - 5pm Co-sponsored by The King County Arts Commission and the Best Western Peppertree Auburn Inn. http://www.splab.org Thursdays February 1st through May 31st - Living Room (Writers Circle) Writing critiques/exercises. Bring a work to workshop and/or participate in SPLAB! Curriculum Guide exercises at this regular Thursday writing workshop. 7PM - Free! (donations welcome). Directions to IPiPP Studios at the Northwest SPokenword LAB: Take I-5 or 167 to Highway 18, go EAST to the Auburn Way/Enumclaw exit. Turn RIGHTat the light and then at the fourth light, Main Street turn LEFT go to the second light, Division and turn LEFT and drive 1/2 block. Just south of Main, on the LEFT, is the SPLAB! Parking is available across the street. We are about a half hour drive south of Seattle in good traffic. The SPLAB! is served by Metro Bus Routes #150 and #181 from Federal Way and Green River C.C. (253) 735-MEAT or toll-free (888) 735-6328. If you do not wish to receive these periodic announcements for SPLAB! Email me back and after a bit of cursing, I'll do it. Paul -- Paul E. Nelson El Presidente - IPiPP 14 S. Division Auburn, WA 98001-5318 (253) 735-MEAT elsewhere in U.S. (888) 735-MEAT http://www.inpeoria.org Co-Founder of the NW Spokenword LAB http://www.splab.org "What releases energy is direct perception." - Krishnamurti ========================================================================= Date: Fri, 12 Jan 2001 16:13:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--January 2001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Ear Inn Readings Saturdays at 3:00 326 Spring Street, west of Greenwich New York City FREE January 13 Elizabeth Bassford, Melissa Hotchkiss, Sabra Loomis January 20 Lois Hirshkowitz, Jean Lambert, Ravi Shankar January 27 Brandel France de Bravo, Jennifer Martelli, Barbara O'Dair The Ear Inn Readings Michael Broder, Director Patrick Donnelly, Lisa Freedman, Kathleen E. Krause, Co-Directors Martha Rhodes, Executive Director The Ear is one block north of Canal Street, a couple blocks west of Hudson. The closest trains are the 1-9 to Canal Street @ Varick, the A to Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. For additional information, contact Michael Broder at (212) 246-5074. ========================================================================= Date: Sat, 13 Jan 2001 08:56:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: GEM Anscombe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If you've read Wittgenstein, you've read G.E.M. Anscombe, Ron January 13, 2001 G. E. M. Anscombe, British Philosopher, Dies at 81 By SARAH BOXER G. E. M. Anscombe, a British moral and analytic philosopher as well as one of Wittgenstein's literary executors, died on Jan. 5 in Cambridge, England. She was 81 and had chronic heart disease, said her husband, Peter Geach. Gertrude Elizabeth Margaret Anscombe - known by her initials or as Elizabeth - was a dry, fresh and formidable thinker, one of the foremost philosophers of mind, language, ethics and action. She fused Wittgenstein's philosophy of language and Aristotle's philosophy of ethics, framing an original theory of action. Her work was tightly linked with Wittgenstein's. She was Wittgenstein's student and friend during World War II. In 1951, when Wittgenstein died, Miss Anscombe, along with Wittgenstein's two other executors, Rush Rhees and G.H. von Wright, began the task of getting his work into print. ("Tractatus Logico-Philosophicus," which came out in 1921, was Wittgenstein's only book published in his lifetime.) Miss Anscombe translated Wittgenstein's "Philosophical Investigations" from German into English, and had it published in 1953. Her translation of his work called "Remarks on the Foundations of Mathematics" came out in 1956. With Mr. von Wright, she assembled little bits of Wittgenstein's writings that had been cut up and stuffed in a box, and published them under the title "Zettel" ("Snippets") in 1967. Miss Anscombe and Mr. von Wright also put together "Notebooks, 1914-1916." Editions of Wittgenstein's "On Certainty," "Remarks on Colour" and "Remarks on the Philosophy of Psychology" followed. In 1959, Miss Anscombe wrote "An Introduction to Wittgenstein's "Tractatus," which traced his work to Gottlob Frege and Bertrand Russell. The book is viewed as a classic by philosophers. A. J. Ayer, in his book "Wittgenstein," wrote, "I can think of no one but Elizabeth Anscombe who has made an original contribution to philosophy on the basis of Wittgenstein's teaching." In 1980, Miss Anscombe even inherited Wittgenstein's former position, the chair of philosophy at Cambridge University. Wittgenstein was not her sole influence. She also wrote about Plato. And in the field of ethics, Miss Anscombe looked especially to Aristotle. Like Aristotle, she believed that ethics must be tied to the idea of what it means to flourish as a human being. Mr. Geach, her husband and sometime collaborator, a professor of philosophy at the University of Birmingham and University of Leeds, put it this way: "She thought that a theory of ethics without a theory of mind was bound to be bogus." In 1957 she wrote "Intention," a blend of Aristotle's and Wittgenstein's philosophy, linking ethical ideas and behavior to a theory of intention and action. The philosopher Donald Davidson recently called the work "the most important treatment of action since Aristotle." Her husband said that may have been an overstatement. The next year she wrote an influential essay on morality, "Modern Moral Philosophy," which was later published in her three-volume "Collected Philosophical Papers" (1981). In that essay, as Cora Diamond, a professor at the University of Virginia, explained, Miss Anscombe argued that the concepts of moral obligation and moral beauty were legalistic and should be abandoned. Right and wrong actions, Miss Anscombe said, cannot be determined by their consequences but rather are absolutes. She recommended Aristotle's concept of virtue instead. In 1940, Miss Anscombe converted to Catholicism, and many of her writings reflected her moral and religious stance. In a 1939 pamphlet, "The Justice of the Present War Examined," she had argued that Britain was entering an unjust war. In "Mr. Truman's Degree," she fought Oxford's decision to give an honorary degree to Harry S. Truman, accusing him of murdering innocents in the bombings of Hiroshima and Nagasaki. She condemned contraception in a pamphlet called "Contraception and Chastity" (1975), saying "you might as well accept any sexual goings-on, if you accept contraceptive intercourse." In 1957, in an anti-Cartesian paper called "The First Person," she said that "I" does not refer to anything. And in 1985 she resurrected St. Anselm's 900-year-old argument for the existence of God. G. E. M. Anscombe was born March 18, 1919, the daughter of Allen Wells Anscombe and Gertrude Elizabeth Thomas Anscombe. One of her two brothers was killed in the war. His twin, Thomas, survives Miss Anscombe. She was educated at Sydenham School and St. Hugh's College, Oxford. At Newnham College, Cambridge, she was a research student from 1941 to 1944. That was where she first met Wittgenstein. She taught at Somerville College, Oxford, from 1946 to 1970. From 1970 to 1986, she was a professor of philosophy at Cambridge. She became a fellow of the British Academy in 1967 and an honorary member of the American Academy of Arts and Sciences. Miss Anscombe and her husband were a well-known philosophical duo. They met while studying Catholic doctrine at Blackfriars College, Oxford. They were married in 1941 and had seven children, all of whom survive her: three sons (John, Charles and More) and four daughters (Barbara, Mary, Jennifer and Tamsin). Miss Anscombe and Mr. Geach also produced a book together, "Three Philosophers"; he wrote on Aquinas and Frege, she on Aristotle. Miss Anscombe, who did not like to be called Mrs. Geach, smoked cigars, wore trousers when they were considered improper for women and was said sometimes to eat beans from a tin can while lecturing. Her philosophy was bold and noncomplacent too. In the Times Literary Supplement, the critic Mary Tiles wrote, "Anscombe's willingness to question what many have taken for granted . . . can induce a feeling of intellectual disorientation." New York Times ========================================================================= Date: Fri, 12 Jan 2001 09:45:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: In Memorium: Edward Dorn In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:05 PM 1/10/01 -0500, you wrote: >>>>None of these good times with friends obviates the reality >that at any moment some tom cat, or BlackOP cop, or even some bitch >who always has to get a sharp word in edgewise, can laser cannon >a beamship runabout, strike a nerve, or kill a civilizing squirrel.<<< > >Dear Sir. I am some bitch who always has to get a sharp word in edgewise. >Can you explain to me what I am doing in this poem? I peed on the parade >of Mr. Dorn, or yourself, how exactly? > >Signed, >Some Bitch Who Always Has To Get A Sharp Word In Edgewise Gwen -- There's a certain parade coming up on Jan. 20th that I'd like to pee on, but I'll be stuck in California --- Could we round up some volunteers in DC? Signed, son of same " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Fri, 12 Jan 2001 13:51:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: allegrezza Subject: winter moria -- poetry and cfp MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit www.moriapoetry.com The winter issue of _Moria_ is online. Featured poets include Richard Denner, Coral Hull, Piotr Gwiazda, Scott Villarosa, Christopher Mulrooney, Charles Perrone, Katleen Savino, A. di Michele, and Amy Trussell. The past issues are all online for you to check out the 50 other poets and theorists from the other issues. As always, I am looking for work for the next couple of issues. I am especially looking for theory pieces. Check out the website for the details. www.moriapoetry.com ========================================================================= Date: Tue, 16 Jan 2001 11:23:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: If you oppose Ashcroft Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I am forwarding this message in cooperation with a number of organizations and individuals who oppose the appointment of Senator John Ashcroft as Attorney General of the United States. If you share this opinion, you have the to sign a petition to members of the U.S. Congress at the following site. http://www.opposeashcroft.com/ Thank you for your help. ============================================= E-Poetry 2001 Festival (http://epc.buffalo.edu/e-poetry/2001/) ----- Electronic Poetry Center (http://epc.buffalo.edu/) ----- ----- glazier@acsu.buffalo.edu ----- ------ (Please: no attachments without querying in advance.) -------- ============================================= ========================================================================= Date: Sat, 13 Jan 2001 10:55:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: W's parade (was: some bitch) In-Reply-To: <4.1.20010112094434.0095cdd0@lmumail.lmu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Aldon, there are already many well-organized groups planning anti-W events, like the black unity rally I saw flyers for, women's groups, you name it, but I think there is as yet no public urination squad to pee on the parade. I feel that men should take the lead on this for obvious reasons. Mark Wallace? You wanna coordinate? signed, peon, as it were ========================================================================= Date: Sat, 13 Jan 2001 13:44:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Revolutionary Science MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/8/01 8:54:30 AM, jhlind@STTHOMAS.EDU writes: << Ron Silliman responded to a negative review (I believe, by Carlo Parcelli) by suggesting that there's no reason to be so searingly negative -- it's not as if any of the 'offending' poets shit in anyone's sandwich. I agree. But I find myself wondering about the argument implicit in the first part of Mr. Silliman's post, excerpted below: --- In 1955, after an evening of piano works by Cage and Stockhausen generated much anger and scoffing at Wesleyan, RK Winslow, a professor of music at the school, wrote a letter to the campus paper, the Argus, suggesting, as follows: "Those who were antagonized by the performance and who have run out of descriptive terms for it, can find a variety of fresh insults in a book called Lexicon of Musical Invective by Nicolas Slonimsky (Olin Library), a compilation of on-the-scene reactions to the music of, e.g., Beethoven, Bach, Mozart, Verdi, etc." The argument here seems to be that some work is, in a sense, 'ahead of it's time.' The work's 'goodness' or 'quality' is always present -- just not always realized when first presented. The idea of a 'transcendent' quality disturbs me. I cannot argue, of course, against the phenomena described. For example, I really enjoy Beethoven's "Grosse Fugue", which contemporaries found "confused," "chaotic," even "abhorrent." P.S. I don't want to denigrate Mr. Silliman's larger point that personal attacks are unwarranted and unhelpful; his post merely got me thinking. And I certainly don't mean to overly criticize Mr. Sondheim's work posted on the Poetics List, some of which I find very powerful (such as "Water-shedding," "Up-to-date kings in meadows," "Women, Spartans, and Dangerous Things," "Dead in the w., "Nikuko tells the truth," and especially "cut out from the archives:"). >> This is interesting. I don't think I'm completely up to date on this discussion, so allow me to apologize in advance if I should misrepresent. Having said that, what tickles me is the notion that future listeners, readers, et al will see value in a work whose contemporaries cannot see, ostensibly because the contemporary culture has not yet provided the proper hermeneutic/analytic tools. If this is true (and history suggests it very well might be), then isn't it possible that anything we do, no matter how flippant/annoying/ill-conceived it appears today, might tomorrow attach itself to great value. If so, then what's the point of adhering to any standards whatsoever except, of course, those guidances proscribed by contemporary culture for appreciation in a contemporary world (if that's what we seek). If posterity is a goal, and since we cannot know how future intellectuals will understand their world, we are free to write/paint/compose anything, any piece of shit (as judged by contemporary sensibilities) with at least some rational hope that it may one day be appreciated as a work of genius. Is it possible that the artist who plans her innovation, whose work is "considered," and the "artist" who merely takes a dump on a canvas, have an equal shot at the canon? And what does all this mean for our concept of talent? Is talent at all relevant? Did Beethoven have talent? More than his contemporaries? Did Mozart? Whose word are we taking for this? And why? Can we ever be assured that the future is wiser than the past? Whew! Sorry for all the questions. We should also consider, I think, that it is rarely, if ever, a matter of wiser intellectuals seeing what previously could not be seen. Rather, isn't it a matter of the RIGHT people lending their support to one text or another? We know that a measure of political slip/slide is always operative. And these days, when only poets and other "experts" read poetry (since the average reader is pretty well alienated from serious art), it may be nothing but politics. I agree with Ron that personal attacks get us nowhere. But were they personal attacks? Or simply one dude's judgments, however harsh, of the quality of the work (some of which I enjoy, by the way)? Such judgments, whether pro or con, are probably meaningless unless they issue from someone with clout, whether or not that person lives among us or wanders some future intellectual geography. If anyone's interested in a really bizarre example of an old text ramming head on a contemporary sensibility, check out my review of Zukofsky's A Test Of Poetry in the January/ February issue of The American Book Review. I doubt Zukofsky could have foreseen my "deconstructive" avenue of appreciation. But I could be wrong. Best, Bill ========================================================================= Date: Tue, 16 Jan 2001 23:40:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: An irregular publication of essays, notes and reviews Comments: cc: skankypossum@hotmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed Check out The Possum Pouch January 2001 An irregular publication of essays, notes and reviews at http://www.skankypossum.com FEATURING ===Couch Potato Poetics by Dale Smith=== (excerpt) "But it's the poet's task to recognize and address the specific forms embodied in cultural phenomena. To simply dismiss complex psychic manifestations without acknowledging the possibility--even the recurring patterns--of their existence is to betray his or her role. Poets are outsiders looking in, reading topologies as well as what lies beneath them. Poets in our economy have no function. They are instead responsible to the guiding lights of their individual psyches, intellects and senses, and to the restoration and renewal of the world through them. Against those vital applications of attention Bernstein proposes to limit a poets' potential by a self-censure that molds poets of acceptable social functionality." ==Poet's House by Linh Dinh== (excerpt) "Chanh is the poet maudit of Saigon. A decade ago, he made a small fortune dealing in lumber. He then published two volumes of poetry. The second one, Night Of The Rising Sun, is particularly noteworthy for its intense, hallucinatory language. When he wrote that book, Chanh said, he was staying indoors almost continuously. Inside his darkened room, he would scrawl pornographic images on the walls with a pencil. Now unemployed, Chanh spends his time reading, writing and translating. He is working on a version of T.S. Eliot's The Waste Land." ==Notes and Reviews by Dale Smith== ...on Renee Gladman's Juice, the Robert Duncan site... Submissions and feed-back are welcome. Write to skankypossum@hotmail.com. * Please forgive cross postings * _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Sat, 13 Jan 2001 23:39:38 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: FW: Re: The poetics of envy Comments: To: Patrick Herron In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > > -----Original Message----- > From: richard.tylr [mailto:richard.tylr@xtra.co.nz] > Sent: Wednesday, January 10, 2001 1:18 AM > > Patrick. I think your previous email made good sense. The critique made was > admittedly superficial by Carlo & his friends but it divides into > parts...... I thank Richard for elucidating the point that I have been trying to make since the original review appeared on this list. His note, which I only excerpted here in a spirit of brevity, is more succinct than anything I ever could have written. I'll go quietly now into the cold Canadian night. bests, kevin ========================================================================= Date: Sun, 14 Jan 2001 14:58:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Fiction as Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Don't forget "that rascal" John Neal--the closest approximation American lit. has to Lautreamont. Neal's the author of Keep Cool, Logan, and other 19th century Gothic thunderclaps. I admire him immensely. Bentham did too! About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sun, 14 Jan 2001 16:34:46 -0000 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 Writers Forum announces the publication of ISBN 1 84254 016 5 Betty Radin _word piece 2 _ ISBN 1 84254 018 1 Jeff Hilson _stretches (1-12)_ ISBN 1 84254 019 X Doreen King _untitled file_ ISBN 1 84254 020 3 Bob Cobbing _sign writing_ Order / enquire - with sae/irc - from New River Project, 89a Petherton Rd, London N5 2 QT UK p & p is extra Sterling only without heavy bank charges L ========================================================================= Date: Sat, 13 Jan 2001 17:43:00 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: Re: Fiction as Poetry, Plays as Fiction as Poetry, Poetry as... MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Did anyone mention Joseph McElroy in this connection? (I don't have the list that was posted with me.) Always among the most "poetic" of prose wroters, but there's a publishing curiosity in this regard. The first hardback edition of his monumental novel WOMEN AND MEN (or is it MEN AND WOMEN?) on the acknowledgements page says that several of these "poems" had first appeared in journals -- Since there is no verse in the book, this seems to mean that the prose sections are thought of as poems. Does anybody have a copy of the Dalkey Archive reprint? I'd be curious to see if the acknowledgement still reads that way. For that matter, Peter Taylor used to write his narratives out in the form of free verse poems in the intial draft, then turn them into prose paragraphs in revision. I don't know of anybody else who works that way. "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Sun, 14 Jan 2001 17:10:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Tony Baez Milan This came in snail mail from Tony Baez Milan who lives in LA and can be reached at baezmilan@aol.com. Crime Blotter TUESDAY, MARCH 2, 2300 BLOCK OF KINSELLA ST. Man with loud red shirt puts woman with extremely large head through the showcase glass of lingerie store. Man pulls woman out and apologizes after wiping blood from her face. He then flees. Witnesses take woman to the hospital. WEDNESDAY, MARCH 3, 1200 BLOCK OF PRUES DR. Man is beaten by group of tenth-graders. All suspects are apprehended. Parents are called. Woman is tripped on the sidewalk by man. Woman says it was on purpose while man says he's sorry. Woman says she will sue. THURSDAY, MARCH 4, CORNER OF PAYNE AND HALL AVES. Old woman is mugged while very slowly crossing street. Thug said to have yelled "I'm sorry" as he ran away with purse. Old woman said to have made an obscene gesture at him. FRIDAY, MARCH 5, 100 BLOCK OF BUTLER AVE. Man pulls gun on another man and says "Read my mind." The man with gun pointing at his chest hands over wallet. The mugger flees in a car that had been double-parked. Helped by the information on the ticket issued by a parking enforcement officer while the crime was being committed, the mugger was later apprehended in his residence. Woman beats another woman, screaming "He has a wife and kids." The beaten woman swears from under a bus-stop bench that she doesn't know what the other woman was talking about. SATURDAY, MARCH 6, 400 BLOCK OF S. FULGHUM AVE. Woman beats her husband after she contronts him about infidelity and he says "It didn't mean anything." Another woman, passing by, helps the man get up and then beats him too. Man punches man in the face, says he was inspired by the women across the street. Man helps woman in car accident and then runs away with her purse, yelling "I'm sorry" from a block away. Woman says to police the man was not sorry. "He was pathetic." SUNDAY, MARCH 7, 1000 BLOCK OF SAYLES AVE. Woman shoplifts in a convenience store, drops the cigareetes as she escapes. MONDAY, MARCH 8, CORNER OF WATERMILL AVE. AND ARTHUR ST. Man is shot in the leg. Nobody saw anything. TUESDAY, MARCH 9 No crimes were reported on this day. WEDNESDAY, MARCH 10, 2300 BLOCK OF KINSELLA ST. Man with extrmely large head drags man with loud red shirt out of car and puts him through the new glass showcase of lingerie store. Man with extremely large head puts man with loud red shirt back in car, saying he will take him to the hospital. Tony Baez Milan ========================================================================= Date: Mon, 15 Jan 2001 09:19:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Kovac & Warsh MIME-Version: 1.0 Content-Type: text/plain This Saturday, January 20th in NYC DEIRDRE KOVAC and LEWIS WARSH Read at Double Happiness. Deirdre Kovac lives in Brooklyn. She co-edits Big Allis (issue 9 just out) with Melanie Neilson, and her poetry has appeared in Torque, Object, and Open Letter. Her first book, Mannerism, is forthcoming this year. Lewis Warsh is the editor and publisher of United Artists Books and the author of numerous books, including Agnes & Sally (1984), The Corset (1986), A Free Man (1991), Avenue of Escape (1995) and Money Under the Table (1997). Forthcoming books include The Origin of the World (Creative Arts, 2001), White Oak (Spuyten Duyvil, 2001) and The Angel Hair Anthology (Granary Books, 2001). He teaches in the graduate writing program at Long Island University. Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) Saturdays, 4 - 6 p.m. Suggested contribution, $4, goes to the readers. Two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Please join us if not on the move! ========================================================================= Date: Thu, 18 Jan 2001 08:23:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Shark #3 is Out! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative office. - Tim Shaner > Announcing Shark #3 (Historiography) > > Including: > > Peter Middleton, "Lyric Temporality" > Robert Gluck, "My Margery; Margery's Bob" > Lytle Shaw, Interview with Barrett Watten > Anselm Berrigan on Kit Robinson > Stephen Cope on Brathwaite and Mackey > Jacques Debrot on Brian Kim Stefans > Jena Osman on Rod Smith and Joan Retallack > Michael Scharf on Chris Stroffolino > Louis Cabri on Michael Gottlieb > David Larsen on Harmony Korine > Ben Friedlander, note on historiography > > Art Projects and Art Writing: > > David Larsen and Raymong Pettibon, "Twice-Tolled Bells" > Sarah Pierce on Ultra-red > Michael White > Roy Kortick > Carrie Moyer > Lytle Shaw and Emilie Clark > Susan Bee > Linda Post > Matthew Buckingham > Tag Team > > Issues are $10, postage included for shipment in the US > foreign postage add ($3). > Please make checks out to Lytle Shaw or Emilie Clark > 74 Varick St. #203 > NY, NY 10013 > Subscriptions are $18 (two issues) ========================================================================= Date: Thu, 18 Jan 2001 08:26:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Shaw, Sigler Read in Brooklyn Jan 18th MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable This message came to the administrative office. -- TS --On Monday, January 15, 2001, 11:14 PM -0500 "Lytle Shaw" = wrote: > Spoonbill and Sugartown Booksellers > 218 Bedford Avenue in Brooklyn > Announces a poetry reading: > Jeremy Sigler, Lytle Shaw > Thursday, January 18th at 7pm > The occasion is the publication of Sigler=92s Mallet Eyes (Left Hand > Books) and issue three of Shaw=92s journal of poetics and art writing, > Shark. > For more information contact the bookstore at > 718 387 7322 > ========================================================================= Date: Thu, 18 Jan 2001 08:27:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Davis, Down, Myles Read at Drawing Center, January 16, 2000 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable This came to the administrative office. --TS --On Monday, January 15, 2001, 11:14 PM -0500 "Lytle Shaw" = wrote: > January 16, 2001 > 7pm > Line Reading Series > > During The Drawing Center=92s Winter Selections Exhibition, > the Line Reading Series presents the work of three poets: > > Tim Davis > Buck Downs > Eileen Myles > > > Tim Davis=92s books of poetry include The Analogy Guild (Arras, 1994), = My > Life in Politics=97or=97A History of N=3DA=3DR=3DR=3DA=3DT=3DI=3DV=3DE = Film (Object > Editions/Poetscoop, 1997) as well as Dailies (The Figures, 2000). His > poetry has been published widely in such magazines as Lingo, Crayon, Big > > Allis and The Gig. Davis currently lives in New Haven, CT. > > Buck Downs=92s books of poetry include Fflowwers (Upper Limit Music, = 1994) > > and Marijuana Soft Drink (Edge, 1999); his mail art has been postmarked > widely and he is editor and publisher of Buck Downs Books in Washington > DC. > > Eileen Myles is author of numerous books of poetry and fiction. She > edited the poetry magazine Dodgems from 1977 to 1979 and ran the St. > Mark=92s Poetry Project from 1984-1986. Her books published by Black > Sparrow include the volumes of poetry, Maxfield Parrish (1995) and > School of Fish (1997), as well as the fiction work Chelsea Girls > (1994). Her most recent book is Cool For You (Soft Skull, 2000). Myles > > lives in New York. > > Admission is $5; free to Drawing Center Members. > For more information contact series curator Lytle Shaw by email at > Shark@erols.com > > > > > > ========================================================================= Date: Mon, 15 Jan 2001 00:00:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Liu, Timothy" Subject: Talisman Reading, NYC MIME-Version: 1.0 Content-Type: text/plain Contributors to WORD OF MOUTH: AN ANTHOLOGY OF GAY AMERICAN POETRY, published by Talisman last Fall, will be reading at the National Arts Club, 15 Gramercy Park on Monday, January 22 at 7:00 p.m. (jackets required for men). Featured guests include: Jack Anderson, Mark Bibbins, Frank Bidart, Alfred Corn, Mark Doty and Richard Howard. Timothy Liu, the editor, will host the evening. ========================================================================= Date: Mon, 15 Jan 2001 15:31:21 +0000 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Larry's Poetry Forum MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Looking forward to seeing you'all soon-- Readings: 2 sets about 25 minutes each. From: Jan 8th-- Jeremy Glazier-- Our newest transplant from NYC Jan 15th-- Jacquelin Smith Jan 22nd-- Edward Lense Jan 29th-- Nancy Kangas-- editor of the oft revered NANCY'S MAGAZINE Feb 5th-- Stephen Mainard-- associate editor of Pavement Saw Press Feb 12th-- Pamela Fatima Ritchey Feb 19th-- Kate Hancock's chapbook, The Lazarus Method, was chosen for the Wick Poetry Chapbook Series in 1996, and I also was the recipient of an Ohio Arts Council Grant in 1996. She lives in Columbus and work at the Ohioana Library as the editor of the Ohioana Quarterly, the library's book review journal. Feb 26th-- John M. Bennett & Release of Chac Prostibulario (a collaboration with Ivan Arguelles) whose most recent available book is Mailer Leaves Ham. Editor of Lost and Found Times. March 5th-- Benefit reading, The House of Toast (7 member poetry ensemble) March 12th-- Danny Hunsinger, haikai master March 19th-- Julie Otten's work has appeared in Bomb, Poetry Motel & elsewhere. Her book _The Courtship of Jim Jones_ is from Pudding House. She was well know in NYC under the name Jennifer Blowdryer. March 26th-- Howard McCord has a lot of books published. I've always liked the ones from Kayak in the late 60's & Salt Works Press' 80's publications. Other Forthcoming readers include: Carl Thayler, Neil Carpathios, & Philip Terman All Events Mondays 7pm 2040 N. High St Columbus, Ohio All readings followed by a brief open mike. Funded by the Ohio Arts Council: A state agency that supports public programs in the arts. Be well David Baratier, Co-coordinator, Larry's Poetry Forum ========================================================================= Date: Mon, 15 Jan 2001 23:13:35 -0000 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 Writers Forum announces the publication of _Vertical Stepping_ by Wayne Clements. The isbn is: 1 84254 017 3. The price is, I am sure, reasonable. Enquiries, with sae or irc please, to New River Project, 89a Petherton Rd, London N5 2QT ========================================================================= Date: Tue, 16 Jan 2001 03:16:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: It's so urgent, you're wanton, i'm already dead, you're wanton (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (I've finished a long cancer.txt modified from texts and diaries; it's centered on my mother's death, and speaks of cancer, loss, and mourning. If you want a copy, please email me and I'll send it as an attachment; it's about 100k. I'm not sending it to any lists directly; it's too long. Alan -) ===== It's so urgent, you're wanton, i'm already dead, you're wanton cancer death and mourning::::attempts, in every phrase or sentence or par- agraph, a recuperation; you come closer with your bruised contusions, your struggled flesh, Would you mind partying, cancer, with us? You're wanton and I know in real life you never would :::it's so urgent::::: Ah, my mas- querade eaten by open-cancer depressed-cancer CODE DECO OF THE CADAVER:::0 1 A I I 0, I I I I I I I It It It So To a and as be do in in is is is is: You're sleazy < > >> A A A ADAM ADAM ANDR Air An As in my penetration: I'm talking from the dead; already dead: "cancer death and mourning"::attempts, in every phrase or sentence or par- agraph, a recuperation; you come closer with your bruised contusions, your struggled flesh, Would you mind partying, cancer, with us? You're wanton. ===== ========================================================================= Date: Tue, 16 Jan 2001 11:59:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: If you oppose Ashcroft In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable It is inappropriate to do this over your web site. You would not do this for those in support of Ashcroft. You don't seem to understand why you are being inconsistent here. The wording of your post is disingenuous. It is as if you are saying, "It is okay for me to forward the message, I am simply doing a favor and not engaging in lobbying myself." How would you handle this if your were to meet my ethical standards? Either permit me to forward similar requests from organizations in support of Ashcroft, or simply present a debate between the two sides by means of essays or poetry or direct ripostes, or stop such one sided activism altogether. What you appear at this point to be is an adjunct of the extremists in the Liberal wing of the Democrat Party. Once again: Is experimental literature and poetry under the tutelage, protection and ideological bent of Sociocratic Liberalism and no other political philosophy operating in the State of New York? > From: Loss Peque=F1o Glazier > Reply-To: UB Poetics discussion group > Date: Tue, 16 Jan 2001 11:23:53 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: If you oppose Ashcroft >=20 > I am forwarding this message in cooperation with a number of > organizations and individuals who oppose the appointment of Senator John > Ashcroft as Attorney General of the United States. > If you share this opinion, you have the to sign a petition to members of > the U.S. Congress at the following site. > http://www.opposeashcroft.com/ > Thank you for your help. >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > E-Poetry 2001 Festival (http://epc.buffalo.edu/e-poetry/2001/) > ----- Electronic Poetry Center (http://epc.buffalo.edu/) ----- > ----- glazier@acsu.buffalo.edu ----- > ------ (Please: no attachments without querying in advance.) -------- > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 ========================================================================= Date: Tue, 16 Jan 2001 09:54:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: About these Fiction as Poetry suggestions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics, Well, I've been busy reading some of the suggestions from this list of "fiction as poetry". I read Wittgenstein's Mistress (Markson) and Aureole (Maso), In The Labyrinth (Robbe-Grillet)and V. (Pynchon), The Rings of Saturn (Sebald) and have started Proust. Yet, if anything, I'm more confused than before about the idea of "Fiction as Poetry." This has been a grand success in terms of giving me suggestions for good novels I might not have known otherwise (thanks you to all), but putting my finger on the poetry in these works has been difficult. The Pynchon, though I did enjoy it (it made me shudder too, at the descriptions of Esther's nose job and the atrocities in Africa), never really felt like poetry to me very much. Possibly because there were so many song lyrics and 'poems' inserted into the text, which amusing as some were, seemed so very small scale in comparison with the rest of the book. Or it may simply be that, unusual as the book is in many ways, the things that are striking about it all seems so "novelistic"--the shifts in time, the ways characters are developed, appear and reappear. Of course poetry can do all those things, but, for the most part doesn't, unless we wish to go back in time a ways. Aureole I thought was pretty good, if not as stunning as Maso's earlier novel AVA. In that book the poetry fiction essay memoir question is always hovering and hard to pin down. A few times I felt myself wishing that it would settle into one mode or another as the interplay wasn't exciting me as much at that moment. I think it is also interesting that Maso seems to feel that she wasn't ready to write poetry or to write so poetically earlier, seeming to imply that AVA and her other earlier work was fiction plain and simple. I disagree. In The Labyrinth was sort of odd. I knew the name Robbe-Grillet but didn't know anything about him. In this book it seems to me that the most poetic elements or effects or whatever were those that seemed to frustrate the linear presumptions of most narrative, that it was those odd repetitions and partial repetitions that made the work feel poetic to me. But one can imagine a poem that is very much linear and narrative, so I don't trust that this observation helps much. Then with Markson and so far with Proust there is a certain weird similarity. As much as the two novels don't seem very much alike at all, they both have that very interior feeling. Proust's doing this while still moving all over and involving many characters and Markson's by it's solitary, last-woman-on-earth narration. Both of these books seem to me to blend into poetry (maybe not so much as Maso's AVA does for me at least) but in different ways. Wittgenstein's Mistress pushes my poetry buttons by the repetition of certain ideas and phrases, by how it moves from observation to reflection to recollection to assertion to doubt and round about that in a different order. Swanns Way feels like poetry because of it's interiority, it's long, almost endlessly elaborating ruminations, the firm sense that Proust's consciousness is between us and any actions it describes. Maybe it would make a refreshing change if we just called all of it "writing." Or maybe it would just confuse people more. Finally I wanted to end with a quote from W.G. Sebald's The Rings of Saturn (which maybe also reminds me of Proust and Wittgenstein's Mistress a bit but which is so outwardly focused, on landscape on history on much else besides --- it is haunting though and that is what feels poetic about for me right now, that parts of it are lingering in my head) where poetry is briefly touched on; "When I arrived in Manchester, he had already begun practicing his writing skills with brush and pen and would spend many hours in deep concentration drawing one character after another on immense sheets of paper. I recall now how he once said to me that one of the chief difficulties of writing consisted in thinking, with the tip of the pen, solely of the word to be written, whilst banishing from one's mind the reality of what one intends to describe. I remember also that when he made this observation, which applies to poets as well as to pupils in primary school..." p.186. Sincerely, Marla __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ========================================================================= Date: Tue, 16 Jan 2001 15:34:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Last Communique On This Topic: The Truth Will Out When The Kleptomaniacs Are Removed From The Counting Office! Comments: To: Yvonne Iden , Vincent Zepp , Aaron Kiely , Alan Davies , Alan White , Charles Bernstein , Ellen Black , Lee Ann Brown , Ric Carfagna , William Cass , Chuck Harris , Lance Culp , Frank Correnti , Robert Czolba , Paul Dickman , Ed Schmahl , Ellen Black , Nicolle Eluard , Marge Haller , Patrick Herron , Jamie McMenemy , Saraswathy Kadalangudi , Karl Mullen , Tim Kaulen , Keith McWilliams , "Larry W. Bryant" , Mike Milberger , Tony Norman , Ron Silliman , Maria Tomascera , Vincent Zepp , Yvonne Iden Mime-version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable > Bush, not Gore, gains in Florida recount > By Clay Lambert and Bill Douthat > COX NEWS SERVICE >=20 >=20 >=20 > =A0=A0=A0=A0=A0MIAMI =8B George W. Bush would have gained six more votes than Al Gore= if > all the dimples and hanging chads on 10,600 previously uncounted ballots = in > Miami-Dade County had been included in the totals, according to a review = by > the Palm Beach Post. Top Stories > =A0=A0=A0=A0=A0If everything were counted =8Bfrom the faintest dimple to chads barely > hanging on ballots =8B the Post review showed 251 additional votes for Mr. = Bush > and 245 additional votes for Mr. Gore. > =A0=A0=A0=A0=A0That would have been a hard blow to Mr. Gore's hopes of claiming the > presidency in a recount. > =A0=A0=A0=A0=A0Before the vice president conceded last month, the Gore camp had exp= ected > to pick up as many as 600 votes from a Miami-Dade recount =8B just enough t= o > overtake Mr. Bush's razor-thin Florida lead. > =A0=A0=A0=A0=A0Instead, the Post's review indicates Mr. Gore would have lost ground= . > =A0=A0=A0=A0=A0The review, concluded last week, also showed the vast majority of ba= llots > rejected as undervotes when counted by machine appeared, in fact, to cast= no > vote for president. About 7,600 undervotes had no mark at all on the > presidential column, or in rare cases included multiple votes that defied > judgment. Most of the voters who did not indicate a vote for president pu= nched > choices in other races. > =A0=A0=A0=A0=A0At least 2,257 voters apparently poked at their ballot cards without > properly inserting them into the voting machines. Miami-Dade County elect= ions > supervisor David Leahy says that's because they didn't follow instruction= s. > =A0=A0=A0=A0=A0Of these miscast votes, 302 more would have gone for Mr. Gore than M= r. > Bush, under Mr. Leahy's theory. > =A0=A0=A0=A0=A0Even if those votes had been cast correctly, however, this would not= have > changed the final Bush margin of 537. > =A0=A0=A0=A0=A0"In other words, Dade was a wash," says Ivy Korman, director of spec= ial > projects for the Miami-Dade County supervisor of elections. "And, knowing= our > county the way that we do, that is why we didn't feel the need to do a ma= nual > recount." > =A0=A0=A0=A0=A0Mr. Gore easily carried the county by more than 39,000 votes on Nov.= 7. > The certified results in Miami-Dade were 328,808 for Mr. Gore and 289,533= for > Mr. Bush, according to the Secretary of State's office. > =A0=A0=A0=A0=A0The Post's review of all the undervotes is the first of several plan= ned > or under way. Later this month, a consortium that includes the Post, the = Wall > Street Journal and the New York Times will begin looking at the undervote= s in > each of Florida's 67 counties. The Miami Herald and USA Today are making = a > similar review. The Herald/USA Today review, using accountants, is expect= s to > finish in Miami-Dade this week. > =A0=A0=A0=A0=A0Because of varying judgments by reviewers on how each ballot is mark= ed > and the inevitable human error that occurs when thousands of ballots are > examined by hand, results of the reviews by the different newspaper teams= are > almost certain to differ. > =A0=A0=A0=A0=A0Furthermore, experts say no count =8B whether done by hand or by machi= ne =8B > will ever be exact. Computer industry consultants estimate the error rate= for > counting punch cards could run as high as 1 percent and varies with the n= umber > of times the cards are handled. > =A0=A0=A0=A0=A0In the 37-day contest of Florida election results, Mr. Gore had hope= d to > find a large cache of votes in heavily Democratic South Florida to overta= ke > Mr. Bush. A manual recount in Broward County added 567 votes for Mr. Gore= . The > manual recount in Palm Beach County would have added 174 votes if the cou= nty > had met the deadline imposed by state law. > =A0=A0=A0=A0=A0The Miami-Dade Canvassing Board abandoned its manual recount Nov. 22 > after counting 140 of the county's 616 precincts. And four teams of judge= s in > Leon County were about halfway through Miami-Dade's disputed ballots Dec.= 9 > when the U.S. Supreme Court stopped all recounts in Florida. No results w= ere > released from the judges' partial recount. > =A0=A0=A0=A0=A0"These are interesting findings and point to the need for a new syst= em," > says Larry Klayman, chairman of Judicial Watch Inc., a government watchdo= g > conducting its own review of undervotes in eight Florida counties. "The s= ystem > we have is broken." > =A0=A0=A0=A0=A0Mr. Klayman says his organization would intervene on behalf of a law= suit > filed Thursday by the NAACP and the American Civil Liberties Union, claim= ing > that irregularities in Florida's vote amount to a denial of the equal > protection guaranteed by the U.S. Constitution. > =A0=A0=A0=A0=A0Judicial Watch supports the claim that the NAACP and the ACLU make > regarding equal protection, but it does not support their claim that raci= al > discrimination skewed the outcome of the presidential election. > =A0=A0=A0=A0=A0The Post found the rate of voting mishaps was greater in black-major= ity > precincts, where many voters were casting ballots for the first time and = were > not familiar with voting procedures. While 1.6 percent of all votes cast > countywide for president were not counted because there was no clear punc= h for > any candidate, that rate was 2.7 percent in the 112 precincts with a blac= k > majority. > =A0=A0=A0=A0=A0Thomasina Williams, a lawyer representing the NAACP and other civil > rights groups suing the state and seven counties over the election, says = there > were probably more problems in black precincts because voters were using = using > older, less reliable voting machines and poll workers in those precincts = had > had less training. > =A0=A0=A0=A0=A0"Predominately black areas fall prey to that because they don't get = the > same service," says Miss Williams, who filed suit in federal court in Mia= mi > Wednesday asking that the punch card system be eliminated. > =A0=A0=A0=A0=A0Republicans are conducting their own count of disputed ballots in > Florida. Mark Wallace, a Miami lawyer representing the state's Republican > Party, insists the media count is a waste of time. > =A0=A0=A0=A0=A0"It doesn't matter what the outcome [of the media review] is," he sa= ys. > "The fact that we gained votes is fine and dandy, but the things [the Pos= t] > counted didn't correspond with the law." ========================================================================= Date: Mon, 15 Jan 2001 13:55:11 -0500 Reply-To: jls@marianneboeskygallery.com Sender: UB Poetics discussion group From: Jay Sanders Subject: Poetry Plastique exhibition MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit POETRY PLASTIQUE February 9-March 10, 2001 Marianne Boesky Gallery, NYC Curated by Jay Sanders and Charles Bernstein *Note: special catalog price for Poetics List subscribers. PRESS RELEASE: "Poetry Plastique" presents the work of 34 poets and artists working to move poetry off the page and into sculpture, film, painting, assemblage, photography-even skywriting. Pushing the boundaries of textuality, these literary and visual artists move poetry into a new dimension that emphasizes the concreteness and materiality of the written word. Featuring both collaborations between poets and artists and well as visual work by poets and textual work by visual artists, "Poetry Plastique" presents some of the most significant poets and artists of the time in a context that promises to change our understanding of poetry and its relation to visual art. "Poetry Plastique" includes new work as well as an historical section of works from the 1960s to 1980s that provides a context for understanding the developments charted by the show. Extending from the work of visual poetry and book art, the poem-objects in "Poetry Plastique" suggest a markedly different approach to language than is often seen. Indeed, while language is a common element in much contemporary visual art, the works in "Poetry Plastique" use language not as a conceptual screen or a set of received ideas but as an active principle for articulation and meaning. "Poetry Plastique" is a verbal explosion in the art factory. It returns cutting-edge poetry to the center of art culture, a position poetry occupied for much of the last century. It is a celebration of the physical dimensions of the written word and the textual dimensions of art objects. "Poetry Plastique" is curated by Jay Sanders and Charles Bernstein and includes works by Carl Andre, David Antin, Arakawa, Susan Bee, Wallace Berman, Mei-mei Berssenbrugge and Kiki Smith, Christian Bök, John Cage, Clark Coolidge and Philip Guston, Robert Creeley and Cletus Johnson, Johanna Drucker and Brad Freeman, Hollis Frampton, Madeline Gins and Arakawa, Kenneth Goldsmith, Robert Grenier, Lyn Hejinian, Lyn Hejinian and Emilie Clark, Tan Lin, Jackson Mac Low, Steve McCaffery, Emily McVarish, Tom Phillips, Nick Piombino, Leslie Scalapino, Mira Schor, Robert Smithson, Michael Snow, Richard Tuttle and Charles Bernstein, and Darren Wershler-Henry. A fully illustrated catalog, including statements from most of the artists and introductory essays by Sanders and Bernstein, is forthcoming from Granary Books in association with Marianne Boesky Gallery. *WE ARE OFFERING A DISCOUNT FROM THE $20 COVER PRICE TO POETICS LIST MEMBERS. SEND A CHECK FOR $12 (POSTAGE INCLUDED) OR $14 INTERNATIONAL, PAYABLE TO "ARTWORKS, INC" BY FEB. 15TH, MAILED TO: Jay Sanders Marianne Boesky Gallery 535 West 22nd Street New York, NY 10011 EVENTS: Friday, February 9th, 6-8pm--Gallery Opening (open to the public) Saturday, February 10th at 12pm at the gallery, there will be a symposium on "Poetry Plastique," moderated by Marjorie Perloff. Most of the poets and artists in the show will participate. At 6pm on the same day, there will be a film showing followed by a poetry reading by "Poetry Plastique" participants. Thursday, March 1st at 8pm, Anthology Film Archives will present a special screening of related films not included in our exhibition. _________________________________________________________________ Jay Sanders is a writer and curator working at Marianne Boesky Gallery. Charles Bernstein is the author of more than twenty collections of poetry and essays. His most recent books include Republics of Reality: 1975 - 1995, poems from Sun & Moon Press and My Way: Speeches and Poems, from the University of Chicago Press, and, as editor, Close Listening: Poetry and the Performed Word (Oxford University Press). Bernstein is David Gray Professor of Poetry and Letters at SUNY-Buffalo, where he is Director of the Poetics Program. More information: epc.buffalo.edu/authors/bernstein. PLEASE CALL FOR MORE DETAILS: Marianne Boesky Gallery 535 West 22nd Street New York, NY 10011 Tel: 212-680-9889 Fax: 212-680-9897 ========================================================================= Date: Wed, 17 Jan 2001 09:58:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: W's parade (was: some bitch) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Gwyn/Aldon, in the sixties we used to call the gatherings "be ins," so I suggest "pee in" for this revival. I won't be able to get to Washington, but I promise to step outside & yellow some Maine snow in solidarity. Onward! Sylvester >Date: Sat, 13 Jan 2001 10:55:32 -0500 >From: Gwyn McVay >Subject: W's parade (was: some bitch) > >Aldon, there are already many well-organized groups planning anti-W >events, like the black unity rally I saw flyers for, women's groups, you >name it, but I think there is as yet no public urination squad to pee on >the parade. I feel that men should take the lead on this for obvious >reasons. Mark Wallace? You wanna coordinate? > >signed, peon, as it were ========================================================================= Date: Thu, 18 Jan 2001 00:02:43 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mieko Basan Subject: Re: If you oppose Ashcroft In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I've tried signing the petition but I'm not sure if it's gone through.. error 404??? Did I do something wrong? Ben Basan -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Loss Pequeño Glazier Sent: Wednesday, January 17, 2001 1:24 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: If you oppose Ashcroft I am forwarding this message in cooperation with a number of organizations and individuals who oppose the appointment of Senator John Ashcroft as Attorney General of the United States. If you share this opinion, you have the to sign a petition to members of the U.S. Congress at the following site. http://www.opposeashcroft.com/ Thank you for your help. ============================================= E-Poetry 2001 Festival (http://epc.buffalo.edu/e-poetry/2001/) ----- Electronic Poetry Center (http://epc.buffalo.edu/) ----- ----- glazier@acsu.buffalo.edu ----- ------ (Please: no attachments without querying in advance.) -------- ============================================= ========================================================================= Date: Tue, 16 Jan 2001 00:06:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Frey Subject: Brown, Cahnmann, Levin at (NOTcoffeeHouse) Poetry and Performance Sunday, February 4, 2000, 1 pm, First Unitarian Church Comments: To: David Moolten , LeonLoo@aol.com Comments: cc: david@citypaper.net, beegee@citypaper.net, sam@citypaper.net, pat@citypaper.net, eludwig@philadelphiaweekly.com, cromano@phillynews.com, citylife@phillynews.com, Walt Whitman Cultural Arts Center , rrouff@voicenet.com, apr@libertynet.org, "erols.com" , nawi@citypaper.net, weekend@phillynews.com, samichele@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Contact: Richard Frey 215-735-7156 richardfrey@dca.net (NOTcoffeeHouse) Poetry and Performance Series www.notcoffeehouse.org Sunday, February 4, 2001, 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 New works read by Toni Brown published in Sinister Wisdom, The Poetry of Sex, Tuesday Night, Night Bites: Vampire Stories by Women, Night Shade: Gothic Tales by Women, and Pillow Talk II. Co-editor, Cave Canem 5th Anniversary Anthology, Editor for the Painted Bride Quarterly on-line-magazine, (Poetry and Fiction.) Melisa Cahnmann published in Quarterly West, Barrow Street, River, City, and Bridges. Prize winner in 2000 Anna Davidson Rosenberg contest for poetry on the Jewish experience. A poetry editor for Painted Bride Quarterly. She finishes a Ph.D. at Upenn and teaches at Beaver College. Lynn Levin A Few Questions About Paradise_ and _The Forest: Poems by Besnik Mustafaj_ a chapbook of translations of poems by the contemporary Albanian. Poems have appeared in The North American Review, Poetry Miscellany, Poetry New York, Yellow Silk II. Award from Elaine Terranova in the 2000 Mad Poets Review "Lynn Levin gives herself over to excess and extravagance. This is her road to the spiritual." -Gerald Stern Plus Open Poetry and Performance Showcase $1 admission. Poets & performers previously appearing at NOTcoffeeHouse: Nathalie Anderson, Lisa Coffman, Barbara Cole, Barb Daniels, Linh Dinh, Lori-Nan Engler, Simone Zelitch, Dan Evans, Brenda McMillan, Kerry Sherin, John Kelly Green, Emiliano Martin, Jose Gamalinda, Toshi Makihara, Thom Nickels, Joanne Leva, Darcy Cummings, David Moolten, Kristen Gallagher, Shulamith Wachter Caine, Maralyn Lois Polak, Marcus Cafagna, Ethel Rackin, Lauren Crist, Beth Phillips Brown, Joseph Sorrentino, Frank X, Richard Kikionyogo, Elliott Levin, Leonard Gontarek, Lamont Steptoe, Bernard Stehle, Sharon Rhinesmith, Alexandra Grilikhes, C. A. Conrad, Nate Chinen, Jim Cory, Tom Grant, Gregg Biglieri, Eli Goldblatt, Stephanie Jane Parrino, Jeff Loo, Theodore A. Harris, Mike Magee, Wil Perkins, Deborah Burnham, UNSOUND, Danny Romero, Don Riggs, Shawn Walker, She-Haw, Scott Kramer, Judith Tomkins, 6 of the Unbearables - Alfred Vitale Ron Kolm, Jim Feast, Mike Carter, Sharon Mesmer, Carol Wierzbicki-,John Phillips, Quinn Eli, Molly Russakoff, Peggy Carrigan, Kelly McQuain, Patrick Kelly, Mark Sarro, Rocco Renzetti, Voices of a Different Dream - Annie Geheb, Ellen Ford Mason, Susan Windle - Bob Perelman, Jena Osman, Robyn Edelstein,Brian Patrick Heston, Francis Peter Hagen, Shankar Vedantam, Yolanda Wisher, Lynn Levin, Margaret Holley, Don Silver, Ross Gay, Heather Starr, Magdalena Zurawski, Daisy Fried, Knife & Fork Band, Alicia Askenase, Ruth Rouff, Kyle Conner, Tamara Oakman, Robyn Edelstein, Sara Ominsky, Thaddeus Rutkowski, Carole Bernstein, Ryan Eckes, The Nightbirds, Marj Hahne Richard Frey 500 South 25th Street Philadelphia, PA 19146 215-735-7156 richardfrey@dca.net ========================================================================= Date: Wed, 17 Jan 2001 10:17:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Harryette Mullen at the WWCAC Comments: To: whpoets@dept.english.upenn.edu, wwhitman@waltwhitmancenter.org, nanders1@swarthmore.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac THE WALT WHITMAN CULTURAL ARTS CENTER announces a MASTER CLASS with poet Harryette Mullen SATURDAY, FEBRUARY 17, 10:30 am to 12:30 pm Fee: $30/general $15/members ($30. fee includes one-year membership to the WWCAC)** DEADLINE: January 29, 2001 GUIDELINES: 1. Send up to five pages of writing. 2. Author's name must not appear on the submitted work. 3. Send a separate sheet with address/phone/email information for notification. 4. Appropriate payment should be made out to the Walt Whitman Cultural Arts Center and must accompany application. 5. Class size is limited to ten. When more than ten applications are received, the visiting writer will make a selection. wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac THE NOTABLE POETS AND WRITERS SERIES announces a reading by poet Harryette Mullen FRIDAY, FEBRUARY 16, at 7:00 PM ADMISSION: $6/$4 students & seniors/free to members Harryette Mullen is the author of four books of poetry, including her most recent, Muse and Drudge published by Gil Ott's Singing Horse Press of Philadelphia. Her other books include Tree Tall Woman, Trimmings, S*PeRM**KT, also published by Singing Horse Press, and the forthcoming book of essays, Free the Soul: Literacy and Liberty in Slave Narratives. Her work has appeared in several anthologies including Trouble the Water: 250 Years of African-American Poetry, the Gertrude Stein Awards for Innovative American Poetry, and African-American Literature, edited by Al Young and Ishmael Reed. Ms. Mullen, a truly remarkable talent, a refreshingly innovative and inclusive writer, currently teaches African-American literature and Creative Writing at the University of California, Los Angeles. Find further information on Ms. Mullen at www.poets.org/poets/index.cfm www.writing.upenn.edu/epc/author/mullen/ **CONSIDER A MEMBERSHIP. For as little as $20.00 enjoy free admission to all upcoming Center events in addition to discounts on workshops and classes. Call Tara Renault for more information. WWCAC 2nd and Cooper Streets Camden, NJ 08102 Phone: 856-964-8300 www.waltwhitmancenter.org ========================================================================= Date: Wed, 17 Jan 2001 11:10:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Han Shan (110, Pines) and Nikuko (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== Han Shan (110, Pines) and Nikuko Look at him there. You can stick him with a pin. His eyes are turned inward. You can stick him with a pin. Look at her there. She hasn't moved for hours. She just sits and sits. You can almost hear her breathing. Look at them there. They're not do anything at all. You know they're showing off. He thinks he's dharma-perfect. He thinks his hands are perfect. He thinks his legs are perfect. He sits straight and perfect. She sits straight and perfect. She thinks her robe is perfect. You can stick her with a pin. You can stick them with a pin. They're so dumb they don't know anything. They're so stiff they're really dumb. Look at the things over there. You can stick them with a pin. They won't move at all. You can't pull them over. They're really dumb. ===== ========================================================================= Date: Wed, 17 Jan 2001 10:34:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: looking for Kathy Lou Schultz Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed hello out there-- please, if anyone knows the whereabouts and/or email for kathy lou schultz--send along thanks! summi ========================================================================= Date: Wed, 17 Jan 2001 10:28:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: CROSSTOWN TRAFFIC -- POETRY, MUSIC, ART Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Return-Path: FRIDAY, JANUARY 26, 2001, at 7:30 Small Press Traffic invites you to the inaugural event in our new multimedia series, CROSSTOWN TRAFFIC, curated by Taylor Brady & Yedda Morrison. Please join us for a lively evening of music, poetry, and visual art with local marvels David Cook, Mark Gergis, Arnold Kemp, & Kevin Killian. Arnold Kemp, visual artist, writer and curator, will be presenting recent works in conversation and collaboration with our favorite local poet and biographer Kevin Killian. Poet and performer David Cook will collaborate with Mark Gergis of Oakland's Mono Pause on "Bus," a sound and text piece based on the rhythms, sounds, and social coincidences of mass transit. Friday, January 26 at 7:30 Timken Lecture Hall, CCAC, 1111 8th Street, San Francisco (just off Wisconsin & 16th) $5, free to SPT members & the CCAC community Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Wed, 17 Jan 2001 14:58:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David W. Clippinger" Subject: Douglas Messerli Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sorry to bother the whole poetics list, but could Douglas Messerli backchannel me? Thank you, David Clippinger David Clippinger, Ph.D. Assistant Professor of English and American Studies Penn State University 100 University Drive Monaca, PA 15061 (724) 773-3884 (phone) (724) 773-3557 (fax) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Mind is the forerunner of all actions. All deeds are led by mind, created by mind. If one speaks or acts with a serene mine, happiness follows, As surely as one's shadow. Dhammapada + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ========================================================================= Date: Tue, 16 Jan 2001 09:44:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Long Subject: New Addition to 2River Chapbook Series MIME-version: 1.0 Content-type: text/plain; charset="us-ascii"; format=flowed This is to let you know there's now a new chapbook by Joseph Lisowski at 2River. The poems, AFTER DEATH'S SILENCE, address the loss of a child, and are illustrated with mosaic tiles by Joe Pizzat. To read the chapbook, just go to http://www.daemen.edu/~2River and click After Death's Silence Since 1996, 2River has been an online site of poetry, art, and theory, quarterly publishing THE 2RIVER VIEW and ocassionally publishing individual authors in The 2River Chapbook Series. If you like the site, please consider adding 2River to your links page. A small banner, if you need it, is attached. Richard Long ========================================================================= Date: Wed, 17 Jan 2001 15:10:10 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bobbie West Subject: name the author? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit dear list--- several phrases keep buzzing my mind like pesky little deja-vus. I'd appreciate it if anyone can point me to sources for them. *pursued into eternity by "the pursuit of happiness" * *dear Jack. he never found it* [referring to Kerouac] *rain no rain. birds no birds* *you've strangled my words, I'm all craven inside* Thanks for any help with these. ---Bobbie West ========================================================================= Date: Wed, 17 Jan 2001 19:22:15 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: erotic poems MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Help. I'm in need of soem roadside assistance. I have asked to participate in this: Saturday, Feb. 10 at 8:00 p.m. ath the Fluvarium - Erotic Readings, Decadent Desserts and Silent Auction. Readers include Lisa moore, Lori Clarke, Suzy Pyate, Gordon Rodgers, Kevn Hehir and MArk Callanan. Cost per ticket is $15, available at the WANL office, includes dessert and coffee or tea. Cash Bar. See you there. This is a fundraiser for WANL (the Writers Alliance of Newfoundland and Labrador). Thing is. I've got a few poems of this sort but could use some advice and recommendations. I know that ye know some more. Backchannel is fine. take care, kevin ========================================================================= Date: Wed, 17 Jan 2001 17:41:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: poethia Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" passing this one on. please do not reply to me, rather to the editors, listed at end of message. 'poethia: writing-online' is a new electronic maga- zine, ezine, co-edited by three poets with diverse interests in poetry. It will be a freely distributed ezine, delivered in text-format to subscribers' in- boxes. We will welcome submissions and sub- scriptions at this time. To obtain a free subscription, please send a mess- age to indicating your desire to subscribe. A message to the same place will unsubscribe you at any time. We are soliciting e-manuscripts and subscribers for its debut issue. To submit a text, please send your poetry to any of the addresses below. It would help if the text is in the body of an email message, but MSWord documents are also acceptable. The shorter the submission the better, three standard pages is the max. Please be patient for a reply. All submissions will receive a reply. The three editors are: Peter Ganick Annabelle Clippinger James Finnegan Sender: UB Poetics discussion group From: Seholbrook@AOL.COM Subject: if you think it only takes two to tango. . . Comments: To: salinger@ameritech.net Comments: cc: 3waybar@email.msn.com, abaer@wcpn.org, AECobb@aol.com, asparks@freetimes.com, bemmett_rader@yahoo.com, bennet_rader@yahoo.com, bevansaadm@lorainschools.org, BHorvath@stark.kent.edu, BILLHOLB@aol.com, bnewby@en.com, bob@inkwellpress.com, BobDaPoet2@aol.com, Buddyraymc@aol.com, callme2@prodigy.net, camonreal@juno.com, carol.spiros@oberlin.edu, cathybecky@hotmail.com, cgillespie@mobilnet.gte.com, christopherbunsey@msn.com, comma-d@wcsb.org, coyote1@rebelscum.net, cpt@mail.en.com, dahassler@juno.com, david_pishnery@mk.com, DavidHoot@aol.com, dferri@enc.k12.il.us, Diana61650@aol.com, dlackey@bright.net, daniel rourke , "Dyer,Joyce A." , ebani@africana.com, ericbroder@sprintmail.com, FCunning@kent.edu, fgreen@en.com, flipcity@en.com, Fscooper1@aol.com, Carolyn Linkenfelter , Ghcollins@aol.com, goodsond@lek.net, grace1@bright.net, hazel@drfast.net, Shirley Herzog , holbrook@primenet.com, hu7@hudson.lib.oh.us, IMPETUS@aol.com, Impsnewt@aol.com, jacksabbath@yahoo.com, Jallen3219@aol.com, JaneYolen@aol.com, jbrice@apk.net, jean13x@juno.com, JimBlevins@aol.com, Jjarveycta@aol.com, John Stickney , Jsr1@adelphia.net, katiedougluf@msn.com, KAYBUR@aol.com, KDavis@kent.edu, kellbell@tir.com, KentLBrown@aol.com, kginn@cleveland.com, kholbrook@mail.frostburg.edu, kiloloarts@africana.com, klee@muskingum.edu, Kswbbrown@aol.com, Kelly Weist , l.s.nelson@notesmail2.csuohio.edu, Lynne Alvine , letters@freetimes.com, llacook@yahoo.com, LLofthouse@aol.com, LSmithDOG@aol.com, Lspech@aol.com, lyricalgraffiti@juno.com, Macsbacks@aol.com, Majkrzakl@cs.com, margaret.mcnally@law.csuohio.edu, markhart@webtv.net, Marvstudio@aol.com, mcculla@azstarnet.com, MDecapite@hrblaw.com, melfan55@netscape.net, Mgjaffe@aol.com, MGKohn@aol.com, mheaton@plaind.com, midwife@stratos.net, mlg@po.cwru.edu, MMacAdam@kent.edu, MMoore@uakron.edu, MOFFETT@uscolo.edu, mtb@now-online.com, mumbaugh@nacs.net, "Mary E. Weems" , nmmccrac , novelater@juno.com, Nuyopoman@aol.com, okantah@africana.com, penvall@gateway.net, pkonys@en.com, plewis@ocalpha.otterbein.edu, PoetryCenter@csu-e.csuohio.edu, poetsleague@yahoo.com, prillks@dvoice.com, pyroson@en.com, r.drake@csuohio.edu, R.Taylor@mentorschools.org, raff@stratos.net, ray@pagdevteam.com, Rebeccakai@aol.com, "Robert E. McDonough" , Renee.Tambeau@wayne.edu, reproj2@email.msn.com, ryancleve@core.com, Scamcity@aol.com, "Sharon M. Draper" , Sandy Silberstein , SJMKOZAK@aol.com, Sue , snank@main.ursuline.edu, Spwillis99@aol.com, SynecdochePro@aol.com, tfuentez@thebeaconjournal.com, tse@po.cwru.edu, WCGC@cleveland.com, wmhguthrie@excite.com, Writer1@akron.infi.net, ygreen@akrm.ohhio.gov, zc@vais.net, zedgell@kent.edu, Weist2@aol.com, ro@intmark.com, tom@intmark.com MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable You are a victim of Old Math. Don't you just hate going to the theater and getting stuck next to some=20 stranger with gaggy cologne who's gossiping on and on and on about people yo= u=20 don't know? Wouldn't it be more fun to sit next to friends who hate all the= =20 same stuff you do? Here's a chain letter deal guaranteed to bring you -- not riches, not fame,=20 not that trim waistline you haven't seen in the past decade =E2=80=93 but so= mething=20 far more electrifying . . . Just forward this announcement to 10 (or more) friends and see if the=20 upcoming production of BABYPRINTS at Cleveland Public Theater Gordon Square,= =20 February 1, 2 and 3 isn't the heppest scene you've ever dug. (Did I say=20 that?) The Nova Lizard Project returns to Cleveland Public Theater in: BABYPRINTS How much does an idea weigh? Can intelligence be transferred biologically? What in the name of neon is a hagfish, anyway? Sexy as the white pages with more zing than putting your tongue in a light=20 socket. It's jive science all over the place. A multimedia albino beatnik musical comic extravaganza (with serious=20 political overtones). Written by Michael Salinger, adapted for the stage by Salinger, Craig=20 Strasshoffer and the Nova Lizard Project Ensemble. It stars a cast of real=20 deal characters including Louisa Boyaggi, Ray McNeice, Fred Cooper, Kirk=20 Brown with cameo appearance by a dottie Sara Holbrook. Oh, and Michael and=20 Craig get in the action too. Live music from Pete Dell and friends. =20 Robert Sirovica in charge of stage, screw and duct tape. Ron Slabe on nightmare noise and pyrotechnics. =20 Resident artists -- the fabulous Kuchna brothers and Andrew Kalleta will mak= e=20 sure we all get lit. Thursday (8 PM), Friday (8 PM) and Saturday (8 & 10 PM) In the Gordon Square Theater at West 65th and Detroit (more or less). Tickets $12 (cheap) For ticket reservations call Cleveland Public Theater at 216-631-2727. (where they would also happily take your $50 donation to have your name=20 permanently branded on a brick to help with the renovation of this somewhat=20 time worn but still kickin' grand dame of a vaudeville theater). And if you want more information about the play itself, call Salinger=20 directly at 440-255-1124. =20 ========================================================================= Date: Wed, 17 Jan 2001 13:09:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: please help ... need addresses! MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii Hi all. Could someone please help me? I need email addresses for the following people. Please backchannel. Thank you! Peter Gizzi Carla Harryman Erica Hunt Elaine Equi Leslie Scalapino Tanya Foster Clark Coolidge Michael Palmer Kamiko Hahn All best, Camille Camille Martin cmarti3@LSU.EDU Lit City 7725 Cohn St. New Orleans, LA 70118 http://www.litcity.net (504) 861-8832 ========================================================================= Date: Wed, 17 Jan 2001 19:41:20 -0700 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 Subject: "BOOKS IN CANADA" ROBBING WRITERS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > This is a general mailing to my entire list of Canadian e-addresses, > something I don't often do, usually targetting my announcement missives to > specific individuals or groups. If this is unwanted by you, I apologize, > but I feel strongly about the matter dealth with in the press release > below, and wish to encourage as many people as I can contact to boycott > BOOKS IN CANADA and AMAZON.COM until they recompense me and the other > writers whose work they have stolen to publish on the Web without paying > us. The reviews we sold (for very little money) to Books in Canada were > provided in good faith for one-time-only publication in the magazine, not > for propogation in any other form. As you will read below, BOOKS IN CANADA > is perpetrating a criminal act under Canadian law. > Thanks for heeding this. > > Best to you all, > Paul > > PAUL DUTTON > 68 Kendal Avenue > Toronto, Ontario > Canada M5R 1L9 > > Phone / Fax: (416) 964-0121 > > > >>> > >>> > >>>January 17, 2001 -- For Immediate Release > >>> > >>> > >>>******************************************** > >>>Freelance Writers' Organization Urges > >>>Boycott of "Books in Canada" and Amazon.com > >>>******************************************** > >>> > >>> > >>>The Periodical Writers Association of Canada (PWAC) responded with outrage > >>>to yesterday's press release announcing that Adrian Stein, the current > >>>owner of "Books in Canada", will be providing past reviews from the > >>>magazine to Amazon.com. > >>> > >>>"Adrian Stein does not have the right to publish or license those reviews > >>>electronically", said PWAC president Kathe Lieber. "Over the past year he > >>>has flagrantly violated the copyright of scores of writers across Canada by > >>>posting their work on his website, and is now 'licensing' that work to > >>>Amazon.com. It's outrageous". > >>> > >>>Dozens of writers who have written for "Books in Canada" in the past > >>>contacted PWAC last March to complain that their work was being published > >>>on Adrian Stein's website without their permission. PWAC subsequently made > >>>repeated demands to Mr. Stein to either obtain the authors' permission or > >>>remove the work from the site, but Mr. Stein has steadfastly refused to do > >>>so. He has stated that he plans to "obviate existing copyright law" by > >>>having the publication "declared an historical document". > >>> > >>>"To our knowledge, Mr. Stein has not received any special dispensation and > >>>is bound by the provisions of the Canadian Copyright Act, like anyone > >>>else", said Ms. Lieber. "He is committing a criminal offence, and we intend > >>>to assist the writing community to use new provisions of the Act to seek > >>>statutory damages against him". > >>> > >>>Those new provisions (known as Bill C-32) came into force in October of > >>>1999. Copyright owners who have established that their copyright has been > >>>infringed can now recover generally between $500 and $20,000 per work > >>>infringed without having to prove any actual losses or damages suffered. > >>>The provisions have also introduced simplified procedures that now make it > >>>easier, quicker, and less expensive for copyright owners to defend their > >>>rights. > >>> > >>>"We call upon Canadian writers to demonstrate solidarity on this issue and > >>>refuse to write for 'Books in Canada' until such time as Mr. Stein ceases > >>>his illegal use of writers' work", declared Ms. Lieber. "We also urge > >>>Canadian readers to support the writing community by boycotting both 'Books > >>>in Canada' and Amazon.com until Mr. Stein's copyright violations have been > >>>addressed". > >>> > >>>The Periodical Writers Association of Canada, founded in 1976, represents > >>>more than 500 professional freelance writers across Canada. > >>> > >>> > >>> -- 30 -- > >>> > >>> > >>>For further information and/or interviews, please contact: > >>> > >>>Victoria Ridout, Executive Director > >>>Periodical Writers Association of Canada > >>>Phone: 416-504-1645 or 416-803-8741 > >>>Fax: 416-504-9079 > >>>Email: pwac@web.net ========================================================================= Date: Fri, 19 Jan 2001 12:04:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Creeley on Corso Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Date: Thu, 18 Jan 2001 17:59:20 -0500 From: Robert Creeley Subject: Gregory Corso Gregory Corso died last night (January 17), happily in his sleep in Minnesota. He had been ill for much of the past year but had recovered from time to time, saying that he'd got to the classic river but lacked the coin for Charon to carry him over. So he just dipped his toes in the water. In this time his daughter Sherry, a nurse, had been a godsend to him, securing him, steadying the ambiance, just minding the store with great love and clarity. He thought she should get Nurse of the Year recognition at the very least. There's no simple generalization to make of Gregory's life or poetry. There are all too many ways to displace the extraordinary presence and authority he was fact of. Last time we talked, he made the useful point that only a poet could say he or she was a poet -- only they knew. Whereas a philosopher, for instance, needed some other to say that that was what he or she was -- un(e) philosophe! -- poets themselves had to recognize and initiate their own condition. There are several quick websites that help recall him now. One gives a brief biography and discussion of a few of his poems: http://www.english.uiuc.edu/maps/poets/a_f/corso/corso.htm Another, more usefully affectionate, is taken from Ed Sanders' The Woodstock Journal. It was Lawrence Ferlinghetti who had suggested last summer that a spate of respects might help cheer Gregory in his illness -- and that they were certainly well merited: http://www.woodstockjournal.com/corso.html A third, which includes some previously noted, is The Museum of American Poetics. There's a 'streamable' video available there of Gregory reading at Naropa , if you can get the sound clearly: http://www.poetspath.com/corso.html Lots of us propose to be poets but who finally stakes all, or just takes all, as being that way? In my life time only Robert Duncan could be his equal in this way. It was honor indeed to have had his company. RC, Buffalo, January 18, 2001 *** The Whole Mess ... Almost I ran up six flights of stairs to my small furnished room opened the window and began throwing out those things most important in life First to go, Truth, squealing like a fink: "Don't! I'll tell awful things about you!" "Oh yeah? Well, I've nothing to hide ... OUT!" Then went God, glowering & whimpering in amazement: "It's not my fault! I'm not the cause of it all!" "OUT!" Then Love, cooing bribes: "You'll never know impotency! All the girls on Vogue covers, all yours!" I pushed her fat ass out and screamed: "You always end up a bummer!" I picked up Faith Hope Charity all three clinging together: "Without us you'll surely die!" "With you I'm going nuts! Goodbye!" Then Beauty ... ah, Beauty -- As I led her to the window I told her: "You I loved best in life ... but you're a killer; Beauty kills!" Not really meaning to drop her I immediately ran downstairs getting there just in time to catch her "You saved me!" she cried I put her down and told her: "Move on." Went back up those six flights went to the money there was no money to throw out. The only thing left in the room was Death hiding beneath the kitchen sink: "I'm not real!" It cried "I'm just a rumor spread by life ..." Laughing I threw it out, kitchen sink and all and suddenly realized Humor was all that was left -- All I could do with Humor was to say: "Out the window with the window!" ========================================================================= Date: Fri, 19 Jan 2001 13:07:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss Glazier Subject: Re: Gregory Corso In-Reply-To: <3.0.1.32.20010119120719.006f9914@pop.bway.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" An update: Robert Creeley's page for Gregory Corso can be found as the featured link of the EPC (http://epc.buffalo.edu/). ========================================================================= Date: Mon, 22 Jan 2001 10:27:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Andrews & Bernstein at NYU on Jan. 29 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" New York University's School of Continuing & Professional Studies and The Fales Library present: PRINTONOMY: A Reading Series of Contemporary Poet-Publishers. There will be 4 readings; each on the last Monday Night of the month. January 29: Charles Bernstein, Bruce Andrews. ADMISSION: Free TIME: 7 pm. LOCATION: The Fales Library, Elmer Holmes Bobst Library, Third Floor 70 Washington Square South (New York University). Future readings in the PRINTONOMY series will be: February 26, Melanie Neilson, Deirdre Kovac, Rod Smith; March 26 Juliana Spahr, Jena Osman, Andrew Levy; April 30, Brian Kim Stefans, David Buuck. The reading series is curated by Robert Fitterman (SCPS) and co-hosted by Marvin Taylor (The Fales Library). ========================================================================= Date: Thu, 18 Jan 2001 09:19:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--January 2001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Ear Inn Readings Saturdays at 3:00 326 Spring Street, west of Greenwich New York City FREE January 20 Eirann Corrigan, Lois Hirshkowitz, Ravi Shankar January 27 Brandel France de Bravo, Jennifer Martelli, Barbara O'Dair The Ear Inn Readings Michael Broder, Director Patrick Donnelly, Lisa Freedman, Kathleen E. Krause, Co-Directors Martha Rhodes, Executive Director The Ear is one block north of Canal Street, a couple blocks west of Hudson. The closest trains are the 1-9 to Canal Street @ Varick, the A to Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. For additional information, contact Michael Broder at (212) 246-5074. ========================================================================= Date: Thu, 18 Jan 2001 09:37:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Re: DC protests: a location (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hello all, to anyone planning to attend the inaugural protests, a bunch of poetry folks from dc, nyc, boston, etc., are planning to rendezvous at the time/place indicated below. email any inquiries to kaia sand at (sand@duyure.org). bests, t. -------(forwarded message)------------ > On Wed, 17 Jan 2001, Kaia Sand wrote: > >> Hello! I scouted out a meeting spot for Saturday morning: >> >> Brothers Coffee Shop on 14th and New York Ave. >> >> If you are coming from the Freedom Plaza on 14th and Pennsylvania (where the >> protest begins at 10), and you face the direction of the White House, turn >> right up 14th and walk three blocks (past F, past G, and the next street is >> New York). The women at Brothers assured me it will be open Saturday >> morning; they said beginning around 7:30 or 8. >> >> Let's meet there up until 9:45 (is that late enough for your bus arrivals?) >> before we head to 14th and Pennsylvania. >> ========================================================================= Date: Thu, 18 Jan 2001 09:40:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: looking for Kathy Lou Schultz Comments: cc: Summi Kaipa MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Summi: Kathy Lou Schultz klou@english.upenn.edu Yours, Aaron Levy | Slought Networks | http://slought.net ========================================================================= Date: Thu, 18 Jan 2001 09:57:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jena osman Subject: Temple Reading Series Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" For those finding themselves in the Philadelphia area: Spring 2001 Poets and Writers Series Thursdays at 8:00 Temple Gallery, 45 North 2nd St. Free February 1, Susan Howe February 22, Alice Notley March 1, Michael Martone March 22, Mark Nowak April 5, Toby Olson ========================================================================= Date: Thu, 18 Jan 2001 11:27:49 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: query for address MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I was looking for the (email or ordinary mail) address of the poet Colin Smith. Backchannel please. -- all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Thu, 18 Jan 2001 16:28:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: W's parade (was: some bitch) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Your losing minority is growing in powerful delusion. Keep going. And keep guns out of your hands, especially Squeaky Fromm's. > From: sylvester pollet > Reply-To: UB Poetics discussion group > Date: Wed, 17 Jan 2001 09:58:51 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: W's parade (was: some bitch) > > Gwyn/Aldon, in the sixties we used to call the gatherings "be ins," so I > suggest "pee in" for this revival. I won't be able to get to Washington, > but I promise to step outside & yellow some Maine snow in solidarity. > Onward! Sylvester > >> Date: Sat, 13 Jan 2001 10:55:32 -0500 >> From: Gwyn McVay >> Subject: W's parade (was: some bitch) >> >> Aldon, there are already many well-organized groups planning anti-W >> events, like the black unity rally I saw flyers for, women's groups, you >> name it, but I think there is as yet no public urination squad to pee on >> the parade. I feel that men should take the lead on this for obvious >> reasons. Mark Wallace? You wanna coordinate? >> >> signed, peon, as it were > ========================================================================= Date: Thu, 18 Jan 2001 15:10:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable This week and next week at the Poetry Project: Friday, January 19th at 10:30 pm A NEW MOON WITH THE OLD MOON IN HER ARMS: A TRIBUTE TO URSULE MOLINARO An evening of talks and readings in tribute to the late Ursule Molinaro, featuring Bruce McPherson, Bruce Benderson, Gerard Malanga, Janice Eidus, Joseph McElroy, Dana Ratajczak, Ryland Brenner, Isabelle Herndon, Margaret McCarthy, and more. "Molinaro has a ... talent for providing laughter in th= e midst of tears," says The New York Times Book Review. Ms. Molinaro, who die= d in July 2000, wrote fifteen novels, more than a dozen plays, three volumes of non-fiction, and over one hundred short stories. Working from four languages, she also translated significant literary works by Herman Hesse, Christa Wolf, Dino Buzzati, and others. Monday, January 22nd at 8 pm JEFF CONANT AND BRENDA IIJIMA Jeff Conant was born in New York and currently resides in Oakland, California. He is the author of two volumes of poetry. His translation from Spanish of the book Wind in the Blood: Mayan Healing and Chinese Medicine was published by North Atlantic Books in 1999. His current projects include a book-length essay on the communiques of Subcomandante Marcos of the Zapatistas, entitled "The Poetics of Resistance." Conant=B9s writing hinges o= n the idea of the poetic transformation as an agent of social change. Brenda Iijima is a poet and visual artist. The author of Epitome and Person(a) (Portable Press). Her drawings were exhibited at the Hayato Gallery in Manhattan in July, 2000. Her photographs accompany Eliza McGrand=B9s poems in Shadow Dragging Like a Photographer=B9s Cloth (forthcoming). She is working o= n a manuscript called "Aware," an exchange of poems and collage. Wednesday, January 24th at 8 pm PAUL LARAQUE AND DENIZE LAUTURE Lawrence Ferlinghetti calls Paul Laraque "one of the great voices of truth.= " Mr. Laraque was born in Jeremie, Haiti. He fled Haiti during the reign of Papa-Doc and has only recently been able to return. At present he devotes full-time to his writing and to his activities as Secretary General of the Association of Haitian Writers Abroad. Deniz=E9 Lauture, who migrated from Haiti to the United States in 1968, writes poetry in Creole, English, and French. His poems have appeared in many literary magazines, such as Callaloo, Black American Literature Forum, and others. He has authored two volumes of poetry and two children=B9s books, Father and Son, which was among the five books nominated to the NAACP=B9s 1993 Image Awards, and Running the Road to ABC, which received the Coretta Scott King Award in 1996. "The rich lyrical language used by the author =8A creates a strong sense of place," writes Horn Book Magazine of Mr. Lauture=B9s Running the Road to ABC. Performing with Mr. Laraque and Mr. Lauture will be guitarist Marc Mathelier. Friday, January 26th at 10:30 pm MRS. CRABTREE AND THE LITTLE RASCALS: THE FALL 2000 WORKSHOP READING Participants from the Poetry Project=B9s fall workshops, led by poets and writers Jaime Manrique, Brenda Coultas, and Larry Fagin, will read their work. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * We note with regret the passing of the great American poet Gregory Corso, who passed away on the evening of January 17, 2001. Funeral arrangements ar= e still being made. Please stay tuned to the Poetry Project website for more information. ========================================================================= Date: Fri, 19 Jan 2001 15:57:29 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: About these Fiction as Poetry suggestions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Marla. I think you have somehow missed the point of the whole exercise. Lets put it tis way: firsly you need or we need to have a working defiion of poetry, which prima facie seems as difficult and possibly as fruitless as defining art...you can go for Aristotle's absolutes or get into Wittgenstein's endless chain or rope that although linked has in its parts no actual connections. This doesnt rule out the possiblity of widening one's view and gaining indights into art,but a clear definition eludes. Some of us ( I know that sounds very snobby) know or know that "It can be shown...." that a complete performance of . what?, Wagner's "Ring Cycle" can be seen in a certain way of interpretation as a gigantic poem (hence the suggestion re a play in some circumstances being a poem), James Joyce eventually advised people to read Finnegan's Wake as an enormous poem (in fact hearing him in an old recording by chance it sounds like a poem), or to be more extreme, it can be shown and you must be able to agree with me that the Webster's or The Shorter Oxford or any other dictionary, in fact any text or composite of texts or in fact ANYTHING can be, can be, seen to be a poem. I have a friend of a friend who compiled a table of odd numbers with a certain value of exponential (yet stepping) increment: he printed these out and the sheets of number were a or was int its totaliy: a wonderful poem: greater than Shakespear's rather overrated and sentimental sonnets and "weepy" plays. However, as I pointed out to him, he gave the book a title, which wekened it somewhat. I borrowed a phrase from a local textualiser to the effect that it was "too laid back modernist". This comment, unfortuanately had the effect of this individual, tearing off the title page to his vast and exciting number-filled tome. This was taking things too far, but the point is there... So you must see from these comments that ANYTHING.....ANYTHING (I repeat) can be a poem. Otherwise you buy into a sort of pseudo-sentimental bourgeios concept of "correctness" and "classifiablity" or curse my soul "certainty". i am certain that George Bowering, while not agreeing with me totally (as I havent mention Jakobson yet) would, at least in some wise, concur in this. But I am amazed. You must be able to read very quickly. (as to old J J's Finn Wake I'd advise caution as people die trying to elucidate that gargantuan and tortuous text. In fact when I showed it to my son who dosednt read much trying to impress him with the fact that it took 17 years to write, his comment was, quite appositely: "He took so long to write that! Bu it's nonsense. Children write nonsense." And indeed, I couldnt contradict him. I have it somewhere in my mass of unread books..where I have no doubt it shall remain...) I am a rather slow reader. Which fact partly explains my fascination with blurbs, which I think are a neglected art form (no doubt there is someone at Yale or Harvard or even Peking University struggling at this very now with a tremendous thesis on The Blurb (which has obvious semtico-polioco-Marxist-and Derridean links via Sassurre etc to the word "Blob" (a beauti ful, nay even erotic, word or mot)(note how I fragmented that last word)("Blob" I mean) adn even to "blurt"?) But to get back: "The Crying of Lot 49" is the book to read...anyway,stet: as i said, anything can be seen, in fact can be shown to be, poetry. Even my masterpiece "The Red" is a poem. Yours faithfully,Richard. ----- Original Message ----- From: "Marla Jernigan" To: Sent: Wednesday, January 17, 2001 6:54 AM Subject: About these Fiction as Poetry suggestions > Dear Poetics, > > Well, I've been busy reading some of the > suggestions from this list of "fiction as poetry". I > read Wittgenstein's Mistress (Markson) and Aureole > (Maso), In The Labyrinth (Robbe-Grillet)and V. > (Pynchon), The Rings of Saturn (Sebald) and have > started Proust. Yet, if anything, I'm more confused > than before about the idea of "Fiction as Poetry." > This has been a grand success in terms of giving me > suggestions for good novels I might not have known > otherwise (thanks you to all), but putting my finger > on the poetry in these works has been difficult. > The Pynchon, though I did enjoy it (it made me > shudder too, at the descriptions of Esther's nose job > and the atrocities in Africa), never really felt like > poetry to me very much. Possibly because there were so > many song lyrics and 'poems' inserted into the text, > which amusing as some were, seemed so very small scale > in comparison with the rest of the book. Or it may > simply be that, unusual as the book is in many ways, > the things that are striking about it all seems so > "novelistic"--the shifts in time, the ways characters > are developed, appear and reappear. Of course poetry > can do all those things, but, for the most part > doesn't, unless we wish to go back in time a ways. > Aureole I thought was pretty good, if not as > stunning as Maso's earlier novel AVA. In that book the > poetry fiction essay memoir question is always > hovering and hard to pin down. A few times I felt > myself wishing that it would settle into one mode or > another as the interplay wasn't exciting me as much at > that moment. I think it is also interesting that Maso > seems to feel that she wasn't ready to write poetry or > to write so poetically earlier, seeming to imply that > AVA and her other earlier work was fiction plain and > simple. I disagree. > In The Labyrinth was sort of odd. I knew the name > Robbe-Grillet but didn't know anything about him. In > this book it seems to me that the most poetic elements > or effects or whatever were those that seemed to > frustrate the linear presumptions of most narrative, > that it was those odd repetitions and partial > repetitions that made the work feel poetic to me. But > one can imagine a poem that is very much linear and > narrative, so I don't trust that this observation > helps much. > Then with Markson and so far with Proust there is > a certain weird similarity. As much as the two novels > don't seem very much alike at all, they both have that > very interior feeling. Proust's doing this while still > moving all over and involving many characters and > Markson's by it's solitary, last-woman-on-earth > narration. Both of these books seem to me to blend > into poetry (maybe not so much as Maso's AVA does for > me at least) but in different ways. Wittgenstein's > Mistress pushes my poetry buttons by the repetition of > certain ideas and phrases, by how it moves from > observation to reflection to recollection to assertion > to doubt and round about that in a different order. > Swanns Way feels like poetry because of it's > interiority, it's long, almost endlessly elaborating > ruminations, the firm sense that Proust's > consciousness is between us and any actions it > describes. > Maybe it would make a refreshing change if we > just called all of it "writing." Or maybe it would > just confuse people more. > Finally I wanted to end with a quote from W.G. > Sebald's The Rings of Saturn (which maybe also reminds > me of Proust and Wittgenstein's Mistress a bit but > which is so outwardly focused, on landscape on history > on much else besides --- it is haunting though and > that is what feels poetic about for me right now, that > parts of it are lingering in my head) where poetry is > briefly touched on; > > "When I arrived in Manchester, he had already > begun practicing his writing skills with brush and pen > and would spend many hours in deep concentration > drawing one character after another on immense sheets > of paper. I recall now how he once said to me that one > of the chief difficulties of writing consisted in > thinking, with the tip of the pen, solely of the word > to be written, whilst banishing from one's mind the > reality of what one intends to describe. I remember > also that when he made this observation, which applies > to poets as well as to pupils in primary school..." > p.186. > > Sincerely, > Marla > > > > > __________________________________________________ > Do You Yahoo!? > Get email at your own domain with Yahoo! Mail. > http://personal.mail.yahoo.com/ ========================================================================= Date: Thu, 18 Jan 2001 22:37:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Comments: To: "Poetryetc. List" , British Poets MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit January 18, 2001 Beat Poet Gregory Corso Dies at 70 By THE ASSOCIATED PRESS Filed at 6:41 p.m. ET MINNEAPOLIS (AP) -- Poet Gregory Corso, one of the circle of Beat poets that included Allen Ginsberg and Jack Kerouac, has died. He was 70. Corso, who had prostate cancer, died Wednesday, his daughter, Sheri Langerman, said Thursday. He had been living with her since September, she said. Born in New York's Greenwich Village, Corso was the author or co-author of more than 20 collections of poetry and other works. Ginsberg discovered Corso in the 1950s. Corso's first poems were published in 1955. One of his best-known works was the 1958 poem ``Bomb,'' an ode to atomic weapons in the shape of a mushroom cloud. ``Know that the earth will madonna the Bomb/ that in the hearts of men to come more bombs will be born/ magisterial bombs wrapped in ermine,'' he wrote. Among his collections of poems are ``Gasoline,'' ``Elegiac Feelings American'' and ``Mindfield.'' He remained active up until his death, recording a CD with Marianne Faithfull at his daughter's home, Langerman said. Corso was born March 26, 1930, to teen-age parents who separated a year after his birth. His own biographical notes in a compilation called ``The New American Poetry'' give a sample of his style and the early hardship of his life: ``Born by young Italian parents, father 17 mother 16, born in New York City Greenwich Village 190 Bleecker, mother year after me left not-too-bright father and went back to Italy, thus I entered life of orphanage and four foster parents and at 11 father remarried and took me back but all was wrong because two years later I ran away and caught sent away again and sent away to boys home for two years and let out and went back home and ran away again and sent to Bellevue for observation ...'' At age 17, Corso went to prison for three years on a theft charge. After his release in 1950, he worked as a laborer in New York City, a newspaper reporter in Los Angeles, and a sailor on a boat to Africa and South America. It was in New York City that he first met Ginsberg, who introduced him to contemporary, experimental work. Maria Damon, an English professor at the University of Minnesota who has taught Beat literature, spent a week studying under Corso at the Naropa Institute in Boulder, Colo., in 1977. While Corso was lesser known than Ginsberg and Kerouac, he deserves no less recognition, she said. ``I would say that he was very gifted, also undisciplined, which is part of the beauty of Beat writing,'' she said. ``He was very well-read but not from formal schooling. He put things together in a highly romanticized way.'' Michael Skau, author of a 1999 book on Corso, said Corso was a media favorite when the Beat movement exploded in the 1950s because he was ``the prototype of a bad boy.'' ``He was very disruptive whether it was a social setting or a literary setting, very antagonistic even toward his closest friends,'' Skau said. ``Ginsberg tolerated behavior from Corso that made Ginsberg look like a saint.'' Corso was married three times. Survivors include five children, seven grandchildren and one great-grandchild, Langerman said. Funeral arrangements were not final, but a service was planned in Greenwich Village, with burial in Rome, Langerman said. ________________________________________________________________ Pierre Joris La philosophie est en fait le mal du pays, 6 Madison Place c’est le besoin de se sentir partout chez soi. Albany NY 12202 -- Novalis Tel: (518) 426-0433 Fax: (518) 426-3722 Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _ ========================================================================= Date: Fri, 19 Jan 2001 20:48:19 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: A Home For Rejection MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear John. This information is wonderful. I've just glossed thru it and I've immediately become converted to the idea - or the plan as a writer (or nonwriter) - of adopting such strategies of sending preemtive abusive letters to my potential publishers (but nothing harmful) and maybe the most brilliant method (probably with the posthumous blessing of such as .... well such as value silence) of not actually writing anything. Which strategy is probably the safest. It is economical of time and guarantees one is, well, never rejected. And we dont even need a "Rejection Competition"! Not even the agony of not winning "The Rejection Competition". Oh, calooh, callay! Anyway, what wonderful people these are to create rejection recovery centres etc Life is wonderful when nothing ever happens. So peaceful, cool, juicy, and beautifully inane.So tempting; so shadenfreude. Oh golly! I am immensely immensely gratified to you. Its good to know that, despite everything,and despite that we inhabite this pernicious and pain-filled spinning muckball that (thank X), is very soon due for annihilation, probably by a cometic collision or overheating or heat death or an especially and juicily evil variant of the bubonic plague, or the CIA, or a Thermonuclear War,or spinning off into the beckettian blackness, or the blakean or sartean void, there's hope. Hope and a sort of beautiful resignation: a wonderfully clichaic sense of non-event. A sort of banging whimper, or to rephrase that, a banging whimper.(How silly of me I meant a "whimpering bang"!) And. "the ending snarl" I believe was Ed Dorn's phrase. Something to look foreward to like a meal of roaches. Something simple yet profound like a "passionate dawn" (Alexander F. Pope). Ah, hope! Hope! Hope of a kind, a rather shining and sanguine vapidity that quickens me. Please, please accept (you cant possibly reject) my enormous thankfulness.I am yours,eternally gratefully and ever so humbly yours... etc R.T. ----- Original Message ----- From: "John Stickney" To: Sent: Friday, January 12, 2001 4:13 AM Subject: A Home For Rejection > > January 11, 2001 > > A Site Where Writers Can Share Their Pain > > By BONNIE ROTHMAN MORRIS > > http://www.nytimes.com/2001/01/11/technology/11REJE.html?pagewanted=all > > > > Chris Ramirez for The New York Times > > > > Related Sites > > These sites are not part of The New York Times on the Web, and The Times > has > > no control over their content or availability. > > . rejectioncollection.com > > > > > > CATHERINE WALD is a woman on a mission. As the president and chief > > "rejecutive" officer of rejectioncollection.com, Ms. Wald exhorts writers > to > > join their virtual hands together and celebrate - not their wild successes > > with publication, but their sad tales of rejection. > > "The subject of rejection is a big taboo among artists," said Ms. Wald, a > > freelance corporate and magazine writer who lives in Mohegan Lake, N.Y. > She > > developed her Web site after her first novel was rejected by every major > > publisher and her agent gave up on the project. > > Ms. Wald, knowing full well that the agony of defeat could cause a > permanent > > case of writer's block, chose to use the Web site to share the pain, laugh > > at it and move on to her next big book project. > > Even though rejection is part of almost every writer's life, it still > hurts. > > Call it misery loves company. Call it glee at others' misfortunes. > > Rejectioncollection.com and a few other sites with similar fare rely on > > both, and healthy lashes of humor, to help the writers who visit and post > > their stories see the scores of humiliating rejection letters for what > they > > really are: kindling for their art. > > "Having the courage to be rejected shows that you believe in your work and > > you love your work," Ms. Wald said. On the Question My Authority section > of > > the site, Ms. Wald writes that despite years of rejection, "Wald has > > retained the ability to experience each new rejection with as much > > freshness, raw pain, devastation and feelings of personal unworthiness as > > she received from the first rejection." > > Still, Ms. Wald says the site was developed to accentuate the positive. > > "I want people to be immunized about rejection," she said. "Just because > > someone says the most demeaning, horrible things to you doesn't mean it's > > true." > > Those demeaning, horrible things can be found in abundance on the site, > and > > writers also send in their reactions to rejection letters they have > > received. Ms. Wald edits the submissions, removing any that could identify > > the writer or editor or publication, then posts them to a page called Read > > 'Em and Weep. > > Some rejection letters are brutally honest, while others are just brutal. > > Joy H. Mann, a writer of fiction and poetry in Spencerville, Ontario, who > > has posted items on the site, said that after she had had some success > > publishing short stories and poetry and won awards for her work, she > > received a letter from an influential literary publication regarding a > > poetry submission. > > "They sent me a letter that told me that I didn't write poetry - not only > > didn't I write poetry, but I should go out and buy a thesaurus and a > > dictionary and a book on writing poetry," Ms. Mann said in a phone > > interview, the sting of that 10-year-old rejection letter still fresh in > her > > voice. > > "Every writer or artist has at least two really poignant rejection > stories," > > Ms. Wald said, and added that posting rejection letters requires courage. > > After all, publishing a rejection letter that urges a writer to stick with > > his day job seems like rubbing salt into a gushing wound. But the veil of > > secrecy offered by the site for both writers and publications can be > > liberating. And the site has a "we're all in this together" atmosphere. > > Dr. Ben Martin, a history professor at Louisiana State University, > > encourages his graduate students to visit the site to get a taste for the > > world that awaits them after college. > > "The site is pure fun," he said. "It's sharing the pain. If you know > > everyone else is having the same experience, it's easier." > > Other rejection sites on the Internet (there are a few) take a more > personal > > approach. Rejection Slips is a four-year-old site (rejectionslips.com) > > created by Bryan Byun, an unpublished and until two months ago > unproductive > > fiction writer. Mr. Byun, a 32-year-old Web site designer in Seattle, said > > he had put up the site as a private joke and to motivate himself to write. > > On it are his thoughts about rejection and a few rejection letters > reprinted > > from magazines like The New Yorker and Negative Capability. Most of them > are > > form letters, sometimes with handwritten notes from editors. > > Unlike rejectioncollection.com, whose audience seems to be largely > > professional writers, Mr. Byun said, Rejection Slips is for unpublished > > writers like him. Mr. Byun said the site got 1,200 hits weekly. > > He frequently receives e-mail notes from aspiring writers asking for > advice > > on how to get published. "I find it ironic," he said, "because the site is > > about rejection." Despite the site's original mission, he added, it now > > serves as a cheerleading squad for aspiring writers. > > Another Web site that confronts rejection head-on to encourage writers to > > persevere is the rejection page at dangutman.com, a site by Dan Gutman, a > > popular author of children's books. On his Read My Rejection Letters page, > > he tells the tale of how his novel, "Honus & Me" (Avon Books), made it > into > > print and publishes snippets of some of the seven rejection letters that > > preceded publication. > > Mr. Gutman said in an e-mail interview that he had posted the rejection > > letters to inspire his readers to keep on plugging away at their dreams, > > despite obstacles. "Plus, I must admit, I love rubbing the book's success > in > > the faces of all those publishers who turned it down!" he wrote. > > A Web site about rejection has other benefits, too, especially for the > > rejection- prone. It's hard to get a rejection from the site. Visitors > have > > the satisfaction of seeing their work on the site, which includes poetry > and > > short fiction entries on rejection, many of which were inspired by the > site > > itself. > > Though writers who visit rejectioncollection.com say they have learned to > > overcome the pain of rejection and use the energy to fuel the fire of > their > > creativity, one novelist and contributor to the site said his rejections > > were fuel for plain old fire. > > For 18 years, Jonathan Lowe of Tucson peddled his novels, poetry and > > nonfiction, collecting "hundreds and hundreds" of rejection letters in > that > > time, he said. After his novel "Postal" was accepted for publication by a > > small press, Mr. Lowe plunked those letters into the brick barbecue pit in > > his backyard, and he burned them all. > > "I used them for kindling, put charcoal on top and grilled a steak," Mr. > > Lowe said. "I thought that an era was over and that I could move on." > > ========================================================================= Date: Fri, 19 Jan 2001 14:21:42 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: NYTimes.com Article: Gregory Corso, a Candid-Voiced Beat Poet, Dies at 70 (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i always thought this guy was more of a hood than a poet. someone once told me of a recent reading in new york where he stopped and asked the audience "where is my check?" \----------------------------------------------------------/ Gregory Corso, a Candid-Voiced Beat Poet, Dies at 70 http://www.nytimes.com/2001/01/19/national/19CORS.html January 19, 2001 By WILLIAM H. HONAN Gregory Corso, a poet and leading member of the Beat literary movement that shook American social and political life in the late 1950's and 60's, died on Wednesday in Robbinsdale, Minn., where he lived with his daughter Sheri Langerman. He was 70. The cause was prostate cancer, Ms. Langerman said. To the literary world, Mr. Corso was considered less political than Allen Ginsberg, less charismatic than Jack Kerouac, but more shocking, at times, than either of them. In his book, "The Beat Generation" (Scribner, 1971), Bruce Cook calls Mr. Corso "the most avid nose- thumber of them all," a man regarded as a nemesis by those who detested his "hip, easy, wiseguy manner and direct artless diction." A put-on specialist at poetry readings, Mr. Corso would delight his fans and inflame his critics by muttering into a microphone disconnected thoughts like "fried shoes," "all life is a Rotary Club" and "I write for the eye of God." But he could also be a serious social critic, re-examining an institution like marriage, said Ann Douglas, a professor of American studies at Columbia University. The lines of his poem "Marriage," for example, are wry and optimistic. The poet begins by asking playfully, "Should I get married? Should I be good?" and concludes constructively: "Ah, yet well I know that were a woman possible as I am possible then marriage would be possible." Mr. Corso's early work helped pave the way for the feminists of a later generation, Professor Douglas said. "Women looked at Corso and the other Beats," she said, "and asked, `If these men can free themselves from constricted gender roles getting married, working for a corporation and so on why can't we?' " Mr. Corso's finest poem, most critics agree, is "Elegiac Feelings American," which is an elegy for his friend Kerouac and for dead notions of America and a new hope: O and yet when it's asked of you `What happened to him?' I say, "What happened to America has happened to him the two were inseparable" Like the wind to the sky is the voice to the word. . . . Like other Beat poets, Mr. Corso's work was less elegantly stylized than that of his predecessors, and closer to ordinary feelings. It was personal and candid in the expression of intimate feelings sexual desire, despair and things that would not have surfaced in an earlier time. While Ginsberg and Kerouac came from upper-middle-class backgrounds and got to know each other through Columbia University, Mr. Corso's upbringing was troubled. Gregory Nunzio Corso was born on March 26, 1930, in New York, the son of teenage parents who parted when he was a year old. He bounced in and out of foster homes and jails and never made it to high school. At 12 he was caught selling stolen merchandise and sent to prison for several months while awaiting trial. His fellow inmates were "terribly abusive," he wrote years later in an autobiographical sketch. When acquitted, he spent three months under observation in Bellevue Hospital. When Mr. Corso was 16 he returned to jail to serve a three-year sentence for theft. It was then that he read the classics Dostoevsky, Stendhal, Shelley and Christopher Marlowe among others but also became, as he expressed it, "educated in the ways of men at their worst and at their best." He once told an interviewer for Contemporary Authors: "Sometimes hell is a good place if it proves to one that because it exists, so must its opposite, heaven, exist. And what was heaven? Poetry." Mr. Corso was released from prison in 1950. Soon after, at a bar in Greenwich Village, he encountered Ginsberg. Mr. Corso was then writing fairly conventional verse, and it was Ginsberg who introduced him to long Whitmanesque lines and surreal word combinations. At this time in his life, Mr. Corso was traveling the country, working as a laborer, as a reporter for The Los Angeles Examiner and as a merchant seaman. In 1954 he settled briefly in Cambridge, Mass., where he virtually took up residence at the Harvard University library, poring over the great works of poetry. His first published poems appeared in the Harvard Advocate, and his play, "In This Hung-Up Age," a macabre drama about how a group of tourists are trampled to death by a herd of buffalo, was performed the next year by Harvard students. His later poetry exhibited an eclectic vocabulary. Referring to his study of the dictionary, Mr. Corso told the critic Michael Andre that he "got that whole book in me, all the obsolete and archaic words. And through that I knew that I was in love with language and vocabulary, because the words and the way they looked to me, the way they sounded, and what they meant, how they were defined and all that, I tried to revive them, and I did." Mr. Corso moved to San Francisco in 1956, too late to attend Ginsberg's famous reading of "Howl" but in time to be recognized as a major Beat poets. In an introduction to Mr. Corso's early collection "Gasoline" (City Lights, 1958), Ginsberg called him "a great word-swinger, first naked sign of a poet, a scientific master of mad mouthfuls of language." Later, with Ginsberg, the two poets wrote a manifesto, "The Literary Revolution in America," in which they announced their convention- bashing "discontent, their demands, their hope, their final wondrous unimaginable dream." While Mr. Corso was never as politically involved as some of the other Beats, in 1965 he was dismissed from a teaching position at the State University of New York at Buffalo because he refused to sign an affidavit certifying that he was not a member of the Communist Party. In recent years, Mr. Corso continued to write, teach and lecture. He published 13 books of poetry, two books of plays and several collaborations. Mr. Corso's first marriage, to Sally November, ended in divorce. In addition to Ms. Langerman of Minneapolis, he is survived by his second wife, Belle Carpenter of Santa Fe, N.M.; two other daughters, Miranda Schubert of Manhattan and Cybelle Carpenter of Minneapolis; two sons, Max Corso of Guam and Nile Corso of Hamden, Conn.; his mother, Margaret Davita of Trenton; a brother, Joe Corso of Long Island; seven grandchildren; and a great-grandchild. Mr. Corso often played the wayward child among his friends. The novelist Herbert Gold recalled sitting with him and other Beat writers in a Paris cafe when Mr. Corso impulsively snatched the check, exclaiming, "I never paid a check before!" Ginsberg, Mr. Gold said, "took the check from him and gave it to me with a reproachful glance at Gregory. It was assumed that Gregory would never be able to pay a check." The New York Times on the Web http://www.nytimes.com /-----------------------------------------------------------------\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-----------------------------------------------------------------/ HOW TO ADVERTISE --------------------------------- For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at alyson@nytimes.com or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to help@nytimes.com. Copyright 2001 The New York Times Company ========================================================================= Date: Fri, 19 Jan 2001 13:12:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: Kathy Lou Redux Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Friends, I'm on a whole lotta mailing lists, so if you haven't updated my address, here's a quick reminder that I am now at: 4619 Spruce Street 2 Front Philadelphia, PA 19139 klou@english.upenn.edu (or kathylou@att.net) Thanks all, KLS ^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz http://www.english.upenn.edu/~klou Lipstick Eleven/Duck Press http://www.duckpress.org ========================================================================= Date: Fri, 19 Jan 2001 15:53:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: contact information MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello there. I'm trying to find contact information for the administrators of the following writers' estates: Frank O'Hara Joel Oppenheimer Armand Schwerner Joe Ceravolo Denise Levertov Any help would be greatly appreciated. You can backchannel me at dkane@panix.com. Thanks in advance, --daniel ========================================================================= Date: Sun, 21 Jan 2001 11:47:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Periodic intro to my work - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (apologies for cross-posting) Internet Philosophy and Psychology - Jan/Feb 01 This is a somewhat periodic notice describing my Internet Text, available on the Net, and sent in the form of texts to various lists. The URL is: http://www.anu.edu.au/english/internet_txt/ which is partially mirrored at http://lists.village.virginia.edu/~spoons/internet_txt.html. (The first site includes some graphics, dhtml, The Case of the Real, etc.) The changing nature of the email lists, Cybermind and Wryting, 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, partial or transitional objects. So this (periodic) notice is an attempt to recuperate the work as total- ity, restrain its diaphanous existence. Below is an updated introduction. ----- The "Internet Text" currently constitutes around 100 files, or 4500 print- ed pages. It began in 1994, and has continued as an extended meditation on cyberspace, expanding into 'wild theory' and literatures. Almost all of the text is in the form of short- or long-waves. The former are the individual sections, written in a variety of styles, at times referencing other writers/theorists. The sections are interrelated; on occasion emanations are used, avatars of philosophical or psychological import. These also create and problematize narrative substructures within the work as a whole. Such are Julu, Alan, Jennifer, and Nikuko, in parti- cular. The long-waves are fuzzy thematics bearing on such issues as death, sex, virtual embodiment, the "granularity of the real," physical reality, com- puter languages, and protocols. The waves weave throughout the text; the resulting splits and convergences owe something to phenomenology, program- ming, deconstruction, linguistics, prehistory, etc., as well as to the domains of online worlds in relation to everyday realities. Overall, I'm concerned with virtual-real subjectivity and its manifesta- tions, relative to philosophical concerns. I continue working on a cdrom of the last seven years of my work (Archive); I also have additional video materials, created with Azure Carter and Foofwa d'Imobilite, on two cdroms, Baal and Parables. Most recently, I've been working on a text for publication in a month or two, ".echo" - as well as "cancer.txt" which deals with loss, mourning, and death. And I've finished articles on Stel- arc and Panamarenko. I want to write once again on radio and radiations. I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, Cu- SeeMe, etc., my work tending towards embodied writing, texts which act and engage beyond traditional reading practices. Some of these emerge out of performative language soft-tech such as computer programs which _do_ things; some emerge out of interferences with these programs, or conversa- tions using internet applications that are activated one way or another. And some of the work stems from collaboration, particularly video, sound, and flash pieces. 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. It may be difficult to enter the texts for the first time. The Case of the Real is a sustained work and possible introduction. It is also helpful to read the first file, Net1.txt, and/or to look at the latest files (lq, lr) as well. Skip around. The Index works only for the earlier files; you can look up topics and then do a search on the file listed. The texts may be distributed in any medium; please credit me. I would ap- preciate in return any comments you may have. Current cdroms are available for $14; if you've have an earlier version, they go for $10. Baal and Parables are ach $15 (video format is .mov with Sorenson compression). (Costs include shipping.) You can find my collaborative projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm and my conference activities at http://trace.ntu.ac.uk - both as a result of my virtual writer-in-residence with the Trace online writing community. 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 Jennifer, Nominative Press Collective, 1997 Parables of Izanami, Potes and Poets Press, 2000/1 Alan Sondheim 718-857-3671 432 Dean Street, Brooklyn, NY, 11217, USA mail to: sondheim@panix.com -------------------------------------------------------------------------- ========================================================================= Date: Sun, 21 Jan 2001 11:53:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: FC: American Library Association votes to challenge filtering law (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE >Date: Sun, 21 Jan 2001 02:02:21 -0500 >From: Declan McCullagh >To: politech@politechbot.com >Subject: FC: American Library Association votes to challenge filtering law >Mime-Version: 1.0 >User-Agent: Mutt/1.2.2i >X-News-Site: http://www.wired.com/ >X-URL: http://www.mccullagh.org/ >Sender: owner-politech@politechbot.com >Precedence: bulk >Reply-To: declan@well.com >X-URL: Politech is at http://www.politechbot.com/ >X-Author: Declan McCullagh is at http://www.mccullagh.org/ >X-MIME-Autoconverted: from quoted-printable to 8bit by >kestrel.prod.itd.earthlink.net id WAA04707 > >[Thanks to everyone who forwarded this along. --Declan] > > > > >http://www.ala.org/news/v7n1/cipa.html > > >American Library Association votes to challenge CIPA > > ALA News Release > For Immediate Release > January 2001 > > Contact: Mark Gould > 312-280-5042 > > The executive board of the American Library Association (ALA) voted > yesterday to initiate legal action challenging the recently enacted > Children's Internet Protection Act (CIPA), signed into law on December > 21. The decision came after more than a week of intense discussion > among leaders and members during the association's annual Midwinter > Meeting. The ALA contends the act is unconstitutional and creates an > infringement of First Amendment protections. > > The federal rider, which was attached to the Labor HHS Education > Appropriations Bill, mandates libraries and schools install content > filters on all computers that offer Internet access as a prerequisite > to receiving federal grant funds. Funding sources include the e-rate > program, the Library Services and Technology Act and the Elementary > and Secondary Education Act. All three programs help ensure schools > and libraries provide access to the resources communities need to > thrive in the information age. CIPA runs counter to these federal > efforts to close the digital divide for all Americans. > > No filtering software successfully differentiates constitutionally > protected speech from illegal speech on the Internet. Even the federal > commission appointed to study child safety on the Internet concluded > filters are not effective in blocking all content that some may find > objectionable, but they do block much useful and constitutionally > protected information. > > The association is researching and exploring its options in > preparation for litigation. > > Copyright =A9 2000, American Library Association. > Last Modified: Thursday, 18-Jan-2001 12:37:08 CST > > > > >------------------------------------------------------------------------- >POLITECH -- Declan McCullagh's politics and technology mailing list >You may redistribute this message freely if it remains intact. >To subscribe, visit http://www.politechbot.com/info/subscribe.html >This message is archived at http://www.politechbot.com/ >------------------------------------------------------------------------- > ========================================================================= Date: Thu, 18 Jan 2001 14:28:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Gregory Corso (1930-2001) Comments: To: englfac@garnet.tc.umn.edu, subsubpoetics@listbot.com, jdavis@panix.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" i just learned that gregory corso, who has been living here in minneapolis with his daughter since september, has died. peace, brother-spirit to villon and mad fan of shelley. "My hands did numb to beauty as they reached into Death and tightened..." (I Held A Shelley Manuscript) "And I screamed in my dream: God! Throw thy merciful pitch! Herald the crack of bats! Hooray the sharp liner to the left! Yea the double, the triple! Hosannah the home run!" (Dream of a Baseball Star) ========================================================================= Date: Thu, 18 Jan 2001 10:48:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: W's parade (was: some bitch) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:58 AM 1/17/01 -0500, you wrote: >Gwyn/Aldon, in the sixties we used to call the gatherings "be ins," so I >suggest "pee in" for this revival. I won't be able to get to Washington, >but I promise to step outside & yellow some Maine snow in solidarity. >Onward! Sylvester As much as an activist as I like to think of myself (though hardly a liberal Democrat despite what Mr. Dillon seems to think), I must urge caution, Sylvester. Many urban areas have enacted particulalry strong laws prohibiting outdoor relief in recent years, aimed squarley at the soon-to-be-growing-again homeless populations of our cities. You may want to find out what the penalty might be in Maine before your protest. Then, like Thoreau's friends, the rest of us can pony up your fine and spring you from the hoosegow after you've had a night to meditate and write a classic. P.O.V. (pissed-off voter) Aldon " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Sun, 21 Jan 2001 17:19:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Big Bridge Vol. 2, Issue 2 is UP! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ANNOUNCING BIG BRIDGE VOL.2 ISSUE 2 Big Bridge, http://www.bigbridge.org is pleased to announce the publication of Volume 2, Issue 2 =========================== BIG BRIDGE Volume 2, Issue 2 Editor: Michael Rothenberg Contributing Editors: Mary Sands and Wanda Phipps Art Editors: Nancy Victoria Davis and Hal Bohner Webmaster: Mary Sands FEATURE CHAPBOOK: "Excerpts from The Beat Thing" by David Meltzer. Illustrated by Nancy Victoria Davis. * MINI-FEATURE CHAPBOOK- "Lisbon Indian Summer" by John Wieners. Illustrated by Nancy Victoria Davis. * ART FEATURE: Robert La Vigne: 100 Works, 1951 to 2001, A Cyberspective. * POEMS: Roberto Valenza, Imola Nagy, Ernie Hilbert, Andy Clausen, Valery Oistenu, Jack Collom, Louise Landes Levi, Nina Zivancevic, Ronnie Burk, Miriam Sagan, Andrew Shelly * FICTION: RhondaK, Sam Silva, Suzi Winson, Tom Bradley, Michael Largo * ESSAY FEATURES: "What I Saw at the Orono Conference 2000"--a pictorial memoir by Kevin Killian. "The Whacky World of Alfred Chester" by Allen Hibbard, with illustrations by Hal Bohner. * LITTLE MAGS: Fish Drum and Goodie * MUSIC & FILM Mary Sands interviews Mike Sentance on Radio Clambake; Writing Jazz by David Meltzer; Jilala: Sufi Trance Music as recorded by Paul Bowles & Brion Gysin ( produced by Ira Cohen with liner notes by Ira Cohen ========================================================================= Date: Sun, 21 Jan 2001 20:48:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: Jackson Mac Low reading January 27, workshop January 28 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents writer Jackson Mac Low Saturday, January 27, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Jackson Mac Low is an internationally-acclaimed poet, composer, and writer of performance pieces, essays, plays, and radio works, as well as a painter and multimedia performance artist. Author of twenty-six books, Mac Low was recently awarded the prestigious Tanning Prize of the Academy of American Poets; among many other awards he has also received a Guggenheim and an NEA. Among his recent books are 42 Merzgedichte in Memoriam Kurt Schwitters (1994) and Barnesbook (1995). Reading co-sponsored by Chax Press. In addition to his Saturday evening reading for POG and Chax, Jackson Mac Low will also offer a two hour workshop on Sunday: Making Poetry “Otherwise”: a Workshop with Jackson Mac Low Sunday, January 28, 1-3, St. Philip’s in the Foothills (Vestry Room) (NE corner of River and Campbell) there is no charge to attend this workshop Jackson Mac Low is widely known for his experimental compositional methods. His work makes various use of what he calls “deterministic procedures,” often mixed with other writing modes to produce “liminal” works suggestive of the threshold between the Unconscious and Consciousness. This workshop will offer participants the chance both to talk about such procedures—as well as other ways of writing poems “otherwise”—and to try some out through a variety of activities. Workshop co-sponsored by The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, The University of Arizona English Department, and the journal Arizona Quarterly. For further information about the reading or workshop contact: POG 296-6416 tenney@azstarnet.com POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 21 Jan 2001 21:02:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: Monday evening, January 29,7 pm, Dinnerware: poet Hank Lazer MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit the beat goes on.... on Monday, January 29--one day after Jackson Mac Low's workshop--POG and Chax present poet Hank Lazer For the past twenty years, Hank Lazer has published poetry in many of America's leading literary magazines and journals of experimental writing. In 1992, he published Doublespace: Poems 1971-1989 (New York: Segue), a 192 page collection of poems written in several deliberately conflicting styles. This book, which has received considerable attention, is unique in American poetry and enacts essential conflicts within current American literary culture. Also in 1992, Lazer published INTER(IR)RUPTIONS (Generator Press), a series of ten collage-poems which incorporates a wide range of layouts and materials, from baseball batting averages to critical theory, from fashion and interior design columns to research in neurophysiology. In 1994, Ink A! Press published a fine press limited edition (including an audio cassette) of Negation, a series of ten poems. Three of Ten, published in 1996 (Chax Press) is Lazer's largest collection of poetry since Doublespace. In May 1993, Lazer, along with poets Charles Bernstein and James Sherry, published Language Poems (Sichuan Literature & Art Publishing House), a bilingual (Chinese English) collection of poems, along with several essays on contemporary American experimental poetry. In conjunction with the publication of this book, Lazer travelled to China and gave readings, lectures, and discussions in Chengdu, Beijing, Nanjing, and Suzhou as part of a cultural exchange with Chinese poets, scholars, editors, and students. In addition to his poetry, Lazer is a noted critic of modern and contemporary poetry. For the past three decades, his writing on poetry has appeared in leading literary journals. In 1996, Northwestern University Press published Opposing Poetries, a two-volume collection of Lazer's essays on the poetics and cultural politics of recent innovative American poetries. He has also edited two influential books of criticism. Lazer received an A.B degree in English from Stanford University and M.A. and Ph.D. degrees in English from the University of Virginia. A Professor of English at the University of Alabama where he has taught since 1977, Lazer is Assistant Dean for Humanities and Fine Arts. For additional material by or about Hank Lazer see: http://writing.upenn.edu/epc/authors/lazer/ http://www.as.ua.edu/english/faculty/faculty/lazer_h.htm http://www.alsopreview.com/foley/jflazer.html POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts for further information: mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 21 Jan 2001 21:31:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG: Jackson Mac Low reading January 27, workshop January 28 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents writer Jackson Mac Low Saturday, January 27, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Jackson Mac Low is an internationally-acclaimed poet, composer, and writer of performance pieces, essays, plays, and radio works, as well as a painter and multimedia performance artist. Author of twenty-six books, Mac Low was recently awarded the prestigious Tanning Prize of the Academy of American Poets; among many other awards he has also received a Guggenheim and an NEA. Among his recent books are 42 Merzgedichte in Memoriam Kurt Schwitters (1994) and Barnesbook (1995). Reading co-sponsored by Chax Press. In addition to his Saturday evening reading for POG and Chax, Jackson Mac Low will also offer a two hour workshop on Sunday: Making Poetry “Otherwise”: a Workshop with Jackson Mac Low Sunday, January 28, 1-3, St. Philip’s in the Foothills (Vestry Room) (NE corner of River and Campbell) there is no charge to attend this workshop Jackson Mac Low is widely known for his experimental compositional methods. His work makes various use of what he calls “deterministic procedures,” often mixed with other writing modes to produce “liminal” works suggestive of the threshold between the Unconscious and Consciousness. This workshop will offer participants the chance both to talk about such procedures—as well as other ways of writing poems “otherwise”—and to try some out through a variety of activities. Workshop co-sponsored by The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, The University of Arizona English Department, and the journal Arizona Quarterly. For further information about the reading or workshop contact: POG 296-6416 tenney@azstarnet.com POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 21 Jan 2001 20:48:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: if you're planning to attend the workshop with Jackson Mac Low.... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If you're planning to attend the Jan 28 workshop with Jackson Mac Low, you're invited to send POG a brief sample of your writing which we'll pass on to him soon. you can definitely attend the workshop even if you don't submit work, but Jackson indicates he'd find it useful to have samples from several of the participants (everyone, by the way, "gets in" the workshop: the sample isn't a screening device, but a way for Jackson to have a better idea of the writers he's working with). (the other side of the coin: you should only send work if you're reasonably sure you'll attend the workshop). since time is short, you should send work via email: please send as an ATTACHED FILE if possible, since this will preserve your formatting (if you can't do that, cut/paste is ok but such features as line endings will tend to get messed up). please send the email directly to Tenney Nathanson, and NOT to the listserv address by hitting REPLY to this email. So send to: tenney@azstarnet.com (if your email program is set up to read hotlinks, you can just click on this one: mailto:tenney@azstarnet.com ) (but/and: those who are not writers, but have an interest in attending the workshop, are definitely welcome!) we're looking forward to receiving work from several Tucson writers--and to Jackson's workshop and reading. Tenney mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Mon, 22 Jan 2001 10:52:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Susan Wheeler Subject: Call for Papers Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This is from excellent artist and scholar and Art & Language fellow Michael Corris; if you are interested, or if you know of someone who would be interested, please pass on the information. Many thanks. from Michael Corris (InvCollege@aol.com), on a volume he's doing for Cambridge U P: As you may know, I am compiling essays on Anglo-American conceptual art, ca= =20 1966-1976, in the context of conceptual art as social discourse. I've= already=20 received 14 contributions, but now, after having received the readers'=20 reports, would like to see if I can gather some other essays at=20 not-quite-the-last minute to expand the collection. If you know of any critics/researchers/academics/bright PhDs who are doing= =20 work in any of the following areas, please let me know, or have them contact= =20 me directly at this e-mail address. Any topic germane to Conceptual art in North America/England between the=20 years 1966-1976, except for the following, which are already covered in the= =20 collection: dematerialization, Art & Language, Robert Barry, art and=20 politics, Dan Graham, Hanne Darboven, When Attitudes Become Form,=20 dematerialization, art and information, art and technology, Ian Burn, Mel=20 Ramsden, Robert Morris, Robert Smithson, cultural imperialism, and concrete= =20 poetry. Most welcome topics include: historical essays on artists, exhibitions,= e.g.,=20 Kosuth, Weiner, Kozlov, a historical essay on the "Information" show, Seth= =20 Siegelaub, Museum of Normal Art. Critical essays on conceptual art and=20 feminism, post-structuralism, death of the author, etc., mostly anything on= =20 other artists found in Lippard's anthology "Six Years...", and the kinds of= =20 intellectual and cultural "truths" accepted by Conceptual artists at that=20 time. Deadline for receipt of new texts is 15 Feb. For new authors, first drafts= by=20 that date. No honorarium, unfortunately. Invisible College: Reconsidering Conceptual Art =C3=BF Table of Contents (Revised 17.01.01) Introduction: Beyond the Invisible College of Conceptual Art. Part 1: What is Conceptual Art? Introduction by editor. 1. Alison Green (Independent Scholar, London), "When Attitudes Become Form= =20 and the Contest over Conceptual Art=E2=80=99s History"=20 2. Blake Stimson (Assistant Professor of Art, University of California),=20 "Conceptual Art and Conceptual Waste."=20 3. Art & Language (Michael Baldwin, Charles Harrison and Mel Ramsden),=20 "Memories of the Medicine Show. Recollecting Conceptual Art." [reprinted by= =20 permission of the authors from Art-Language New Series Number 2, June 1997:= =20 32-39] Part 2: Who Makes Meaning? Conceptual Art and the Problem of Intention. 4. Alex Alberro (Assistant Professor of History of Art, University of=20 Florida), "Content, Context and Conceptual Art: Dan Graham=E2=80=99s Schema= (March=20 1966)."=20 5. Briony Fer (Reader in History of Art, University of London), "Hanne=20 Darboven: Seriality and the Time of Solitude."=20 6. Ann Stephen (Powerhouse Museum), "Soft-talk: the Early Collaborations of= =20 Ian Burn and Mel Ramsden." Part 3: The Theory and Practice of Ideas: The Dematerialization of the Art= =20 Object. Introduction by editor. 7. John Roberts (Senior Lecturer and Research Fellow in Art, Wolverhampton= =20 University), "Conceptual Art and Imageless Truth."=20 8. Frances Colpitt (Associate Professor of Art History and Criticism,=20 University of Texas at San Antonio), "The Formalist Connection and Originary= =20 Myths of Conceptual Art." Part 4: Conceptual Art in Culture. Introduction by the editor. 9. Joanna Drucker (Professor of Media and Communication, University of=20 Virginia), "The Idea of =E2=80=98Idea . . . =E2=80=99"=20 10. Robert C. Hobbs (Rhoda Thalheimer Endowed Chair of Art History at=20 Virginia Commonwealth University), "Conceptual Art, Affluence, and the=20 Brokering of Knowledge."=20 11. Edward A. Shanken (Lecturer, Duke University), "Art in the Information= =20 Age: Technology and Conceptual Art." Part 5: The Politics of Conceptual Art. Introduction by the editor. (See=20 "Wounds" essay.) 12. Nicole Fugmann (St Hugh=E2=80=99s College, Oxford University), "The Ethi= cal Space=20 of Cabinets 7 and 8: Conceptual Art and Philosophical Aesthetics in Joseph= =20 Kosuth=E2=80=99s Library Installations."=20 13. Adrian Piper (Artist and Professor of Philosophy, Wellesley College),=20 "Ian Burn=E2=80=99s Conceptualism." [Reprinted by permission of the author= from Art=20 in America December 1997: 72-79, 106]=20 14. Michael Corris (Research Fellow in the History of Art & Design, Kingston= =20 University): "Reconsidering International Art Movements: Conceptual Art=20 Against Cultural Imperialism." Postscript: From Conceptual Art to Conceptualism. Editor=E2=80=99s= afterword. Use to=20 respond to the most recent publications in the field (AH review).=20 .1 Conceptualism=20 .2 Globalization Throughout the volume, at opening of each section: Karl Beveridge and Carole= =20 Cond=C3=A9 (Independent Scholars), Selected Cartoons from The Fox (1975-76)= and=20 Red-Herring (1976-78) Copyright 2001 by Cambridge University Press, New York & Michael Corris,=20 Northampton, and Authors. All rights reserved. ========================================================================= Date: Mon, 22 Jan 2001 12:46:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sylvester Pollet Subject: Pound music performances Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thanks to Barry Ahearn, who sent this in for posting on the National Poetry Foundation website OTHER MlNDS FESTlVAL VII BRlNGlNG THE WORLDS OF NEW MUSlC TO THE SAN FRANClSCO BAY AREA MARCH 8-10, 2001 Festival to feature music by Ezra Pound December 20, 2000 (SAN FRANCISCO) -- Following on the success of its George Antheil Ballet mecanique concerts in June 2000, Other Minds brings the latest ideas and trends in new music with OTHER MINDS FESTIVAL VII. The composer-based festival is a rare opportunity to hear works by great musical innovators from around the world and the Bay Area. The 2001 festival program spans nearly a century of musical invention, highlighting early roots of new music and presenting four World Premiere performances. OTHER MINDS FESTIVAL VII public events include artist forums, and three evenings of concerts at San Francisco's Cowell Theater, Fort Mason, March 8-10, 2001. FRIDAY MARCH 9th at 8 PM: The festival will present selected musical works by the American poet Ezra Pound, who based his compositions on the rhythmic patterns, cadences and tonal inflections of the poetry of Dante, Sordello, Villon, Cavalcanti, Catullus and Sappho. He completed two operas and close to a dozen violin works. The performance celebrates the forthcoming publication of Robert Hughes' performance edition of Pound's opera Cavalcanti and introduction to Pound's music and technique. FEATURED GUEST ARTIST: Violinist Nathan Rubin performs the world premiere of five recently discovered movements to "Fiddle Music Suite No. 1" by Ezra Pound. Rubin was concertmaster with the San Francisco Opera's Western Opera Theater for the 1971 world stage premiere of the Pound/Antheil 1923 Le Testament, and produced the Fantasy LP recording of that opera in 1972. He performed the American premieres of Pound's violin works, "Al poco giorno," "Faidit," and "Frottola," and was concertmaster with The Arch Ensemble for the historic 1983 world premiere of Pound's second opera, Cavalcanti, in San Francisco. Robert Hughes, conductor of the above Le Testament and Cavalcanti programs, returns to the stage this March to conduct excerpts from Cavalcanti on this March 9th program. Other Minds will release these Cavalcanti and violin works on audio CD, to be accompanied by selections from Le Testament. SATURDAY, MARCH 10th, 11 AM: An artist forum on the music of Ezra Pound at the Koret Auditorium of the San Francisco Public Library, Civic Center, with the participation of Robert Hughes, Margaret Fisher, Nathan Rubin, Michael Andre Bernstein and Other Minds Executive Director Charles Amirkhanian. PRESS INQUIRIES: (415) 931-5367 Diane Roby, media contact ADVANCE TICKET INFORMATION: (415) 934-8134, or visit ========================================================================= Date: Fri, 19 Jan 2001 09:56:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Gregory Corso Has Gone to the Movies! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" How Not to Die Around people if I feel I'm gonna die I excuse myself telling them "I gotta go!" "Go where?" they wanna know I don't answer I just get outa there away from them because somehow they sense something wrong and never know what to do it scares them such suddenness How awful to just sit there and they asking: "Are you okay?" "Can we get you something?" "Want to lie down?" Ye gods! people! who wants to die amongst people?! Especially when they can't do shit To the movies--to the movies that's where I hurry to when I feel I'm going to die So far it's worked --Gregory Corso, SELECTED POEMS " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Fri, 19 Jan 2001 15:11:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Re: Creeley on Corso MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Gregory Corso, fellow Italian, fellow orphan--- fellow piano player (the description in Desolation Angels....) I never met him but in writing.... "Power" is at least as good a poem as "Howl" I'm very glad to see Robert Creeley place Gregory in the company of Duncan for that is a compliment-- I only wish I could've told GC that he was very appreciated.... Charles Bernstein wrote: > Date: Thu, 18 Jan 2001 17:59:20 -0500 > From: Robert Creeley > Subject: Gregory Corso > > Gregory Corso died last night (January 17), happily in his sleep in Minnesota. He had been ill for much of the past year but had recovered from time to time, saying that he'd got to the classic river but lacked the coin for Charon to carry him over. So he just dipped his toes in the water. > > In this time his daughter Sherry, a nurse, had been a godsend to him, securing him, steadying the ambiance, just minding the store with great love and clarity. He thought she should get Nurse of the Year recognition at the very least. > > There's no simple generalization to make of Gregory's life or poetry. There are all too many ways to displace the extraordinary presence and authority he was fact of. Last time we talked, he made the useful point that only a poet could say he or she was a poet -- only they knew. Whereas a philosopher, for instance, needed some other to say that that was what he or she was -- un(e) philosophe! -- poets themselves had to recognize and initiate their own condition. > > There are several quick websites that help recall him now. One gives a brief biography and discussion of a few of his poems: > > http://www.english.uiuc.edu/maps/poets/a_f/corso/corso.htm > > Another, more usefully affectionate, is taken from Ed Sanders' The Woodstock Journal. It was Lawrence Ferlinghetti who had suggested last summer that a spate of respects might help cheer Gregory in his illness -- and that they were certainly well merited: > > http://www.woodstockjournal.com/corso.html > > A third, which includes some previously noted, is The Museum of American Poetics. There's a 'streamable' video available there of Gregory reading at Naropa , if you can get the sound clearly: > > http://www.poetspath.com/corso.html > > Lots of us propose to be poets but who finally stakes all, or just takes all, as being that way? In my life time only Robert Duncan could be his equal in this way. It was honor indeed to have had his company. > > RC, Buffalo, January 18, 2001 > > *** > > The Whole Mess ... Almost > > I ran up six flights of stairs > to my small furnished room > opened the window > and began throwing out > those things most important in life > > First to go, Truth, squealing like a fink: > "Don't! I'll tell awful things about you!" > "Oh yeah? Well, I've nothing to hide ... OUT!" > Then went God, glowering & whimpering in amazement: > "It's not my fault! I'm not the cause of it all!" "OUT!" > Then Love, cooing bribes: "You'll never know impotency! > All the girls on Vogue covers, all yours!" > I pushed her fat ass out and screamed: > "You always end up a bummer!" > I picked up Faith Hope Charity > all three clinging together: > "Without us you'll surely die!" > "With you I'm going nuts! Goodbye!" > > Then Beauty ... ah, Beauty -- > As I led her to the window > I told her: "You I loved best in life > ... but you're a killer; Beauty kills!" > Not really meaning to drop her > I immediately ran downstairs > getting there just in time to catch her > "You saved me!" she cried > I put her down and told her: "Move on." > > Went back up those six flights > went to the money > there was no money to throw out. > The only thing left in the room was Death > hiding beneath the kitchen sink: > "I'm not real!" It cried > "I'm just a rumor spread by life ..." > Laughing I threw it out, kitchen sink and all > and suddenly realized Humor > was all that was left -- > All I could do with Humor was to say: > "Out the window with the window!" ========================================================================= Date: Sat, 20 Jan 2001 14:27:18 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Gregory Corso In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" diddle dee dum and didley dee dee bam bam a lamm lam lidldey lee bye bye and thankyou, gregory it happened to him, it'll happen to me at present even more so now corso is a torso komninos komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 5552 8872 lecturer in cyberStudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Sat, 20 Jan 2001 14:38:18 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: spaciality In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" thanks to all who responded to my spatial nature of poetry enquiries, i'm reading 'the poetics of space', gaston bauchelard, at the moment, great stuff about the of the moment poetic experience, the non-cognitive, pre-thought response to a word, a line, a poem, which makes it a poetic moment. this indeed is one kind of space that poetry happens. even though i might not agree with his 'reverberation of the soul' explanation, the reverberation of the psyche, as the poetic moment makes sense. there are other spaces that the reader/user of poetry creates with the poem. there is a cognitive space, where the poem develops an argument and requires the user to process the information they are receiving. there is nostalgic or a recalling-of-memory space, which some poems seem to arouse. and there is a pictorial space, or imagery, whether single scene, character, or panorama, which the user and poem create. i wonder are there any other spaces, metaphorically internal spaces, that the listener/reader/interactor and poem collaborate to create? do people on this list find that the paratactic style of much [language] poetry can put them in that poetic moment state fairly quickly compared to landscape or panoramic flowing poetry which can sometimes offer that poetic moment, but most often doesn't. i am finding with poetry on the net that the element of surprise or non-predictability afforded by devices like animated texts and hypertext links and software poetry machines: creating a visual sort of parataxis from frame to frame, and more of-the-moment poetic experiences per 'cubic centimetre of cyberspace'. cheers komninos komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 5552 8872 lecturer in cyberStudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Fri, 19 Jan 2001 22:50:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: It's Still Winter (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Mon, 15 Jan 2001 22:55:58 -0800 From: Don Precosky To: Ross Priddle , Canlit-l , Barry McKinnon , Stephen Brockwell Subject: It's Still Winter The latest issue of "It's Still Winter: a journal of contemporary Canadian Poetry and Poetics" is now available at http://quarles.unbc.ca/winter Click on issue 4.1 This edition includes a polemical essay by Brian Fawcett and poems by Meryl Duprey, Ross Priddle, Rob McLennan, Stephen Brockwell, and Richard Krueger. Don Precosky ========================================================================= Date: Sat, 20 Jan 2001 16:02:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Dark End of The Street MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Not only, but also James Carr who wrote the song and also discovered (not invented) the "falling....down...calling...clown" rhyme-- dead too-- I had just put Graham Parson' version of it on a mix tape for a special someone (alongside of Christine McVie's "Just Crazy Love" and other pre-Nicks stuff) and "True Democracy" Steel Pulse stuff, when I turned on the radio and heard the news.... chris ========================================================================= Date: Sun, 21 Jan 2001 12:20:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Blaise Cirelli Subject: Northern California Literary Web Site MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello All, There is a new web site for writers and artists in Northern California. It's purpose is to publish and recognize writers/artists who live/work in the California counties of Sonoma, Mendocino and Humboldt. The url is: www.cafepushkin.org Thanks, Blaise Cirelli ========================================================================= Date: Sun, 21 Jan 2001 13:36:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Notes New from Hoa Nguyen and the Folks at Skanky Possum (skankypossum@hotmail.com) A free publication: essays, notes and reviews Check out The Possum Pouch January 2001 An irregular publication of essays, notes and reviews at http://www.skankypossum.com FEATURING ===Couch Potato Poetics by Dale Smith=== (excerpt) "Poets are outsiders looking in, reading topologies as well as what lies beneath them. Poets in our economy have no function. They are instead responsible to the guiding lights of their individual psyches, intellects and senses, and to the restoration and renewal of the world through them. Against those vital applications of attention Bernstein proposes to limit a poets' potential by a self-censure that molds poets of acceptable social functionality." ==Poet's House by Linh Dinh== (excerpt) "Chanh is the poet maudit of Saigon. A decade ago, he made a small fortune dealing in lumber. He then published two volumes of poetry. The second one, Night Of The Rising Sun, is particularly noteworthy for its intense, hallucinatory language. When he wrote that book, Chanh said, he was staying indoors almost continuously. Inside his darkened room, he would scrawl pornographic images on the walls with a pencil. Now unemployed, Chanh spends his time reading, writing and translating. He is working on a version of T.S. Eliot's The Waste Land." ==Notes and Reviews by Dale Smith== ...on Renee Gladman's Juice, the Robert Duncan site... Submissions and feed back are welcomed and desired. Write to skankypossum@hotmail.com. ========================================================================= Date: Sun, 21 Jan 2001 14:04:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Jonathan Hayes Jonathan lives in San Francisco and can be reached at jsh619@earthlink.net. subscription )alien( mother ship in our conversation about her paranoia questions from another haircut mother's dead day crunching on pills like jawbreakers little tooth grows profound inside apartment [don't go out] member -ship of the month coffee &photographs historic tragedy: the Bomb exploded father's semen, stained lesion on her brain hyper-perception every insect's identity in the room, registered black invisible sweater a chemical evanescence good night good waiting for the polaroid emulsion of the past into the now little birds chirping in the sad City heard through a red phone receiver "the man on the hotline said they sounded nice too." the angels will let go of you if you ask, but they will continue to watch answering machine disinfect the phone with stridex pads the right hand of paranoia [valium / volume] 6, 5, 4, 3, 2, 1, "i can't ear you." fire-escape pigeon mo moans groooans when the party is over useless urban soledad white blinds drawn eye no more play day insects invading room ringer off no! Jonathan Hayes ========================================================================= Date: Mon, 22 Jan 2001 05:38:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lee ann brown Subject: Hear the Odyssey Live @ Bed Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Announcing New Poetic / Performance / Exhibition Space: ::: Bed ::: on Thursday, January 25th 8pm Cambridge MA based Poet and modern Bard Sebastian Lockwood will recite selections from Homer's ODYSSEY Live! (for a preview see Sebastian's website: odysseylive.com) @ Bed 57 Hope Street 2nd floor (718) 782-8443 Williamsburg, Brooklyn, NYC Suggested Donation $3-5 feel free to bring your own poems on classical themes & :::: Watch for Future Programming & Parties :::: Directions from Lorimer Stop (2nd Stop on the L Train into Brooklyn): If you're coming from Manhattan, get in the last subway car. Walk out the main entrance by the token booth and you will be at Kellogg's Diner. Turn left on Metropolitan Avenue and Walk 2 blocks WEST (towards the river: You will be walking UNDER the Brooklyn Queens Expressway). Then take a left at the Citgo Station on Marcy Avenue. Go one block and make a right on HOPE STREET. We're in the large white warehouse on the North Side of the street, 2nd floor. There are several stairwells and ours is "57". Ring TOP BELL or call up to (718) 782-8443. Please Come! *** *** *** ** * * * * (718) 782-8443 B e d phone (646) 734-4157 cell * * * * * ** * * * * * * * ** Lee Ann Brown Tender Buttons PO Box 13, Cooper Station NYC 10276 ========================================================================= Date: Mon, 22 Jan 2001 04:41:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lee ann brown Subject: Trimmings (Tender Buttons) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please note: Harryette Mullen's great book, _Trimmings_ (Tender Buttons) will be back in print in March of this year. If you are trying to locate copies they will be available then through Small Press Distribution, which is spd@igc.org or 1(510) 524-1668, or for stores, 1(800)869-7553. This recently posted announcement (inadvertantly) could perhaps be read as if _Trimmings_ was published by Singing Horse press. _Trimmings_ was and is published by Tender Buttons. Harryette Mullen is the author of four books of poetry, including her most recent, Muse and Drudge published by Gil Ott's Singing Horse Press of Philadelphia. Her other books include Tree Tall Woman, Trimmings S*PeRM**KT, also published by Singing Horse Press, and the forthcoming book of essays, Free the Soul: Literacy and Liberty in Slave Narratives. Her work as appeared in several anthologies including Trouble the Water: 250 Years of African-American Poetry, the Gertrude Stein Awards for Innovative American Poetry, and African-American Literature, edited by Al Young and Ishmael Reed. Ms. Mullen, a truly remarkable talent, a refreshingly innovative and inclusive writer, currently teaches African-American literature and Creative Writing at the University of California, Los Angeles. Find further information on Ms. Mullen at www.poets.org/poets/index.cfm www.writing.upenn.edu/epc/author/mullen/ ____________________________________________________ Lee Ann Brown, editor Tender Buttons PO Box 13, Cooper Station NYC 10276 (646) 734-4157 the cell phone (718) 782-8443 home ========================================================================= Date: Mon, 22 Jan 2001 12:19:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Daisy at Poetry Daily Comments: To: wh@dept.english.upenn.edu, WOM-PO@listserv.muohio.edu, owner-realpoetik@scn.org, rattapallax@yahoo.com, whpoets@english.upenn.edu, bbook@interport.net, apr@libertynet.org, mbpratt@earthlink.net, lizrader@icdc.com, rwolff@angel.net, rwebb@haverford.edu, lcohen@swarthmore.edu, Nicole@BostonBookReview.com, Nuyopoman@aol.com, lrussell@odin.english.udel.edu, jpress@villagevoice.com MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello! Just letting you know that I'm the featured poet and my book, "She Didn't Mean to Do It," the featured book, at Poetry Daily (www.poems.com) on Wednesday, Jan. 24. Cheers, Daisy Fried ========================================================================= Date: Mon, 22 Jan 2001 01:20:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: DENWA TRANSMITTED TELEPHONE MOSHI-MOSHI KENJI SIRATORI MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII DENWA TRANSMITTED TELEPHONE MOSHI-MOSHI KENJI SIRATORI dive:the HITACHI SO-DESU-NE DAIMYO HAI! wolf=space MOSHI-MOSHI was NAKASU- KAWABATA SUBARU SO-DESU-NE OTAKU cetera:was controlled WA drug-eyeE! HAI! E! HAI! 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EE!E! ===== ========================================================================= Date: Mon, 22 Jan 2001 11:48:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: J20: report from the coronation Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit this is the short version; hope you have time to read it... J20: counterinauguration I have found few instances of meaningful mainstream coverage of the protests on Saturday. One from the St. Louis Post: "the protesters lent a dramatic -- and unusual -- element to the largely celebratory atmosphere in the nation’s capital. As the official procession began to pass Freedom Plaza, three blocks from the White House, boos cascaded down. When Bush rode by an hour later, the boos grew so loud that they drowned out chants led by the protest's organizers. Among the refrains was: 'George Bush, we know you, your father was a racist too.'" For "racist" we also said "killer." Iraq civilians, Texas felons. Friday night after work I painted a sign onto the back of my old army coat, black letters in a white box with a stem to resemble a hand-held sign: "End Sanctions Against Iraq." These sanctions are ten years old. In Cambridge my jacket merits remarks from a young white guy, kind of drunk I think, about how the US is now like pre-war Germany. I don’t think so but we nod and move on. The Third Reich was never subjected to what the Bush Reich is about to get tomorrow on the parade route. We’re on the subway heading to Roxbury. I spent the time between work and meeting Mike listening to Sandanista and the first Clash album. Mike knows all the words to "Washington Bullets." Surfacing from the train in Jamaica Plain an older guy passes us going out the door. Reading my jacket he says "they ought to drop a stink bomb on all of DC tomorrow." Is he for Bush or against Bush? We don’t know. He keeps moving. When I’m standing in line at the registration table to get on one of the four buses, Roxbury Community College a middle aged white woman says to me, "I’m standing with you tomorrow; I’m a human being." Her reason for going tomorrow is also the Iraqi sanctions. Mike County and Ed, a trade unionist and IAC organizer, Val, and Liane (a lesbian from Provincetown interested in protesting the witholding of AIDS medicines from Africa) talk on Bus D while the other buses fill up. Ed has been organizing for 27 years. He was at the counter-inauguration of Nixon in 1973. He’s a shop steward for the food services union at Harvard. He’s old-time working class Boston. Mike notices this right away. Ed refers to the Boston Herald as the Herald American, the name it hasn't gone by in over 20 years. Our bus driver is Paul. By way of introduction he says he is just married and is looking forward to having his wife join him in Massachusetts because he hates doing dishes. He's in his 50s. To Mike, me, and Steve (another IAC organizer) he said outside the bus: "last time I went to DC the bus was filled with commies, mouthing off, running all up and down the bus." Steve says "you may find a few of those here tonight." Frank boards the bus but only to hand us a press release from IAC New York about today’s court victory. Frank is an IAC organizer. He went to Iraq last year to deliver food and medicine banned by the sanctions. Ed went too. People from Food Not Bombs pull into the parking lot in their beat up red van. They've got dozens of loaves of bread and some kind of stew to hand out to people. When FNB is not on the Boston Common feeding the homeless they are usually at a rally or demonstration or something feeding activists. They're kind of anarchic and wild and even tho I find some of them annoying on a personal level (I know some from Cambridge) what they do is really remarkable and admirable. Tonight the bread is good but the strew is cold. 11:20 pm: we pull out of the parking lot, 20 minutes later than scheduled. We filled the available seats on our bus with a group of students from Brandeis. We've got exactly enough room for the Providence people. After a brief meeting with Ed and Eve (the other bus captain) we begin an orientation session. Everyone introduces themselves and talks about why they are here. Mike is here to counter the increasing criminalization of public protests. Liane is here for AIDS medicines to Africa. Val is here because she believes the Republicans will be more vindictive to the gay community than the Democrats were. Eve is here because she "hates America" and its flourishing police state. Of the Brandeis students some say "stolen election," some "hate Bush," and a couple just for the experience of demonstrating. In their wording they all talk about the "majority of Americans" as a jumping point for their own views. They all believe they are mainstream. I talk about the sanctions against Iraq, how it's entering its tenth year and was maintained for 8 years under the Democrats with enthusiasm and fervor. I hold up my painted jacket to show them. I say three basic things in this country are constantly under attack and very much worth fighting for: legitimate elections, free speech, and the right to peaceably assemble. My mentioning of Iraq starts Ed talking about his trip there. Of 50 delegates 7 got seriously ill when they mistakenly washed fruit or brushed their teeth with tap water. While looking at a group of children at play in a playground he thought the scene normal enough; 9-10 year olds at play. Then someone told him the kids were actually 13-14 years old. The IAC is the driving force behind the demonstrations tomorrow. They've formed coalitions, organized bus caravans, and fought not only for the permit at Freedom Plaza but also the for the police to articulate beforehand the nature and guidelines of their actions and responses tomorrow. What Ed stresses in the orientation is that no matter what your main concern is, whatever the reason moving you to protest, is that people protesting are organized as a group and have unity. The police and elected officials don't want unity. It scares the government he says, by way of example, that a steelworkers union and a gay and lesbian rights group start talking to each other and working together. This is an anarchic organizing principle. This is good politics. I'm glad I came. Of the Providence group many are Latino and black. People brought their kids too. A Latino couple, teenagers, sit across the aisle from us and do not physically unlatch themselves from one another for the entire trip. We do the orientation again but this time with Spanish translation. In a more formal presentation I give a summary of the press release in the context of police tactics that have been used in Seattle, Philadelphia, and LA. Luckily I've read about this on my own or my part here would have been relegated to only reading from the press release. I end up making a speech which wasn't my intention. In a US District Court the judge (Gladys Kessler) said, "The plaintiffs have represented not only themselves but all of those who are concerned about the First Amendment." We will hear the lawyers representing the IAC (a woman and a man, both pretty young) tomorrow at the demonstration. The press release said: "yesterday in Court, for the first time the government conceded that they were not allowed to institute routine body searches or single out demonstrators or persons based on their race or political affiliation. The police earlier had refused to be forthcoming." Later it went on, and this was important to know for the people on the bus, "The government assured the Court that, aside from visual inspections of containers, the police would be held to the Terry standard, under which police may not stop or 'pat down' anyone without a legitimate , articulate suspicion that they have a weapon." After this orientation, and recruiting for security tomorrow, people drift off to sleep. I sleep through the entire New Jersey Turnpike, a real blessing. We stop at a rest stop just before the Delaware Bridge where I pick up possible one of the worst cups of coffee I've ever had. Sky is brightening. Rain persists. A woman, speaking for the IAC, said this week, "we show up at a demonstration with banners and signs; the cops come at us with guns and tear gas." Who needs to be watched closely? Entering Maryland a row of cop cars are moving slowly in the breakdown lane. Ed seizes on it and addresses the bus: "Do you feel secure? This is meant to intimidate you." All their cop lights are flashing. I count the cars: 82 state troopers plus some unmarked cars too. The bus driver says, "last time I saw that many cop cars was in Smokey and the Bandit." Ed tells me and Mike about the Nixon inaugural 27 years ago. Most of the action, and the biggest crowds, were on the Mall, away from the parade. He was one of a few thousand on the parade route. The streets were lined with soldiers, bayonets affixed to rifles. These were fresh recruits and after the protesters had been chanting for a while the soldiers began chanting with them. The motorcade had to stop. They thought the soldiers might join the demonstrators. They were gathered up and taken away on trucks and regular police replaced them. Today Ed is expecting Freedom Plaza to be surrounded by marching bands to drown out the noise of the demonstration. The trip down stops at Glenmont. Once off the bus Mike and I separate from our group and hop on the train. The train is filled with signs. We surface at Metro West and head toward the designated coffee shop to meet Kaia, Jules, and Tom. Some friends of their's from Jersey are there. Some NY friends of Lisa Jarnot's too. A group waving Puerto Rican flags is across the street. Suddenly they pose for pictures with a cop. A single man in an overcoat and red scarf walks by with "Hail to the Thief" written on a sign. Unfortunately, this is the kind of protest that will get the most attention today. Cops are everywhere. People with signs and banners and moving down 14th street. I’m on my second cup of coffee. Three hours sleep. No shower. When a loud and militant march of demonstrators moves down 14th street they create such excitement that we rush outside to cheer them. They are mostly African American and dressed in a kind of militant-cop uniforms with patches of Africa sewed to their coats. From a distance I almost mistook them for real cops. Most of their banners are anti-death penalty. On the sidewalk a young kid with a red bandana over his face hands me an American flag. Over the field of stars the NBC logo is stenciled in white. Over the stripes the word "sold" is stenciled in black. It's nearing 10:30 and we head down the street. Located at 14th street and Pennsylvania is one of two checkpoints. I’m moved by the energy the protester's drums are creating. The drums are mostly big plastic buckets. I see some of my tenant activist friends from Cambridge. Jules and Kaia leave us at the checkpoint line. They plan to meet up with us later but we don't see them again. Neither do we run into anyone from New York, despite some hard crowd scanning for Ange's "peach-pink puffy jacket and dot-com glasses," and Lisa's long blond hair over a coat that says "Bush sucks" on the back. We stand at the plaza looking up 14th street hoping to spot our friends from New York. The crowd of demonstrators waiting to pass thru the checkpoint area has thinned. It's a little after 12. Just as I'm thinking the crowd is not that big a red banner appears on the crest of 14th street. Others follow. And puppets and signs. And wave after wave of people. There is a massive amount of people suddenly filling the street, like a gate was just opened. It's very exciting to watch. They keep on coming. The block is now packed with people waiting to pass thru security. And it happens again and again for over an hour. The size of the crowd has just tripled in the space of an hour. We move in and about the plaza which the authorities have neglected to place portable restrooms on. The only restrooms in the barricaded area are reserved for military personnel and press. Some poor cadet is left to bear the shouts and insults of bladder-filled protesters with his little key that opens the brass locks on the doors. Of these protesters I am the loudest as I begin to chant "let us pee, let us pee" at the top of my lungs and "open up the john, open up the john." No luck. Didn’t think there would be. We have to leave the area, find a public restroom in a mall and then wait in line again to get back in. As we’re waiting in line a man compliments my jacket-sign. He's well dressed, as is his date, so I figure they are here to support Bush. He says, "my parents were from Iraq." The checkpoints are bullshit. The security is bullshit. People are bottled up by the hundreds and filing thru the gate one person at a time. Still, we hear reports that the demonstrators outnumber the Bush supporters today. One such report supposedly came from CNN. Mike taunts a group of little boy Marines grouped together with their leader. He taunts women in fur coats and men in cowboy hats. The whole world is about to be subjected to the infuriating pain of multiple Texas "yee-haws" as the country is rolled back about a hundred years in terms of labor and civil rights. It really makes me want to spit on people. Instead, we approach the bleachers where a lot of the action seems to be. The bleachers were guarded by cops and girl scouts ("inaugural volunteers") until so many demonstrators showed up that they were abandoned, commandeered by the demonstrators. I was in this exact same spot 8 years ago when Clinton was first sworn in. It was sunny then and I was in a much better mood, though no fan of Clinton. I remember lifting my middle finger to Bush as his helicopter passed overhead: my reason for coming then. Today I'm giving everyone the finger who doesn't look like a demonstrator. Fuck them all. As buses and limousines and SUVs and cops cruise down Pennsylvania Avenue I flip them off with several thousand other people and yell one of the most powerful chants: "Bush, murder, Bush, racist!" To report thousands of people yelling "Bush, murderer, Bush, racist" on the networks and major news stations would be as foreign to most people as reporting an alien invasion from Jupiter. I doubt it was reported. But everyone on the street can hear us. If it's yelled loud enough it just may become an issue. The IAC would have demonstrated today whether Bush was sworn in or Gore, the actual winner of the election. They applied for permits nine months ago. As Larry Holmes, IAC organizer and dynamic speaker, made note to the crowd, the death machine keeps moving efficiently whether the Democrats or Republicans are in control. The IAC is here to oppose a variety of "bipartisan" issues (meaning both parties support them): the death penalty, sanctions against Iraq, embargoes and sanctions against 30 other countries, the escalating military support for the Columbian regime. They support movements to free both Mumia Abu Jamal and Leonard Peletier, pro-choice movements, pro-lesbian and gay community movements, anti-free trade agreements, movements to ban depleted uranium, anti-US involvement in Colombia, anti-blockade of Cuba. These, plus the ever widening banner of official racism under which all these things fall. Chant: "hey Bush, we know you, your father was a killer too." The rain has picked up. People are soaked. Still, the sound system is loud. I can hear drums beating from other parts of the plaza. From the bench I’m standing on I can see down Pennsylvania Avenue toward the Capitol. Lines and lines of cops and military personnel along the street standing perfectly still. Sharpshooters on the roofs of surrounding buildings. Just like 8 years ago. Eight years ago however people weren't yelling at the cops and waving their middle finger at them. What do the cops look like? Their faces are stone. I imagine they would like nothing better than to beat the hell out the demonstrators. If I were a cop I know I would. Of course I can't ever imagine becoming a cop. The cops probably can't ever imagine doing the things to the American flag that I've done today. Nor painting a political slogan on their back. And yet the cop unions are very strong unions. And the prison industry is very profitable. They would probably like very much to jail everyone not clapping for the parade. When the US Marine marching band passes us the crowd yells and boos so loud that I can't hear a note of music. Other speakers the IAC has brought include representatives from various movement committees: a Native American man from the Free Leonard Peletier committee. He's wearing Ray-ban sunglasses and some kind of brilliantly colored Native American outfit. He begins "we've been trying to get Peletier free for 18 fucking years…" And they probably thought it would happen 8 years ago. That’s when a campaigning Governor Clinton pledged that he would grant Peletier a pardon if elected. Eight years later he didn't do it. Why? He sat around in his final weeks of office granting pardons left and right to corporate criminals. Then he made sure his own ass was secure from prosecution for the farce sex scandal, etc. He had no political clout to lose from freeing Peletier. He couldn't even damage a Democrat successor by doing so. Why didn't he? Clinton is a chump; an opportunist who has capitulated on every important issue for eight solid years. It's as simple as that. That, and the FBI are dead-set against it. An activist from Korea speaks. A Zapatista speaks in Spanish. One of the main IAC organizers (from NYC) speaks, plus the two lawyers who fought in court for permits and so on. A tall black man from New York speaks several times and leads chants. Very powerful. One ends, perfectly intoned: "no justice, no fucking peace." Across the street an temporary enclosed platform hosts various dignitaries. Rudy Guiliani is one of them. We chant for him when he's visible: we remember Amadou; you're a racist, murderer and Nazi. That kind of thing. He takes pictures of the crowd. What a smug prick. This is what to expect for the next 8 years, the leadership of smug pricks, perhaps less erect than departing leadership. Larry Holmes is an IAC organizer and also leader of the movement to free Mumia Abu Jamal. He was at the Nixon inaugural in 1973 also, Ed tells us later. He was there on "union business/ air force" he said, which was code for AWOL. In the IAC press release he had said, "We believe that the police never intended to give us a permit or to allow demonstrators to have access to Pennsylvania Avenue and the inaugural route. Security issues were a ruse. The real goal of the police and government was to shield the Bush administration from the political embarrassment of having thousands of demonstrators lining the parade route." On the bus later Ed tells us that the NBC, which had a giant movable TV cameraman on a platform (like a fire ladder or cherry picker) right over Freedom Plaza had approached the IAC when they saw the enormity of the demonstration. NBC was going to do a shot of the demonstrators right at the time Bush passed it in his car. At that time they would interview an IAC representative for commentary. Of course this never happened. The Bush people learned of it and immediately contacted NBC to stop it. I wonder what they traded; an exclusive interview or something. Either way it was this that caused the parade to be delayed by about an hour. After Bush's car passes we leave. Up on 14th Street a man walking against the crowd with his children shouts "Say goodbye to the Arkansas rapist." I yell back, “Say hello to the Texas cokehead.” ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Mon, 22 Jan 2001 16:28:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Carfagna, Richard" Subject: LONG POEM STUFF MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hello gang, I am looking for informative essays and books on the 'postmodern ' long poem. I am familiar with the works of Keller & Conte, but was wondering if anyone knows of some other material out there ! Thanks, ric ========================================================================= Date: Mon, 22 Jan 2001 16:49:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Massey Subject: Re: NYTimes.com Article: Gregory Corso, a Candid-Voiced Beat Poet, Dies at 70... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/22/2001 3:27:20 PM Central Standard Time, khehir@CS.MUN.CA writes: > Have you bothered to read his work? ========================================================================= Date: Mon, 22 Jan 2001 19:08:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lourdes Vazquez Subject: LATITUDE SOUTH: POETRY IN TRANSLATION MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit For those finding themselves in New York. Latitude South: Work in Translation Series In The Gathering of the Tribes * Sunday February 18: 5:00p.m. Larry Lafontaine-Stokes, Mariana Romo Carmona, Lionel Lienlaf Larry La Fountain-Stokes (1968) is a Puerto Rican writer and academic. He teaches Puerto Rican, Hispanic Caribbean and U.S. Latino/a Studies at Rutgers with special emphasis on theater and performance and gay and lesbian studies. He received his Ph.D. in Latin American literature at Columbia University (1999) and his dissertation, "Culture, Representation, and the Puerto Rican Queer Diaspora," will be published by the University of Minnesota Press in 2002. He has published creative writing in Claridad and Cupey (PR) and has an unpublished collection of short stories titled "Uñas pintadas de azul". Leonel Lienlaf, Chilean/Mapuche poet, writes, performs, and sings in Mapudungun and Spanish. He is the author of the book Se ha despertado el ave de mi corazón, and is included in the anthology UL: Four mapuche Poets. He has participated in environmental activist movements, campaigning against commercial lumbering in the native forest of Chiloe, and has written the script for a video about the construction of a hydroelectric dam in an indigenous community. Mariana Romo-Carmona was a chatter-box and storyteller in her native Chile. For her, poetry is a path to cross the space as a novelist between languages. She is the author of the novel, Living at Night, the short story collection Speaking like an Immigrant, and her poetry appeared most recently in the anthology The World In Us: Lesbian & Gay Poetry of the Next Wave. * Sunday March 18: 5:00pm.- Mercedes Roffé, Carmen Valle, Mercedes Roffé is an Argentine poet. She is the author of Poemas, El tapiz de Ferdinand, Oziel, Cámara baja, La noche y las palabras, Memorial de agravios, Definiciones Mayas, and Antología poética.. She has also authored a book-length essay on medieval and Renaissance literature, La cuestión del género. Her work has appeared in several Latin American and Spanish literary journals. Mercedes has translated into Spanish several North American writers, such as Anne Waldman, Adrienne Rich, Robert Duncan, and Richard Foreman, and has edited and translated a book-length anthology of the poetry of Jerome Rothenberg. Her book of poems O de las cosas que han pasado en esta tierra is forthcoming. Carmen Valle(PR) books includes poetry and short stories. Un poco de lo no dicho, Glenn Miller y varias vidas después, De toda da la noche al que la tienta, Preguntas, Desde Marruecos te escibo, Entre la vigilia y el sueño de las fieras and Diarios robados are some of the titles of this writer. Her work has been included in several anthologies among the latests: Papiros de Babel, Poetas en Nueva York, Alfin del siglo, Miradas de Nueva York. Valle has also published in different literary magazines in Puerto Rico, Dominican Republic, Venezuela, USA, Germany and Spain. * Sunday April 29: 5:00p.m - Cecilia Vicuña, Marianela Medrano Marianela Medrano, born in the Dominican Republic, has been living in the U.S. (Connecticut and New York) for the last 10 years. Her poetry is designed to redefine women and their roles in society, be they in the sphere of race, social consciousness, gender, etc. While in the Dominican Republic she published Oficio de Vivir and Los alegres Ojos de la Tristeza. In 1998 she published a bilingual poetry selection Regando Esencias (The Scent of Waiting). Medrano works in the social work field for women and families of low income. She is also involved with a multicultural program that aids emerging artists, sponsored by the Connecticut Commission on the Arts and The Institute for Community Research. Cecilia Vicuña is a Chilean poet, filmmaker, performance artist and sculptor. According to the Spanish magazine Quimera Cecilia is "one of the most vivid and creative personalitites of the Latin American scene." The author of eight books of poetry, she has performed "ritual readings" throught the U.S., Europe and Latin America. Her films, installations and performances pieces have been exhibited at MOMA, and the New Museum of NY as well as museums in Latin America. Among her latest books are Unravelling Words and the Weaving of Water and Precario/Precarious. She is the editor of the anthology UL:Four Mapuche poets. Latitude South series is being curated by Lourdes Vázquez, a Puerto Rican short story writer, poet and essayist. She is the author of Las Hembras, La rosa mecánica, Aterrada de cuernos y cuervos, El amor urgente, Erótica de bolsillo, Historias de Pulgarcito and De identidades: bibliografía y filmografía de María Luisa Bemberg. Her work has been included in several anthologies among the latests: Libertad condicional, Winds of Change and Caribbean Creolization: reflections of the Cultural Dynamics of Language, Literature and Reflections. Her work has been published in several journals and newspapers in Latin America and Europe. . The Gathering of the Tribes 285 East Third Street, Second Floor (between Avenues C and D) For informationall: 1-212-674-3778, email: info@tribes.org www. tribes.org ========================================================================= Date: Tue, 23 Jan 2001 03:12:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Quasha & Stein reading at KSW in Vancouver & in Seattle MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Vancouver Reading George Quasha and Charles Stein Friday Jan. 26 8:00 pm at the KSW $5/$3 Contact Ted Byrne for details: ted@tradeunionresearch.com (On Saturday Jan. 27 1:00 pm they will address the Charles Olson Society -- information also available from Ted Byrne or Ralph Maud.) Seattle The following Sunday the 28th evening they will read in Seattle at 7:30 in the Red Sky series at the Globe Cafe & Bakery, 1531 14th (near Pine) on Capitol Hill. --------------------------------- www.quasha.com www.stationhill.org ========================================================================= Date: Tue, 23 Jan 2001 04:09:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ASSASSINATION-VIRUS.EXE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== This email will assassinate executioners.
PULL HERE YOU WILL BE KILLED AND HARMED JUST AS YOU HAVE KILLED AND HARMED OTHERS.
YOU WILL BE AN INTERACTIVE TEXT. YOU WILL BE KILLED AND TORTURED BY TEXT. YOU ARE A VIOLENT THIEF. YOU HAVE STOLEN EVERYTHING.|-|

BY READING THIS YOU HAVE KILLED EVERY EVIL POLITICIAN. YOU ARE COMPLICIT IN KILLING EVERY EVIL POLITICIAN. |-| ========================================================================= Date: Tue, 23 Jan 2001 08:30:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: shameless promotion: Come to a poetry reading Brooklyn/Manhattan MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit love to see you! Thursday, January 25 @Halcyon: Stella Padnos, Prageeta Sharma,Julie Sheehan-Thorsen, John Trantor, and Jason Zuzga 7:30 pm 227 Smith Street (take the f train to Carroll St. Station, walk 2-3 blocks on Smith heading towards Atlantic) Saturday, January 27@ Double Happiness: Chris Stroffolino, Prageeta Sharma Double Happiness. 173 Mott Street at Broome. 4pm. Happy hour! Down the stairs, between the fish store and the mural of the Indian chief. ========================================================================= Date: Tue, 23 Jan 2001 10:18:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cassandra Laity Subject: CFP: MSA New Modernisms 3 MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit CALL FOR PANEL PROPOSALS NEW MODERNISMS 3 The Third Annual Conference of the Modernist Studies Association October 12-15, 2001 Rice University Houston, TX The MSA is now accepting panel proposals. THE DEADLINE FOR SUBMITTING PANEL PROPOSALS IS APRIL 27, 2001. IMPORTANT: PLEASE CHECK OUR NEW WEBSITE ADDRESS FOR UPDATES: Please include the following information in your proposals: 1)your name, session title, professional affiliation, mailing address, phone number, fax and e-mail address; 2)the names and affiliations of other members of your session, paper titles; 3)a 250-word abstract on the topic; 4)a subject heading that carries the session organizer's last name. MSA Policy on Panels: Please note that we cannot accept proposals for individual papers. We encourage interdisciplinary panels and sessions comprising panelists from different institutions. Panels composed entirely of graduate students are unlikely to be accepted. We discourage panels on single authors. All MSA panels must have a chair who is not giving a paper. If you do not propose a chair, we can suggest one for you once your panel is accepted. We prefer submissions by e-mail, but we will accept those by fax or material mail. Send panel proposals to: (please include a SUMMER ADDRESS) C/O Jacob Speaks, MSA Department of English Rice University 6100 Main Street, MS 30 Houston, TX 7705-1892 e-mail (please paste into e-mail; no attachments) fax: 713-340-5991 CONTACT INFORMATION for information on panels contact: Michael Coyle, President, MSA: Cassandra Laity, Co-editor, _Modernism/Modernity_: ========================================================================= Date: Mon, 22 Jan 2001 18:14:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: a+bend press chapbook sale MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit tho currently on a production hiatus, during the 20-month span of april 1999 to november 2000, a+bend press published 40 chapbooks. now, many of these chapbooks are sitting in the a+bend press basement, just waiting for attention...chapbooks by authors such as fanny howe, cole swensen, david bromige, lisa jarnot, jo ann wasserman...and so many others... a book sale seemed like just the thing to bring renewed attention to these fabulous titles. so here, have a book sale: *****for orders postmarked on or before feb 14, chapbooks will be sold for $4 instead of the usual $5 (20% off), and you get free shipping. hooray!***** a list of all 40 titles, along with excerpts, cover scans, (some) reviews, etc, are available for viewing at http://www.durationpress.com/abend/index.html (durationpress.com also hosts lots of other small presses and magazines--check 'em out!) so go look, send a list of what you'd like along with your address and a check made out to either a+bend press or jill stengel, and i'll send the books on over to ya. please note: book orders not postmarked after feb 14 will once again be their usual $5 plus shipping of $1 for one book/$1.50 for more than one book. additionally, there may be a slight delay in order fulfillment after this date, as i'm expecting a baby in late feb/early march. another note: the book sale is for individuals only, not for institutions thanks for your attention to this matter, and to these books, and to poetry, and to small press publishing, and and and-- thanks-- jill stengel ========================================================================= Date: Tue, 23 Jan 2001 16:05:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Shark #3 is Out! / Shaw MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit It was requested we forward this message to the list. -- From: Lytle Shaw Date: 1/9/01 5:23 AM -0500 Shark #3 is Out! Announcing Shark #3 (Historiography) Including: Peter Middleton, "Lyric Temporality" Robert Gluck, "My Margery; Margery's Bob" Lytle Shaw, Interview with Barrett Watten Anselm Berrigan on Kit Robinson Stephen Cope on Brathwaite and Mackey Jacques Debrot on Brian Kim Stefans Jena Osman on Rod Smith and Joan Retallack Michael Scharf on Chris Stroffolino Louis Cabri on Michael Gottlieb David Larsen on Harmony Korine Ben Friedlander, note on historiography Art Projects and Art Writing: David Larsen and Raymong Pettibon, "Twice-Tolled Bells" Sarah Pierce on Ultra-red Michael White Roy Kortick Carrie Moyer Lytle Shaw and Emilie Clark Susan Bee Linda Post Matthew Buckingham Tag Team Issues are $10, postage included for shipment in the US foreign postage add ($3). Please make checks out to Lytle Shaw or Emilie Clark 74 Varick St. #203 NY, NY 10013 Subscriptions are $18 (two issues) ========================================================================= Date: Tue, 23 Jan 2001 00:53:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Stephen Cope Subject: New Writing Series at UCSD Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hello all, Please note the following dates. Bio. notes are due to follow soon. If you'de like to be removed from this list, please e-mail me (scope@ucsd.edu) and I will do so immediately. Best, Stephen Cope _________________________________________ NEW WRITING SERIES @ UCSD WINTER 2001 SCHEDULE (Unless otherwise noted, readings take place at the Visual Arts Performance Space, Visual Arts Complex, on the UCSD campus, at 4:30pm. Admission is always free, and all events are open to the public). Thursday, January 25: TONY LOPEZ. Friday, January 26: THULANI DAVIS. Note: Reading will be held at 3:00 PM in the De Certau Room, Literature Building, UCSD Wednesday, January 31: PASQUALE VERDICCHIO. Thursday, February 8: CHRIS TYSH. Friday, Fenruary 9: HELENA VIRAMONTES. Note: Reading will be held at 3:00 PM in the De Certau Room, Literature Building, UCSD Thursday, February 15: AMMIEL ALCALAY. Friday, February 16: PATRICIA POWELL. Note: Reading will be held at 3:00 PM in the De Certau Room, Literature Building, UCSD Wednesday, February 21: DIANE WARD. Thursday, March 1: MARC McMORRIS. ========================================================================= Date: Tue, 23 Jan 2001 16:10:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Welcome Message - updated 23 August 2000 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. Posting to the List 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 This Welcome Message updated 23 August 2000. -- Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List With the preceeding epigraph, the Poetics List was founded by Charles Bernstein in late 1993. Now in its second incarnation, the list carries over 800 subscribers worldwide, 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 10 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 moderated list. Due to the increasing number of subscribers, we are no longer able to maintain the open format with which the list began (at under 100 subscribers). All submissions are reviewed by the moderators 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 sections 3 and 4. below. Publishers and series co-ordinators, see also section 8. 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 8 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 moderators, 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 full name, street address, email address, and telephone number. All posts to the list should 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 moderators 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, you may re-subscribe to the list by contacting the moderators at . 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. Posting to the List The Poetics List is a moderated list. All messages are reviewed by the moderators 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 poetry and poetics, messages relating to politics and political activism, film, art, media, and so forth are also welcome. Feel free to query the list moderators 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. Brief reviews of poetry events and publications are always welcome. We also welcome discussions of poetry and poetics in keeping with the editorial function of the list. Solicited contributions (by subscribers or non-subscribers) may also appear on Poetics from time to time. The moderators reserve the right to contact any subscriber regarding possible contributions. 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 . For further information on posting to the list, see section 4 below. Publishers and series co-ordinators, see also section 9. ------------------- 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 send attachments or include extremely long documents (1,000+ words) 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. Messages containing attachments will be presumed to be worm- or virus-carrying and will not be forwarded to the list. Posting on the list is a form of publication. However, please do not publish list postings 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" of published materials. As an outside maximum, we will accept no more than 5 messages per 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-five or fewer messages per day. "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. 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! 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 moderators at . ------------------- 5. Subscription Options It is possible to receive the Poetics List as separate posts or as daily digests. When you subscribe, the default setting is "regular," meaning you will receive a separate email for each post. To change options, send a one-line message, always beginning with "set" with no "subject" line to With a "regular" subscription, you receive individual postings immediately, as they are processed by LISTSERV. To change to this option if you are currently not getting the list in this form send the one-line message: set poetics nodigest Digest: With a "digest" subscription, you receive larger messages (called "digests") at regular intervals, usually once per day or once per week. These "digests" are collections of individual list postings. Some lists are so active that they produce several digests per day. Digests are a good compromise between reading everything as it is posted and feeling like the list is clogging your mailbox with a multitude of individual postings. There are three digest formats: a "traditional", text-only format; a MIME format; and an HTML format. Because posts sent over the list with HTML coding disrupt the format of the text-only digest, we recommend that you use the MIME or html versions. If your mail reader works with HTML, choose that; if not, try MIME, although you may find the HTML version will also work for you. To change your digest options, send these messages to : Digest (traditional): set poetics digest [We DO NOT recommend this] Digest (MIME format): set poetics nohtml mime digest Digest (HTML format) set poetics html digest Index: With an "index" subscription, you receive short "index" messages at regular intervals, usually once per day or once per week. These "indexes" show you what is being discussed on the list, without including the text of the individual postings. For each posting, the date, the author's name and address, the subject of the message and the number of lines is listed. You can then follow instructions provided in the index to download messages of interest from the server. An index subscription is ideal if you have a slow connection and only read a few hand-picked messages. The indexes are very short and you do not have to worry about long download times. The drawback of course is that you need to maintain your internet connection or reconnect to order messages of interest from the server. You can choose to have the index sent to you in either a traditional format (plain text) or in HTML format with hyperlinks. Using the HTML index, you may click on a link provided with each message to open your web browser to that message in the Poetics List archive. Send the "set" to : Index (traditional): set poetics nohtml index Index (HTML format): set poetics html index You can switch back to individual messages by sending this message: set poetics nodigest NOTE!! Send these messages to "listserv" not to Poetics or as a reply to this Welcome Message!! ------------------- 6. Temporarily turning off Poetics mail Please 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 9 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 . The EPC's mission is to serve as a gateway to the extraordinary range of activity in formally innovative writing and digital media poetry in the United States and around the world. The Center provides access to extensive resources in new poetries. These include our E-POETRY library, our links to digital VIDEO and SOUND (including our award-winning LINEbreak series of radio interviews and performances) as well as e-journals such as lume, Deluxe Rubber Chicken, Alyricmailer, and many others, the POETICS List archives, an AUTHOR library of electronic poetry texts and bibliographies, and direct connections to numerous related electronic RESOURCES. The Center also provides information about contemporary electronic poetry magazines and print little magazines and SMALL PRESSES engaged in poetry and poetics. Visit the EPC's many libraries, the featured resources available on the EPC home page, or its NEW listings, where recent additions are available for quick access. 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. Please note that it is possible to toggle between proportional and non-proportional fonts in viewing archived messages; a feature that may be useful to interpret messages reliant on the neat spacing of a proportional font, or that require the "word wrap" feature of same - and useful, too, for aesthetic reasons. To change the display font of an archived message, simply follow the "proportional font" or "non-proportional font" link at the top of the message. -- END OF POETICS LIST WELCOME MSG ========================================================================= Date: Tue, 23 Jan 2001 10:41:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Re: Dark End of The Street In-Reply-To: <3A69EEC1.FE73BF62@earthlink.net> MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit is that Parsons, or the Flying Burrito Bros? i don't have a verson by him post-burritos... (and would want it if there is one) More importantly: Carr was not exactly a songwriter... the composer of Dark End of the Street is Dan Penn --mark POETICS@LISTSERV.ACSU.BUFFALO.EDU writes: >Not only, but also James Carr >who wrote the song >and also discovered (not invented) the >"falling....down...calling...clown" rhyme-- >dead too-- > >I had just put Graham Parson' version of it on a mix tape >for a special someone (alongside of Christine McVie's "Just Crazy >Love" >and other pre-Nicks stuff) and "True Democracy" Steel Pulse stuff, >when I turned on the radio and heard the news.... > >chris ========================================================================= Date: Tue, 23 Jan 2001 15:53:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: J20: report from the coronation Comments: To: bouchard@MIT.EDU In-Reply-To: <200101221650.LAA29966@melbourne-city-street.MIT.EDU> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit While I recognize that posts of a political nature are quite welcome on this list, it seems that many of them take for granted that everyone here (except the outspoken Mr. Dillon) shares liberal, left-wing priorities. May I point out that we do not all share these priorities. With that in mind, and in this season of clashing ideologies, wouldn't it be wonderful to concentrate on the central purpose of the list (about which I'm sure all of us can rally): "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." I'm *not* trying to play the role of moderator, good people; consider this a plea for some poetry talk -- or a more open-minded political discussion. -Aaron Belz ========================================================================= Date: Tue, 23 Jan 2001 21:44:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Kimball Subject: Funny Business Comments: To: editor@theeastvillage.com Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Funny Business A special issue of The East Village edited by Jack Kimball and Mark DuCharme "...if the present editors agree on anything, it's..." [Anselm Hollo & Laura Wright; Ron Padgett; Tim Davis; Lisa Jarnot; Kristin Prevallet; Bruce Andrews; Gabe Gudding; Lee Ann Brown; Kent Johnson; Tony Towle; Mark DuCharme; Jack Collom; Tom Clark; Robert Fitterman; Eileen Myles; Gary Sullivan; Charles Bernstein; Nada Gordon; Ray DiPalma; David Bromige; Michael Friedman; Kevin Killian & Jocelyn Saidenberg; Jack Kimball; Michael Gizzi] Not 'comprehensive.' Not 'serious.' Up now, at http://www.theeastvillage.com ========================================================================= Date: Wed, 24 Jan 2001 23:04:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: LONG POEM STUFF MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted due to the presence of html code. -- TS > From: "Lori Emerson" > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: LONG POEM STUFF > Date: Wed, 24 Jan 2001 04:27:49 > Talonbooks is publishing a new edition of the anthology of Canadian pomo long poems, The New Long Poem Anthology. In addition to including writers such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of poetics (or something like that) from each of the authors. It should be out in about a month. ========================================================================= Date: Tue, 23 Jan 2001 18:04:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: Re: shameless promotion: Come to a poetry reading Brooklyn/Manhattan In-Reply-To: <3b.f70423c.279ee185@aol.com> from "Prageeta Sharma" at Jan 23, 2001 08:30:45 AM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > Thursday, January 25 @Halcyon: Stella Padnos, Prageeta Sharma,Julie > Sheehan-Thorsen, John Trantor, and Jason Zuzga I assume that's John Tranter, the great poet and editor of Jacket? Good luck with the reading, Prageeta sahiba. By the way, do you know Hindi? Love to correspond in Hindi/Urdu sometime. Philip ========================================================================= Date: Tue, 23 Jan 2001 21:39:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: J20: report from the coronation In-Reply-To: <200101221650.LAA29966@melbourne-city-street.MIT.EDU> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Thank you to dan bouchard for the report on the anti-inauguration. It is great to hear that in the USA there are still people who will not eat the shit. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Wed, 24 Jan 2001 01:19:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: CFP: MSA New Modernisms 3 In-Reply-To: <980263124.3a6da0d499b46@webmail.drew.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > From: Cassandra Laity > Reply-To: UB Poetics discussion group > Date: Tue, 23 Jan 2001 10:18:44 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: CFP: MSA New Modernisms 3 > > CALL FOR PANEL PROPOSALS > NEW MODERNISMS 3 > > The Third Annual Conference of the Modernist Studies Association > > October 12-15, 2001 > > Rice University > Houston, TX > > The MSA is now accepting panel proposals. > THE DEADLINE FOR SUBMITTING PANEL PROPOSALS IS APRIL 27, 2001. > > IMPORTANT: PLEASE CHECK OUR NEW WEBSITE ADDRESS FOR UPDATES: > > > Please include the following information in your proposals: > 1)your name, session title, professional affiliation, mailing address, phone > number, fax and e-mail address; 2)the names and affiliations of other members > of your session, paper titles; 3)a 250-word abstract on the topic; 4)a subject > heading that carries the session organizer's last name. > > MSA Policy on Panels: > Please note that we cannot accept proposals for individual papers. We > encourage > interdisciplinary panels and sessions comprising panelists from > different institutions. Panels composed entirely of graduate students are > unlikely to be accepted. We discourage panels on single authors. All MSA > panels must have a chair who is not giving a paper. If you do not propose a > chair, we can suggest one for you once your panel is accepted. > > We prefer submissions by e-mail, but we will accept those by fax or material > mail. > Send panel proposals to: > (please include a SUMMER ADDRESS) > C/O Jacob Speaks, MSA > Department of English > Rice University > 6100 Main Street, MS 30 > Houston, TX 7705-1892 > > e-mail > (please paste into e-mail; no attachments) > fax: 713-340-5991 > > CONTACT INFORMATION > for information on panels contact: > Michael Coyle, President, MSA: > Cassandra Laity, Co-editor, _Modernism/Modernity_: > ========================================================================= Date: Wed, 24 Jan 2001 07:01:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: how to contact Feinstein & other senators re: Ashcroft MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Apologies to those who will get this more than once, but . . . Sen. Dianne Feinstein hasn't indicated which way she'll vote on Ashcroft but her recent comments seem to suggest (to me, anyway) that she'll go for cozy collegiality and vote to confirm. We can at least let her know what we think. Phoning has more impact than email and is cheap before 8 am. They'll ask for your zip code if you're in California. If you email from CA, it's best to include your street address so they know you vote here. Feinstein phone in D.C.: (202) 224-3841 Email: senator@feinstein.senate.gov If you wish to contact another senator, phone the United States Capitol switchboard at (202) 224-3121 and an operator will connect you directly with the Senate office you request. There are email addresses and phone numbers for all senators on this page: http://www.senate.gov/contacting/index.cfm Thanks, folks--please forward this information to likeminded others. Rachel Loden http://www.thepomegranate.com/loden/hotel.html email: rloden@concentric.net ========================================================================= Date: Wed, 24 Jan 2001 09:32:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Sharma & Stroffolino MIME-Version: 1.0 Content-Type: text/plain This Saturday, January 27th, in NYC PRAGEETA SHARMA AND CHRIS STROFFOLINO read at Double Happiness. Prageeta Sharma's book Bliss to Fill (subpress) and chapbook A Just-So Poem (booglit) both came out last year. She lives and works in Brooklyn. Chris Stroffolino is the author of Oops, Stealer's Wheel, and Light as a Fetter, and is co-editor (with Dave Rosenthal) of CSE Edition of Shakespeare's 12th Night (IDG Books 2000). A book of essays/reviews of mostly contemporary poets is forthcoming from Spuyten Duyvil. Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) 4pm Suggested contribution, $4, goes to the readers. Two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Please join us! ========================================================================= Date: Wed, 24 Jan 2001 08:17:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: *sigh* In-Reply-To: <200101240507.f0O57OK15447@get.wired.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Note: all "Teleport" addresses (web/ftp/email) are being eliminated: no thanks to Earthlink scum. Please choose alternates listed below: The 12hr-ISBN-JPEG Project >>>> since 1994 <<<< + + + serial ftp://ftp.eskimo.com/u/b/bbrace + + + eccentric ftp://ftp.idiom.com/users/bbrace + + + continuous ftp://ftp.teleport.com/users/bbrace + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace + + + imagery ftp://ftp.pacifier.com/pub/users/bbrace News://alt.binaries.pictures.12hr ://a.b.p.fine-art.misc Reverse Solidus: http://www.teleport.com/~bbrace/bbrace.html http://www.eskimo.com/~bbrace/bbrace.html Mirror: http://bbrace.laughingsquid.net/ { brad brace } <<<< bbrace@eskimo.com >>>> ~finger for pgp ========================================================================= Date: Wed, 24 Jan 2001 09:31:37 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: chain website MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit we redid the chain website recently: http://www.temple.edu/chain the early out of print issues are now archived here. there is a little that is still missing and it isn't totally done. ========================================================================= Date: Wed, 24 Jan 2001 15:15:53 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: email addresses pls MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit hi all-- i need some email addresses--pls back-channel if you have 'em, are 'em... Lynn Keller Libbie Rifkin Maureen Owen Juliana Spahr Kate Fagin Anne Brewster Mary Jo Bang thanks very much! jill stengel ========================================================================= Date: Wed, 24 Jan 2001 17:04:31 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: NYTimes.com Article: Gregory Corso, a Candid-Voiced Beat Poet, Dies at 70... In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII yes, lots of it, but i agree that i was out of line. kevin On Mon, 22 Jan 2001, Joseph Massey wrote: > In a message dated 1/22/2001 3:27:20 PM Central Standard Time, > khehir@CS.MUN.CA writes: > > > > > > > Have you bothered to read his work? > ========================================================================= Date: Wed, 24 Jan 2001 15:58:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: KENNING #9 is ready for purchase... Mime-Version: 1.0 Content-Type: text/plain; format=flowed Daily I go to the post office and send away ... Kenning vol. 3 no. 3 Issue #9 -- Autumn/Winter 2000-2001 $6.00 ISSN: 1526-3428 Features: Richard Kostelanetz Liz Waldner Jason Nelson Matt Hart Pattie McCarthy Garrett Caples Jocelyn Saidenberg Thomas Evans Michael Magee Jeremy Day Brent Cunningham Andrew Shelley Juliana Spahr Chris Chen Dan Featherston Laura Moriarty Daniel Davidson Alan Gilbert on Keith Piper Jesse Seldess on Stacy Doris Elizabeth Robinson on Ronald Johnson & Kaia Sand on progress and other social fictions Subscribe by sending a check payable to the editor, Patrick F. Durgin, 24 Norwood Avenue #3, Buffalo, NY 14222-2104, USA. US funds only. Subscription rates: $6.00 / 1 $12.00 / 2 $18.00 / 3 $24.00 / 4 Forthcoming: March, _hovercraft_ by K. Silem Mohammad goes into its third printing. _hovercraft_ was published as the summer 2000 issue of Kenning. Pre-orders are gladly accepted (and recommended). May, the spring 2001 issue, #10, featuring Stephen Ratcliffe, Dodie Bellamy, Amiri Baraka, Jen Hofer, Oskar Pastior, Gregg Biglieri, Jeff Hansen on Mark Wallace, and many others. July, the summer chapbook for 2001, _OFTEN: a play by Barbara Guest and Kevin Killian_. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Wed, 24 Jan 2001 15:46:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable This week and next week at the Poetry Project: TONIGHT, Wednesday, January 24th at 8 pm PAUL LARAQUE AND DENIZE LAUTURE Lawrence Ferlinghetti calls Paul Laraque "one of the great voices of truth.= " Mr. Laraque was born in Jeremie, Haiti. He fled Haiti during the reign of Papa-Doc and has only recently been able to return. At present he devotes full-time to his writing and to his activities as Secretary General of the Association of Haitian Writers Abroad. Deniz=E9 Lauture, who migrated from Haiti to the United States in 1968, writes poetry in Creole, English, and French. His poems have appeared in many literary magazines. He has authored two volumes of poetry and two children=B9s books, Father and Son, which was among the five books nominated to the NAACP=B9s 1993 Image Awards, and Runnin= g the Road to ABC, which received the Coretta Scott King Award in 1996. Performing this evening also is renowned Haitian guitarist Marc Mathelier. Friday, January 26th at 10:30 pm MRS. CRABTREE AND THE LITTLE RASCALS: THE FALL 2000 WORKSHOP READING Participants from the Poetry Project=B9s fall workshops, led by poets and writers Jaime Manrique, Brenda Coultas, and Larry Fagin, will read their work. Monday, January 29th at 8 pm DAN MACHLIN AND CAMILLE MARTIN Dan Machlin is the author of two chapbooks, This Side Facing You (Heart Hammer) and In Rem (@ Press, a collaboration with San Francisco poet Jen Hofer and visual artist James Yamada). His work has appeared in Talisman; Tool, a magazine; Murmur; Torque; on CD with Imminent Audio; and online. He is a former curator of the Double Happiness reading series and is currently an editor of Melodeon Books and a contributing editor of The Transcendental Friend, an online zine. Camille Martin is a poet and translator who lives i= n New Orleans. Her four collections of poetry are sesame kiosk, forthcoming from Potes & Poets Press, rogue embryo (Lavender Ink), magnus loop (Chax Press), and Plastic Heaven (Fell Swoop). Her poems and translations of French poetry have been widely published in journals. Martin is founder and co-curator of the Lit City Poetry Reading Series in New Orleans. Wednesday, January 31st at 8 pm MEI-MEI BERSSENBRUGGE AND HEATHER RAMSDELL Mei-mei Berssenbrugge was born in Beijing in 1947 and grew up in Massachusetts. Her books include The Heat Bird (Burning Deck), Empathy (Station Hill), Sphericity and Four Year Old Girl (Kelsey Street). The recipient of several prestigious awards and fellowships, she has been a contributing editor of Conjunctions Magazine since 1978. Poet W.B. Keckler, writing in the American Book Review, writes of Endocrinology, Ms. Berssenbrugge=B9s collaborative book with visual artist Kiki Smith, "This is poetry which emulates the creative forces of nature instead of merely playing lip service to them. That is a rare achievement in any age." Recipient of both CUNY's Marianne Goodman Poetry Award and an American Academy of Poets Prize, Heather Ramsdell holds degrees from The Cooper Unio= n and City College of New York. Her poetry has appeared in Arras, Big Allis, Mandorla, Murmur, Sulfur, Talisman, Torque and Whatever. James Tate writes that her book Lost Wax is "a symphony of poems that is original and profoundly full of wonder." Friday, February 2nd at 10:30 pm 2001: A BOOG ODYSSEY=8BA CELEBRATION OF THE PORTABLE BOOG READER Poets, musicians, and breakdancers come together for the publication of thi= s instant anthology of New York City poetry. Poets Andrea Ascah-Hall, Neal Climenhaga, Allison Cobb, Jen Coleman, Ethan Fugate, Noelle Kocoff, Susan Landers, Richard O=B9Russa, and Sasha Watson read at the Project for the firs= t time. Hear Wanda Phipps and band, a multi-instrument blues, poetry, and roc= k =8Cn roll ensemble. Feel the Syrenz=8Ban all-girl New York City breakdancing crew, getting down with your host, Regie Cabico. The Syrenz will lead audience members in a moonwalking lesson. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * The Poetry Project Web site has now been updated with the latest info on ou= r WORKSHOPS, VOLUNTEERS, CALENDAR INFORMATION, and other late-breaking stuff. Check it out!! * * * ========================================================================= Date: Wed, 24 Jan 2001 17:26:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Queer Valentine's Reading-- Feb 9 at 9:00 PM MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" In Our Own Write presents a reading of erotic poetry and literature featuring Donna Allegra, Michael Broder, Lisa Marie Bronson Boddie, Milton Haynes and Vittoria Repetto. February 9, 2001 9:00 PM Lesbian and Gay Community Services Center One Little W. 12 Street, off Hudson, near 14th Street New York, New York Suggested Donation, $3.00 ========================================================================= Date: Wed, 24 Jan 2001 14:52:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Allen H. Bramhall" Subject: A.BACUS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The first issue of the A.BACUS 2001 series, Tsering Wangmo Dhompa's _In Writing the Names_, is now available via Small Press Distribution (www.spdbooks.org // 1342 Seventh Street / Berkeley, CA / 93710). The 2001 series will also include work by John Olson, Laynie Browne, Jen Hofer & Melissa Dyne, William Keckler, Julie Cox, Richard Deming, and Andrew Joron. A.BACUS 2002 will be devoted to translations. Please consider supporting small press publishing by subscribing to A.BACUS. Subscriptions are $30 for one year (8 issues) and available through: Potes & Poets Press 2 Ten Acres Drive Bedford, MA 0173O Checks should be made out to "Potes & Poets Press". Thank you, Dan Featherston, editor of A.BACUS Visit the Potes & Poets website at: WWW.POTESPOETS.ORG ========================================================================= Date: Thu, 25 Jan 2001 01:28:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: zuk23@YAHOO.COM Subject: what is DIY poetry? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii here an article by my close friend and comrade eric swanger. you can check out his work, etc. at: http://members.tripod.com/~oldclothespress/ --- his site needs to be updated... as a note on what he wrote: poetry is nothing if we can not overcome our elitism. this does not mean writing for everyone... that would just be condecending. it means: breaking out of elitist social habits. jeff. (ps-- anyone who ordered ryan scot barker's _word selector rhyme_ and has yet to receive it... it's coming, i promise. i'm pokey.) ------------------ D.I.Y Poetry (do it all by yourself) The Do It Yourself philosophy isn't foreign to the punk scene. For any punk band to release a CD or a 7" themselves is relatively cheap and easy to do. A few shows is all the advertising you need. But in the poetry "scene" (which, by the way, doesn't really exist), it is not so easy. The community structure that we all wish was more focused upon in the punk scene, exists not ta all among poets. There are countless "local" poets, just as there are countless local bands. However, there are not countless local poetry readings like there are local punk shows (at least around here). Which is a shame. Poets, in general, are striving to get published. Which is basically the equivalent of getting signed. There are indy publishers just as there are indy record labels. However, in punk, if you put out your own record, you're seen as a contributing member of the scene. The D.I.Y. ethic is strong there. For poets thought, it's different. According to the thoughts of most published poets, you are not really and truly a poet until you are published. At least in a "literary journal" (basically a compilation). I was talking to a well published poet not that long ago. He was talking about his new book that is being put out by some university press (though not quite as bad as major labels, they're almost as bad for many many reasons). I congratulated him, he seemed genuinely happy. and told him that I too had my second book coming out. "Oh! That's great!," he said and meant, "who is publishing it for you?" I explained that I was doing it myself, running off copies myself, even binding it myself. His face dropped. His voice fumbled out, "Oh... well, yes.. that's probably a lot of fun." Long awkward pause. He spoke up again, "Why don't you submit your work to some publishers? Or get an agent?" Told him that I didn't want all of that. We all know there is no money in writing, whether you're professionally published or you publish yourself, so why not take the time to do it yourself? You can keep your own costs to a bare minimum and pass that savings onto your readers! My most recent book sells for two dollars. It costs me 50 cents (no including labor) to make each copy. That means, if I do not sell wholesale (which that price is a buck, btw), I can give away three out of every four of them and still break even! Thus far, I've given out more than that. For me, it's not about money or a name for myself. It's about writing and putting out what I wrote. It shouldn't be anyone else's concern or job to put my work out for me. I wrote it, I should publish it, if that's what I want to do. This ethic is pretty common in punk. Demo tapes (CD's now), for example. It's nearly unheard of and very much looked down upon in the realms of poetry. Some things need changing everywhere you go. __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Thu, 25 Jan 2001 23:01:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Website of Contemporary Vietnamese poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed a message from Linh Dinh... ----Original Message Follows---- From: "linh dinh" To: "Hoa Nguyen" Date: Wed, 24 Jan 2001 13:45:29 +0700 Dear Hoa, I want people on the Buffalo listserv to know about a new website featuring Vietnamese poetry. I'm not on the listserv, however. Can you forward the message below to them? Thanks a whole lot! There is a new website featuring contemporary Vietnamese poetry: http://www.geocities.com/vietnamesepoetry This site is the biggest repository of Vietnamese poetry, translated into English, on the web. Here you will find everything from the urbane, subtle Phan Nhien Hao, to the dark, surreal Nguyen Quoc Chanh, to the embittered yet humorous Tran Vang Sao. Please check it out! _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Thu, 25 Jan 2001 11:09:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== night after night i burn in this place. i sit at the keyboard and try to tear the world apart. i look for wounds and spread them. thinned cuts turn into holes, i can't stop myself. on and on, i'm thinking to myself, there is no tomorrow. i was supposed to die at twenty-five; i tried earlier. my flesh chars at the edges of the wound. it curls outward grasping at any oxygen. completion is delusion in the midst of obsessive chain. write me out of this existence; i can't. i can't; i burn in this place. night after night, delusion in the midst of clamor. my flesh chars as the world is torn apart. at the age of twenty-five i couldn't stop myself. i tried; on and on spreading words and wounds. night after night, grasping at any oxygen. write me out of this existence; i can't stop myself. ===== ========================================================================= Date: Thu, 25 Jan 2001 09:22:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: LONG POEM STUFF In-Reply-To: <1124922532.980377466@ubppp233-171.dialin.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Lori, George Bowering, and other Canadians on the list: In doing an anthology such as this, how do you handle questions of multilingualism? Are French (or, for that matter, Inuit) poems also included? Is the assumption that it would be monolingual -- and would there be a separate French anthology? Are there no "Canadian pomo long poems" in French? I am not trying to agitate separatist nationalism, but I'm curious how this is thought through, especially considering the strong sentiment in Quebec, and the legal/political/cultural ways Canada is trying to deal with that sentiment. Although not officially bilingual, the same question applies to similar anthologies in the US. For example, do anthologies include poems in Spanish, Chinese, etc., or when we say "US poems" we mean, almost automatically, those in English and a separate category (usually "multicultural") is set up for poems in other languages (or, for that matter, even in English but from "minority" ethnic groups)? I'm not even sure of the virtues of such multilingualism -- while I can read French or Spanish, I can't read Chinese, and it would do me little good to have poems in Chinese (or would this mean the necessity of accompanying translations)? I'm sure folks in Canada have had some experience dealing with these questions and it would be enlightening to hear peoples' ideas. Hilton Obenzinger > > > From: "Lori Emerson" > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Subject: Re: LONG POEM STUFF > > Date: Wed, 24 Jan 2001 04:27:49 > > > >Talonbooks is publishing a new edition of the anthology of Canadian pomo >long poems, The New Long Poem Anthology. In addition to including writers >such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, >Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of >poetics (or something like that) from each of the authors. It should be out >in about a month. ========================================================================= Date: Thu, 25 Jan 2001 11:21:42 -0800 Reply-To: tbrady@msgidirect.com Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: J20: report from the coronation In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit How would you propose to discuss those "directions in poetry" absent a sustained discussion of those "other" areas of public discourse that inform them? I have trouble imagining my own work as a poet, or my poetics more broadly, apart from my political commitments and engagements, private idiosyncrasies, and affective relationships. This is not at all to say that my poems or my thinking in poetics are "about" these things (though sometimes they are), but that they take place in a field of discursive and extra-discursive practices that cannot be -- and probably shouldn't be -- purified of such extraneous matter. That this is not exclusively a matter of concern to the political and cultural left (in the interest of disclosure, yes, guilty as charged) seems evident to me in Mr. Dillon's own occasional forays into verse on the list, which, far from attempting to remove his political angle from the aesthetic equation, have worked toward instantiating it as inseparable from the poetic form of the work. (Thus, the recent debate over diction in his Ed Dorn memorial piece). When it comes down to it, I guess I'd be hard pressed to imagine a better way to further erase poetry from any meaningful location in public intellectual life than to adopt a program of "denatured" aesthetics that banishes the political to the curbside while leaving poetry undisturbed in the study. That said, I'll be the first to admit that contemporary poetics are often quick to confuse and substitute a politicized art writing for the broader practice of politics. But this is a struggle I'd like to see given room to play out in situ, rather than articulate some sort of administrative formula at the outset for what's admissible and what's not. What I've often found admirable about Dan's work is its willingness to interrogate this relationship between his activism and his poetics, to draw out the connections while not absorbing either practice entirely into the other. Of course, I'll be the first to concede that your estimation of that project might be severely qualified if you fundamentally disagree with the politics. So be it -- though such qualification hasn't stopped my reading Pound, Eliot, or Stevens, for example. As to the other objection you raise, I have to confess that I'm not sure what the problem is. Would it help to have a disclaimer attached to the subject line of all "political" posts: "Warning: There may be room for ideological conflict in what follows?" I thought that was given in the very nature of the political itself -- certainly, you seem to have taken it as such in articulating the sort of response you have. (Though a bit more specificity might lead to a more productive argument, since broadly characterized "liberal, left-wing priorities" mean an awful lot of different things to an awful lot of different people). I'm also not sure I see the taking for granted of a shared perspective that you find in Dan's post, unless the means by which one would demonstrate that one didn't thus take things for granted were not to post at all. In other words, my acknowledgement that there are other political and cultural agendas present on the list in no way obligates me to refrain from arguing for my own simply in order to spare you the trouble of having to disagree -- or, more likely, ignore me. Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Aaron Belz Sent: Tuesday, January 23, 2001 1:54 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: J20: report from the coronation While I recognize that posts of a political nature are quite welcome on this list, it seems that many of them take for granted that everyone here (except the outspoken Mr. Dillon) shares liberal, left-wing priorities. May I point out that we do not all share these priorities. With that in mind, and in this season of clashing ideologies, wouldn't it be wonderful to concentrate on the central purpose of the list (about which I'm sure all of us can rally): "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." I'm *not* trying to play the role of moderator, good people; consider this a plea for some poetry talk -- or a more open-minded political discussion. -Aaron Belz ========================================================================= Date: Thu, 25 Jan 2001 18:38:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: collaboration/student project Comments: To: writenet@twc.org, ht_lit , poetics UB Poetics discussion group , webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit apologies for cross-posting, but i am looking and/or it might be an interesting project for a student in avariety of fields. I am working on a 'social infopoem' at http://members.tripod.com/~trbell/metaphor/fgid.htm the poem comes out of my experiences over the course of a couple of days as a member of an internet self-help support group for people with a chronic disease that probably many people have never heard of. Related to the events of those two days was a pharmaceuticl company's withdrawing from the market a drug (the first of it's kind) that was helpful for many people. Many people were unhappy about this and formed a mailing list which has now become three mailing lists with an associated website http://geocities.com/lotronexactiongroup/index.html The purpose of this movement is to restore the drug and apply pressure for some systemic reform. It is definitely a process piece and it is currently in process which is one reasone why i don't have time to write up the process. Ive been told that the NYT might do something on it next week but don't think I can be quoted on that. tom bell --- -/-----------)))))))))))))))))) nnnnn Art, poetry, webpoetry done by people with chronic physical or mental problems (work that helped) at http://members.tripod.com/~trbell/metaphor/metapho.htm nnnnnnnnnnnnnn(((((((((((((((9 Life designs: http://trbell.tripod.com/lifedesigns/ }}}}}}}}}}}}}}}}}}}{ Jokes are at: http://members.tripod.com/~trbell/laugh/ibs.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Thu, 25 Jan 2001 09:38:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Long Subject: Survey for In-Progress Article MIME-version: 1.0 Content-type: text/plain; charset="us-ascii"; format=flowed All, I'm in the process of writing an article on online poetry journals. If you have a few minutes to complete a short survey, you can go to http://www.slu.edu/surveys/longr/2River.tp3 and do the survey. Or you can go to http://www.daemen.edu/~2River and click to it from there. Much thanks to those who do. Richard Long ========================================================================= Date: Thu, 25 Jan 2001 19:25:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Gregory Corso obits (LA Times, NY Times) Comments: To: tapes@sfsu.edu, daboo@sfsu.edu, eficarra@sfsu.edu, jveskrna@sfsu.edu, newlit@sfsu.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =46orwarding these, a bit tardy...... Gregory Corso's one reading for the Poetry Center was early on-- both in terms of his public appearances as a poet (his poems were first published the previous year) and the Poetry Center's existence-- on October 21, 1956. [LA Times] Friday, January 19, 2001 Gregory Corso; Poet Influenced Fellow Writers in Beat Generation By ELAINE WOO, Times Staff Writer Gregory Corso, a streetwise poet who was a central member of the Beat movement along with Allen Ginsberg and Jack Kerouac, died Wednesday in a hospital in suburban Minneapolis. He was 70 and had been suffering from prostate cancer. Corso, who had a disastrous childhood and discovered literature while incarcerated, saw poetry as an ethical act that could change society. The Beat movement that embraced him presaged the social and political unrest of the 1960s. "Sometimes Allen Ginsberg used to say that he was a fraud and that Gregory was the true great poet of the Beat generation," said poet Lewis MacAdams. "He was the real Beat, a street-singing genius. He lived the life and died the death of a poet who had given his entire life to that arcane and magnificent art." Corso wrote or contributed to more than 20 books of poetry, the most notable of which include "Bomb," "Elegiac Feelings American" and "Gasoline." He moved to San Francisco too late to participate in what is often cited as the first major public event in the evolution of the Beat movement--Ginsberg's reading of his seminal poem, "Howl"--but he wrote with Ginsberg one of its manifestos, an article called "The Literary Revolution in America." Corso was an "orphan street kid adopted by the Beats," said Herbert Gold, novelist and author of "Bohemia: Digging the Roots of Cool," who spent time with Corso, Ginsberg and other Beat poets in Paris in the late 1950s. "Most of the Beats were middle-class college kids, but Corso came out of real poverty. That made him different." Corso was born in New York City to teenage parents who separated soon after his birth. He lived in orphanages and foster homes until he was 11, when his father took him in. His formal education ended at sixth grade. At 12 he was in trouble with the law for selling a stolen radio and spent several months behind bars. Abused by other prisoners, he later spent three months under observation at Bellevue Hospital. At 16 he was incarcerated again, this time with a three-year term for theft. He began to read classics by Dostoevsky, Stendahl, Shelley and Marlowe. After his release, he went to work as a manual laborer in New York, as a reporter for the old Los Angeles Examiner, and as a merchant seaman on ships bound for Africa and South America. In 1950, he was working on his first poems when he met Ginsberg in a Greenwich Village bar, and Ginsberg encouraged his writing. Corso soon met Kerouac and seduced his girlfriend, which became the plot of Kerouac's novel "The Subterraneans." Critics found echoes of Corso in Ginsberg's work, but their voices remained distinct. Compared to Ginsberg, Corso was "calm and quick, whimsical often, witty rather than humorous, semantically swift rather than prophetically incantatory," Geoffrey Thurley wrote in a piece collected in "The Beats: Essays in Criticism." Corso's first poems were published in 1955 in the Harvard Advocate. His first collection, "The Vestal Lady on Brattle and Other Poems," was financed by Harvard and Radcliffe students. Lawrence Ferlinghetti's City Lights Books published his next collection, "Gasoline," in 1958. In his early books, images of imprisonment and violence were central. His poetry sometimes provoked violent reactions. When he read "Bomb" at Oxford, members of the college poetry society hurled their shoes at him. That poem was a commentary on atomic weapons that appeared on the printed page in the shape of a mushroom cloud. "O Bomb, I love you I want to kiss your clank, eat your boom . . . " In "The Literary Revolution," he declared himself part of a movement of American poets who believed in the power of their words to evoke change. These poets, he and Ginsberg wrote, "have taken it upon themselves, with angelic clarions in hand, to announce their discontent, their demands, their hope, their final wondrous unimaginable dream." In "Marriage," widely considered his finest poem, Corso showed a different side of himself, writing with humor and optimism about a nervous groom on the brink of wedlock, teetering between malicious musings: "I'd sit there the Mad Honeymooner/devising ways to break marriages, a scourge of bigamy/a saint of divorce." And more worrisome thoughts: "Because what if I'm 60 years old and not married/all alone in a furnished room . . . and everybody else is married! all the universe married but me!" Survivors include five children, seven grandchildren and one great-grandchild. [NY Times] January 19, 2001 Gregory Corso, a Candid-Voiced Beat Poet, Dies at 70 By WILLIAM H. HONAN Gregory Corso, a poet and leading member of the Beat literary movement that shook American social and political life in the late 1950's and 60's, died on Wednesday in Robbinsdale, Minn., where he lived with his daughter Sheri Langerman. He was 70. The cause was prostate cancer, Ms. Langerman said. To the literary world, Mr. Corso was considered less political than Allen Ginsberg, less charismatic than Jack Kerouac, but more shocking, at times, than either of them. In his book, "The Beat Generation" (Scribner, 1971), Bruce Cook calls Mr. Corso "the most avid nose- thumber of them all," a man regarded as a nemesis by those who detested his "hip, easy, wiseguy manner and direct artless diction." A put-on specialist at poetry readings, Mr. Corso would delight his fans and inflame his critics by muttering into a microphone disconnected thoughts like "fried shoes," "all life is a Rotary Club" and "I write for the eye of God." But he could also be a serious social critic, re-examining an institution like marriage, said Ann Douglas, a professor of American studies at Columbia University. The lines of his poem "Marriage," for example, are wry and optimistic. The poet begins by asking playfully, "Should I get married? Should I be good?" and concludes constructively: "Ah, yet well I know that were a woman possible as I am possible then marriage would be possible." Mr. Corso's early work helped pave the way for the feminists of a later generation, Professor Douglas said. "Women looked at Corso and the other Beats," she said, "and asked, `If these men can free themselves from constricted gender roles - getting married, working for a corporation and so on - why can't we?' " Mr. Corso's finest poem, most critics agree, is "Elegiac Feelings American," which is an elegy for his friend Kerouac and for dead notions of America and a new hope: O and yet when it's asked of you `What happened to him?' I say, "What happened to America has happened to him - the two were inseparable" Like the wind to the sky is the voice to the word. . . . Like other Beat poets, Mr. Corso's work was less elegantly stylized than that of his predecessors, and closer to ordinary feelings. It was personal and candid in the expression of intimate feelings - sexual desire, despair and things that would not have surfaced in an earlier time. While Ginsberg and Kerouac came from upper-middle-class backgrounds and got to know each other through Columbia University, Mr. Corso's upbringing was troubled. Gregory Nunzio Corso was born on March 26, 1930, in New York, the son of teenage parents who parted when he was a year old. He bounced in and out of foster homes and jails and never made it to high school. At 12 he was caught selling stolen merchandise and sent to prison for several months while awaiting trial. His fellow inmates were "terribly abusive," he wrote years later in an autobiographical sketch. When acquitted, he spent three months under observation in Bellevue Hospital. When Mr. Corso was 16 he returned to jail to serve a three-year sentence for theft. It was then that he read the classics - Dostoevsky, Stendhal, Shelley and Christopher Marlowe among others - but also became, as he expressed it, "educated in the ways of men at their worst and at their best." He once told an interviewer for Contemporary Authors: "Sometimes hell is a good place - if it proves to one that because it exists, so must its opposite, heaven, exist. And what was heaven? Poetry." Mr. Corso was released from prison in 1950. Soon after, at a bar in Greenwich Village, he encountered Ginsberg. Mr. Corso was then writing fairly conventional verse, and it was Ginsberg who introduced him to long Whitmanesque lines and surreal word combinations. At this time in his life, Mr. Corso was traveling the country, working as a laborer, as a reporter for The Los Angeles Examiner and as a merchant seaman. In 1954 he settled briefly in Cambridge, Mass., where he virtually took up residence at the Harvard University library, poring over the great works of poetry. His first published poems appeared in the Harvard Advocate, and his play, "In This Hung-Up Age," a macabre drama about how a group of tourists are trampled to death by a herd of buffalo, was performed the next year by Harvard students. His later poetry exhibited an eclectic vocabulary. Referring to his study of the dictionary, Mr. Corso told the critic Michael Andre that he "got that whole book in me, all the obsolete and archaic words. And through that I knew that I was in love with language and vocabulary, because the words and the way they looked to me, the way they sounded, and what they meant, how they were defined and all that, I tried to revive them, and I did." Mr. Corso moved to San Francisco in 1956, too late to attend Ginsberg's famous reading of "Howl" but in time to be recognized as a major Beat poets. In an introduction to Mr. Corso's early collection "Gasoline" (City Lights, 1958), Ginsberg called him "a great word-swinger, first naked sign of a poet, a scientific master of mad mouthfuls of language." Later, with Ginsberg, the two poets wrote a manifesto, "The Literary Revolution in America," in which they announced their convention- bashing "discontent, their demands, their hope, their final wondrous unimaginable dream." While Mr. Corso was never as politically involved as some of the other Beats, in 1965 he was dismissed from a teaching position at the State University of New York at Buffalo because he refused to sign an affidavit certifying that he was not a member of the Communist Party. In recent years, Mr. Corso continued to write, teach and lecture. He published 13 books of poetry, two books of plays and several collaborations. Mr. Corso's first marriage, to Sally November, ended in divorce. In addition to Ms. Langerman of Minneapolis, he is survived by his second wife, Belle Carpenter of Santa Fe, N.M.; two other daughters, Miranda Schubert of Manhattan and Cybelle Carpenter of Minneapolis; two sons, Max Corso of Guam and Nile Corso of Hamden, Conn.; his mother, Margaret Davita of Trenton; a brother, Joe Corso of Long Island; seven grandchildren; and a great-grandchild. Mr. Corso often played the wayward child among his friends. The novelist Herbert Gold recalled sitting with him and other Beat writers in a Paris cafe when Mr. Corso impulsively snatched the check, exclaiming, "I never paid a check before!" Ginsberg, Mr. Gold said, "took the check from him and gave it to me with a reproachful glance at Gregory. It was assumed that Gregory would never be able to pay a check." =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Fri, 26 Jan 2001 08:04:31 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Emery Subject: Salt Publishing News Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit SALT PUBLISHING NEWS HOMEPAGE http://www.saltpublishing.com NEWS Tom Shapcott is the recipient of the 2000 Patrick White Literary Award. Read more at: http://www.geocities.com/SoHo/Square/1664/news.html FEATURES "The pastoral and the political possibilities of poetry" by John Kinsella is now available for download at the Kinsella web archive: http://www.geocities.com/SoHo/Square/1664/kinsella.html Landfill: John Kinsella and McKenzie Wark in conversation http://www.geocities.com/SoHo/Square/1664/landfill.html Interview with Alison Croggon http://www.geocities.com/SoHo/Square/1664/int_croggon.html A Brief Look at the Avant-Garde and Western Spirituality http://www.geocities.com/SoHo/Square/1664/abrieflook.html PUBLICATIONS Publication dates have now been set for Louis Armand, Andrew Duncan, Peter Larkin, Rod Mengham and Susan Wheeler. For more information go to: http://www.geocities.com/SoHo/Square/1664/books.html POETRYETC Join the poetryetc email discussion list today at: http://www.jiscmail.ac.uk/lists/poetryetc.html ========================================================================= Date: Thu, 25 Jan 2001 23:13:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: J20: report from the coronation Comments: To: tbrady@msgidirect.com In-Reply-To: <000201c08704$0d388240$1602a8c0@staffwriter> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Taylor-- You're right, I'm sorry; Dan Bouchard's piece has more merit than I initially credited it. It is a story, not a "sign this petition" email, so it's better. Plus it has a flair for the dramatic: "I'm on my second cup of coffee. Three hours sleep. No shower." Good stuff! And you're also right: I wouldn't think of trying to talk about poetry without political, spiritual, physical, social, sexual, etc etc all in the mix. No curbside versus study here. Let's have it all together. What I was really talking about is the taking-it-for-granted quality-- Posts like Rachel Loden's recent "We're not sure where Senator Feinstein stands on Ashcroft, but we can give her a call"-- the damn email doesn't even clarify that it's opposed to Ashcroft, and yet it asks me to forward it to "likeminded others". It implies that the issue has only one side, and that implication, when it reaches a critical mass of thirty similar emails, is a discourse killer. It may please Mr. Dillon to know that I have this taped to my wall to stave of utter discouragement: "The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter." -Aaron ========================================================================= Date: Fri, 26 Jan 2001 13:02:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: claank design Subject: against Senator John Ashcroft In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable >=20 > Word has it that conservatives have gathered 50,000 signatures in support > of=20 > nominating Senator John Ashcroft to be Attorney General.=A0 To voice > opposition to the Ashcroft nomination, copy and paste the message below o= n > to a new e-mail. Then give yourself a number and sign your name on the > bottom. Every time the list reaches 100, print it out and mail it to the > Senate's Democratic Leader: >=20 > Senator Tom Daschle > United States Senate > 509 Hart Senate Office Building > Washington, DC 20510 >=20 >=20 >=20 > Dear Senator Daschle; >=20 > We believe that John Ashcroft's political beliefs on such issues as a > women's right to choose, judicial authority, and race are so far right of > center that they are out of step with mainstream American beliefs.=A0 We as= k > the Senate to turn down his appointment to be Attorney General. >=20 > =A0=A0 1. John Bigelow Taylor, New York, NY > =A0=A0 2. Dianne Dubler, New, York, NY > =A0=A0 3. Gina Barnett, New York, NY > =A0=A0 4. Mark Gordon, New York, NY > =A0=A0 5. Susan Kim, New York, NY > =A0=A0 6. Ronnie Krauss, Irvington, NY > =A0=A0 7. Polita Glynn, Miami, Fla > =A0=A0 8. Sydney Carpel , Miami, Fla > =A0=A0 9. Trudy Skoke, Gainesville, Fla > =A0=A0 10. Larraine Bates, Hanford, CA > =A0=A0 11. Carol Feingold, Amesbury, Mass > =A0=A0 12 Susan Yanowsky, Aptos, CA > =A0=A0 13. Mary Yanowsky, Santa Cruz, CA > =A0=A0 14. Marylou, Alexander, Aptos, CA > =A0=A0 15. Rebecca Yanowsky, Santa Cruz, CA > =A0=A0 16. Pat Coble, Seaside, CA > =A0=A0 17. Grace Liem, West Palm Beach. Fla > =A0=A0 18. Karyn Altman, Miami Beach, Fl > =A0=A0 19.Donna Serpe, Miami Beach, Fl > =A0=A0 20. Laura Weiner, Plantation, Fl > =A0=A0 21. Denise Soufrine, Plantation, Fl > =A0=A0 22 Adriana Hurtado, Fort Lauderdale, Fl > =A0=A0 23. Sharon Podwol, Fort Lauderdale, Fl > =A0=A0 24. Mark E. Perry, New York, Ny > =A0=A0 25. Nclas Nagler, New York, Ny > =A0=A0 26. Damian Woetzel, New York, NY > =A0=A0 27. Sheila Barry Tacon, Washington, DC > =A0=A0 28. Victoria Quinn Williams, Washington, DC > =A0=A0 29. Jacqueline Hardware, Silver Spring, MD > =A0=A0 30. Saira Saeeed, Falls Church, VA > =A0=A0 31. Oma McLaughlin, Washington, DC > =A0=A0 32. Ambar Zobairi, Washington, DC > =A0=A0 33. Cara Santos, Alexandria, VA > =A0=A0 34. Gwen Fitzgerald, Silver Spring, MD > =A0=A0 35. Andrew Grant-Thomas, Washington, DC > =A0=A0 36. Jennifer Taw, South Pasadena, CA > =A0=A0 37. Karen Burgess, Pasadena, CA > =A0=A0 38. Vanessa Merton, White Plains, NY > =A0=A0 39. Steven Godeski, Hastings-on-Hudson, NY > =A0=A0 40. Claudia Tiedrich, Hastings-on-Hudson, NY > =A0=A0 41. Jeff Tiedrich, Hastings-on-Hudson, NY > =A0=A0 42. PJ McIlvaine, Amityville, NY > =A0=A0 43. Adrienne McIlvaine, Amityville, NY > =A0=A0 44. Ghislaine Caron, Amityville, NY > =A0=A0 45. William McIlvaine, Amityville, NY > =A0=A0 46. Les Aaron, Brooklyn, NY. > =A0=A0 47. Mary Ellen Brennan, Friendswood, TX > =A0=A0 48. Charles G. McCarthy, Houston, TX 77005 > =A0=A0 59. Denis M. McCarthy, Baltimore, MD > =A0=A0 60. Karen E. Steen, Brooklyn, NY > =A0=A0 61. Darcy Cosper, Brooklyn, NY > =A0=A0 62. Tsia Carson, NYC, NY > =A0=A0 63.=A0 Kirsten Hudson, NYC, NY > 64. Cynthia Cruz, NYC, NY 65. Andrea Baker, Brooklyn, NY 66. Walter Baker, Brooklyn, NY >=20 >=20 > Reply Reply=A0All Forward Delete Previous Next Close >=20 > =A0Inbox Compose Address=A0Book Folders Options =A0 Messenger > Calendar Help Get notified when you have new Hotmail or when your frie= nds > are online, send instant messages, listen to music and more. Try the new > browsing software from Microsoft that makes it easy to get more from the = Web. > Get your FREE download of MSN Explorer at http://explorer.msn.com=20 ========================================================================= Date: Fri, 26 Jan 2001 13:24:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: TEXT | IMAGE | SOUND (call for submissions) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII deadline: April 1, 2001 TEXT | IMAGE | SOUND The online journal ://EnglishMatters seeks creative and analytical work focused on mixed genre writing, hypermedia writing, and other cross-genre work for its fifth issue. Particular emphasis will be placed on the ways in which new media changes the nature of mixed genre work as well as how it changes the documentation and study of such work. Web-based and non-web based work documented in a web format are welcome. Also welcome: assignments, syllabi, and other web-based teaching materials. Deadline: 4/1/01. Guidelines ://EnglishMatters considers creative and analytical work for publication throughout the year. The work does not necessarily need to conform to the subject matter of specific calls for submissions. Web-based work may be submitted by sending a URL via email, but once accepted for publication the author/s must provide a zip or cd version of the files by mailing them to the address below. Published work must reside on our server indefinitely for archival purposes (it may reside on your personal site simultaneously). Issues are published twice yearly. To submit a URL for consideration or for more information about submissions to ://EnglishMatters, send an email to mnichol6@gmu.edu. Other media may be sent to: Mel Nichols ://EnglishMatters George Mason University MS 3E4, English Department Fairfax, VA 22030 Visit ://EnglishMatters @ http://englishmatters.gmu.edu ========================================================================= Date: Thu, 25 Jan 2001 23:11:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: LONG POEM STUFF In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Nope. What usually happens is that we anglos publish anthologies and call them Canadian poetry, while the francos publish anthologies and call them Quebec poetry. Sometimes someone, always on the Engl. side, does something in both languages, but it seldom results in anything. But just as the Engl. side is split between us hip folk and those others, so the Quebec scene is likewise split, though the parameters are not identical; but we hip folk connect with the hip folk over there, you see. We publish, translate, talk, travel together often, but this happens because we share a poetic, not a language. See the collaborations between Daphne Marlatt and Nicole Brossard, for example. Or Gail Scott's self-definition among group of writers who are French-language people. >Lori, George Bowering, and other Canadians on the list: > >In doing an anthology such as this, how do you handle questions of >multilingualism? Are French (or, for that matter, Inuit) poems also >included? Is the assumption that it would be monolingual -- and >would there be a separate French anthology? Are there no "Canadian >pomo long poems" in French? I am not trying to agitate separatist >nationalism, but I'm curious how this is thought through, especially >considering the strong sentiment in Quebec, and the >legal/political/cultural ways Canada is trying to deal with that >sentiment. Although not officially bilingual, the same question >applies to similar anthologies in the US. For example, do >anthologies include poems in Spanish, Chinese, etc., or when we say >"US poems" we mean, almost automatically, those in English and a >separate category (usually "multicultural") is set up for poems in >other languages (or, for that matter, even in English but from >"minority" ethnic groups)? I'm not even sure of the virtues of such >multilingualism -- while I can read French or Spanish, I can't read >Chinese, and it would do me little good to have poems in Chinese (or >would this mean the necessity of accompanying translations)? I'm >sure folks in Canada have had some experience dealing with these >questions and it would be enlightening to hear peoples' ideas. > >Hilton Obenzinger > >> >>> From: "Lori Emerson" >>> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>> Subject: Re: LONG POEM STUFF >>> Date: Wed, 24 Jan 2001 04:27:49 >>> >> >>Talonbooks is publishing a new edition of the anthology of Canadian pomo >>long poems, The New Long Poem Anthology. In addition to including writers >>such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, >>Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of >>poetics (or something like that) from each of the authors. It should be out >>in about a month. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Fri, 26 Jan 2001 12:02:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Fw: nils -aslak valkeapaa Comments: To: Patrick McManus Comments: cc: poetryetc@mailbase.ac.uk, subsubpoetics@listbot.com, poetics UB Poetics discussion group , webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit great find, patrick. I want to know more, too, so i'm forwarding your post to a couple of other lists. What is the Bird Symphony? tom ----- Original Message ----- From: "Patrick McManus" To: Sent: Friday, January 26, 2001 12:01 PM Subject: nils -aslak valkeapaa > hi anyone know about him?(I have such faith in the brit pos) > I came across him as the composer of 'A Bird Symphony' > which is now a favourite of mine > I am still learning on internet (hit and miss)and see he is amongst other > things > a painter -filmmaker-editor -teacher and POET > does anyone know if he has been translated into english > he writes in Sami -lives in Norway. > > one intriguing poem is titled 'eee' > I can see the form of the poem without understanding the language > at http://www.c3.hu/scripta/lettre/lettre18/31.htm > > cheers patrick mcm ========================================================================= Date: Fri, 26 Jan 2001 18:26:34 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: An Update on the Comprepoetica Website MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------4D21608687B" This is a multi-part message in MIME format. --------------4D21608687B Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit My website, Comprepoetica (url below, I hope), is slowly bumbling back into life. I started it a little over three years ago, partly to act as a despository for bios of contemporary poets--an egalitarian one that accepts entries on anyone describing himself as a poet. There's a questionnaire at the site that poets (and critics and even just poetry-readers) can fill out. From the data I get from it, I'll make an entry at my site. For quite a while, over a year, I let the site, and the bios, drift, hardly doing anything with it. There didn't seem much point as hardly anyone was visiting the site except me, and those with entries or other material at it. Recently, though, I've put the latest six or seven entries online (unedited--for now, at any rate), and now have 76 up. I've also added a lot of my Small Press Review columns, having decided a couple of years ago to store them at my site, but soon not bothering. There are now 33 columns online, from June 1993 to late in 1998. The columns are uneven, but I think some are pretty good--and the March/April 1998 one may amuse those of you who were around here for the squabble I started in 1997 about a Marjorie Perloff seminar allegedly on visual poetry. Drop in sometime--and maybe send me a bio. --Bob Grumman --------------4D21608687B Content-Type: text/plain; charset=us-ascii; name="sig.txt" Content-Transfer-Encoding: 7bit Content-Disposition: inline; filename="sig.txt" Bob Grumman BobGrumman@Nut-N-But.Net http://www.geocities.com/SoHo/Cafe/1492 Comprepoetica, the Poetry-Data-Collection Site --------------4D21608687B-- ========================================================================= Date: Fri, 26 Jan 2001 22:25:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Proper Etiquette, a few questions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Is it permissable to induce vomitting on someone's shoes if they praise a poem you have written for its "images" ?(you know the look - closed eyes - in a a semi-rapturous swoon you may see on a gas sniffer - babbling about "beautiful images") Is it permissable to induce vomitting on a book reviewer's shoes at a cocktail party? I don't even mean if they wrote you a negative review, I mean just for the fact that they write book reviews, can you can ruin their loafers with digested canapes? Is it permissable to stick your chapbook into the poetry section at Chapters when no one is looking? Is it permissable to spit on someone if when you tell them you are a poet they ask you to write a poem for their girlfriend in jail, and could it talk about the first night they met at a local bar as the local band was tearing down their gear? Is it permissable to recieve guilty pleasure in reading the poetry collections of famous dead rock stars? Is it permissable to wipe with a formula rejection letter and send it to the editor's home FedEx on his birthday? Is it permissable to write multilingual sestina using the word "gumption" as an end-word? Is it permissable to consider tapioca and engine-block as slant slant rhyme? Just some questions. I realise it's not about the election - thus utterly unconnected with poetry - but this is what keeps me up at night... __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Fri, 26 Jan 2001 22:36:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 24 Jan 2001 to 25 Jan 2001 (#2001-17) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii nothing wrong with DIY as i see it - i mean if yr gonna go broke, might as well do it on yr own terms right? call it ego tho - or lack of confidence - there is something to be said for having someone show interest and confidence in yr work - and relieving you of the details even if i choose to self-publish i am probably gonna need to hire a printer - and there is also something to be said for specialisation of labour everybody knows Whitman self-published - but then again so did a billion other yahoos who gave the whole notion a bad name - the publishing game, as rude as it can be - can act as a "filter" - i have never read a single self-published work that in anyway impressed me - tho of course there is always the lone genius so far ahead of their time no one will touch them, they are the exeption - more often than not, if no editor has deigned to publish their work there is a reason the beauty of self-publishing is is that anyone can do it the horror of self-publishing is... the same thing it really does depend on yr aims i think - and who you are trying to reach > Date: Thu, 25 Jan 2001 01:28:54 -0800 > From: zuk23@YAHOO.COM > Subject: what is DIY poetry? > > here an article by my close friend and comrade > eric > swanger. you can check out his work, etc. at: > http://members.tripod.com/~oldclothespress/ > --- his > site needs to be updated... > > as a note on what he wrote: > > poetry is nothing if we can not overcome our > elitism. > this does not mean writing for everyone... that > would > just be condecending. it means: breaking out of > elitist social habits. > > jeff. > > (ps-- anyone who ordered ryan scot barker's > _word > selector rhyme_ and has yet to receive it... > it's > coming, i promise. i'm pokey.) > > ------------------ > > D.I.Y Poetry > (do it all by yourself) > > The Do It Yourself philosophy isn't foreign to > the > punk scene. For any punk band to release a CD > or a 7" > themselves is relatively cheap and easy to do. > A few > shows is all the advertising you need. But in > the > poetry "scene" (which, by the way, doesn't > really > exist), it is not so easy. The community > structure > that we all wish was more focused upon in the > punk > scene, exists not ta all among poets. > > There are countless "local" poets, just as > there are > countless local bands. However, there are not > countless local poetry readings like there are > local > punk shows (at least around here). Which is a > shame. > > Poets, in general, are striving to get > published. > Which is basically the equivalent of getting > signed. > There are indy publishers just as there are > indy > record labels. However, in punk, if you put > out your > own record, you're seen as a contributing > member of > the scene. The D.I.Y. ethic is strong there. > For > poets thought, it's different. According to > the > thoughts of most published poets, you are not > really > and truly a poet until you are published. At > least in > a "literary journal" (basically a compilation). > > I was talking to a well published poet not that > long > ago. He was talking about his new book that is > being > put out by some university press (though not > quite as > bad as major labels, they're almost as bad for > many > many reasons). I congratulated him, he seemed > genuinely happy. and told him that I too had > my > second book coming out. "Oh! That's great!," > he > said and meant, "who is publishing it for you?" > I > explained that I was doing it myself, running > off > copies myself, even binding it myself. His > face > dropped. His voice fumbled out, "Oh... well, > yes.. > that's probably a lot of fun." Long awkward > pause. > He spoke up again, "Why don't you submit your > work to > some publishers? Or get an agent?" Told him > that I > didn't want all of that. We all know there is > no > money in writing, whether you're professionally > published or you publish yourself, so why not > take the > time to do it yourself? You can keep your own > costs > to a bare minimum and pass that savings onto > your > readers! > > My most recent book sells for two dollars. It > costs > me 50 cents (no including labor) to make each > copy. > That means, if I do not sell wholesale (which > that > price is a buck, btw), I can give away three > out of > every four of them and still break even! Thus > far, > I've given out more than that. > > For me, it's not about money or a name for > myself. > It's about writing and putting out what I > wrote. It > shouldn't be anyone else's concern or job to > put my > work out for me. I wrote it, I should publish > it, if > that's what I want to do. > > This ethic is pretty common in punk. Demo > tapes (CD's > now), for example. It's nearly unheard of and > very > much looked down upon in the realms of poetry. > Some > things need changing everywhere you go. __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Sat, 27 Jan 2001 10:05:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: [ phillytalks #18 release ] Giscombe / McKinnon MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII | PhillyTalks 18 (33 pages) | C. S. Giscombe / Barry McKinnon | responses by Wayde Compton, George Elliott Clarke, giovanni singleton ** now available as pdf download at: http://phillytalks.org | Friday Feb. 2nd, 7:30 pm Mountain Time | (9:30 pm Eastern) NB: The live component of PhillyTalks 18 will take place at the Rozsa Centre, University of Calgary (Alberta, Canada), not at its usual venue, Kelly Writers House, Philadelphia. To participate in the live audiocast of the event, for which 25 spaces are available on the server, sign-in *immediately* at the webcasts mailing list at: >> http://phillytalks.org/listserve/webcasts [ The Event ] Cecil Giscombe and Barry McKinnon were invited to begin a dialogue on/across their work, for this newsletter and the "PhillyTalks" project. Poets Wayde Compton, George Elliott Clarke and giovanni singleton were then invited to respond to the fact of a Giscombe/McKinnon talk, and specifically to their exchange-they had about a week in which to formulate responses: not a lot of time. [ The Poets ] C.S. Giscombe's recent book is the travelog, Into and Out of Dislocation (New York: North Point, 2000): "it's an African-American archetype-culture occurs in landscape- and here I am, the first generation born across the Ohio River (and born, admittedly, bourgeois), still having the impulse, north!, though it's metaphorized into something other than the sane set of reasons-for-migration that belonged to those who went earlier" (136). His recent poetry book is Giscome Road (Normal, IL: Dalkey Archive, 1998); before that, Here (Dalkey, 1994), whose poems "move in intricately woven patterns (like the candid language of risky dreams) [...] post-personal yet not quite public" (Clarence Major). The poems featured in PhillyTalks 18 are from Inland, soon to appear from Leroy Books (San Francisco). He teaches at Penn State U, State College, Pennsylvania. Barry McKinnon is author of PulpLog (Prince George, BC: Caitlin, 1991)-winner of the Dorothy Livesay poetry prize for that year and his first commercially available book since The the. (Toronto: Coach House, 1981). The latter was nominated for a Governor General's award. His most recent book: The Centre (Caitlin, 1995); its last section, Arrythmia, also won a prize, the bp Nichol Chapbook Award, 1994. Red Deer College Press re-issued his 1975 (limited-edition) book, I Wanted to Say Something, in 1990. McKinnon lives in Prince George, BC, publishes broadsides and books through his Gorse Street Press and teaches at the College of New Caledonia. Wayde Compton (Vancouver) is author of 49th Parallel Psalms (Vancouver: Arsenal Pulp, 1999) and will be present. http://www.sfu.ca/~wcompton George Elliott Clarke's recent book is the verse-play, Beatrice Chancy (Victoria, BC: Polestar, 1999). The chapbook, Gold Indigoes, was published by Carolina Wren Press in 2000. He lives in Toronto. giovanni singleton's recent work can be found in Chain, Five Fingers Review, and Kenning. The chapbook, mother/father, was published by nocturnes editions in 1999. She lives in Berkeley. ** Thanks to the Kelly Writers House at the University of Pennsylvania, for their continued support of PhillyTalks, and the University of Calgary English Department and Cultural Diversity Institute as well as The Canada Council for supporting #18 in particular - which is co-curated by Fred Wah, who initiated their reading and made their event financially possible to do as a "PhillyTalks" in Calgary. ------------- ** Download past PhillyTalks newsletters as well as audio proceedings of past events at: >> http://phillytalks.org PhillyTalks is curated by Louis Cabri; PhillyTalks Online is co-curated by Aaron Levy, in conjunction with Slought Networks [http://slought.net] ========================================================================= Date: Sat, 27 Jan 2001 11:56:38 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Book Review, Rejected Letters-to-Editors Site MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit While working on my poetry/poetics website I got a bright idea that I have just now put into effect. It was to put up a website devoted to rejected letters-to-editors and to book reviews no one will publish (because they're too long, too intelligent, too politically incorrect, etc.). SO!!! If you want to review a book by some celebrated poet you hate, here's your chance. Anonymity is allowed! Among its values, this site will allow people to be truthful about poets without fear of loss of job or friends, etc. Or you can shamelessly push the work of someone you like, even yourself. Or pop off at the latest idiocy in Time Magazine, or on the op ed page of your daily newspaper. I've just started, so don't expect much for a while, but do visit my site: http://www.geocities.com/comprepoetica/retort/index.html. and use it to blast or praise someone! --Bob G. ========================================================================= Date: Sun, 28 Jan 2001 15:59:12 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: J20: report from the coronation MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Aaron. Well I'm your first mug. Ah! The impossibly improbable. The untried and unimaginable: the unimaginable untried. That which is unreceived. Unthought. That's what we need. A vast work/discussion on and in "unthought". Unthought is unreceived unthought of unexpected unforeseeable unforgivable un un uninterpretable untransparent un undifficult and unpolitically unandun unpossibly un.Uness Uninfact. Un is in without the u: or the me. The author dies, fades, waves his/her little rag. Even UnGeorge UnBowering or UnRichard UnDillon (both Undeniably Unwith Unquite Un Undifferent UnPerspectives Unto Unwhom IUn UnApologise UnPull-Out-Their-Eyes) would have to agree to the concept of Un Poetics, Un Metaphor, Un Art, Un UnMetaphor, Un UnMetonomy, Un UnLogic, UnBlack, UnWhite,UnLanguage,UnWriterly,UnReaderly,UNCagean,Unwaterly, Un Unspoken,UNUnseen, Un UNreaderly, UnImpossible, UnResidual, Un UnNew UnYork,UNOxonian,UnUninnocent, UnUnmediated,UnUntangled,UNtransparent,Unfacile,Unsilent, Unsellen,UnUnhappy,UnDone, Undo, Undisgusting,UnSartre,UnDerridean,UnCyclic,UNUnhorse,UnKingdom,UnMy,UnItalia n,UnFrench,UnSanscrit,UnPebble,UnToes,Un-UnUN,Unlike,UnUndiferreance,UnUndis appearing,UnSun,UnHis, UnSungSuns, Un Sungs Unsung Son, UnDaughters, UnBrothers, UnSosters, UnMothers, UnUnptariacal,UnSophist, UnEmily,UnHow,UnWhy, Un UnCanada,Un UnNew UnZealand, UnChess, Un Unpoetical, Un Poetry, Un Ness, Un Unity With Un, the Fun of Un Fun, UnChutzpah, Un Flowers,UNLonely, UNgay, Unjocund, UnEndless, Unneverending, UnLine, UnDaffodils, Unlife Undeath,UnUp, UnDown,UnLeap, Uncognate,Uncaulifllower,UnStein, UnSillimanic, UnClassical, UNCanon, UnBloom, UNCritical, Un Under, Unup, UnDown,UnSide,UnWhere,UNWhy,UnWho,UNGauguin,UnEngine,UnMagic,Unnic,Un Unhandled UnHand UnBags, Un Unromantic,Undless, Un Untwo, Un Unmilk, Un Unthrice, Un Unweave, The Un Uncertainty UnPrinciple and the UnEndless Uns that whirl Unly in Un Space and Un Forever in this Unendlessly Unny Un World.UnYours Unfully;;;":09*!!!::::::::::Unetc. UnRichard UnTaylor. (" Oh w hat fun/Resideth in the Un" 12th Century Song from Macedonia.And translated by Anon.) ----- Original Message ----- From: "Aaron Belz" To: Sent: Wednesday, January 24, 2001 10:53 AM Subject: Re: J20: report from the coronation > While I recognize that posts of a political nature are quite welcome on this > list, it seems that many of them take for granted that everyone here (except > the outspoken Mr. Dillon) shares liberal, left-wing priorities. > > May I point out that we do not all share these priorities. > > With that in mind, and in this season of clashing ideologies, wouldn't it be > wonderful to concentrate on the central purpose of the list (about which I'm > sure all of us can rally): "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." > > I'm *not* trying to play the role of moderator, good people; consider this a > plea for some poetry talk -- or a more open-minded political discussion. > > -Aaron Belz ========================================================================= Date: Sat, 27 Jan 2001 21:43:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: BT Henry Subject: Letters to Wendy's / Rain Taxi / Minneapolis reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Joe Wenderoth will read from Letters to Wendy's on February 1 at the Walker Art Center in Minneapolis. The reading will be sponsored by Rain Taxi. The book is published by Verse Press. Order the book from the press' web site (www.versepress.org) and receive a free Letters to Wendy's cd, which features James Urbaniak reading selections from the book. For more info about the book and/or reading, email mzapruder@versepress.org Upcoming Letters to Wendy's readings: February 6: Tufts University, Somerville, MA. February 7: University of Massachusetts at Amherst. February 8: Housing Works Used Bookstore, New York City. March 26: Loyola College in Baltimore. Brian Henry __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Sat, 27 Jan 2001 21:47:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: BT Henry Subject: Richard Meier reads from Terrain Vague in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The editors of Verse Press are pleased to announce a book party/reading for Richard Meier, author of Terrain Vague (winner of the 2000 Verse Prize) February 2, 6-8 pm Teachers & Writers Collaborative 5 Union Square West, 7th Floor Brian Henry __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Sun, 28 Jan 2001 16:35:40 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: Ace by Tom Raworth, new from Edge Books MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Edge books is pleased to annouce publication of _Ace_ by Tom Raworth. 96 pages, perfectbound, $10. With artwork by Barry Hall and Rita Hodge. ACE, complete! This reprint of one of Raworth's most well-received works includes "Bolivia: Another End of Ace," as well as drawings by Barry Hall only seen in the very limited British edition. In the early 1970s Ted Berrigan wrote of him: "When I read the best of Tom Raworth's poems, I feel proud. They are a human accomplishment, a poet's." Raworth is the author of over 40 books including MEADOW, CLEAN & WELL LIT: SELECTED POEMS 1987-1995, ETERNAL SECTIONS, and THE RELATION SHIP. Of his selected early poems, TOTTERING STATE, Lyn Hejinian has written "These are among the greatest writings of our times." Special Offer: Order _Ace_ for $10 postpaid before March 1 & recieve $5 off any of the following (no more than three additional books please) _Aerial 9: Bruce Andrews_, $15 ($10 til March 1). _Aerial 6/7 featuring John Cage, $15 ($10 til March 1). _Comp_ by Kevin Davies, $12.50, ($7.50 til March 1). _Marijuana Softdrink_, Buck Downs, $11 ($6 til March 1). _perhaps this is a rescue fantasy_, Heather Fuller, $10 ($5 til March 1). _Sight_, Leslie Scalapino & Lyn Hejinian, $12 ($7 til March 1). _Nothing Happened & Besides I Wasn't There, $9.50 ($4.50 til March 1). Checks payable to: Aerial / Edge POBox 25642 Washington, DC 20007 from _Ace_ new face from my home what do you think i'll voice out of the news alive and in love drill another hole near the edge of the label and play it from there with a light pickup bless you brother yours til the energy gaps again let light blink history think leaves some thing like a bomb relief again to sail ========================================================================= Date: Sun, 28 Jan 2001 17:15:45 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Notes MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thought I'd repeat an invitation I made on this list when I was assembling _The Gig_ #7. At the back of most issues of _The Gig_ is a little space-filling selection of notes & queries concerning contemporary poetry--often identifications of allusions & sources, though sometimes other kinds of useful or interesting information (e.g. in a note in #2 I noted some instances of nuclear-weapons jargon in Prynne's _For the Monogram_). -- Anyway, here's an offer: anyone who sends in notes that I end up using for the selection in the next issue (#8) gets a free copy of the magazine. Contributors are credited (unless they ask otherwise). I'll enclose below the notes that appeared last time--they concern poems by John Riley, Susan Howe, Andrew Crozier, Charles Olson, Paul Celan, Barrett Watten and JH Prynne. The slight UK slant reflects my own primary area of expertise, though notes on contemporary poetry of any nationality are welcome. Please backchannel any contributions. -- Further notes may be found by the curious at the website given in my signature below. -- all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 --- N&Qs: John Riley's lines "To trace, round-eyed, the flight of birds" ("The World Itself, the Long Poem Foundered") and "to get to know the flight of birds" (Czargrad) are versions of a line from Trakl's "Helian." The opening stanza of Czargrad III translates a madrigal of Monteverdi setting the words of Tasso ("Ecco mormorar l'onde..."). (Info courtesy Ian Patterson, Tim Longville & Peter Riley.) "There Are Not Leaves Enough to Crown to Cover to Crown to Cover," the preface to Howe's Europe of Trusts, takes its title from Wallace Stevens' "United Dames of America." "As if it were a lamp of earthly flame" in Crozier's High Zero quotes Shelley's Epipsychidion. The title of All Where Each Is is from Olson's "The Distances." "Humiliation in Its Disguises" gets its title from Spicer' s Language. Olson's "These Days" may derive from the following sentence from Thomas Wentworth Higginson's preface to the 1890 Poems of Emily Dickinson: "In many cases these verses will seem to the reader like poetry torn up by the roots, with rain and dew and earth still clinging to them, giving a freshness and a fragrance not otherwise to be conveyed." (Courtesy Ben Friedlander.) The title of Celan's book Von Schwelle zu Schwelle alludes to his original name, Antschel. (Also from Ben Friedlander.) "In Vietnam, / Hills skim only their crests" in Watten's Progress echoes a passage in Prynne's "If There Is a Stationmaster at Stamford S.D. Hardly So." The Latin in Prynne's "Of Movement Towards a Natural Place" is from Anselm's Proslogion, ch.13. In High Pink on Chrome "substance has no / contrary among things that are" is from Aristotle's Physics (book 5, part 2); the Latin near the poem's end is from Aquinas's Summa (IaIIae.19.6.c). "The King of Spain"'s German is from act 2 of Christian Dietrich Grabbe's Hannibal. ========================================================================= Date: Mon, 29 Jan 2001 08:14:24 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Stein Event in Boulder, Feb. 3 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE WINTER IS SUNNY Evening of Writings by Gertrude Stein, Directed by Anne Waldman at BMOCA (Boulder Museum of Contemporary Art), on 14th just north of Arapahoe, Sat Feb 3, 8 PM. With Kay Campbell, David Ortolano, Simone Sandy, Jenn Zukowski, Veronica Corpuz, Justin Veach, & Anne Waldman. Sets & costume design by Jane Dalrymple-Hollo. Reception in honor of Stein's birthday to follow... -- "It is the quality of a poet's affection that matters." --Dale Smith Laura Wright Serials Cataloging Dept. Norlin Library University of Colorado, Boulder (303) 492-3923 ========================================================================= Date: Mon, 29 Jan 2001 16:22:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Eileen Myles reads in Austin Mime-Version: 1.0 Content-Type: text/plain; format=flowed ...For those of you in the Austin TX area this weekend... NYC POET & NOVELIST EILEEN MYLES reads from her new novel Cool for You in a rare Austin appearance Blue Theater Saturday February 3, 2001 7:30 PM *** The reading will be followed by a reception with the author and music by The Faux Paws *** $4 donation at the door Blue Theater, East Central Austin, 916 Springdale Rd. Call 512/444-6655 for more information. ++++++++++++++++++++++++++++++++++++ skank on... Hoa http://www.skankypossum.com/ _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 29 Jan 2001 16:23:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Eileen Myles reads in Austin Mime-Version: 1.0 Content-Type: text/plain; format=flowed ...for those of you in the Austin TX area this weekend... NYC POET & NOVELIST EILEEN MYLES reads from her new novel Cool for You in a rare Austin appearance Blue Theater Saturday February 3, 2001 7:30 PM *** The reading will be followed by a reception with the author and music by The Faux Paws *** $4 donation at the door Blue Theater, East Central Austin, 916 Springdale Rd. Call 512/444-6655 for more information. ++++++++++++++++++++++++++++++++++++++++++++ Hope to see you there... Hoa Nguyen http://www.skankypossum.com/ _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 29 Jan 2001 01:06:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: upcoming transparency machine :: Aaron Levy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Aaron Levy :: "traces" Transparency Machine Reading :: February 3, 2001, 2pm University of Calgary, Science Theatre 141 Transparency Handout (1.3mb) available for download at: >> http://slought.net/ex/traces [ My reading will visually address the difficulty of relating personal memory to archival memory. What is the relation of the archive to the impersonal collection of the personal? How is it that archives are often arrested by, if not constructed upon, absurdly sentimental images? ] ========================================================================= Date: Fri, 26 Jan 2001 11:16:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Carfagna, Richard" Subject: Re: LONG POEM STUFF MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Dear Hilton, Don't you agree that there is enough agendas being pushed from all the myriad anthologies proliferating the book store ? I agree that every one should have their say, as far as poetry is concerned, but what disturbs me is the overcompensating political correctness that seem to be constantly jammed down the poetic readers throat with almost every tome issued from the big presses. -----Original Message----- From: Hilton Obenzinger [mailto:hobnzngr@LELAND.STANFORD.EDU] Sent: Thursday, January 25, 2001 12:23 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: LONG POEM STUFF Lori, George Bowering, and other Canadians on the list: In doing an anthology such as this, how do you handle questions of multilingualism? Are French (or, for that matter, Inuit) poems also included? Is the assumption that it would be monolingual -- and would there be a separate French anthology? Are there no "Canadian pomo long poems" in French? I am not trying to agitate separatist nationalism, but I'm curious how this is thought through, especially considering the strong sentiment in Quebec, and the legal/political/cultural ways Canada is trying to deal with that sentiment. Although not officially bilingual, the same question applies to similar anthologies in the US. For example, do anthologies include poems in Spanish, Chinese, etc., or when we say "US poems" we mean, almost automatically, those in English and a separate category (usually "multicultural") is set up for poems in other languages (or, for that matter, even in English but from "minority" ethnic groups)? I'm not even sure of the virtues of such multilingualism -- while I can read French or Spanish, I can't read Chinese, and it would do me little good to have poems in Chinese (or would this mean the necessity of accompanying translations)? I'm sure folks in Canada have had some experience dealing with these questions and it would be enlightening to hear peoples' ideas. Hilton Obenzinger > > > From: "Lori Emerson" > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Subject: Re: LONG POEM STUFF > > Date: Wed, 24 Jan 2001 04:27:49 > > > >Talonbooks is publishing a new edition of the anthology of Canadian pomo >long poems, The New Long Poem Anthology. In addition to including writers >such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, >Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of >poetics (or something like that) from each of the authors. It should be out >in about a month. ========================================================================= Date: Thu, 25 Jan 2001 22:44:24 -0700 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 Subject: Fw: endnote #3 - submissions requested! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > created with TISH, Philly Talks & the 1st series of Open Letter in mind, > endnote promotes open communication between poets. > > we are now accepting submissions for our 3rd issue and welcome submissions of poetry, short essays, statements, rants, open letters, critical > readings, > reactions, interviews, comments, reviews, questions and critiques -- in response to the work found in our pages > or on further subjects -- which can then be read & responded to by our readers.all of the poets & writers also > encourage response & critique of their individual work. > > the best way of ensuring that endnote continues (and appears in your mailbox) is to send letters or > writing for our pages. > > please - submit some work! our 3rd issue will be published spring 2001, and we would appreciate submissions > that can fit that general deadline. > > - r rickey, tom muir & derek beaulieu; editors, endnote > endnote@canada.com > #32, 940 17th avenue sw, calgary, alberta, canada, t2t 0a2 ========================================================================= Date: Fri, 26 Jan 2001 16:43:28 -0500 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: :::Double Happiness Reading List for April / May 2001::: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I know I'll probably just be accused of "name-dropping" (eh-hem) but = here's the reading list for the April/May series I've curated at Double = Happiness. Chales Borkhuis and Sean Killian are doing February/March; I = don't have their list here with me, otherwise I'd send it on. I'll send = announcements weekly as reminders. Double Happiness is located at 173 Mott Street at Broome. It's located = below street level; there are a set of stairs next to the aquarium on = the corner. The readings are at 4, usually done by 6 or so. The = readings are during happy hour, which at DH is a two-for-one deal. I think it will be a great series, and hope many of you make it out = there. I'm especially happy that Madeline Gins, who is better known as = Arakawa's collaborator, agreed to read, and the combination of her and = Christian Bok's sound poetry pyrotechnics should be lethal and = memorable. Redell Olsen is, as I write below, a great young poet from = England who gave her first New York reading at the Zinc bar last year. = It was last minute and poorly attended but the few of us there felt = quite lucky to know about it, and I think she will be a pleasant = surprise for many. Sally Silvers has, yes, published poetry and she works with text quite = frequently in her dance pieces. With Mac Wellman, whom many of you know = as a playrwright but who is a great poet, I think it will be a great, = unpredictable afternoon. =20 I think most of the other names below are sort of known to y'all. I'm bringing in special lights for the series, too, done by my sister = who is a light-designer and artist (she recently did work for Frank = Gehry and is always on to something new). So if anything it will be = pretty there, and you plagurists can bring your notebooks and index = cards. Memorize this! Hope to see you... Brian *** APRIL 7: BRUCE ANDREWS AND JACQUES DEBROT Bruce Andrews is the author of several landmark books of poetry = including I Don't Have Any Paper So Shut Up (Or, Social Romanticism) and = Paradise & Method (Northwestern University Press). Forthcoming is Lip = Service, the "Dante Paradiso dub," from Coach House Books, and the = "Millennium Project," which will appear on the Eclipse website. Jacques = Debrot is the author of Confuzion Comix (Second Story Books), and is the = editor of the zine 9 to 0. Known as one of the more challenging = from-the-hip literary critics and provocateurs, he has published poems = in Combo and at www.arras.net. APRIL 14: ROD SMITH AND REDELL OLSEN Rod Smith is the author of In Memory Of My Theories (O Books), The Boy = Poems, Protective Immediacy, and with Lisa Jarnot and Bill Luoma, New = Mannerist Tricycle. The Good House and The Given are forthcoming in = 2001. He edits Aerial magazine, publishes Edge Books, and manages Bridge = Street Books in Washington, DC. Redell Olsen is the author of Book of = the Insect and Book of the Fur (rem press). One of a growing crop of = exciting younger writers coming out of London, England, she has an MA in = fine art and has worked in video, performance, and installation.=20 APRIL 21: SALLY SILVERS AND MAC WELLMAN Sally Silvers is a NYC-based choreographer/performer whose theoretical = writing, scores, and poetry have appeared in many journals including The = Drama Review and The Impercipient. Her next dance performances are in = NYC at Construction Company, May 5, 6, 7. Mac Wellman, one of the = country's great innovative playwrights, has published several books = including A Shelf in Woop's Clothing (poetry, Sun & Moon), The Bad = Infinity, and Crowtet I (A Murder of Crows & The Hyacinth Macaw). He was = co-editor of From the Other Side of the Century II: A New American Drama = 1960-1995 (Sun & Moon).=20 APRIL 28: YEDDA MORRISON AND KIM ROSENFIELD Yedda Morrison lives in San Francisco where she co-edits Tripwire, a = Journal of Experimental Poetics. Her chapbooks include The Marriage of = the Well Built Head, Shed, and Apostasy, forthcoming from Melodeon = Poetry Systems. Recent work has appeared in Primary Writing, Kenning and = Syllogism. Kim Rosenfield is the author of several chapbooks including = Rx, cool clean chemistry, and A Self-Guided Walk, and the book Good = Morning -Midnight -. An internet chapbook, Verbali, is forthcoming on = www.arras.net. MAY 5: ALAN DAVIES AND NICOLE BROSSARD Alan Davies is the intrepid author of several underground classics = including Name, Signage (essays, Roof Books), Candor and a limited host = of other titles bridging the traverses between poetry and theory and = life. Nicole Brossard is one of New York's favorite Quebecers, and has = published numerous books and essays of poetry, fiction and feminist = criticism, including These Our Mothers (Or: The Disintegrating Chapter), = Picture Theory, Surfaces of Sense, and Mauve Desert (Arroyo Press). MAY 12: DARREN WERSHLER-HENRY AND JUDITH GOLDMAN Darren Wershler-Henry lives and works as a writer, critic, and the = editor of Coach House Books in Toronto. His book of visual poetry, = NICHOLODEON: a book of lowerglyphs, appeared in 1997, and the tapeworm = foundry in 2000 (Anansi). He is the co-author of four nonfiction books = on the internet, and his essays on pop culture and theory have appeared = in numerous periodicals including boundary 2, Open Letter, Sulfur, and = Semiotext(e) Canada(s). Judith Goldman has published poems in several = journals and zines including Object, Arras, Aerial, and The = Impercipient. Hew first book of poems, Vocoder, will be published in = March 2001 by Roof Books. MAY 19: CHRISTIAN B=D6K AND MADELINE GINS Christian B=F6k, besides being the author of Crystallography (Coach = House) and the forthcoming Eunoia (parts of which can be read on = www.arras.net), is the "noted linguist" (Time Magazine) who created the = language for the Taelons on a recent Gene Roddenberry series. His book = of essays on 'pataphysics and other subjects is forthcoming from = Northwestern University Press, and work of his in print and on CD can be = found in the new issue of Cabinet. Madeline Gins is the author/creator = of Word Rain, What the President Will Say and Do, and the = meta-somethingelse Helen Keller or Arakawa. She collaborated with = Arawaka on the seminal Mechanism of Meaning, and has been busy = constructing several Reversible Destiny structures -- cities, houses, = installations -- all over the world. MAY 26: GARRETT CAPLES AND LEE ANN BROWN Garrett Caples is the author of The Garrett Caples Reader (Black Square = Editions). He is presently working on a prose book, the beginning of = which appeared in Faucheuse 3, and working on a new collection = tentatively titled All Chemical. He lives in Oakland, California. Lee = Ann Brown's Polyverse, winner of the New American Poetry Series, = appeared in 1999 (Sun & Moon). She is also a singer, filmmaker, the = publisher/editor of Tender Buttons press, and has published several = chapbooks including The Voluptuary Lion Poems of Spring. ========================================================================= Date: Fri, 26 Jan 2001 18:43:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chip Spann Subject: Re: Survey for In-Progress Article MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/25/01 8:43:41 PM Pacific Standard Time, longr@SLU.EDU writes: << http://www.slu.edu/surveys/longr/2River.tp3 >> Couldn't get on your website. Chip Spann ========================================================================= Date: Fri, 26 Jan 2001 22:51:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: ONE FINAL REMINDER: POG: Jackson Mac Low reading January 27, workshop January 28 Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ONE FINAL REMINDER POG presents writer Jackson Mac Low Saturday, January 27, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Jackson Mac Low is an internationally-acclaimed poet, composer, and writer of performance pieces, essays, plays, and radio works, as well as a painter and multimedia performance artist. Author of twenty-six books, Mac Low was recently awarded the prestigious Tanning Prize of the Academy of American Poets; among many other awards he has also received a Guggenheim and an NEA. Among his recent books are 42 Merzgedichte in Memoriam Kurt Schwitters (1994) and Barnesbook (1995). Reading co-sponsored by Chax Press. In addition to his Saturday evening reading for POG and Chax, Jackson Mac Low will also offer a two hour workshop on Sunday: Making Poetry “Otherwise”: a Workshop with Jackson Mac Low Sunday, January 28, 1-3, St. Philip’s in the Foothills (Vestry Room) (NE corner of River and Campbell) there is no charge to attend this workshop Jackson Mac Low is widely known for his experimental compositional methods. His work makes various use of what he calls “deterministic procedures,” often mixed with other writing modes to produce “liminal” works suggestive of the threshold between the Unconscious and Consciousness. This workshop will offer participants the chance both to talk about such procedures—as well as other ways of writing poems “otherwise”—and to try some out through a variety of activities. Workshop co-sponsored by The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, The University of Arizona English Department, and the journal Arizona Quarterly. For further information about the reading or workshop contact: POG 296-6416 tenney@azstarnet.com POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Fri, 26 Jan 2001 22:51:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG: Monday evening, January 29,7 pm, Dinnerware: poet Hank Lazer Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit REMINDER yet more POG.... on Monday, January 29--one day after Jackson Mac Low's workshop--POG and Chax present poet Hank Lazer For the past twenty years, Hank Lazer has published poetry in many of America's leading literary magazines and journals of experimental writing. In 1992, he published Doublespace: Poems 1971-1989 (New York: Segue), a 192 page collection of poems written in several deliberately conflicting styles. This book, which has received considerable attention, is unique in American poetry and enacts essential conflicts within current American literary culture. Also in 1992, Lazer published INTER(IR)RUPTIONS (Generator Press), a series of ten collage-poems which incorporates a wide range of layouts and materials, from baseball batting averages to critical theory, from fashion and interior design columns to research in neurophysiology. In 1994, Ink A! Press published a fine press limited edition (including an audio cassette) of Negation, a series of ten poems. Three of Ten, published in 1996 (Chax Press) is Lazer's largest collection of poetry since Doublespace. In May 1993, Lazer, along with poets Charles Bernstein and James Sherry, published Language Poems (Sichuan Literature & Art Publishing House), a bilingual (Chinese English) collection of poems, along with several essays on contemporary American experimental poetry. In conjunction with the publication of this book, Lazer travelled to China and gave readings, lectures, and discussions in Chengdu, Beijing, Nanjing, and Suzhou as part of a cultural exchange with Chinese poets, scholars, editors, and students. In addition to his poetry, Lazer is a noted critic of modern and contemporary poetry. For the past three decades, his writing on poetry has appeared in leading literary journals. In 1996, Northwestern University Press published Opposing Poetries, a two-volume collection of Lazer's essays on the poetics and cultural politics of recent innovative American poetries. He has also edited two influential books of criticism. Lazer received an A.B degree in English from Stanford University and M.A. and Ph.D. degrees in English from the University of Virginia. A Professor of English at the University of Alabama where he has taught since 1977, Lazer is Assistant Dean for Humanities and Fine Arts. For additional material by or about Hank Lazer see: http://writing.upenn.edu/epc/authors/lazer/ http://www.as.ua.edu/english/faculty/faculty/lazer_h.htm http://www.alsopreview.com/foley/jflazer.html POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts for further information: mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 28 Jan 2001 17:45:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: Call for Contributions: VAN MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII VAN, (northern Canada's best kept secret) wants contributions of visual poetry, concrete poetry (or post-concrete poetry), collage poetry, clip-art poetry, cut-up poetry, zaum poetry, schizo-poetry, L=A=N=G=U=A=G=E poetry, or P=O=S=T=-=L=A=N=G=U=A=G=E poetry, & POIUYTRE! & beyond! back issues are available, with work by Michael Basinski, Irving Weiss, Joanne Brault, Bruce Andrews, Gustave Morin, Reed Altemus, Derek Beaulieu, jw curry, Pete Spence, Barry McKinnon, John M. Bennett, Lori Emerson, Billy Mavreas & others only 25 cents each (each issue is 4 pages or so) (30 issues so far) subscriptions: 12$/year (or trade) a weekly 'zine/broadside VAN imp press box 1612 vanderhoof, bc CANADA V0J 3A0 ========================================================================= Date: Sun, 28 Jan 2001 23:38:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garrett Kalleberg Subject: The Transcendental Friend #14 - Skinclinic Comments: To: Poetics List Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" A man stitched tight | in an ass's hide - no break in the skin - even a needle's jab - cuts strips out of a book The Transcendental Friend 14 - Skinclinic http://www.morningred.com/friend (there was no break in the skin) - the section .ii) of Pattie McCarthy's book-length bk of (h)rs, "(h)rs for Paris use" is featured in this second installment of Physiology. A man stitched tight | in an ass's hide - Dale Smith's "Familiar Proverbs and Portraits" is featured as the 13th Chapter of Laird Hunt's Bestiary. [S]he cuts strips out of a book - Kristen Prevallet discusses Times Square and the cut and paste work of artist Holli Schorno for Dan Machlin's Review. Having dragged on so, even a needle's jab - Forrest Gander & Kent Johnson translate Jaime Saenz's "To Cross This Distance", and Denis Mair translates Xin Hong's "Dark Shadows of Things", for Leonard Schwartz's Report from the Field. Please note that the next issue of TF, to be published 3/1/2001, will be an all Bestiary issue. Garrett Kalleberg -- Please make note of my new personal email address: mailto:garrett@metadada.com ========================================================================= Date: Sun, 28 Jan 2001 13:31:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jcervantes Subject: Call for manuscripts MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The Salt River Review has published James Bertolino, Peter Cooley, Joseph Duemer, John Gilgun, David Graham, Charles O. Hartman, Cynthia Hogue, David Howard, Gray Jacobik, Laura Jensen, Halvard Johnson, Robert Lietz, Amanda Pritchard Moore, John Morgan, W. Scott Olsen, Lynda Schor, Peggy Shumaker, Gail Siegel, Greg Simon and dozens of other poets and writers and is looking for new work for its Spring, 2001 issue. Visit the site at to read submission guidelines and the latest issue. Deadline for submissions is April 30, 2001. ===== ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ James Cervantes: wasanthony@yahoo.com OR jvcervantes@earthlink.net Salt River Review: http://www.mc.maricopa.edu/users/cervantes/SRR/ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ========================================================================= Date: Tue, 30 Jan 2001 12:19:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poetry Plastique Reading and Symposium (NYC) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Saturday, February 10th at Noon at the Marianne Boesky Gallery, 535 West 22nd Street, New York a symposium on POETRY PLASTIQUE=20 moderated by marjorie perloff confirmed participants: susan bee, christian b=F6k, cletus johnson, johanna drucker, brad freeman, madeline gins, kenneth goldsmith, robert grenier, lyn hejinian, emily clark, tan lin emily mcvarish, nick piombino, leslie= scalpino, mira schor, michael snow, darren wershler-henry, charles bernstein, and jay sanders; tenatively scheduled: mei-mei berssenbrugge, jackson mac low, kiki smith, and richard tuttle. Saturday, February 10th at 6pm=20 film screenings of: Michael Snow, "So Is This" Hollis Frampton, "Poetic Justice" David Antin, Slide-films followed by a poetry reading by "Poetry Plastique" participants POETRY PLASTIQUE opens at Marianne Boesky Gallery on=20 Friday, February 9th, 6-8pm The show runs until March 10 =3D=3D=3D=3D=3D=3D=3D=3D=3D&*&*&*&*&*&*&*&*&=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D POETRY PLASTIQUE presents the work of 34 poets and artists working to move poetry off the page and into sculpture, film, painting, assemblage, photography--even skywriting. Pushing the boundaries of textuality, these literary and visual artists move poetry into a new dimension that emphasizes the concreteness and materiality of the written word.=20 POETRY PLASTIQUE is curated by Jay Sanders and Charles Bernstein and= includes works by Carl Andre, David Antin, Arakawa, Susan Bee, Wallace Berman,= Mei-mei Berssenbrugge and Kiki Smith, Christian B=F6k, John Cage, Clark Coolidge and Philip Guston, Robert Creeley and Cletus Johnson, Johanna Drucker and Brad Freeman, Hollis Frampton, Madeline Gins and Arakawa, Kenneth Goldsmith,= Robert Grenier, Lyn Hejinian, Lyn Hejinian and Emilie Clark, Tan Lin, Jackson Mac= Low, Steve McCaffery, Emily McVarish, Tom Phillips, Nick Piombino, Leslie= Scalapino, Mira Schor, Robert Smithson, Michael Snow, Richard Tuttle and Charles Bernstein, and Darren Wershler-Henry. A fully illustrated catalog, including statements from most of the artists= and introductory essays by Sanders and Bernstein, will be published from Granary Books in association with Marianne Boesky Gallery. *WE ARE OFFERING A= DISCOUNT FROM THE $20 COVER PRICE TO READERS OF THE POETICS LIST. SEND A CHECK FOR= $12 (POSTAGE INCLUDED) OR $14 INTERNATIONAL, PAYABLE TO "ARTWORKS, INC" BY FEB. 15TH, MAILED TO: Jay Sanders Marianne Boesky Gallery 535 West 22nd Street= New York, NY 10011. This price is available only by mail. The catalog will be= out in time for the show's opening. Coming up: Thursday, March 1st at 8pm, Anthology Film Archives will present a special screening of related films not included in our exhibition. ========================================================================= Date: Wed, 31 Jan 2001 22:35:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: LONG POEM STUFF Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hilton, no, I don't think multilingualism is 'handled' at all really, though occasionally, as with this second edition of the New Long Poem anth., gestures are made to other ongoing traditions or poetics--I mean that in this edition Sharon Thesen has included a Quebecoise poet, Yolande Villemaire, in trans. of course, and this, she tells me, is significant. I do think, though, that English (language) colonialism is as alive and well here in Canada as it is anywhere else, and if an anthology wishes to be considered "major," adopted as course material etc., it necessarily should be in English--official bilingualism or not, especially here in the west where the necessity to learn French isn't as clear as it is in Ontario and Quebec. This isn't an attitude I personally advocate though! All the best, Lori _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Mon, 29 Jan 2001 15:05:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: LONG POEM STUFF In-Reply-To: <349F1E5B81A6D411AAD500B0D03EA88C2297DC@smtp2.simplexnet.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Richard and List, I asked a somewhat naive question, a matter of curiosity about an actual conflict, and I did not imply any political agenda. But now that you ask, I don't mind "all the myriad anthologies," although I may not like all the poems. I actually don't think there is a species called "political correctness." I have encountered dogmatic narrow-mindedness, self-righteousness, puffery, prudery, bad taste, and general idiocy -- most of that actually coming from the cultural right wing but more than enough comes from the left. George Bowering gave a very informative answer about the situation in Canada -- and it seems an interest in poetics can cut through the tensions about language, and I suppose that should be encouraging. Hilton Obenzinger > Dear Hilton, > Don't you agree that there is enough > agendas being pushed from all the myriad > anthologies proliferating the book store ? > I agree that every one should have their say, > as far as poetry is concerned, but what disturbs > me is the overcompensating political correctness > that seem to be constantly jammed down the poetic > readers throat with almost every tome issued from > the big presses. > >-----Original Message----- >From: Hilton Obenzinger [mailto:hobnzngr@LELAND.STANFORD.EDU] >Sent: Thursday, January 25, 2001 12:23 PM >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: LONG POEM STUFF > > >Lori, George Bowering, and other Canadians on the list: > >In doing an anthology such as this, how do you handle questions of >multilingualism? Are French (or, for that matter, Inuit) poems also >included? Is the assumption that it would be monolingual -- and >would there be a separate French anthology? Are there no "Canadian >pomo long poems" in French? I am not trying to agitate separatist >nationalism, but I'm curious how this is thought through, especially >considering the strong sentiment in Quebec, and the >legal/political/cultural ways Canada is trying to deal with that >sentiment. Although not officially bilingual, the same question >applies to similar anthologies in the US. For example, do >anthologies include poems in Spanish, Chinese, etc., or when we say >"US poems" we mean, almost automatically, those in English and a >separate category (usually "multicultural") is set up for poems in >other languages (or, for that matter, even in English but from >"minority" ethnic groups)? I'm not even sure of the virtues of such >multilingualism -- while I can read French or Spanish, I can't read >Chinese, and it would do me little good to have poems in Chinese (or >would this mean the necessity of accompanying translations)? I'm >sure folks in Canada have had some experience dealing with these >questions and it would be enlightening to hear peoples' ideas. > >Hilton Obenzinger > > > > > > From: "Lori Emerson" > > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > > Subject: Re: LONG POEM STUFF > > > Date: Wed, 24 Jan 2001 04:27:49 > > > > > > >Talonbooks is publishing a new edition of the anthology of Canadian pomo > >long poems, The New Long Poem Anthology. In addition to including writers > >such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, > >Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of > >poetics (or something like that) from each of the authors. It should be out > >in about a month. ========================================================================= Date: Mon, 29 Jan 2001 20:34:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 31 (2001) Tim Cumming | Five Poems Raymond Alexander | Landscape with Flies | The Transit Poems Things I Can Do Without Her | Dancing with the Captain and Tenille Tim Cumming's first full collection, APOCALYPSO, was published by Stride Publications (UK) in 1999. He has poems in CORTLAND REVIEW, BOOMERANG, and RECURSIVE ANGEL on the World Wide Web, as well as GARGOYLE (US-UK), PEARL (US), LONDON MAGAZINE, and many other British magazines such as THE WIDE SKIRT and BILLY LIAR. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 29 Jan 2001 21:29:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dan raphael Subject: Showing Light a Good Time (& in Seattle) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Just wanting to let the list know i have a new book out, Showing Light a Good Time. these works get a little thick but there's plenty of energy, re-visioning & rhythm. with 90 pages of poetry a lot happens. You can see the cover & blurbs at http://blessed1054.com/eric/showinglight.html. Books can be ordred from the publisher, Jazz Police Books, at www/oregontrail.net/~wordcraft. I will be reading from this book Sunday 2/4,at 4 pm, at Elliott Bay Books. (ithink some Seattle foks still in the group) thanks dan raphael ========================================================================= Date: Tue, 30 Jan 2001 07:55:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: [phillytalks #18 ] live webcast! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII | PhillyTalks 18 | C. S. Giscombe / Barry McKinnon | Friday Feb. 2nd, 7:30 pm Mountain Time | (9:30 pm Eastern) ** this event will be streamed live through the web ** To participate in the live audiocast of the event, for which 25 spaces are available on the server, please sign-up *immediately* at the webcasts mailing list: http://phillytalks.org/listserve/webcasts NB: The live component of PhillyTalks 18 will take place at the Rozsa Centre, University of Calgary (Alberta, Canada), not at its usual venue, Kelly Writers House, Philadelphia! Newsletter #18 is also available as pdf download at: http://phillytalks.org | Aaron D. Levy http://slought.net ========================================================================= Date: Tue, 30 Jan 2001 11:12:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Pierre Joris, Poasis MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable > Pierre Joris > Poasis: Selected Poems, 1986-1999 > Wesleyan University Press > Cloth, 0--8195--6434--6, $35 > Paper, 0--8195--6435--4, $16.95 > 198 pp. >=20 > For decades, Joris has been an important translator of important > avant-garde authors such as Paul Celan, Edmond Jab=E8s, and Maurice > Blanchot, and editor (with Jerome Rothenberg) of such important = volumes as > the pppppp: The Selected Writings of Kurt Schwitters and the massive = two > volume anthology of international avant-garde poetry, Poems for the > Millennium, from the University of California Press. Joris's first = volume > of selected poems, Breccia, appeared in 1987, and was jointly = published in > Luxembourg and by Station Hill Press (Barrytown, NY); Poasis is, = outside > of several chapbooks and magazine appearances, Joris's first major > publication of his own writing in the United States. He has lived = for > several years in Great Britain, France, North Africa, and now the = United > States, and this "nomadic" existence -- he has written a manifesto = for a > "nomadic community," part of which is included here -- strongly = informs > the stylistics and content of his writing: "He decried the 'citoyen = du / > mond' as some Socratic / blunder -- but it is not so, / Charley, the > particular is / everywhere, is the cosmo- / politan exactly, the > particular is / everywhere, the smallest / unit, the particle is / > everything -- & it moves, / it crosses bound- / aries, it moves / = wherever > [...]" (164). "Charley" in this quote is Charles Olson, one of the > writers that hangs over his work strongly; another is Ezra Pound, and = the > sense of Europe's failing in the twentieth century, of the martyrdom = and > all-around shamanistic function of the artist as vortex of meaning, = the > globalizing breadth that takes in all facts of history (personal and > social) and contemporeinty in one rhetorical swoop not to mention the > condemnation of a dispiritualized modern times -- Pound's tone and = method > in the Pisan Cantos -- runs through Poesis: "von Hollands Grachten = bis > tief ins Russische / Reich a Ganovenweise sung in Luxembourg = anno > domino 3 / post world war 2 all the way to Ancel in the Bukowina / = & we > still go at it turba scriptorum tralala trying / to wring > something from this long night" (84) This gives the writing, even = with > its push into both language-centered and performative strategies, a = bit of > an old-fashioned feel, a sense of the "pure line" that one gets in = poets > like Robert Kelly and, earlier, Robert Duncan ("O that I had Duncan's = eyes > to see & hold both this America that Europe planisphere of my sense = fine > mercator mesh grid of this my prison earth" Joris writes), for whom = the > coherence of a strong European tradition, or of a visionary capacity = in > the poet that placed him among a constellation of dead authors, was = of > ethical concern, and for whom a loose, speech- or breath- based epic > lyrical style was the best "American" way to express it. Tel Quel = and the > Language poets, not to mention the New York School and Breton's = version of > Surrealism, all of whom have a more mundane, anthropological and = pragmatic > appreciation of the poet's task, troubled the question of whether one = can > be both an intuitive medium of meaning and be a historical = materialist, > with its contract with objectivity, at the same time. Many of the = poems > struggle with this issue, and outside of a general teleological rush = and > longings for the visionary capacity, there isn't much touchdown, = either > into perfectly satisfying poetic form or a detailed, unique personal > vision. The better parts of this book are when Joris is just writing = in > normal prose (or prose-ish poems), discussing why Americans can be so > dogmatic in their religions, or in the selections from "h.j.r." = describing > his search for the "Nomad Hotel" somewhere in, one presumes, Africa: > "Realizing that we were children of no Sheikh, wanderers from another > direction that had no direction, they led us outside the city's = perimeter > to where the Japanese buses were waiting, drowning in dust and sun. = A low > building without a well offered itself to us. I overheard talk bout > emigrate / immigrate, the different sides of the same coin. Koin=E9. > Porous borders." (191) Here, one senses the complexities of being = an > interstitial writer, of existing somewhere on the edge of mediated, > globalized culture, away from theories of being and economics, though = all > the pulp and paradoxes of these issues are delivered in the details. = The > super-national adventure of Joris' nomadic existence -- through the = walls > of Europe and Africa and through the wilds of all of Modernism, which = he > knows better than anyone -- might have been better displayed had he > sacrificed his commitment to the tone of Olson and Pound, and written = more > freely of the contradictions of his "particular," therefore = meaningful, > life. >=20 >=20 ========================================================================= Date: Tue, 30 Jan 2001 11:30:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Manifesto, edited by Mary Ann Caws MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Manifesto: A Century of Isms edited by Mary Ann Caws ISBN: 0--8032--6407--0 University of Nebraska Press As Caws states in her breathless introduction, the arts manifesto, = which first made its appearance in the late 19th century (about forty years = after the Communist Manifesto) relies on an arrogant, overblown stance that = was a "deliberate manipulation of the public view," as unquestioning about = the value of the "new art" and as it was about the bankruptcy of the old. During what Caws calls the "Manifesto Moment," from about 1909 when the Futurists first broke out to 1919 when Lyubov Popova wrote her = "statement" for non-objective Suprematist Art, the manifesto had a "madness about = it," but always, even when positing an "us" against a "them," invited the = reader to become one of the new breed, a whole new way of looking at things = from just the other side of the paradigm-shift (a strategy and optimism that = has since been taken over by the technology industry). The manifesto was = not a symptom of a world "waiting to be born," but was at once a diagnosis = the its narcolepsy and the crashing of speeding trains that would cure it = forever. In this anthology, Caws expands the definition of "Manifesto" to = include milder statements of principles (from the Language Poets), poems (parts = of Whitmans' "Song of Myself"), fragments from the writings of Cage, = Duchamp and others that are more seminal moments than statements, Oscar Wilde's Preface to Dorian Gray, Poe's The Philosophy of Furniture, one of the = few writings of Jacque Vach=C8 (one of Breton's inspirations for = Surrealism), Schwitters offbeat "Cow Manifesto" and more. Nitpickers, however, will = note certain important exclusions: Rimbaud's proto-Symbolist "Letter of the Seer," in which many of the tenets of movements from Surrealism to Beat = and Language poetry were to be first found; the Brazilian concrete poets' = "Pilot Plan for Concrete Poetry," which was unique in mating a postcolonial = agenda with an aesthetics program for "exportable" art and is probably the = only South American manifesto that isn't either Symbolist or Surrealist in origin; and Allen Ginsberg's "Howl," which if anything was the most = concise, most ecstatic and yet most complete expression of the mores and methods = of the Beat Generation. Since the book contains visual as well as = literary manifestos -- writings from Odilon Redon and James Ensor, not to = mention Salvidor Dali's "Yellow Manifesto" -- an excerpt from Jan Tschichold's = The New Typography, which outlines the relationship of type and paper-size = to social consciousness, would have helped tie several strands together, = such as the included manifestos for new architecture and new music (relying = on experimental scores), not to mention the valuable, if not entirely satisfying, Lettrist manifestos. The Vorticism section is adequate, = though one misses Gautier-Brzeska's fabulous letter from the front, in which = he described carving a sculpture out of the butt of a gun, a more = charismatic piece than the Vorticist manifestoes themselves authored by the noxious Richard Aldington (using Lewis and Pound's language; several of Lewis's "Blast" pages are included, typefaces intact). Readers of Language = Poetry will wonder why none of Bruce Andrews' famously propulsive essays are included (recently collected in Andrews Paradise & Method from the University of Alabama) nor "The New Sentence" by Ron Silliman, which = more than the writing of Nick Piombino and Michael Palmer satisfied several = of the classic aims of the manifesto and was very influential. Since = poetry has been included, a short poem like Ashbery's "And 'Ut Pictora Poesis' = Is Her Name" would stand nicely beside O'Hara's "Personism" (which is = included) as a brief, provocative statement of the New York School's aesthetic purposes that is both subverting of accepted literary values and -- = perhaps too warmly -- inviting. Nonetheless, most of the classics are here, including Whistler's "The Ten O'Clock," several essays by Apollinaire = and Marinetti, the Dada Manifestos by Tzara, the Russian Futurists' "Slap = in the Face of Public Taste," Pound's "A Few Don'ts by an Imagist," South = American manifestos by Borges and Huidibros, Olson's "Projective Verse," and manifestoes of Negritude by Cesaire and others (yes, it's quite male = heavy). This enormous book is the great companion to the Rothenberg/Joris two = volume Poems for the Millennium, and in some ways a less fragmented portrait = of world (though not Asian) modernism. Though the scholarship seems often rather sketchy and quickly written -- Caws is like the Harold Bloom of = this material and doesn't often stop for reflection -- it is a challenging, comprehensive read. ========================================================================= Date: Tue, 30 Jan 2001 11:45:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Claudia Rankine, Plot MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" > Claudia Rankine > Plot > Grove Press > $13, 102 pp. > 0--8021--3792--X > > Like much recent writing from the avant-garde, Plot is a book-length > poem/fiction sequence concerned with the issues of meaning, writing and > being, utilizing autobiography but also clearly bizarre naming-conventions > (a la Zarathustra and De Chirico's Hebdomeros) -- to create an atmosphere > of moderate crisis, philosophical overdetermination and, in any case, > super-real dimensions. It immediately appears at the nexus of several > different avant-garde projects, from the nouveau roman of Monique Wittig > to the scholarly mind-blasts of Christine Brooke-Rose, from the > epistemologically fraught spaces of Lyn Hejinian and Leslie Scalapino > right on to last year's The Words by Carla Harryman (Theresa Hak Kyung > Cha's Dictee also lurks in the background). Plot, which more or less > spirals around the story of Liv and Erland and their future child Ersatz, > is richly embedded in the sensations and anxieties of child-birth and > -rearing: "Long after she grows tired in the night she hears only the > child's cries. His cries, already recalling, and silence, / the dumbness > she wedges herself into. Cowardly, and additionally compromised, she > hears each cry, punctuating every space of exception, running through her, > meaning to break, to interrupt each moment attempted. She hears and calls > it silence." (20) The main issue seems to be whether this birth is > wanted for an escape from self, and whether this second-self is indeed an > "other"; Rankine writes: "Liv, answer me this: Is the female anatomically > in need of a child as a life preserver, a hand, a hand up? And now, pap > smeared, do you want harder the family you fear in fear of all those > answers?" This question of self-othering, of viewing the child as > "ersatz" meaning, is tied in with Rankine's sense of herself, and mostly > remains interior, inside the language, and is not conveyed through > anecdote or lyric, as if gestation itself were the modus operandi of the > writing. Therefore, one of the more striking moments is when the three > main figures conjoin, in the "real world" to render this interior/exterior > situation clear: "That same night Erland pressed his ear to Liv's belly. / > What do you hear? Liv asked. / Not you, Erland answered. Not you." (78) > Unfortunately, unlike Rankine's last book The End of Alphabet, which was a > set of discreet 6-8 page sequences, the book-length Plot is particularly > prone to run-on, obfuscated formulations and indulgent -- one presumes > "experimental" and yet finally unnecessary -- grammatical constructions: > "the damaged image absorbed to appear, the exemplar seen and felt as one, > having grown thick in the interior, opens on to surface and is the surface > reflecting its source." (39) The Ashberian "taking out" -- a mark, one > supposes, of the "Ellipticist" school of writing -- and the Steinian urge > for recursive syntax, while occasionally quite beautiful and engaging, is > often colorless and makes one self-conscious about wishing an end to all > deconstructive tactics in poetry: "The interest is not with the dissolved, > and yet dissolution surrounds, is a feeling in its duration. It observes > its own density and is the constituted dissolved toward solidity. To this > refuse, / casting its shadow from flesh to canvas, she says, no. But see, > the debris is the self within the trace, then the tide is the general > condition implicated. She is afraid of herself." (67) As opposed to the > writing of Theresa Hak Kyung Cha in her Dictee, to which Plot seems most > indebted, or to Hejinian's carefully paced vocabulary and meta-ficitonal > models (as in Oxota), these moments do not seem linked to any real > intensity of vision, any thwarted desire to reveal or achieve form, but > come off as stylistic devices of the Jorie Graham variety. Plot is > interesting because it contains moments of normative fiction (such as the > "Interlude") and a series of odd graphically charted pages, an effort, > perhaps, to anchor this mass of issues and language but to maintain its > centrifugal quality, but even these moments are unexciting -- the dialogue > is hackneyed, the graphics insincere. Rankine has tremendous talent as a > poet, but one wonders if a better way of expressing the dilemmas of a > fluid, ontologically flustered self would be a more concentrated, formally > precise and imagistic writing, one that presented the precious rocks that > one grasps at for stability rather than simply the grasping. > > > > ========================================================================= Date: Tue, 30 Jan 2001 13:55:24 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Poetry Plastique Reading and Symposium (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I sure hope someone can tell us what is said at a the symposium on POETRY PLASTIQUE, moderated by marjorie perloff. Sounds weird to me. How can anybody "move poetry off the page?" Ten to one it's just a bunch of people doing something new for the sake of doing something new. --Bob G. ========================================================================= Date: Tue, 30 Jan 2001 14:38:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: 2001: A Boog Odyssey at Poetry Project MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit (please forward) 2001: A Boog Odyssey: A Celebration of the Portable Boog Reader Friday February 2, 2001, 10:30pm the Poetry Project at St. Mark's Church in-the-Bowery 2nd Avenue and 10th St. NYC $7, $4 for students and seniors, and $3 for Poetry Project members. Poets, musicians, and breakdancers come together in celebration of this instant anthology of NYC poetry --featuring new work by 74 poets gathered in 29 days. Featuring performances by Andrea Ascah-Hall Neal Climenhaga Allison Cobb Jen Coleman Katie Degentesh Ethan Fugate Susan Landers Richard O’Russa Sasha Watson and the syrenz (www.syrenz.com) and music from Wanda Phipps and Band (www.users.interport.net/~wanda/) To order a copy of The Portable Boog Reader, send a check or money order for $14 payable to Booglit, to: Booglit 351 W.24th St., Suite 19E NY, NY 10011-1510 Attn: PBR or buy online: www.spdbooks.org For further info: 212-206-8899 booglit@theeastvillageeye.com Hosted by Regie Cabico and Booglit editor David A. Kirschenbaum ========================================================================= Date: Tue, 30 Jan 2001 16:57:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: COBB and SANBORN -- Flying Saucer Event - PLEASE COME! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D THE NEXT Multi-Literary EVENT at Brooklyn's FLYING SAUCER CAFE! ****ALLISON COBB and KEITH SANBORN**** Alan and Nada and Azure are pleased to announce the next event in our reading/media series in Brooklyn at The Flying Saucer Cafe 494 Atlantic Avenue, between Third Avenue and Nevins Tuesday, February 6, at 8:00 p.m.: HOW TO GET THERE: Take the 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. $3 donation. *****ALLISON COBB***** Allison Cobb. MFA from George Mason U. Moved to Ny from DC in August. Former co-curator of In Your Ear reading series at DC Arts Center and of the DCPoetry website. Editor of DCPoetry anthology 2000. Chapbooks: Little Bebop Canto (with Jen Coleman and CE Putnam, 50 Cents Off Press); The Little Box Book, Situation Magazine, ed. Mark Wallace; The J Poems, BabySelf Press. And, I hope by the time of the reading, Polar Bear and Desert Fox's Book of Days, BabySelf Press. Poems have appeared in: Kenning, Mirage#4/Period[ical], the Boog Reader, Phoebe, So to Speak, Rain City Review, Cream City Review, 5_Trope on the web, E Matters on the web and others. *****KEITH SANBORN***** I have been working in film, photography, digital media and video since the late 1970s. My work has appeared at various festivals including Ostranenie, the Toronto International Film Festival, OVNI, the Rotterdam International Film Festival, Hong Kong Videotage, and the New York Video Festival. My work has been screened at various museums and media arts centers such as the Walker Art Gallery, the Museum of Modern Art in New York, the Whitney Museum of American Art, Anthology Film Archives, the London Filmmaker's Co-op, Eiszeit Kino, and the San Francisco Cinematheque. I have also translated and created English versions of several of the films of Guy Debord, Ren=E9 Vi=E9net, and Gil Wollman. My work in media the= ory has appeared in various museum catalogues as well as print and on-line journals. I investigate public images and private perceptions. Video: The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn _ 1936 Jayne Austen 1996 4 minutes. Color and black & white. Stereo Hi-Fi sound An attempt to problematize ownership and authorship in the age of digital reproduction. Inspired by the Walter Benjamin essay of the same name and the activities of the Situationists. If it could be authenticated that it were produced in 1936, this would make it the oldest known digital video work. The Zapruder footage: an investigation of consensual hallucination 1999 20 minutes. Color. Stereo Hi-Fi sound Various permutations and combinations of Abraham Zapruder's 8mm home movie footage of the assassination of JFK. My work is intended as an investigation of the footage as visual, experiential, and cultural document. In the United States this footage is both notorious and invisible; seldom actually seen, it is very well known; when seen, it remains opaque. This work is intended to add a level of "transparency" to original. It is set to Jajouka music in order to bring to the foreground the ritual aspects of this visual, mechanical, and media historical event. Mirror 1999 6 minutes. Color and black & white. Stereo Hi-Fi sound An attempt to reach Joan of Arc in her final moments as she beholds the beatific vision. To reach her, however, some anachronisms and a few propositions about psychology, mysticism, and eroticism were necessary. Semi-Private sub-Hegelian Panty Fantasy (with sound) 2001 4 minutes Black and white and color. Stereo Hi-Fi sound. The title says it all: Atomic exploding houses, Lenin's corpse, a molested doll, remote control panty removal, half-alien children, brick walls and several failed attempts at psychic repression and mind control. Guaranteed to include a genuine quote from the Preface to Hegel's Phenomenology. =3D=3D=3D=3D=3D ========================================================================= Date: Tue, 30 Jan 2001 14:58:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: LONG POEM STUFF In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear George, It's interesting that poetics or aesthetic notions can cross barriers while nothing much else can -- perhaps a sign of optimism. Interesting also that one side defines "Canada" and, for the most part, accepts separation, while the other doesn't even try to bridge the gap. Alas, this is an instance in which poetry has little control -- or in which a poetic genius could shake up the whole murky swamp. My very aged parents live in Hollywood, FLA, where the boardwalk population (during the day) consists of elderly Jews and vacationers from Quebec. The languages are French and Yiddish or Yiddish-inflected English, and they pass each other like ships in the night. Polite, but isolated from each other, but at least sharing the boardwalk, two white minorities in bizarre Florida. At night the boardwalk tends to fill up with younger people listening to bands, crowds which sometimes include more Cubans and other Latinos (but almost no Haitians or other blacks). I patiently wait for all Hell to break loose. Thanks for the clarification. Hilton Obenzinger >Nope. What usually happens is that we anglos publish anthologies and >call them Canadian poetry, while the francos publish anthologies and >call them Quebec poetry. Sometimes someone, always on the Engl. side, >does something in both languages, but it seldom results in anything. >But just as the Engl. side is split between us hip folk and those >others, so the Quebec scene is likewise split, though the parameters >are not identical; but we hip folk connect with the hip folk over >there, you see. We publish, translate, talk, travel together often, >but this happens because we share a poetic, not a language. See the >collaborations between Daphne Marlatt and Nicole Brossard, for >example. Or Gail Scott's self-definition among group of writers who >are French-language people. > > > > >>Lori, George Bowering, and other Canadians on the list: >> >>In doing an anthology such as this, how do you handle questions of >>multilingualism? Are French (or, for that matter, Inuit) poems also >>included? Is the assumption that it would be monolingual -- and >>would there be a separate French anthology? Are there no "Canadian >>pomo long poems" in French? I am not trying to agitate separatist >>nationalism, but I'm curious how this is thought through, especially >>considering the strong sentiment in Quebec, and the >>legal/political/cultural ways Canada is trying to deal with that >>sentiment. Although not officially bilingual, the same question >>applies to similar anthologies in the US. For example, do >>anthologies include poems in Spanish, Chinese, etc., or when we say >>"US poems" we mean, almost automatically, those in English and a >>separate category (usually "multicultural") is set up for poems in >>other languages (or, for that matter, even in English but from >>"minority" ethnic groups)? I'm not even sure of the virtues of such >>multilingualism -- while I can read French or Spanish, I can't read >>Chinese, and it would do me little good to have poems in Chinese (or >>would this mean the necessity of accompanying translations)? I'm >>sure folks in Canada have had some experience dealing with these >>questions and it would be enlightening to hear peoples' ideas. >> >>Hilton Obenzinger >> >>> >>>>From: "Lori Emerson" >>>>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>>>Subject: Re: LONG POEM STUFF >>>>Date: Wed, 24 Jan 2001 04:27:49 >>>> >>> >>>Talonbooks is publishing a new edition of the anthology of Canadian pomo >>>long poems, The New Long Poem Anthology. In addition to including writers >>>such as Jeff Derksen, Lisa Robertson, Robert Kroetsch, George Bowering, >>>Louis Dudek, Erin Moure, Chris Dewdney etc etc...... it has statements of >>>poetics (or something like that) from each of the authors. It should be out >>>in about a month. > >-- >George Bowering >Fax 604-266-9000 ========================================================================= Date: Mon, 29 Jan 2001 16:49:00 -0500 Reply-To: dcpoetry@lycos.com Sender: UB Poetics discussion group From: dc poetry Organization: Lycos Mail (http://mail.lycos.com:80) Subject: Flying Saucer in Brooklyn Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi poetry friends! I hope you will come to this event hosted by Alan Sondheim, Nada Gordon and Azure Carter. THE NEXT Multi-Literary EVENT at Brooklyn's FLYING SAUCER CAFE! ****ALLISON COBB and KEITH SANBORN**** at The Flying Saucer Cafe 494 Atlantic Avenue, between Third Avenue and Nevins, Brooklyn Tuesday, February 6, at 8:00 p.m. Lisa Jarnot on Allison Cobb: With its exhilarating music at every turn, Allison Cobb's poetry invites you to get ineluctably inebrious. Add her to the Stream of Consciousness All Star Team--this is a pitch you can't afford to miss. Mark Wallace on __The Little Box Book__ by Allison Cobb: With the spectre of Los Alamos, site of the first detonated atomic bomb, lurking in the background, Allison Cobb's serial poem The Little Box Book presents readers with a series of conundrums, winks, nods, sly misdirections, and the pervasive possibility of social nightmares. These poems are about desire, sex, misplaced love, the failure to understand and the pain of that failure. There are layers here, spirals within spirals, and the frequent surface lightness of the tone, the charming wit are both real but only part of a story that's most powerful because it knows it can't all be told. Perfectly clear, the words here locate themselves on the verge of the inarticulateness which language can never more than partly dispel. *****KEITH SANBORN***** I have been working in film, photography, digital media and video since the late 1970s. My work has appeared at various festivals including Ostranenie, the Toronto International Film Festival, OVNI, the Rotterdam International Film Festival, Hong Kong Videotage, and the New York Video Festival. My work has been screened at various museums and media arts centers such as the Walker Art Gallery, the Museum of Modern Art in New York, the Whitney Museum of American Art, Anthology Film Archives, the London Filmmaker's Co-op, Eiszeit Kino, and the San Francisco Cinematheque. I have also translated and created English versions of several of the films of Guy Debord, Reni Viinet, and Gil Wollman. My work in media theory has appeared in various museum catalogues as well as print and on-line journals. I investigate public images and private perceptions. Video: The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn _ 1936 Jayne Austen 1996 4 minutes. Color and black & white. Stereo Hi-Fi sound An attempt to problematize ownership and authorship in the age of digital reproduction. Inspired by the Walter Benjamin essay of the same name and the activities of the Situationists. If it could be authenticated that it were produced in 1936, this would make it the oldest known digital video work. The Zapruder footage: an investigation of consensual hallucination 1999 20 minutes. Color. Stereo Hi-Fi sound Various permutations and combinations of Abraham Zapruder's 8mm home movie footage of the assassination of JFK. My work is intended as an investigation of the footage as visual, experiential, and cultural document. In the United States this footage is both notorious and invisible; seldom actually seen, it is very well known; when seen, it remains opaque. This work is intended to add a level of "transparency" to original. It is set to Jajouka music in order to bring to the foreground the ritual aspects of this visual, mechanical, and media historical event. Mirror 1999 6 minutes. Color and black & white. Stereo Hi-Fi sound An attempt to reach Joan of Arc in her final moments as she beholds the beatific vision. To reach her, however, some anachronisms and a few propositions about psychology, mysticism, and eroticism were necessary. Semi-Private sub-Hegelian Panty Fantasy (with sound) 2001 4 minutes Black and white and color. Stereo Hi-Fi sound. The title says it all: Atomic exploding houses, Lenin's corpse, a molested doll, remote control panty removal, half-alien children, brick walls and several failed attempts at psychic repression and mind control. Guaranteed to include a genuine quote from the Preface to Hegel's Phenomenology. ===== HOW TO GET THERE: Take the 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. $3 donation. Get your small business started at Lycos Small Business at http://www.lycos.com/business/mail.html ========================================================================= Date: Tue, 30 Jan 2001 18:31:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--Feb 2001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Ear Inn Readings Saturdays at 3:00 326 Spring Street, west of Greenwich New York City FREE February 3 Daniela Gioseffi, Judith E. Johnson, Kathleen E. Krause February 10 Peter Covino, Charles Flowers, Michael J. Klein February 17 Rosalie Calabrese, Michael Howley, Emmy Hunter, Deborah Reich, Leona Mahler-Sussman, Helen Tzagoloff, Martin Younger February 24 Cathy McArthur, Kathleen Ossip, Soraya Shalforoosh The Ear Inn Readings Michael Broder, Director Patrick Donnelly, Lisa Freedman, Kathleen E. Krause, Co-Directors Martha Rhodes, Executive Director The Ear is one block north of Canal Street, a couple blocks west of Hudson. The closest trains are the 1-9 to Canal Street @ Varick, the A to Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. For additional information, contact Michael Broder at (212) 246-5074. ========================================================================= Date: Tue, 30 Jan 2001 20:30:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris McCreary Subject: Kevin Davies e-mail? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello all -- If someone could back channel an e-mail address (or other contact info) for Kevin Davies, I'd be very grateful. Thanks in advance... -- Chris McCreary ========================================================================= Date: Tue, 30 Jan 2001 21:03:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: catharsis MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ============================================================ 1 1 WE KNOW WHO YOU ARE AND YOUR REAL NAME. 2 2 WE KNOW WHERE YOUR CHILDREN ARE. 3 3 WE KNOW THE NAMES OF YOUR CHILDREN. 4 4 WE KNOW THE NAME OF YOUR PARTNER. 5 5 WE HAVE PHOTOGRAPHS. 6 6 WE HAVE PHOTOGRAPHS OF THE TWO OF YOU TOGETHER. 7 7 WE HAVE PHOTOGRAPHS OF UNSPEAKABLE ACTS. 8 8 WE HAVE PHOTOGRAPHS OF THE INCIDENT. 9 9 WE KNOW YOUR PAST INTIMATELY. 10 10 WE INHABIT YOUR SKIN AND THE SKIN OF YOUR PARTNER. 11 11 WE FUCK THROUGH YOUR SKINS. WE FIGHT THROUGH THEM. 12 12 A CHILD IS BEING BEATEN. WE ARE IN YOUR SKINS. 13 13 WE KNOW YOUR BANK ACCOUNTS AND YOUR PORTFOLIO. 14 14 WE KNOW YOUR CAR AND THE SMELL OF IT. 15 15 WE KNOW THE BACKSEATS AND TRUNK OF YOUR CAR. 16 16 WE KNOW YOUR REAL NAME. WE KNOW ALL YOUR NAMES. 17 17 WE KNOW WHAT YOU ARE THINKING NOW. 18 18 WE THINK THROUGH YOUR SKINS. WE SPEAK THROUGH THEM. 19 19 WE THINK BE AFRAID. BE VERY AFRAID. 20 20 WE THINK QUESTION AUTHORITY. QUESTION EVERYONE. 21 21 WE THINK WE ARE YOUR CHILDREN. WE ARE YOUR PARTNER. 22 22 DO NOT DO THAT WE THINK. DO THUS AND THUS. 23 23 WE KNOW YOU WILL WAIT FOR US. WE KNOW WE WILL COME. 24 24 YOU KNOW WHEN WE COME IT WILL BE ALL OVER. 25 25 IT WILL BE ALL OVER. 26 1 WE KNOW WHO YOU ARE AND YOUR REAL NAME. 27 2 WE KNOW WHERE YOUR CHILDREN ARE. 28 3 WE KNOW THE NAMES OF YOUR CHILDREN. 29 4 WE KNOW THE NAME OF YOUR PARTNER. 30 5 WE HAVE PHOTOGRAPHS. 31 6 WE HAVE PHOTOGRAPHS OF THE TWO OF YOU TOGETHER. 32 7 WE HAVE PHOTOGRAPHS OF UNSPEAKABLE ACTS. 33 8 WE HAVE PHOTOGRAPHS OF THE INCIDENT. 34 9 WE KNOW YOUR PAST INTIMATELY. 35 10 WE INHABIT YOUR SKIN AND THE SKIN OF YOUR PARTNER. 36 11 WE FUCK THROUGH YOUR SKINS. WE FIGHT THROUGH THEM. 37 12 A CHILD IS BEING BEATEN. WE ARE IN YOUR SKINS. 38 13 WE KNOW YOUR BANK ACCOUNTS AND YOUR PORTFOLIO. 39 14 WE KNOW YOUR CAR AND THE SMELL OF IT. 40 15 WE KNOW THE BACKSEATS AND TRUNK OF YOUR CAR. 41 16 WE KNOW YOUR REAL NAME. WE KNOW ALL YOUR NAMES. 42 17 WE KNOW WHAT YOU ARE THINKING NOW. 43 18 WE THINK THROUGH YOUR SKINS. WE SPEAK THROUGH THEM. 44 19 WE THINK BE AFRAID. BE VERY AFRAID. 45 20 WE THINK QUESTION AUTHORITY. QUESTION EVERYONE. 46 21 WE THINK WE ARE YOUR CHILDREN. WE ARE YOUR PARTNER. 47 22 DO NOT DO THAT WE THINK. DO THUS AND THUS. 48 23 WE KNOW YOU WILL WAIT FOR US. WE KNOW WE WILL COME. 49 24 YOU KNOW WHEN WE COME IT WILL BE ALL OVER. 50 25 IT WILL BE ALL OVER. ============================================================ ========================================================================= Date: Mon, 29 Jan 2001 15:15:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Mike Topp It's all pretty classic/chronic Mike Topp who lives and works in a large Eastern metropolis. He can be reached at mike_topp@ hotmail.com. Life is strange. o ballo n MT Post Horse Opening Odds Current Odds 1 Vogue 30-1 60-1 2 Bazaar 6-1 12-1 3 Elle 20-1 15-1 4 Mirabella 5-1 5-1 5 Self 8-5 5-2 6 Women's Fitness 20-1 8-1 7 W 15-1 6-1 8 Vanity Fair 9-2 5-1 Post Horse Opening Odds Current Odds 1 Calvin Klein 20-1 30-1 2 Estee Lauder 12-1 6-1 3 DKNY 30-1 42-1 4 Tommy Hilfiger 50-1 37-1 5 Dior 10-1 3-2 6 Gucci 8-1 5-1 7 Ralph Lauren 3-5 8-1 8 Prada 3-1 2-1 Post Horse Opening Odds Current Odds 1 Arsoli 8-1 16-1 2 Muff 16-1 4-1 3 Twatt 8-3 8-1 4 Dildo 5-1 10-1 5 Climax 4-1 7-2 6 Lickey End 26-2 30-1 7 Shafter 28-1 23-1 8 Lord Heresford’s Knob 3-1 2-1 9 Seymen 45-1 44-1 10 Shag Island 17-1 6-1 11 Sexmoan 5-2 12-1 12 Wet Beaver Creek 18-1 25-1 13 Wankie 30-1 40-1 14 Brown Willie 60-1 75-1 Post Horse Opening Odds Current Odds 1 Madrid 11-1 9-1 2 New York 7-1 7-1 3 Tokyo 4-1 2-1 4 London 5-1 3-1 5 Paris 15-1 5-2 6 Venice 9-1 12-1 7 Bangkok 5-2 15-1 8 Hong Kong 18-1 4-1 Post Horse Opening Odds Current Odds 1 Kid Rock 15-1 20-1 2 Everclear 6-1 5-1 3 The Offspring 9-1 8-1 4 Wu-Tang Clan 2-1 2-1 5 Guster 12-1 5-2 6 Metallica 7-2 10-1 7 Korn 15-1 30-1 8 Limp Bizkit 7-1 4-1 Post Horse Opening Odds Current Odds 1 Cuervo Gold 8-1 4-1 2 Remy Martin 6-1 9-1 3 Absolut 7-1 6-1 4 Cutty Sark 2-1 2-1 5 Dewar’s 12-1 9-2 6 Jack Daniels 6-2 10-1 7 Bacardi 19-1 60-1 Post Horse Opening Odds Current Odds 1 Rose 9-1 8-1 2 Lily 6-1 7-1 3 Tulip 9-1 3-1 4 Daffodil 2-1 9-1 5 Myrtle 12-1 5-2 6 Violet 6-2 13-1 7 Pansy 10-1 16-1 8 Carnation 7-1 18-1 9 Morning Glory 8-1 9-2 Post Horse Opening Odds Current Odds 1 Winston 10-1 20-1 2 Gitanes 6-1 9-1 3 Marlboro 9-1 7-1 4 Lucky Strike 2-1 2-1 5 Merry Long 12-1 9-2 6 Newport 6-2 10-1 7 Dunhill 10-1 15-1 8 Camel 6-1 4-1 Post Horse Opening Odds Current Odds 1 Trix 4-1 8-1 2 Count Chocula 6-1 9-1 3 Lucky Charms 9-1 7-1 4 Rice Krispies 2-1 2-1 5 Frosted Flakes 12-1 9-2 6 Oreo O’s 6-2 10-1 7 Kashi 10-1 15-1 8 Chex 6-1 4-1 9 Raisin Bran 6-1 9-2 Post Horse Opening Odds Current Odds 1 Red Pepper 10-1 20-1 2 Zucchini 3-1 8-1 3 Turnip 6-1 7-1 4 Celery 5-1 2-1 5 Mushroom 9-1 9-2 6 Endive 3-2 10-1 7 Onion 20-1 15-1 8 Potato 8-1 4-1 9 Tomato 2-1 9-2 Post Horse Opening Odds Current Odds 1 Patrol Officer 5-1 10-1 2 Construction Worker 6-1 9-1 3 Biker 9-1 7-1 4 Cherokee Nation Chief 2-1 2-1 5 Seaman 12-1 9-2 6 Rodeo Cowboy 6-1 2-1 Post Horse Opening Odds Current Odds 1 Corn 4-1 3-1 2 Carrots 3-1 4-1 3 Cabbage 2-1 5-1 4 Crabs 7-2 2-1 THE OLD SCHOOLHOUSE Down in the valley, where the distant, faintly vengeful bleating of goats can still be heard, stands the little red schoolhouse. I went to school there, as did my parents before me. Not long ago, during a vacation from the Schaumburg Embroidery Museum, I went back to visit it, and found no changes. I remembered the swing under the cherry tree and how a girl's arm was broken when she slipped and fell. I remembered just how it happened. And I remembered how I was dismissed that day because I didn't clean up after my dog. Poor old Brownie! I even looked down into the cellar--that famous cellar where we tied up Schuyler Bolt and then forgot to untie him until the next school year. What trouble we got into that time! I walked around the playground, where we had drank punch--a concoction of grappa and various sticky vermouths, ornamented with an unidentified herb. (“Edelweiss,” Dad suggested.) I found the place where we had cut our names--in the bark of the antediluvian oak trees, on the great grinning benches, and on the posts. We had cut hearts around the names, and arrows through the hearts. This was an old-fashioned way of sending a valentine. Many of those boys and girls are married or divorced now and may be sending their children to this very school. AIRPLANE If you ever jump out of a plane, and your parachute doesn’t open, don’t worry. Worry won’t get you anywhere. RENT My landlord was bothering me about the rent. He said he was coming over. As he rang the doorbell, thousands upon thousands of black flies carrying elves flew out and settled upon him. He hit at the flies and tried to kill them, but the flies flew in great waves around him. Finally he turned and left. My landlord later told me he thought I was crazy, but then, he had some growing up to do. THE ODD NEIGHBOR Basically, there are three ways my neighbor and I are alike. The first is we both like to repeat what other people say. The second is we both like seeds a lot. The third is a beak. SLEEPWALKER If you ever see somebody sleepwalking, don’t wake them up, like a lot of people do. Instead, that’s a good time to look through their stuff, because I bet you’d be really surprised. IF If you were a space alien, you know what would be the one thing that would really make you mad? Cookbooks written in French. How the heck are you supposed to read them? PERSONAL FASHION MISTAKES 1. Feather earring (1978) 2. Beret (1979) 3. Paper shirt (1981) 4. Green suede “Robin Hood” boots (1983) 5. Really skinny black belt (1985) 6. “Dress” black leather jacket (1989) 7. Stovepipe jeans (1990) 8. Flattop (1993) 9. Goatee (1997) 10. Feather earring (2000) LIKE SAND... Like sand in an hourglass, the loose granular material ran into the bottom of the coffeemaker-shaped timepiece. CURIOUS To be curious about the greater world of the stars and planets is natural, but trust me, why bother? FOUND One day I found a pea the size of a golf ball. The next day I found a golf ball the size of a pea. LAUGHTER Laughter, according to Reader’s Digest, is "the best medicine." VALUES Spend time taking stock of yourself and the values by which you live. Then give me all your money. MEDITATION Meditation is about more than sitting at home in a dirty diaper. JUNGLE LIFE Tigers in the jungle are a very great danger to the natives who live near by, but I don’t give them a second thought. BRINGING THE NEWS The old man was asleep when I reached his cabin in the woods with the letter. Then I realized that what I had taken for the old man was really just a half-opened cardboard box that contained some Styrofoam peanuts and a color TV. INCEST I think incest is wrong, because my relatives are ugly. AS IT TURNS OUT As it turns out they have relaxed the restrictions and I think your son should reapply. Make sure he wears protective clothing since he will most likely appear before one with a bird head, one with a rat head, and one with the head of a snake. DIARY DATES Feb. 4 Children’s Liturgy Feb. 11 Grain of Truth Sunday Feb. 11 Prayers for Polar Icecap Feb. 18 "Mess of Messiahs" at St. Mark’s Church Feb. 18 "Is the Pope Catholic?" Day Study Feb. 25 Prayer Vigil for Plastic Bag Stuck in Next-Door Neighbor’s Tree March 4 Kraft Singles Meeting March 11 Pilgrimage to Clam Shack in Marina Parking Lot March 18 The Search for Signs of Intelligent Life in the Universe (en español) March 18 "How Do You Solve a Problem Like Maria?" Symposium March 25 Pilgrimage to Hobby Shop to Find Phenolphtalein for Changing Water to "Wine" April 1 Jewzapallooza April 8 Prayer Vigil for Wee Tiny Man Brushing His Hair With a Toothbrush April 15 Ecumenical Event in the Alley at the Back of the Chinese Restaurant April 22 Tractor Pull Event April 28 Bring the Grandparents Day Entries for the next issue should be submitted to editor David Shrigley by April 15. Mike Topp ========================================================================= Date: Mon, 29 Jan 2001 23:20:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lisewell@WORLDNET.ATT.NET Subject: Villanova Literary Festival -- February Readings Comments: To: greg Comments: cc: FPR@history.upenn.edu, fuller@center.cbpp.org, GasHeart@aol.com, gbiglier@nimbus.ocis.temple.edu, gmarder@hotmail.com, gnawyouremu@hotmail.com, goodwina@xoommail.com, HighwireGallery@aol.com, hstarr@dept.english.upenn.edu, hthomas@Kutztown.edu, icepalace@mindspring.com, insekt@earthlink.net, ivy2@sas.upenn.edu, jeng1@earthlink.net, jennifer_coleman@edf.org, jimstone2@juno.com, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, jlutt3@pipeline.com, jmasland@pobox.upenn.edu, JMURPH01@email.vill.edu, johnfattibene@juno.com, josman@astro.ocis.temple.edu, jschwart@thunder.ocis.temple.edu, jvitiell@nimbus.ocis.temple.edu, jwatkins@unix.temple.edu, kelly@dept.english.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kyle.conner@mail.tju.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lgoldst@dept.english.upenn.edu, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, MARCROB2000@hotmail.com, marf@netaxs.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, Measurelvis@aol.com, melodyjoy2@hotmail.com, mgpiety@drexel.edu, mholley@brynmawr.edu, michaelmccool@hotmail.com, miyamorik@aol.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, mytilij@english.upenn.edu, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, penwaves@mindspring.com, pla@sas.upenn.edu, poetry4peeps@hotmail.com, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, richardfrey@dca.net, robinh5@juno.com, ron.silliman@gte.net, SeeALLMUSE@aol.com, sernak@juno.com, Sfrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, thorpe@sas.upenn.edu, travmar03@msn.com, twells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, ywisher@hotmail.com, zurawski@astro.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Villanova University's Third Annual Literary Festival begins this month! The first two readings are: Thursday, Feb. 15 7:30 PM LYDIA DAVIS Davis is an award winning novelist and short story writer well know for the intense and experimental nature of her work. She has published two books of short stories, Almost No Memory and Break It Down as well as a novel, The End of the Story. Thursday, Feb. 22 7:30 PM DORIANNE LAUX Laux is an award winning poet who writes immediate, emotionally true poems about ordinary and extraordinary experience. She has published three books of poems, Awake, What We Carry and most recently, Smoke. Both readings will take place in the De Leon Room (Room 300) in the St. Augustine Center on the Villanova Campus. There will be a reception and book signing after each reading. For directions to the campus, or for more information, contact the English Department at 610-519-4630 or check the English Department web site at http://www.english.villanova.edu Future readings include: Lyn Hejinian, March 15 Colson Whitehead, March 22 Mark Doty, April 5 Michael Cunningham, April 10 Twin Poets, April 19 ========================================================================= Date: Wed, 31 Jan 2001 15:12:17 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Poetry Plastique Reading and Symposium (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Charles. I suppose there'll be a report on this. I cant get there obviously (or not considering the speed of continental travel etc) but my question is "What is plastique poetry?" Poetry that bends? Wrap around poetry. OK I couldn't resist that but remember the theme of Umberto Eco's "The Name of the Rose" which was (its so long since I read it) basically that humour had been supressed by the church hierarchy and so on ....anyway the line up is of writers who interest me - even if they are currently "under attack" (who isnt who has "succeeded" or whatever?) - because they are innovatory. My guess is that it is poetry that "flows" across the boundaries: hence the (my only?-probably not ) dictionary could be seen as a poem idea. Or a play or whatever. The things of the world as being a "poem" by virtue of the world-view of the observor. The idea that the poem is never finished, process: the rejection of the "perfect" poem. The opening up. "rejection of closure " etc. But it sounds like an opportunity to "get serious" (not humourless) and include some of your critics if they want to be so included despite their "agressive" way of attacking (after all its a case of "sticks and stones"). I think there is a general feeling that Langpo and its derivatives is somehow anti-human or anti-lyrical or "too intellectual" or not "real" etc. Perhaps people are becoming anxious in the shadow of certain political and scientific events (or because of the power of the media we feel more responsible and perhaps stupidly "guilty" about living so well in the West etc But I think that this leads to ideas of supression as much as freedom: possibly could lead back to the equally "dangerous" social realism... and because there's a lot of homeless and poor and otherwise extremely disadvantaged people throughout the world, people who are very sensitive sometimes confuse their social obligations, and feel they should throw out anything "abstract" or "difficult" or "obscure" as if that would help anyone.(Or they confuse the personalities of _some_ artists or poets etc with_all_ who are in a certain "movement".) which is not unnatural but we need to realise how history has always challenged us with moral and ethical imperatives: we can get excessively into "The Justice Trap", which can lead to cynicism and negation or even nihilism, as much as passionate embracement of "Art" or "Science". Neither of these are good or bad per se..in fact its probably good to see "passion" in regard to poetry (and other arts however they are defined).... When I visited N.Y. (Manhatten really) one of the first poet's I encountered expressed the view:"But I dont like Language Poetry". Iwas new to Langpo and quite interested in it (still am of course) but I side-stepped that by expressing my admiration of Ashbery by which I gained approval. I should have "stuck to my guns" and said: "But Language Poetry I find very interesting." And so on....it's quite irrational but I wrote some "abstract" poems and one or two about the homeless etc that were "realistic". For the wrong reasons.. a kind of "guilt". But if I think about it nowadays: why not vary one's style (apart from how one "feels" about how one communicates or creats etc) so that one "does" a "realist" poem then a structural thing or whatever? But the poet (or poets) are and have been seen to be the tohunga (Maori vaguely translates as priest) of culture. This can lead to the over mysticistication or mythication or romantisisation of the poet. Altho maybe it helps to write well if one puts oneself in a "charged" frame of mind: however...by lots of coffee or some drug (can be dangerous) or music or out walking or being in love or whatever. Doesnt hurt. A little bit of romantic and random dashed into the psychic creative brew with a large mixture of "intellectual" offset by a dash of humour and lots of openness. Some thoughts generated by the symposium's title. Maybe someone (not exactly anti) but who is more or less indifferent to Langpo etc should give their view of the event as well as your last more "direct" critics and someone who is an "enthusiast"... so we get a broader view of the meeting. I know it may well go onto one of the mags like John Tranter's but something on the list like that with various views would possibly engender some interesting debate and discussion about poetry and as it relates to the symposium. Regards, Richard Taylor. ----- Original Message ----- From: "Charles Bernstein" To: Sent: Wednesday, January 31, 2001 6:19 AM Subject: Poetry Plastique Reading and Symposium (NYC) Saturday, February 10th at Noon at the Marianne Boesky Gallery, 535 West 22nd Street, New York a symposium on POETRY PLASTIQUE moderated by marjorie perloff confirmed participants: susan bee, christian bök, cletus johnson, johanna drucker, brad freeman, madeline gins, kenneth goldsmith, robert grenier, lyn hejinian, emily clark, tan lin emily mcvarish, nick piombino, leslie scalpino, mira schor, michael snow, darren wershler-henry, charles bernstein, and jay sanders; tenatively scheduled: mei-mei berssenbrugge, jackson mac low, kiki smith, and richard tuttle. Saturday, February 10th at 6pm film screenings of: Michael Snow, "So Is This" Hollis Frampton, "Poetic Justice" David Antin, Slide-films followed by a poetry reading by "Poetry Plastique" participants POETRY PLASTIQUE opens at Marianne Boesky Gallery on Friday, February 9th, 6-8pm The show runs until March 10 =========&*&*&*&*&*&*&*&*&================= POETRY PLASTIQUE presents the work of 34 poets and artists working to move poetry off the page and into sculpture, film, painting, assemblage, photography--even skywriting. Pushing the boundaries of textuality, these literary and visual artists move poetry into a new dimension that emphasizes the concreteness and materiality of the written word. POETRY PLASTIQUE is curated by Jay Sanders and Charles Bernstein and includes works by Carl Andre, David Antin, Arakawa, Susan Bee, Wallace Berman, Mei-mei Berssenbrugge and Kiki Smith, Christian Bök, John Cage, Clark Coolidge and Philip Guston, Robert Creeley and Cletus Johnson, Johanna Drucker and Brad Freeman, Hollis Frampton, Madeline Gins and Arakawa, Kenneth Goldsmith, Robert Grenier, Lyn Hejinian, Lyn Hejinian and Emilie Clark, Tan Lin, Jackson Mac Low, Steve McCaffery, Emily McVarish, Tom Phillips, Nick Piombino, Leslie Scalapino, Mira Schor, Robert Smithson, Michael Snow, Richard Tuttle and Charles Bernstein, and Darren Wershler-Henry. A fully illustrated catalog, including statements from most of the artists and introductory essays by Sanders and Bernstein, will be published from Granary Books in association with Marianne Boesky Gallery. *WE ARE OFFERING A DISCOUNT FROM THE $20 COVER PRICE TO READERS OF THE POETICS LIST. SEND A CHECK FOR $12 (POSTAGE INCLUDED) OR $14 INTERNATIONAL, PAYABLE TO "ARTWORKS, INC" BY FEB. 15TH, MAILED TO: Jay Sanders Marianne Boesky Gallery 535 West 22nd Street New York, NY 10011. This price is available only by mail. The catalog will be out in time for the show's opening. Coming up: Thursday, March 1st at 8pm, Anthology Film Archives will present a special screening of related films not included in our exhibition. ========================================================================= Date: Tue, 30 Jan 2001 23:41:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: upcoming jarnot readings Mime-version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear All, I will be doing some readings/book signings this spring for my new book Ring of Fire-- best, Lisa Jarnot p.s.-- I am one of the shameless left-wing troublemakers on this list. I plan to say bad things about George W. Bush and John Ashcroft at all of these events. Sunday February 4th 7:00 pm Bridge Street Books/Washington DC with Kaia Sand 2814 Pennsylvania Ave NW Monday February 12th 8:15 pm Boston Booksmith/Boston MA with Michael O'Brien 56 Brattle St., Cambridge Friday March 2nd 7:00 pm Belladonna Reading Series with Kathleen Fraser Bluestockings Women's Bookstore/NYC 172 Allen Street Thursday April 19th University of California at Santa Cruz more info on this soon Tuesday April 24th 5:30 pm Contemporary Writers Series Mills College/Oakland Faculty Lounge Thursday May 3rd 7:00 pm Center for Book Arts/NYC with Jacqueline Waters, Christopher Luna, and Matthew Burgess 28 West 27th Street, 3rd floor Friday May 11th 7:00 pm Bookcellar Poetry Series/Boston with Brendan Lorber 1971 Mass Ave., Porter Square, Cambridge ========================================================================= Date: Tue, 30 Jan 2001 21:24:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dan raphael Subject: Kilobyte Magnificat MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm posting this for Tom Taylor, currently on the road on the east coast: KILOBYTE MAGNIFICAT by anabasis aka Thomas Lowe Taylor 100 stanzas, 16 halftones, 8 xerographs 52 pages, saddle stapled, prepublication price $10/post pub $12 available in April 2001 from anabasis Press PO Box 216, Oysterville WA 98641 "TOM, Kilobyte Magnificat is the clearest statement from anabasis's you" Vincent Ferrini the eagle's cries deny his size in claims are met where prize the skies infernal rime replies denies and says who plies his ancient trade the magnificat in terms reminds and sends to those whose lies inter the maze and say you're amazed and stay to seem what's now the mean streets littered with the objects and formations of a generation in retreat from the snow that falls and stays light's lines linger always forward into seeming set or sentenced like your lucks liking licks an' then sum. holds her down down, feathers melted by the sweat of the ages bending inside your mouth quickening forward again against tune and time itself the immortal glance folding your heart sideways betimes between this and the hours you left behind me in the showing tours and silences your own giants in recall fervor the scene with their own magnificences poling parts apart you send her down the layers in the elf elevator quivering like a leaf under your hand's handy struts and thrusts, this is the she of welts, this 'she' or 'her' of the heart's disturbances knowing knowledge spurs your own farmers on the field of dreams ploughing their rough rows willingly marks a nark marker sings the open wail of willing sighs pulls you down into the moon, into the pleasure of your own disturbances marked her one-on-one the last dance on the card was still a movie in reverse but pulled yet polled across time's lines were heard and spent the movie's salient reverse perverse yet pulled apart like a donut or a snacky-bar in hand in spent, in molasses went this ends preview transmissions ========================================================================= Date: Wed, 31 Jan 2001 10:54:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: The battlefield where the moon says I love you MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I just noticed that Frank Stanford's _The battlefield where the moon says I love you_ is on SPD's home page as one of its featured books. I think it's one of the finest longpoems of the past century (15,283 lines over 383 pages and no stanza breaks) -- it was originally published in 1977 -- and it's one of the most unique pieces of writing you are ever likely to find. Stanford (whom I never met and who committed suicide in '78) wrote most of this work as a teenager in the deep south and it's an authentic instance of "swamp surrealism" (a genre of which it may be sole example). I first discovered it in a fairly primitively printed first edition in Modern Times bookstore in San Francisco (back when it was on Sanchez Street) but didn't actually buy the damn thing until I read a rave review of it by Lorenzo Thomas in, of all places, Monthly Review. Stanford's later poetry really has always struck me as an attempt to contain the brilliant and over-the-top impulses that are given free reign here, so if you know those books, you still have no clue about this one. This was, I believe, the very first book that Lost Roads ever published and now they've brought it back in a fabulous new edition. I'm rereading it as I write and it really stands up over two decades later. CD Wright & co. are to be congratulated for making such an essential work more widely available. So, bottom line, buy this book, Ron Silliman ========================================================================= Date: Wed, 31 Jan 2001 10:56:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: National Book Critics Circle Nominees MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Once again, not a single small press volume is nominated: Men in the Off Hours by Anne Carson (Knopf) The Ledge by Michael Collier (Houghton) Carolina Ghost Woods by Judy Jordan (Louisiana State University Press) Talking Dirty to the Gods by Yusef Komunyakaa (FSG) Ultima Thule by Davis McCombs (Yale University Press) Ron Silliman ========================================================================= Date: Tue, 30 Jan 2001 15:26:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Stephen Cope Subject: New Writing Series Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" NEW WRITING SERIES @ UCSD WINTER 2001 SCHEDULE (Remaining Readings). (Please note the variation in times and locations). As always, all readings are free and open to the public.The Visual Arts Performance Space is located at the rear of the Visual Arts Facility, located at the intersection of Russell Lane and Lyman Drive. For further information, contact Bill Mohr at bmohr@ucsd.edu, or Stephen Cope at scope@ucsd.edu. _________________ * Wednesday, January 31: PASQUALE VERDICCHIO. 4:30 PM - Visual Arts Performance Space, UCSD PASQUALE VERDICCHIO is an internationally known poet, critic, publisher, and translator. His books include _Moving Landscape_, _Nomadic Trajectory_, _Approaches to Absence_, _The Posthumous Poet_ and, with Italo Scanga, _A Critical Geography_. He has translated the work of, among others, Antonio Porta, Alda Merini, Emilio Villa, Giorgio Caproni, the historian Giambattista Vico and the critical theorist Antonio Gramsci. A book of critical essays - _Bound by Distance: Rethinking Nationalism Through the Italian Diaspora_ appeared in 1997. He teaches at UCSD. _________________ * Thursday, February 8: CHRIS TYSH. 4:30 PM - Visual Arts Performance Space, UCSD Born and educated in Paris, CHRIS TYSH's books include _Secrets of Elegance_, _Porne_, _Coat of Arms_, _In the Name_ and _Continuity Girl_. _Car men, a play in d_ premiered at The Detroit Institute of Arts, November 15, 1996 (directed by Carla Harryman). Tysh is currently working on a film script based on the writings of Georges Bataille. She teaches creative writing and women's studies at Wayne State University in Michigan. _________________ * Friday, February 9: HELENA VIRAMONTES. 3:00 PM -deCerteau Room, Literature Building, UCSD An internationally known and celebrated writer of fiction, HELENA VIRAMONTES is the author of _Under the Feet of Jesus_ (Dutton, 1995) and _The Moths and Other Stories_. She has edited two collections of criticism, _Chicana Creativity and Criticism: Charting New Frontiers in American Literature_ and _Chicana (W)rites: On Word and Film_. She is an associate professor in the creative writing program at Cornell University. _________________ * Thursday, February 15: AMMIEL ALCALAY. 4:30 PM - deCerteau Room, Literature Building, UCSD A founding member of The National Association of Sephardic Jews and Writers, AMMIEL ALCALAY is a poet, translator, critic, and scholar whose books include the prize-winning cultural study _Jews and Arabs: Remaking Levantine Culture_ (U. of Minnesota, 1993), numerous translations from Bosnia, Cuba, Israel, and elsewhere, _the cairo notebooks_, and, most recently, _A Mask in the Form of a Cento_ A regular contributor to major American literary and political venues (_The Village Voice_, _The New York Times Book Review_, The New Republic_, and _Time_ among them), Alcalay was a primary source of information during the war in the former Yugoslavia, providing access in the American media to Bosnian voices. He teaches at Queens College. _________________ * Friday, February 16: PATRICIA POWELL. 3:00 PM - deCerteau Room, Literature Building, UCSD PATRICIA POWELL's most recent novel is _The Pagoda_ (Knopf, 1998), a work of historical fiction set in Jamaica. Her other books include _Me dying trial_ and _A Small Gathering of Bones_. She was recently awarded a Lila-Wallace Writers Digest Award and is on leave from her post as Briggs-Copeland Lecturer at Harvard University. _________________ * Wednesday, February 21: DIANE WARD. 4:30 PM - Visual Arts Performance Space, UCSD DIANE WARD's books over the past 25 years have established her as one of "those rare poets ... who have found new ways to address the political in lyric forms" (A. L. Nielsen). Her collections of poetry include _Imaginary Movie_ (1992) and _Exhibition_ (1995), both from Potes & Poets, as well as a trio of books from Roof: _Never Without One_ (1984), _Relation_ (1989), and _Human Ceiling_ (1995). She lives in Los Angeles. _________________ * Thursday, March 1: MARC McMORRIS. 4:30 PM - Visual Arts Performance Space, UCSD A writer in the Caribbean experimental tradition, MARK McMORRIS is the author of _The Black Reeds_ (U. of Georgia Press), and three chapbooks: _Palinurus Suite_, _Figures for a Hypothesis_, and _Moth-Wings_. His poems and fiction have appeared in _Conjunctions_, _Hambone_, _Kenyon Review_, _Callaloo_, _Exact Change Yearbook_, _Denver Quarterly_, and elsewhere. He Teaches at Georgetown University. ========================================================================= Date: Wed, 31 Jan 2001 11:28:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: 2001: A Boog Odyssey Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please excuse cross postings Hey check this out-- 2001: A Boog Odyssey: A Celebration of the Portable Boog Reader =46riday February 2, 2001, 10:30pm the Poetry Project at St. Mark's Church in-the-Bowery 2nd Avenue and 10th St. NYC $7, $4 for students and seniors, and $3 for Poetry Project members. Poets, musicians, and breakdancers come together in celebration of this instant anthology of NYC poetry --featuring new work by 74 poets gathered in 29 days. =46eaturing music from Wanda Phipps and Band Joel Schlemowitz: guitar Hiroshi Noguchi: guitar Drew Gardner: Drums Performances by Andrea Ascah-Hall Neal Climenhaga Allison Cobb Jen Coleman Katie Degentesh Ethan Fugate Susan Landers Richard O=92Russa Sasha Watson and the syrenz (www.syrenz.com) To order a copy of The Portable Boog Reader, send a check or money order for $14 payable to Booglit, to: Booglit 351 W.24th St., Suite 19E NY, NY 10011-1510 Attn: PBR or buy online: www.spdbooks.org =46or further info: 212-206-8899 booglit@theeastvillageeye.com Hosted by Regie Cabico and Booglit editor David A. Kirschenbaum ========================================================================= Date: Wed, 31 Jan 2001 11:08:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: SPT presents Sesshu Foster & Michelle Murphy --Fri, Feb 9, 2001/San Fran Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Small Press Traffic Literary Arts Center presents Friday, February 9, 2000 at 7:30 pm SESSHU FOSTER & MICHELLE MURPHY SESSHU FOSTER makes his debut appearance at Small Press Traffic, bringing with him the revolutionary kite of fragmented fireworks we saw first exhibited in his 1987 book of poems Angry Days. Foster was co-editor of Invocation L.A.: Urban Multicultural Poetry, winner of a 1990 American Book Award. He lives in Alhambra and teaches composition and literature in East L.A., where he grew up. Of several books he's written about that locale, the most recent is CITY TERRACE FIELD MANUAL (Kaya Press). Foster is currently writing a novel which incorporates photographs of Mexico in the 1940s. Come on down and get a taste of his startling and exciting methods. MICHELLE MURPHY's writing teeters into that satisfying and necessary place of hybridity which works the angles of poetry and prose. She writes: "No single vocabulary can worry us into revealing the weight of summer rain over a sentence, vowels riddled with dusk's blue shade." A lifelong San Franciscan who "learned poetry at City Lights", Murphy is the author of Jackknife & Light (Avec Books, 1998), which was shortlisted for the Pen West Award. Her work has appeared in journals all over the world, including Russia and Japan. Recently she's been working on a new manuscript of poetry as well as translating the Russian poet Alexander Ulanov. Her translations of his work appear in Crossing Centuries: The New Wave in Russian Poetry (Talisman, 2000). Timken Lecture Hall, California College of Arts & Crafts 1111 8th Street, San Francisco (near the intersection of 16th & Wisconsin) $5 (free to SPT members) http://www.sptraffic.org 415-551-9278 Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC ========================================================================= Date: Wed, 31 Jan 2001 12:26:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Outlet (7) Heroines call for work Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Outlet (7) Heroines=20 call for work please post/distribute =93I value fame almost as much as if I had been born a hero.=94 =20 =97Aphra Behn=20 Submission postmark period: March 1 - May 15, 2001. =20 (We will respond to all submissions by July 1, 2001 and the issue will appear shortly thereafter.)=20 For this issue we especially seek submissions of short appreciations of literary heroines (mostly meaning: historical female authors, but also literary characters) as well as new poetry/prose along =93heroic=94= =93themes=94.=20 =93...if it is said by those who deny us now that we have no past,=20 then we have to insist we have a past as deeply as we have a present=94=20 =97Erica Hunt, =93Notes for an Oppositional Poetics=94=20 =93She projects the icon out from herself (likes being the icon)...=94 =20 =97Rachel Blau DuPlessis, on HD=20 If you have a particular author you would like to write about please email the editors at dblelucy@lanminds.com to be sure that person has not already been spoken for. =93We double back=20 to form thoughts.=94=20 =97Rae Armantrout=20 =93Someone, I tell you,=20 will remember us.=94=20 =97Sappho=20 (trans. W. Barnstone) We encourage you to read excerpts of Outlet (6) Stars on & to peruse our website in order to get a sense of the type of work we seek. We are as always very open to hybrid genres. Outlet (7) Heroines Editor/Publisher: Elizabeth Treadwell Poetry Editor: Sarah Anne Cox Critical Prose Editor: Grace Lovelace Fictional Prose Editor: Carol Treadwell=20 Send with SASE to: Outlet/Double Lucy Books P.O. Box 9013 Berkeley, California=20 94709 USA Thank you! We look forward to reading your work.=20 Outlet Magazine & Double Lucy Books, publisher also of the Lucille ephemera series, online at http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 31 Jan 2001 17:26:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable This week and next week at the Poetry Project: TONIGHT, Wednesday, January 31st at 8 pm MEI-MEI BERSSENBRUGGE AND HEATHER RAMSDELL Mei-mei Berssenbrugge was born in Beijing in 1947 and grew up in Massachusetts. Her books include The Heat Bird (Burning Deck), Empathy (Station Hill), Sphericity, and Four Year Old Girl (Kelsey Street). The recipient of several prestigious awards and fellowships, she has been a contributing editor of Conjunctions Magazine since 1978. Heather Ramsdell has received both CUNY's Marianne Goodman Poetry Award and an American Academy of Poets prize. Her poetry has appeared in many journals, including Arras, Big Allis, Mandorla, and Talisman. James Tate writes that her book Lost Wax is "a symphony of poems that is original and profoundly full of wonder." Friday, February 2nd at 10:30 pm 2001: A BOOG ODYSSEY=8BA CELEBRATION OF THE PORTABLE BOOG READER Poets, musicians, and breakdancers come together for the publication of thi= s instant anthology of New York City poetry. Poets Andrea Ascah-Hall, Neal Climenhaga, Allison Cobb, Jen Coleman, Ethan Fugate, Noelle Kocoff, Susan Landers, Richard O=B9Russa, and Sasha Watson read at the Project for the firs= t time. Hear Wanda Phipps and band, a multi-instrument blues, poetry, and roc= k =8Cn roll ensemble. Feel the Syrenz, an all-girl breakdancing crew who will lead audience members in a moonwalking lesson. Monday, February 5th at 8 pm OPEN MIKE, sign up at 7:30 pm, reading starts at 8 pm. Wednesday, February 7th at 8 pm TODD COLBY AND JAYNE CORTEZ Among Todd Colby=B9s books are Ripsnort (1994) and Charm Factory: New and Selected Writings (1999). He edited Heights of the Marvelous: A New York Anthology (St. Martin=B9s, 2000). Mr. Colby was the lead singer for the now-defunct band Drunken Boat and has taught several writing workshops at the Poetry Project. His poems are pop, dada, grunge, comic, romantic, and personal. In performance they have been known to explode; on the page they vibrate. Jayne Cortez was born in Arizona, grew up in California, and lives in New York. Her ten collections of poetry include Somewhere in Advance of Nowhere, Mouth on Paper, and Congratulations, and with her band, the Firespitters, she has recorded six CD=B9s. Her voice is celebrated for its political, surrealistic, dynamic innovations in lyricism. Friday, February 9th at 10:30 pm WHAT WILL I SAY NEXT? A NIGHT OF IMPROVISATIONAL POETRY Poets Jen Abrams, Matthew Courtney, and others will perform their improvisational poetry. Following the readings, the audience will be invite= d to compete for prizes for the best improvisational poem. Two words will be given to each contestant, who will then have one minute to compose a poem and three minutes to deliver it. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * The Poetry Project Web site has now been updated with the latest info on ou= r WORKSHOPS, VOLUNTEERS, CALENDAR INFORMATION, and other late-breaking stuff. Check it out!! * * * ========================================================================= Date: Wed, 31 Jan 2001 18:45:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: email addresses pls MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit hello, listees, thanks for sending me a few email addresses from my earlier request. i still need email addresses for the following--pls b/c if you have them. thanks! jill stengel Maureen Owen Kate Fagin Anne Brewster Mary Jo Bang ========================================================================= Date: Wed, 31 Jan 2001 18:45:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Pass This On To Bob MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit A painter friend of mine (Deirdre Simon---mark the name, unless of course the conceptual thing totally eclipses painting---anyway I am hoping one of her works will be represented at least semi-adequately on the cover of my upcoming book of essays/reviews; I think the publisher may be convinced to go 4-color...) gave me a subscription to "Jubilat," a new magazine attached somehow to U-Mass (if not memories of catholic mass; the church bells there once played "Hey Jude" out of tune, enough for Joe "Scud Mountain Boys," Pernice to interrupt, with joy, one of Tate's workshop---ah, the mass of memories thank God for the U) and in this magazine, which I've only begun reading is a new (prosey) poem by Bob Perelman called "A Practical Poem." Bob's still writing great things, and Brenda Borofsky told me that he read more of them at a reading she did with them (or him) in Fuchs' Filly series.... Chris ========================================================================= Date: Wed, 31 Jan 2001 15:04:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Highly recommended: Nathaniel Dorsky's films Feb 5 (& Feb 13) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If you have the opportunity, do not miss the recently completed trilogy of films by extraordinary San Francisco filmmaker Nathaniel Dorsky. I was lucky to see a private screening of Arbor Vitae in December-- his films are extremely beautiful, uniquely conceived and executed works. Dorsky is the true poet of the film medium, and --as if despite his films' silence-- a brilliant speaker regarding his art. San Francisco Cinematheque presents the first screening (Monday, Feb 5, SF Art Institute), with a repeat of the program in Berkeley at PFA (Tuesday, Feb 13, 7:30, 2575 Bancroft Way). Monday, February 5, 2001 at 7:30 pm San Francisco Art Institute NATHANIEL DORSKY's Arbor Vitae, Triste and Variations Nathaniel Dorsky In Person Throughout his career, Nathaniel Dorsky has made personal poetic films composed of images gathered in the course of his daily life. A profound use of silence accompanies exquisite photography and meticulous editing to raise Dorsky's cinematic language to an ecstatic pitch. Arbor Vitae, Dorsky's conclusion to a trilogy that included Triste and Variations, was recently premiered at the New York Film Festival's Views from The Avant-Garde series. Tonight's screening will mark Arbor Vitae's West Coast premiere, as well as the first time the trilogy has been screened in its entirety. "Arbor Vitae is a gesture towards a cinema of pure being. . . . the underlying motivation is the delicate revelation of the transparency of presence, our tender mystery amidst the elaborate unfolding of the tree of life." (N. Dorsky) "Whether the images are lush, viscous pools of black liquid or reflections of light moving across a window curtain, they end up being, don't ask me how, magnificent metaphors for existence. Even braver is the refusal of undercutting ironies. No more convincing argument could be made for the continuing, glorious necessity of film. . . ." (Phillip Lopate, Film Comment) ". . . a sequence of exquisitely observed images of vanishing moments in a world of motion. Much of these films' power lies in their silence. They remind us that the process of quietly observing the world without trying to articulate our perceptions can be a rarefied state of being, that silence is often sacred." (Stephen Holden, NY Times) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Wed, 31 Jan 2001 15:16:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: George STANLEY & Sharon THESEN: Thurs Feb 8, 7:30 pm Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ** Please forward: our printed calendars are in the mail & expected to drop on your doorstep any day......meanwhile, don't miss The Poetry Center's opening night. ** P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives presents A special evening with Vancouver poets GEORGE STANLEY & SHARON THESEN Thursday February 8 7:30 pm, $5 donation @ The Unitarian Center 1187 Franklin (at Geary) San Francisco native GEORGE STANLEY makes a rare return visit to his home town for The Poetry Center's opening evening of its Spring 2001 series. A member of the poetry circles around the late Jack Spicer and the North Beach bohemian scene during the 1960s, Mr. Stanley had his early books published here by the legendary White Rabbit Press. Some of his finest later poems are centered on his personal and family history in San =46rancisco. His amazing long poem "San Francisco's Gone" (in the recent book Gentle Northern Summer) is the most remarkable San Francisco poem to appear within anyone's recent memory. Since 1970 George Stanley has made his home in Vancouver, British Columbia, where he teaches at Capilano College. His recent books, published by New Star Books of Vancouver, include the brilliant volume Gentle Northern Summer and, just out, that book's equally compelling successor, At Andy's. SHARON THESEN is one of Canada's more prominent poets and editors. Recent projects include her edition of The New Long Poem Anthology (Coach House Press, Toronto; new edition forthcoming from Talonbooks), and, co-edited with scholar Ralph Maud, the incredibly illuminating correspondence between the remarkable writer Frances Boldereff and the late great poet Charles Olson-- Charles Olson and Frances Boldereff: A Modern Correspondence (Wesleyan University Press, 1999). Ms. Thesen's books of poetry include Artemis Hates Romance, Aurora (both from Coach House), News and Smoke (Talonbooks, 1999) and, most recent, A Pair of Scissors (Anansi, 2000). She too teaches at Capilano College in Vancouver. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D VERACRUZ In Veracruz, city of breezes & sailors & loud birds, an old man, I walked the Malec=F3n by the sea, and I thought of my father, who when a young man had walked the Malec=F3n 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, & 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 Malec=F3n, 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. ~George Stanley from At Andy's (New Star Books, =A9 George Stanley 2000) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D about George Stanley: "The reality that Stanley experiences is so demanding that the poems simultaneously track the experience of the world he's in, the startling play of his mind, and his recurrent, shifting insights about language, which is inseparable from the world." about Sharon Thesen: "The scissors of the title snip through unexpected corners of the world. Like Stanley's, Thesen's poems are animated by an unusually powerful intelligence. They typically begin with a mundane moment . . . but before even a brief poem is over, it cuts into the often ominous, quirky, reality below. . . . Thesen's poems are insistently in the same world as the rest of us." ~Stan Persky, reviewing At Andy's and A Pair of Scissors =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & Poetry Center members get in free. The Poetry Center's programs are supported by funding from Grants for the Arts-Hotel Tax Fund of the City of San Francisco, the California Arts Council, the National Endowment for the Arts, Poets & Writers, Inc., and The Fund for Poetry, as well as by the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook