========================================================================= Date: Wed, 1 Jan 2003 00:47:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Interesting books of 2002? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed George, I'd ad Comix, by bpNichol, ed. Carl Peters, Talonbooks, to that. Not ready to put my whole list together, but Stacy Doris's Conference would be on it. And I certainly like David Bromige's As in T As in Tether. At 06:59 PM 12/31/2002 -0700, you wrote: >>I'm sure I missed some interesting books in '02, and perhaps others >>would also like to fill in a few gaps. Any recommendations? Here >>are some of the titles that came my way: >> >>Philip Jenks, _On the Cave You Live In_ (Flood) >>Jennifer Moxley, _The Sense Record and Other Poems_ (Edge) >>Mark Salerno, _Method_ (Figures) >>Heather Fuller, _Dovecote_ (Edge) >>Robert Lunday, _Mad Flights_ (Ashland) >>Frank Bidart, _Music Like Dirt_ (Sarabande) >>Yang Lian, _Yi_ (Green Integer) >>Peter Gizzi, _Revival_ (Phylum) >> >>Also, the summer issue of _Chicago Review_: _New Writing in German_ >> >>Thanks. >> >>Andy > >+ Meanwhile, the collected essays of bpNichol, ed. by Roy Miki, Talonbooks. > >-- >George Bowering >A one-hit wonder >Fax 604-266-9000 charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Wed, 1 Jan 2003 05:38:55 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: The Day of the Living Dead... Incredibly condescending article on the Po Project and Ed Friedman in today's NYTIMES..Public Lives...just in time for the Brunch Crowd to rouse itself & hear this year's Po marathon Day of the Living Dead...me off to Fl. to see the folks...harry.. ========================================================================= Date: Wed, 1 Jan 2003 06:08:34 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Awards...2002 our usual sources inform us that...the 2002 NEO HODOO BLAX FASCISMO prize will be awarded...to who(m) else...Amiri Baraka of the banana republic of Newark...the Marian Davies life time achievemnt commendation...called in the trade...the politic$ of ri$h painter$..to who(m) else but Bob Holman of MY po club on the Bowery...DRn... ========================================================================= Date: Wed, 1 Jan 2003 07:38:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: BANISHED WORDS In-Reply-To: <5.1.0.14.0.20030101004509.01b412a8@mail.theriver.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable LAKE SUPERIOR STATE UNIVERSITY ISSUES 2003 LIST OF BANISHED WORDS SAULT STE. MARIE, Mich. =96 =91Make no mistakes about it,=92 Lake = Superior=20 State University issued its 28th annual =91extreme=92 List of Words=20 Banished from the Queen's English for Mis-Use, Over-Use and General=20 Uselessness, which the world needs =91now, more than ever.=92 http://www.lssu.edu/banished/current/default.html= ========================================================================= Date: Wed, 1 Jan 2003 08:23:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Mind, It Machines Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii mappings, as one connects types of topography into debris, smoky eyes, parched lips a city-wide labyrinth...designed to keep mother's mouth invisible.. processes themselves, we can imagine that they need a flow of harmony in order to subsist [2]; this principle, to get spinal injury to the eyehole in woods are processes themselves, we can imagine that they need a flow of entropy in order to subsist this principle, together with "a declaratory policy" if North Korea began to reactivate its nuclear facilities at Yongbyon, the country's arsenal, as Secretary of State Colin L. Powell and other officials insisted that it would be woods suck me dry or limp, a performance installation, contemplates the double, or golem, the presence of someone newer gazing from the water Other, a seductive cyborg, which way, repressed etiology. If the histrionics of networked media are in a continuous process of decay and regeneration, like we can imagine that they need a flow of harmony in order to subsist this principle sucks me dry or limp, a performance installation, contemplates the double, or golem, the presence of Other, a seductive cyborg, who sucks me dry or limp, a performance installation, contemplates You your have mind your on mind it machines, mappings, as one connected new when the Korean nuclear arsenal, as Secretary of city-wide Colin L. Powell and other officials insisted that it would be a forest and You seems. have You your have mind your on mind it machines, mappings, as one connected new types of topography to a city-wide labyrinth...designed to keep mother's mouth invisible.. forest and You seems. have You your have mind your on mind it machines, words processes themselves, we can imagine that they need a flow of entropy in order to subsist [2]; this principle suggests a place of low grade memory function, like a stroked-out brain. Farad and Rashid are filming the Israeli performance installation, contemplates the double, or golem, the presence of Other, a seductive cyborg seems. it minding all machines minding tending machines leaf-curling, crawled machines, dawn crawled through furrow the bark, the brass dark, spring away, repressed etiology. If the architectonics of networked media are in a harrowing pink collapse to a year, like further creates a drama of amnesia, a sustained remit to forget where and who and what, what came next, a sustained remit to forget where and who and what, what came next, 2002/12/31 20:42:21 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 1 Jan 2003 08:32:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: BANISHED WORDS In-Reply-To: <1FF360EE-1D9F-11D7-88F9-003065AC6058@sonic.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Candidates for the most overused words of 2002: conflation immersion trajectory performative baraka clash blog I, my, mine (always a winner every year) ========================================================================= Date: Wed, 1 Jan 2003 12:37:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII To: internal bleeding, ondoho@hanmail.net, internal bleeding, ondogi@hanmir.com, internal bleeding, ondogi@hanmail.net, battles within me, internal bleeding, ondog92@hanmail.net, internal bleeding, ondocsu@hanmail.net, internal bleeding, ondochi@dreamwiz.com, battles within me, internal bleeding, ondochi@chollian.net, internal bleeding, ondoa@hanmail.net, battles within me, internal bleeding, ondo@hyondoch.ed.chungbuk.kr, battles within me, internal bleeding, ondo845@hanmail.net, internal bleeding, ondo3766@yahoo.co.kr, internal bleeding, ondo1@chollian.net, battles within me, internal bleeding, ondng@yahoo.com, internal bleeding, ondmin@netian.com, internal bleeding, ondm79@hanmir.com, battles within me, internal bleeding, ondm33@yahoo.co.kr, internal bleeding, ondm33@hanmail.net, internal bleeding, ondlove@yahoo.com, battles within me, internal bleeding, ondkk@hanmail.net, internal bleeding, ondk@yahoo.com, internal bleeding, ondk@hei.co.kr, battles within me, internal bleeding, ondk5620@hanmail.net, internal bleeding, ondk123@hitel.net, internal bleeding, ondjj@hanmail.net, battles within me, internal bleeding, ondj@netsgo.com, internal bleeding, ondj@netsgo.co.kr, internal bleeding, ondj@hanmail.net, battles within me, internal bleeding, ondj@anyweb.co.kr, internal bleeding, ondj1004@hanmail.net, internal bleeding, ondii@neolife.net, battles within me, internal bleeding, ondiana@hanmail.net, internal bleeding, ondial@unitel.co.kr, internal bleeding, ondiablo@netsgo.com, battles within me, internal bleeding, ondia@hanmail.net, internal bleeding, ondi@hanimail.com, internal bleeding, ondi@chollian.net, battles within me, internal bleeding, ondi9@hanmail.net, internal bleeding, ondi68@hanmail.net, internal bleeding, ondi2@netsgo.com, battles within me, internal bleeding, ondi2@netsgo.co.kr, internal bleeding, ondi2895@hanmail.net, internal bleeding, ondi21@dreamwiz.com, battles within me, internal bleeding, ondi027@hanmail.net, internal bleeding, ondhi@unesco.org, battles within me, internal bleeding, ondheon@soback.kornet21.net, battles within me, internal bleeding, ondheon@hanmail.net, internal bleeding, ondheim@yahoo.com, internal bleeding, ondheim@panix.com, battles within me, internal bleeding, ondheim@hanmail.net, internal bleeding, ondheim@chollian.net: reset Subject: from out there to in here: reset Data: reset === ========================================================================= Date: Wed, 1 Jan 2003 12:40:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: Interesting books of 2002? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit >I'm sure I missed some interesting books in '02, and perhaps others >would also like to fill in a few gaps. Any recommendations? Here >are some of the titles that came my way: === Bedhangings II, by Susan Howe (Coracle) === Kidnapped, by Susan Howe (Coracle) === New Goose, by Lorine Niedecker (Rumor / Listening Chamber) ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Thu, 2 Jan 2003 15:37:30 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Interesting books of 2002? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The problem with Niedecker's books - and I am a bit of culprit here - is that dealers know about her and put big prices because of the scarcity: ironically I find myself "hoist with my own petard" in this respect, and unable (or too fiscally constricted) to purchase much of hers from overseas: but this is where good reprints come into their own...we all like signed or inscribed first editions but but sometimes all that is wanted is a facsimile of the book or eg Auden's "The English Auden" includes an number of his books entire...I hate selections (although I have a number of such)...another thing I copied a libray edition of "The Orators" as the next edition is different (and the first is almost impossible to obtain) (although an example here is that that book is in "The English Auyden " but with some sligh changes, and also the very fact of a book which is AS the FIRST seems somewhow different to a book inside or with other books..how significant that is I''m not sure) .. hence it can be of value to see the various editions and even the prints fonts etc used (an obvious example is the diff. between Blake in type and facsimile's of the originals of his work in colour (of course the original would be even better!) .....This an advantage for people with access to the big libraries: although "down under " things are getting better all the time in respect to availability even if our "isolation" is still a problem, not so much as it has been in the past....and of course "our own" literature is somewhat and more sui generis so to speak than it has been in days of yore... But those books (by Howe and Niedecker) sound like new issues and are maybe cheaper. (Hopefully the Niedecker is). The other problem for NZrs is the US$ is approx x 2 the NZ$ (however the US$ is dropping lately: and possibly it is also versus the Australian$)...but certainly these lists are useful with some writers I have never heard of so one day I'll beg buy borrow or steal some ...its always harder to get this stuff in NZ...get out the violins!! Mind you I got Nick Piombino's book for a reasonable price...Nick your not famous enough!! I have a another book by Susan Howe (that was a lucky find here) (I suppose anything (? possibly not anything of course, maybe a lot mre than is realised)) can be ordered but people still, (myself included) tend to look on the shelf only in eg Borders (or here Unity Books), the Internet and The Telephone maybe another tool in hunting down books - maye be better than the net in some cases:....I wish I had Howe's other books entire she is an interesting poet/writer, and I have her sister's book...also good stuff. also Niedecker...but then I'm surrounded by unread tomes...(violins please)....drn.... In NZ I read Alan Loney's "The Falling" (AUP, 2001) is simultaneously a "memoir", realtieed to NZ history (a famous rail disastor aused by a lavar) a poem in prose and has poetry juxtaposed with poetry: Loney is a significant and quite innovative poet, printer ,and publisher in NZ. I alos liked greatly Jack Ross's "Nights With Giordano Bruno" (Bumper Books) which is I think as interesting as anything by Howe. Also this year he (Jack Ross) published "Chantal's Book" which I dont find (so far) so good. I believe Wystan Curnow has published a new book also. Wystan may know of others but contact me re the other two books if there is any interest...if people arei nterested in Howe or Scalapino etc then I think that Nights with Giordano Bruno (by Jack Ross, a local poet and editor) would interest them. John Geraets has also put out some strange and interesting books. Thought I would give some names from this part fo the world in the direction of the Huge Unlistening Ear and remembering that there are some Canadians and Australians and Others on the List....drnnn... Happy New Year to all. Richard Taylor ----- Original Message ----- From: "Peter Quartermain" To: Sent: Thursday, January 02, 2003 9:40 AM Subject: Re: Interesting books of 2002? > >I'm sure I missed some interesting books in '02, and perhaps others > >would also like to fill in a few gaps. Any recommendations? Here > >are some of the titles that came my way: > > === Bedhangings II, by Susan Howe (Coracle) > === Kidnapped, by Susan Howe (Coracle) > === New Goose, by Lorine Niedecker (Rumor / Listening Chamber) > > > ======================== > Peter Quartermain > 846 Keefer Street > Vancouver BC V6A 1Y7 > phone 604 255 8274 > fax 604 255 8204 > quarterm@interchange.ubc.ca > ================== > ========================================================================= Date: Wed, 1 Jan 2003 21:41:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: perfection MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE perfection [line_01.gif] [spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif] [spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif] [spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif] [spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif]-[spacer.gif] [spacer.gif] [event_mail_01.gif]-[event_mail_02.gif]-[event_mail_03.gif] [event_mail_04.gif]-[event_mail_05.gif]-[event_mail_06.gif] [event_mail_07.gif]-[event_mail_08.gif]-[event_mail_09.gif] [event_mail_10.gif]-[event_mail_11.gif]-[event_mail_12.gif] [event_mail_13.gif]-[event_mail_14.gif]-[event_mail_15.gif] [event_mail_16.gif]-[event_mail_17.gif]-[event_mail_18.gif] [event_mail_19.gif]-[event_mail_20.gif]-[event_mail_21.gif] [event_mail_22.gif]-[event_mail_23.gif]-[event_mail_24.gif] [event_mail_25.gif]-[event_mail_26.gif]-[event_mail_27.gif] [event_mail_28.gif]-[event_mail_29.gif]-[event_mail_30.gif] [event_mail_31.gif]-[event_mail_32.gif]-[event_mail_33.gif] [event_mail_34.gif]-[event_mail_35.gif]-[event_mail_36.gif] [event_mail_37.gif]-[event_mail_38.gif]-[event_mail_39.gif] [event_mail_40.gif]-[event_mail_41.gif]-[event_mail_42.gif] [event_mail_43.gif]-[event_mail_44.gif]-[event_mail_45.gif] [event_mail_46.gif]-[event_mail_47.gif]-[event_mail_48.gif] [event_mail_49.gif]-[event_mail_50.gif]-[event_mail_51.gif] [event_mail_52.gif]-[event_mail_53.gif]-[event_mail_54.gif] [event_mail_55.gif]-[event_mail_56.gif]-[event_mail_57.gif] [event_mail_58.gif]-[event_mail_59.gif]-[event_mail_60.gif] [event_mail_61.gif]-[event_mail_62.gif]-[event_mail_63.gif] [event_mail_65.gif]-[event_mail_66.gif]-[event_mail_67.gif] [event_mail_68.gif] [line_01.gif] [line_01.gif]iBmZmZmZmY7IG [line_01.gif]MXB0OyBmb250L [line_01.gif]yw7w7bGluZS1o [line_01.gif] your email a [line_01.gif]assen@chello. [event_mail_49.gif] [event_mail_50.gif] [event_mail_51.gif]nVzdGlmeSA7IGZvbnQtd2VpZ2h0OmJvbGR9IA0KdGQuMSB7 "Unsubscrib [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif]16: Y29sb3IgOiA2NjY2NjY7IGZvbnQtc2l6ZTo5cHQ7IGZvbnQtZmFtaWx5OrW4 [event_mail_07.gif] [event_mail_08.gif] [event_mail_09.gif]__ _ _ # > MTMwJSA7fSANCjwvc3 [event_mail_13.gif] [event_mail_14.gif] [event_mail_15.gif]xs -. :; 8^@O@: A$:8E=BF=3DE8A @L?=BFCKA=B3 9W A$:8:8H# 5=C5?! 0=F0GQ 9=9C7=F0= A& 50A6?! 1 Shown 78 lines Text (charset: ISO-8859-1)Message----- @G0EGQ [1$0=C0] 8^@O@T4O4Y.etti 2 Shown 6 lin -. e-mail AV=C560GQ 03@N A$:855-----g.net]On Behalf Of:21:01 PM 0!A=C10=C0 @VA=C1 >J=3D@4O4Y." character set. ]/ | [line_01.gif]____|Sent: De [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif]the "US-ASCII" character set. ]/ / | __/\__ |___ | / / | # > # [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif]ayed incorrectly. ] | | \ / / /____| | | # > # /_ _\ / /_____| [spacer.gif] [spacer.gif] [spacer.gif] [spacer.gif] -------------- [event_mail_05.gif] [event_mail_06.gif] [event_mail_07.gif]k 2.2 655 bytes ImageTo: UB Poetic [event_mail_08.gif] [event_mail_09.gif]--------------------**** [line_01.gif] =3D=3D=3D ========================================================================= Date: Wed, 1 Jan 2003 23:15:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: =?ISO-8859-1?Q?Claude_P=E9lieu_=281934-2002=29?= In-Reply-To: <001b01c2b207$e6038220$96f137d2@01397384> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Claude P=E9lieu =96 poet, collagist, translator =96 died December 24 in=20= Norwich, NY where he had been living with his wife, the painter and=20 translator Mary Beach for some years. Born in Pointoise near Paris in=20 1934, P=E9lieu moved to the US with Mary Beach in 1963, first to San=20 Francisco where he was involved with City Lights Books (which also=20 published his first writings), then in the late sixties to New York=20 where he lived, first in NYC, later on upstate, except for a few years=20= in England in the early seventies and a short return to France in=20 1994/1995. In 1952, at 17, he published a first book of poems, Rendez-vous = avec=20 le sol, clearly inspired by Surrealism. At the same time he was already=20= deeply involved in painting and collage work, and shows political=20 affinities with the Situationists. Later in that decade he is drafted=20 into the army and after harrowing experiences in the Algerian war that=20= would mark him for life, he was released after having been wounded. Though he never stopped doing collage work, writing began to = take=20 precedence, especially after he and Mary Beach moved to San Francisco=20 in 1963. The sixties and seventies will see a formidable push by the=20 P=E9lieu/Beach team who translate the major texts of the beat generation=20= into French, including the core works of Bob Kaufman, Allen Ginsberg=20 and William Burroughs, as well as books by Edward Sanders, Hart Leroi=20 Bibbs, Timothy Leary, Lawrence Ferlinghetti, Alden Van Buskirk and=20 others. During the same years P=E9lieu publishes a dozen or so books of=20= his own writing, from poetry to prose journals. During the eighties=20 and nineties the writing slows down and the visual work begins to take=20= precedence again =96 he will produce several thousand collages of all=20 sizes during that period, on occasion collaborating with Mary Beach. Among his most important works are _Opal USA_ (Beach Books, = texts &=20 Documents), _Automatic Pilot_ (Fuck You Press / City Lights), _Le=20 Journal Blanc du Hasard_ (Christian Bourgois, 1969), _Ce que dit la=20 Bouche d=92Ombre dans le bronze-=E9toile d=92une t=EAte_ and = _Infra-Noir_ (Le=20 Soleil Noir, 1969 & 1972), _Juke-Boxes_ (10/18, 1972), _Kali Yug=20 Express_ (Christian Bourgois, 1974), _La Rue est un R=EAve_ (Ecrits des=20= Forges, 1989), and _Studio R=E9alit=E9_ (Le Castor Astral, 1999). Although an underground celebrity =96 often called the only = original=20 French Beat =96 in his country of origin, his work is less known here in=20= the US, no doubt because relatively little of it has been translated=20 into English and most of that has been out of print for some years now. Below, a poem from the late sixties, from the volume = _Jukeboxes_: Good-bye tristesse, hello tristesse =96 we are in Paradise & the dead laugh their heads off, I=92m returning from heaven, & can tell you all about it =96 I took the space train and landed in the oasis of American colors. The window-washers=92 scaffolding sang, but the cold scissors of the carrion-man had handed themselves over to the cops & excited the man with dysentery and supermarket eyes who prints the slogans of the day on my sky. Death was wearing a crime-colored n=E9glig=E9 =96 the fetuses were invading the external screens & the grammatical teats of nostalgia were pissing sulfur. I plunged into their urban nature, this jungle of smells and sounds. What world is this? Who finances it? To whom was it sold? It was sold for a handful of coarse salt between 2 smirks and 3 dog barks -- & the oppressed were fighting for their masters & their eyes were oozing under their masks of fake flesh. (What would you be guilty of? Of everything? Of nothing? ) everybody winds up riffing thus in the empty streets. Millions of you are slipping and sliding, the images slip hard by you, wound you or enchant you =96 The Dead have invaded Earth, their fingers search the loam & a pale poisoned fog hangs over Wall Street. Oh Manhattan, Island devoured by grief, Indian island where today the Images print out the Journal of Shame & Fear. The skin flicks are full up =96 Get out of this bronze forest! Drop=20 everything! Heat up the glue! Don=92t run over the blacks! Don=92t step on = the Indians! Don=92t let the words settle in! Don=92t let the children croak = in the Supermarket-bunker! The comic strips & the advertisements stumble over the film stock of your asses, a distant air of burning scorpions peels off the rotten trunk of History =96 For us the adversary is Death, Money, Hate & War (Death & all the old clich=E9s & all the horrible death rattles). One wake sup in another world with a bad taste between the legs. It=92s over. The show=92s over and done with. The slave words are being noisy in the service staircase, like the fascist foam on the airwaves. A return to the past so as not to bother anybody =96 a jungle of = curtains =96 light years that stutter, imaged crowds stuffing themselves with cosmic shot =96 a trigger=92s already thought too quickly =96 Goodbye sadness, hello = tristesse. =09 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 1 Jan 2003 21:56:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: Interesting books of 2002? In-Reply-To: <001b01c2b207$e6038220$96f137d2@01397384> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Following up on RT's point. .. Another big problem I have noticed - I don't know if this is lately or not - is that the poetry journals that have the hottest stuff in them are being shelved in my local university (UC Berkeley) at a location where it is HARD AS HELL to get at them. First you have to sign an application form to get into the room where they are housed, then you must fill out a request form to see a specific issue, then usually you must wait a full day if the item is in storage (which it usually is), then you fill out ANOTHER form if you want to photocopy a few pages (at premium prices), then you wait another full day for the photocopy work to get done (which in one case with me was not done because the request was inadvertently mislaid, entailing another 3 days of waiting!), etc. By the time you receive what you want, you are so disgusted by the process that you almost don't even want to read it anymore! Why aren't new poetry journals being made accessible so that young students can read and be inspired by them, instead of being locked away like precious jewels? Can somebody in academia answer me this? At the very least, the university should provide a cheap photocopy on the open stacks for the general reader. Eh, it makes me sick! And this doesn't simply pertain merely to old stuff from the 20s either. This applies to journals from the 80s and 90s, like Poetics, o-blek, etc. Stuff that really ain't all that rare. I see it at library sales and in bargain bins all the time. -m ========================================================================= Date: Wed, 1 Jan 2003 20:59:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Susan Howe books, and Niedecker --and another interesting book from 2002 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I've had quite a few queries backchannel re the Susan Howe titles, so I'm posting the info to the list. The two books I mentioned are quite pricy. They're quite pricy -- Bedhangings 2 as I recall was ten or maybe fifteen pounds; Kidnapped (300 copies hardbound, numbered and signed) is 35 pounds -- British money, that is, plus postage. I don't know what the exchanage rate is on the U.S. $ -- around $1.50 I'd guess. Irish punts might be more, less, or the same. Coracle Press: Coracle, Ballybeg, Grange, Clonmel, Tipperary, Ireland. I don 't know the e-mail, or even if there is one. I bought my copies from Alan Halsey, West House Books, 40 Crescent Road, Nether Edge, Sheffield S7 1HN, England -- e-mail alan@nethedge.demon.co.uk He may have a few coies left, but I don't know. They might also be available from Peter Riley Books, 27 Sturton Street, Cambridge, CB1 2QG, England, e-mail Priley@dircon.co.uk Niedeecker's New Goose, edited by Jenny Penberthy, prints all 86 of the New Goose poems from the manuscript -- full editorial apparatus is to be fouind in Penberthy's edition of Niedecker's Collected Works (California UP). Cost U.S.$10.00. Published by Listening Chamber,1605 Berkeley Way, Berkeley, CA 94703. No doubt also available from SPD. ======== The other good book that I want to mention from 2002 is actually a shameless plug, since I am married to one of the writers and therefore not exactly unprejudiced so far as its considerable and skilful charms are concerned: Wanders, by Robin Blaser and Meredith Quartermain. Available from the publisher, Nomados, P.O. Box 4031, 349 West Georgia Street, Vancouver B.C., Canada V6B 3Z4 for U.S.$10.00 plus U.S.$2.50 postage. ======== And (perhaps foolishly assuming one might be possible) a very good new year to one and all... ======================= Of is the word love without the l in is the word skin without the sk in is the word sin without the s Robin Blaser ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Wed, 1 Jan 2003 22:10:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: I am hot as my former self In-Reply-To: <000001c2b21b$afc9e320$045e17cf@diogenes> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable I am hot as my former self A GOOD THING - A really cool one of the best - ON THE GROUND --=20 MATERIAL BREACH - Suggests complication that pulls a physician off the=20= hands that lead to: got game: got MENTAL MISTAKE: got A GOOD THING - =20 got A really cool one of the best -ON THE GROUND -- MATERIAL IN COLOR -=20= vacation bible school - NOW, A GOOD THING - ON THE GROUND -- WEAPONS OF=20= MASS DESTRUCTION - pulls a secret -out of a hat- thousand machetes - =20 NOW in a UNDISCLOSED SECRET GOOD LOCATION - ON THE GROUND -- WEAPONS=20 OF MASS genocide - mass NO SCORE. 0-0. A few thousand machetes in=20 vacation bible land - NOW, MORE THAN EVER =91Now, more than ever, 50%=20 more than ever, 50% more than 50% more than ever, now more than more=20 than ever, 50% more than A GOOD THING - ON THE GROUND -- MATERIAL IN=20= COLOR - -- REVERSE DISCRIMINATION - a secret complication -card that=20= pulls A GOOD THING out of a hat- I=92ve heard you have the hands that=20= leads to the Problem that requires a real good solution: =94 IT=92S A = GOOD=20 THING - ON THE GROUND -- A -- MATERIAL BREACH - It=92s 0-0. It=92s - A=20= GOOD THING - A few thousand machetes - Suggests a complication - PER=20 =91as per=92 out of a hat -AS GOOD as a THING can get - which can lead = to=20 mass genocide - MAKE NO MISTAKE - HAVING SAID THAT SAID THAT SAID THAT=20= and THAT SAID - =93I heard you are the hands that lead to an A+ 100% =20= GOOD THING - Make NO MISTAKE - WEAPONS OF MASS DESTRUCTION - Suggests=20 UNTIMELY BLACK ICE - ON THE GROUND -- can lead to mass HOMELAND=20 SECURITY =96 EXTREME deodorants or cheeseburgers or churches - more=20 raisins HAVING SAID THAT and THAT SAID - MAKE NO MISTAKE - this is a=20 real good thing in a serect UNDISCLOSED good SECRET LOCATION= ========================================================================= Date: Thu, 2 Jan 2003 01:28:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: wonder question problem gate, 42% MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII wonder question problem gate, 42% heaven earth black yellow :: is black, the cosmos are vast a desolate wasteland sun fills moon sets in west it's dusk from 7 to 9 morning constellations line up measure word, they spread out cold comes heat goes autumn harvesting winter hiding, concealing intercalary timing leftover residue becomes one tenth measurement of years so lu bamboo pitches shift position open clouds ascend, galloping, sending rain dew forms becoming frost gold gives birth beautiful water jade emanates Kun mountain summit double-edged dagger furiously named huge gate-tower pearl called light darkness treasure fruit plum apple many vegetables mustard ginger sea salted rivers fresh fishscales hidden depths feathers circling above fire dragon emperor teaching phoenix royal official men beginning making writing characters then uniforms, wearing robes < clothing skirts expel throne yield country yao tang has predicted console people strike down guilty hold boundary talk and test with scalding trying case at court query way bequeath bow doubting sections love raise hosts leaders minister prostrate army barbarians near far reality ration guest returning cries white colt grazes there change covers grass weeds (vegetation) trust attain myriad (10,000) directions (square) covering person issues (giving to) four great five (is) normal respect (connector / alone) rearing children (!) flattering destroys injures women adore chastity unyielding imitate pleasing genius know what passes certainty attainment ability never neglect deception other brief disintegration reliance on self (self-reliance) long faith cause should be covered (protect your faith) tool (utensil) desire trouble (quantity) measure-word ink (of) sorrow, sadness (on silk) printed (sadness stains poetry praise small (lamb) sheep (sheep) view, scenery lines tied or lined-up wisdom restraint, conquering study makes (creates) sage benevolence built name stands origin shape proper (upright) model sky valley proclaim (one's) fame empty chamber hall (public room) learn (review lessons) carefully disaster (catastrophe) depends (is caused by) accumulation evil blessings (fortune) (are virtuous happiness 1/3 meter (scale, ruler) bi-jade (circular disk hole) negative (un- ) 1/30 (measurement, small) yin (shadow, moon, sexual organs, feminine, secret) (just so) (to be) emulated (compete with) capital father (parallels) (business) affairs supreme ruler speak strictly (accurately) give filial piety serves as (accepts) end power (the others) devotion follows (rules) life face (meet, confront) deep tread (put shoes) lightly dawn (early morning) prosper warm (and pure) like (an) orchid(s) this fragrance (a) pine(s) prospers (the) river flows not (un) stopping (ceaselessly) (abyss) clear (transparent) take (create) reflection contain (form) (and) stop if (one is) thinking say diction (classical rhetoric) (with) quiet, peaceful determination deliberate beginnings sincerity, fidelity beautiful, beauty prudent all good ancient laws honorable trade place) foundation rolls greatly nothing (in the) outstanding ascend (to) (service) addition work obey government survive by means wild pear go increase chant music particularly precious humble rites well valuable low harmony below harmonious husband chants (calls upon) wife external (foreign) accept pass instructions enter internal) (play music) mother appearance (ceremony) father's sister older brother younger same as) child compared son (child) think very much \ each elder agreeing (as) mind (ch'i, spirit) linking (joining) branches make friends join divide cut polish precepts rules kind humanity (conceal) compassion create order separation integrity (justice) back honesty wicked suffer setbacks loss money still nature evades passion heart moves weary guard truth full intention follow idea (your) (mind) steer properly please rank (of office) bind yourself city village flourish summer east two capitals Mong (mountain) Luo (river) floating Wei according (seize) Jing (Sheu river) [...] public rectification fit dwell leisure ch'in 4-stringed instrument wonderful question problem gate === ========================================================================= Date: Thu, 2 Jan 2003 20:28:40 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Writing Machines by N Katherine Hayles In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-6ECD3EBA; boundary="=======46AE42A0=======" --=======46AE42A0======= Content-Type: text/plain; x-avg-checked=avg-ok-6ECD3EBA; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable 'Writing Machines' N Katherine Hayles A Mediawork Pamphlet MIT Press 2002 ISBN 0-262-58215-5 This 'pamphlet' surprises you immediately, it is a black-covered hardback=20 with a lovely feel and design that says this book is different from other=20 books. Pages of shiny paper (you can't write on them) and blocks of text=20 that zoom out at you, or that are printed right up to the page edges,=20 secret inscriptions, screen shots and new terminology introduced as=20 underlined CAPITALS. The outside of the book reflects what the inside of=20 the book is saying, before you even read a word. Hayles contends that the=20 materiality of the work is important to the experience of it and that works= =20 in different media require their own media specific analysis (MSA). The 'I' that writes is never the 'I' that is written and so N Katherine=20 Hayles chooses a character 'Kaye' to tell of her journey of discovery from= =20 childhood to the present. However in doing so it was more than a little=20 reminiscent of Alice in Wonderland as the na=EFve young Kaye skipped through= =20 science and art and arrived at electronic textuality. And when she arrived= =20 at this wonderland she found that all she had thought of her world had been= =20 turned upside down. "Lulled into somnolence by five hundred years of print, literary studies=20 have been slow to wake up to the importance of MSA. Literary criticism and= =20 theory are shot through with unrecognized assumptions specific to print.=20 Only now, as the new medium of electronic textuality vibrantly asserts its= =20 presence, are these assumptions clearly coming into view." (pp 29-30) But I am not convinced about the importance Hayles places on the=20 materiality of works of literature. I think Hayles, and nearly every other= =20 student of literature over the last fifty years received a very narrow=20 education as to what constitutes a literary work, a very rigid=20 print-centric view. Digital texts have made her realize that a work can=20 have other representations. Young Kaye skips backwards to see what in the=20 past she overlooked, and sees that the materiality of print was there all=20 along. She concludes that a media specific analysis of works is required,=20 so that the inscription technology is taken into account in the=20 interpretation of the work. In a past persona of 'komninos the professional spoken word performance=20 poet', I was fully aware of the prejudice that exists within the academy=20 which privileges print over all other material actualizations of poetry.=20 Personally I think if a work gives me a poetic experience then it is a poem= =20 irrespective of the presentation/distribution medium. For me poetry is an=20 immaterial thing, a virtual thing (virtual in the Deleuzian sense) an=20 unsolvable problematic with many actualizations in many different media. Anyway this is a good introduction for print-centric lovers of literature=20 to the possibilities of books beyond what we traditionally think of as=20 books. It is also a great way of introducing computer-phoebes and sceptics= =20 to the mixed semiotic systems that constitute the literary experience in=20 media other than in print. N Katherine Hayles has been one of the earliest= =20 and most active supporters of digital literatures or 'technotexts' as she=20 calls them, and in sharing her discoveries through a fantasy and honestly=20 through her persona Kaye, she makes the transition a little easier for=20 others who want to understand. "Lastly, she pictured to herself how this same little sister of hers would,= =20 in the after-time, be herself a grown woman; and how she would keep,=20 through all her riper years, the simple and loving heart of her childhood:= =20 and how she would gather about her other little children, and make their=20 eyes bright and eager with many a strange tale, perhaps even with the dream= =20 of Wonderland of long ago: and how she would feel with all their simple=20 sorrows, and find a pleasure in all their simple joys, remembering her own= =20 child-life, and the happy summer days." Lewis Carroll, Alice's Adventures=20 in Wonderland. --=======46AE42A0======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-6ECD3EBA Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.431 / Virus Database: 242 - Release Date: 17/12/02 --=======46AE42A0=======-- ========================================================================= Date: Thu, 2 Jan 2003 08:34:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: =?Windows-1252?Q?Re:_Claude_P=E9lieu_=281934-2002=29?= MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Pierre, Thank you for passing along the news, sad as it is. I only read one of his books, but it absolutely amazed me. Vernon Frazer ----- Original Message ----- From: "Pierre Joris" To: Sent: Wednesday, January 01, 2003 11:15 PM Subject: Claude Pélieu (1934-2002) Claude Pélieu – poet, collagist, translator – died December 24 in Norwich, NY where he had been living with his wife, the painter and translator Mary Beach for some years. Born in Pointoise near Paris in 1934, Pélieu moved to the US with Mary Beach in 1963, first to San Francisco where he was involved with City Lights Books (which also published his first writings), then in the late sixties to New York where he lived, first in NYC, later on upstate, except for a few years in England in the early seventies and a short return to France in 1994/1995. In 1952, at 17, he published a first book of poems, Rendez-vous avec le sol, clearly inspired by Surrealism. At the same time he was already deeply involved in painting and collage work, and shows political affinities with the Situationists. Later in that decade he is drafted into the army and after harrowing experiences in the Algerian war that would mark him for life, he was released after having been wounded. Though he never stopped doing collage work, writing began to take precedence, especially after he and Mary Beach moved to San Francisco in 1963. The sixties and seventies will see a formidable push by the Pélieu/Beach team who translate the major texts of the beat generation into French, including the core works of Bob Kaufman, Allen Ginsberg and William Burroughs, as well as books by Edward Sanders, Hart Leroi Bibbs, Timothy Leary, Lawrence Ferlinghetti, Alden Van Buskirk and others. During the same years Pélieu publishes a dozen or so books of his own writing, from poetry to prose journals. During the eighties and nineties the writing slows down and the visual work begins to take precedence again – he will produce several thousand collages of all sizes during that period, on occasion collaborating with Mary Beach. Among his most important works are _Opal USA_ (Beach Books, texts & Documents), _Automatic Pilot_ (Fuck You Press / City Lights), _Le Journal Blanc du Hasard_ (Christian Bourgois, 1969), _Ce que dit la Bouche d’Ombre dans le bronze-étoile d’une tête_ and _Infra-Noir_ (Le Soleil Noir, 1969 & 1972), _Juke-Boxes_ (10/18, 1972), _Kali Yug Express_ (Christian Bourgois, 1974), _La Rue est un Rêve_ (Ecrits des Forges, 1989), and _Studio Réalité_ (Le Castor Astral, 1999). Although an underground celebrity – often called the only original French Beat – in his country of origin, his work is less known here in the US, no doubt because relatively little of it has been translated into English and most of that has been out of print for some years now. Below, a poem from the late sixties, from the volume _Jukeboxes_: Good-bye tristesse, hello tristesse – we are in Paradise & the dead laugh their heads off, I’m returning from heaven, & can tell you all about it – I took the space train and landed in the oasis of American colors. The window-washers’ scaffolding sang, but the cold scissors of the carrion-man had handed themselves over to the cops & excited the man with dysentery and supermarket eyes who prints the slogans of the day on my sky. Death was wearing a crime-colored négligé – the fetuses were invading the external screens & the grammatical teats of nostalgia were pissing sulfur. I plunged into their urban nature, this jungle of smells and sounds. What world is this? Who finances it? To whom was it sold? It was sold for a handful of coarse salt between 2 smirks and 3 dog barks -- & the oppressed were fighting for their masters & their eyes were oozing under their masks of fake flesh. (What would you be guilty of? Of everything? Of nothing? ) everybody winds up riffing thus in the empty streets. Millions of you are slipping and sliding, the images slip hard by you, wound you or enchant you – The Dead have invaded Earth, their fingers search the loam & a pale poisoned fog hangs over Wall Street. Oh Manhattan, Island devoured by grief, Indian island where today the Images print out the Journal of Shame & Fear. The skin flicks are full up – Get out of this bronze forest! Drop everything! Heat up the glue! Don’t run over the blacks! Don’t step on the Indians! Don’t let the words settle in! Don’t let the children croak in the Supermarket-bunker! The comic strips & the advertisements stumble over the film stock of your asses, a distant air of burning scorpions peels off the rotten trunk of History – For us the adversary is Death, Money, Hate & War (Death & all the old clichés & all the horrible death rattles). One wake sup in another world with a bad taste between the legs. It’s over. The show’s over and done with. The slave words are being noisy in the service staircase, like the fascist foam on the airwaves. A return to the past so as not to bother anybody – a jungle of curtains – light years that stutter, imaged crowds stuffing themselves with cosmic shot – a trigger’s already thought too quickly – Goodbye sadness, hello tristesse. ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 2 Jan 2003 13:57:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable NEXT WEEK AT THE POETRY PROJECT *** MONDAY JANUARY 6 [8:00pm] OPEN READING WEDNESDAY JANUARY 8 [8:00pm] ANSELM BERRIGAN AND SUSIE TIMMONS http://www.poetryproject.com/calendar.html *** MONDAY JANUARY 6 [8:00pm] OPEN READING Sign-up at 7:30pm WEDNESDAY JANUARY 8 [8:00pm] ANSELM BERRIGAN AND SUSIE TIMMONS Anselm Berrigan is the author of Integrity & Dramatic Life and, most recently, Zero Star Hotel, both from Edge Books. He is also co-author of In the Dream Hole with Edmund Berrigan (Man Press) and has a chapbook of poems from Dolphin Press in the works called Strangers in the Nest. He co-edited with Edwin Torres the first issue of PO-eP, an e-magazine, and has had recent work in Cypress, The Best American Poetry 2002, and Open City. Tom Devaney writes of Berrigan's poetry: "...just because it's difficult to say what he's doing doesn't mean he isn't doing it =8B and doing it as well as it's being done anywhere." Winner of the Inaugural Ted Berrigan Award, Susie Timmons is the author of Locked From the Outside (Yellow Press). An early collection of her work, Ho= g Wild, was published by Frontward Books. Her poems have appeared in over 40 small press magazines and anthologies, and her songwriting talents have graced the recordings Speed Trials (Homestead Records) and Peripheral Visio= n (Zoar Records). She was a co-founder of the New York City Poetry Calendar. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 2 Jan 2003 14:35:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: (More) New in 2002 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Patrick F. Durgin, "Color Music", Cuneiform Press, 100 copies typeset by hand with art by Eric Troolin; "dualisms in praxis come to a sheer flammiform techna and hollowed ground is something audible learned amnesia or slim chance we walk both counting from one" For more info write Kyle Schlesinger at ks46@acsu.buffalo.edu Bivouac -the subpress house organ- this second issue was edited in 2002 by Jordan Davis, the first issue having been edited by Douglas Rothschild. Contributors include: Brett Evans, Kyle Conner, Henry Gould, Miekal And, Tracy Ruggles, Patrick Herron, Shana Skaletsky, Sherry Brennan, Susan M. Schultz, Rebecca Wolff, Kevin Davies, Keston Sutherland, Chris Stroffolino, Rod Smith, Kaia Sand, Mark Wallace, Drew Gardner, Daniel Bouchard, Katie Degentesh, Gary Sullivan, K. Silem Mohammad, Tom Orange, Joel Lewis, Sheila E. Murphy, Edwin Torres, John Gilgun, Jacques Debrot, H. Palmer Hall. "Earlier everything/was just OK. Now it's/beyond our contempt." -- Miekal And; "The leader incarnated as interpolated text; it matters what you quote, and when." -- Susan Schultz; "The first time Franco looked out upon/the plains of newly united Fascist Spain/it rained." -- Kevin Davies; "If he weren't a climber, he'd jump... The artwork provides the sensuous idea of freedom." -- Rod Smith. Jordan Davis may be reached at ; ps the next issue will likely be edited by Kevin Davies! David Kennedy and Keith Tuma, editors "Additional Apparitions poetry, performance and site specificity", The Cherry on the Top Press, includes Peter Middleton, Peter Riley, Lee Ann Brown, Steve Benson, Nathaniel Mackey, Chris Cheek, Ian Davidson, Tertia Longmire, Carla Harryman, Frances Presley, Redell Olsen, Caroline Bergvall. "I usually ham it up in all kinds of contexts. Tonight I read at the Drawing Center where I was supposed to go hear a reading of Bill Luoma, Juliana Spahr and Dorothy Lusk on the evening of September 11th. That was one of the turning points for me that day- when I realized that the event was so big the poetry church of the evening wouldn't be happening. I heard Dottie took a Grayhound all the way from Vancouver to read and then hid out in the Chelsea Hotel with her daughter- now that's a performance! I sang a a few of my rewritten ballad/hymn pieces in a post-modern poetic context (with Christian Bok and Ben Marcus, curated by Lytle Shaw) surrounded by the spirit and gift drawings of the Shakers." (Lee Ann Brown); "I was interested in getting beyond the generic jazz and poetry sound- musicians noodling nonchalantly behind fairly transparent verse..." (Nathaniel Mackey) "Not wishing to construct another binary that can be read as funded/unfunded, official/unofficial and so on, we might look for a third example, a dedicated space for readings such as the Voice Box in London's South Bank Arts complex, adjoining onto the box theatre. It has a minimal decor and all focus is onto the reader at the rostrum. About 10 years ago I had the curious experience of presenting a set of Jackson Mac Low's 'The Pronouns' there with a group of young 'new dance' choreographers."(Chris Cheek) For more information write to David Kennedy dgk@kennedyd.fsworld.co.uk Jeff Hull, "Spoor" Subpress, "These truths we hold to be self-evident: disclosure is moot since the piper got hold of our social security numbers, aggressivity really can't be hypoallergenic, and transparency attracts bad faith as much as people need acknowledgement. At the same time, individualism necessitates layers of antibiotic strategy, and the undisturbed trope is as antiquated as the contention that global exploitation is somehow responsible for car-bombings." (From one of his intros at the Ear Inn Series) For info write to orders@spdbooks.org Snare 3 edited by Drew Gardner, cover art by Emilie Clark (containing, coincidentally, beautiful drawings of a dik-dik, as in Ann Tardos' snappy 2002 Granary Book "The Dik-dik's Solitude") includes Marianne Shaneen, Bill Luoma, Mitch Highfill, Elizabeth Willis, Drew Gardner ,Rod Smith, Todd Baron, Rodrigo Toscano, Bob Harrison, Jen Robinson, Edwin Torres, Kim Lyons, Allison Cobb. "bumpy ghosts crouched in the dripping underpass" (Kim Lyons); "petals of abbreviated tongues. The fuse that barks" (Bob Harrison) "Hush little silhouette my (love hate) Rest takes its calling" (Todd Baron); "...oh look, the Fahd ibn Abdel Aziz al-Saud float the F14's behind him are real" (Rodrigo Toscano); "...These are the rats of my city and then these here are the rats this is Donald Trump made for the hollow earth" (Allison Cobb); "a little lifetime warranty at home in cacophony" (Rod Smith); "I thought to myself, I said,'self- why not grind my opinions down to a fine puce dust, why not just attend to perception alone, why not just gargle the lymph of French philosophers then spit gleefully in the fountain, tune up that zither and emote vociferously... (Mitch Highfill). Info: PO Box 2055 NY, NY 10009 ========================================================================= Date: Thu, 2 Jan 2003 15:49:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: A MUSEUM OF ABSENCES by Luis H. Francia MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Meritage Press Announcement: Selections from A MUSEUM OF ABSENCES An E-Chapbook of Poems By Luis H. Francia Site Address: http://www.meritagepress.com/babaylanpubs.htm Release Date: January 2003 Meritage Press is pleased to announce the publication of an e-chapbook=20 featuring poems by Luis H. Francia. His first e-chapbook is comprised of=20 selections from a larger manuscript entitled A Museum of Absences. This=20 on-line collection by the New York-based poet, editor, and nonfiction writer= =20 is the first comprehensive presentation of his poems since 1992's The Arctic= =20 Archipelago and Other Poems, though individual poems have appeared in variou= s=20 journals and anthologies. The cover offers a luminous photograph, Baro, by the Manila photographer Nea= l=20 Oshima. Mr. Francia describes how the manuscript developed: "A Museum of Absences=20 began almost four ago, as a compilation of 1990s work, much of which dealt=20 with absence and invisibility, whether personal, historical, or metaphorical= ,=20 and the attendant world of loss and longing. Then the twin towers of=20 Babel/New York collapsed. The horrific events of September 11, 2001 propelle= d=20 me to write quite a number of poems on the tragedy, directly and indirectly.= =20 Many of these make up the bulk of the selections here." A Manile=C3=B1o and a New Yorker, Luis H. Francia won the Philippines' Palan= ca=20 Memorial Award for Poetry, First Prize, in 1978. His previous books of poetr= y=20 are 1979's Her Beauty Likes Me Well (a two-poet collection, the other poet=20 being David Friedman), and 1992's The Arctic Archipelago and Other Poems. Hi= s=20 2001 semiautobiographical Eye of the Fish: A Personal Archipelago (Kaya, NY)= =20 won both the 2002 PEN Open Book and the Asian American Writers Workshop=20 literary awards.=20 He has published a collection of essays and reviews, Memories of=20 Overdevelopment (1998), and edited two literary anthologies: Brown River,=20 White Ocean: Twentieth Century Philippine Literature in English (1993), and=20 Flippin': Filipinos on America (co-edited with Eric Gamalinda, 1996). He=20 co-edited, with media artist Angel Velasco Shaw, an anthology on the=20 Philippine-American War, Vestiges of War: The Philippine-American War and th= e=20 Aftermath of an Imperial Dream, 1899-1999 (2002). His works--both poetry and= =20 nonfiction--have appeared in anthologies, journals, magazines, and=20 newspapers, in New York, San Francisco, Honolulu, Manila, Baguio, Hong Kong,= =20 Singapore, Madrid, and New Delhi. He has taught at Sarah Lawrence College an= d=20 now teaches at New York University. He writes a column for The Sunday=20 Inquirer Magazine in Manila and for The Village Voice in New York.=20 Mr. Francia's e-chapbook is free and downloadable through the Adobe pdf=20 program. If you do not have the Adobe program, it may be installed for free= =20 from the Internet. Meritage Press gratefully acknowledges the poet Jerrold=20 Shirroma and Duration Press for their beautiful design of Mr. Francia's=20 e-chapbook. ***** ABOUT THE PUBLISHER: Meritage Press ("Meritage") seeks to expand fresh ways of featuring literary= =20 and other art forms. Meritage expects to publish a wide range of artists=20= =E2=80=93=20 poets, writers, visual artists, dancers, and performance artists. By=20 acknowledging the multiplicity of aesthetic concerns, Meritage=E2=80=99s int= erests=20 necessarily encompass a variety of disciplines: politics, culture, identity,= =20 science, humor, religion, history, technology, philosophy and wine. Its=20 publications include 100 MORE JOKES FROM THE BOOK OF THE DEAD by John Yau an= d=20 Archie Rand, and er, um by Garrett Caples and Hu Xin; both books can be=20 purchased through Small Press Distribution. Meritage Press includes an imprint, BABAYLAN SERIES, which specializes in=20 Filipino literature. The word "Babaylan" is a Bisayan word that can be=20 translated to mean Poet-Priestess. Mr. Francia's e-chapbook is offered=20 through the BABAYLAN SERIES, which also will publish in 2004 the=20 groundbreaking PINOYPOETICS, the first international anthology of=20 autobiographical poetics essays by leading English-language Filipino poets.=20= =20 For more information, go to http://www.meritagepress.com. ========================================================================= Date: Thu, 2 Jan 2003 16:22:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: (!) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (!) (a) child pine(s) reflection son (child) (an) orchid(s) (and pure) (and) humble polish rules stop village west (are caused by) (conceal) (connector / alone) (giving birth to) (in the) end summer (is) brief long normal trouble (justice) (of) appearance (ceremony) evil sorrow, sadness study (on silk) (one is) thinking (one's) back fame (quantity) measure-word (the place) (the) Luo (river) chant depths (abyss) external (foreign) husband mother river rolls wife (vegetation) (with) quiet, peaceful (your) heart (mind) 4-stringed instrument Wei a desolate wasteland myriad (10,000) still above accept according to (seize) adore agreeing all ancient laws and bow change far injures low valley wonderful apple are valuable vast as well ascend (to) ascend, galloping, at court attain attainment bamboo pitches barbarians beautiful beautiful, beauty becomes one tenth becoming beginning beginnings below benevolence bequeath bind black blessings (fortune) branches by means of called capitals carefully chants (calls upon) characters chastity circling city clear (transparent) clouds cold colt comes compared compassion console contain (form) covering covers create cries cut deception deliberate destroys determination devotion dew diction (classical rhetoric) directions (square) disaster (catastrophe) divide doubting dragon dwell earth east elder brother emanates out emulated (compete with) enter internal) evades expel face (meet, confront) faith father's older sister younger feathers filial piety fishscales fit five flattering floating flourish flows follow follows (rules) forms four fragrance fresh friends from Kun mountain frost furiously named gate gate-tower genius ginger give gives go goes gold good government grass weeds grazes great greatly guard happiness harmonious harmony has heaven hidden in hold honesty honorable humanity if imitate addition autumn disintegration leisure winter increase instructions integrity intention intercalary timing is built precious issues it's dusk jade join kind know learn (review lessons) life lightly like line up lines linking (joining) loss money love make makes (creates) making many measurement years men mind minister model moves music (play music) mustard nature near neglect never not (un) nothing obey ability children darkness desire each other foundation fruit shape the guest official (service) open order outstanding particularly pass on passion pear please pleasing plum poetry precepts predicted proclaim proper (upright) properly prosper prospers prostrate prudent public query question or problem rain raise ration reality rectification reliance respect restraint, conquering returning rites robes < clothing salted say sending separation serves (accepts) setbacks sheep (sheep) shift position should sincerity, fidelity skirts sky small (lamb) speak stands steer stopping (ceaselessly) strictly (accurately) strike down suffer summit survive take (create) talk tang teaching (business) affairs accumulation army boundary capital cause certainty ch'in constellations cosmos country deep double-edged dagger emperor empty fire guilty harvesting heat hiding, concealing hosts huge idea ink leaders leftover residue light moon fills name origin pearl people person phoenix praise rearing rivers royal sage sea sections sun throne tool (utensil) treasure truth way weary white wicked wild then there this tied lined-up trade trust trying case two uniforms, wearing unyielding vegetables view, scenery virtuous warm water what passes wisdom with full women work writing yao yield yourself negative (un- ) so lu (to Mong (mountain) father (parallels) self (self-reliance) (just so) be) (just 7 from 9 to morning the think very much \ same as) depends (is sets the yellow yellow :: :: black, black, rank (of office) power others) power Jing (Sheu river) chamber hall (public room) supreme ruler 1/3 meter (scale, ruler) test scalding yin (shadow, yin moon, (shadow, sexual moon, organs, sexual feminine, organs, secret) feminine, tread (put shoes) 1/30 (measurement, small) (as) (ch'i, spirit) printed (sadness is stains printed dawn (early morning) (early bi-jade (circular disk hole) (circular measure a word, measure they word, spread they be covered (protect your be faith) covered === ========================================================================= Date: Thu, 2 Jan 2003 16:30:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: can we have our ball back? 15.0 Mime-Version: 1.0 Content-Type: text/plain; format=flowed canwehaveourballback.com _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 2 Jan 2003 17:03:03 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura Elrick Subject: Readings in NY this weekend MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SEGUE READING SERIES AT THE BOWERY POETRY CLUB January 4: Daniel Bouchard & Kaia Sand Daniel Bouchard lives in Cambridge, Mass. where he edits The Poker. His first book of poems, DIMINUTIVE REVOLUTIONS, was published by Subpress. A new (second) manuscript is looking for a home. Recent poems have appeared in Bivouac, Torch, and The Capilano Review. He is at work on a collaboration with Kevin Davies titled THE BIG DIG. www.theeastvillage.com/vb.htm www.arras.net/impercipient.htm jacketmagazine.com/11/whalen-bouchard.html Kaia Sand co-edits the Tanget, a zine of politics and the arts. Her poetry appears in Gargoyle, Phoebe, West 47 (Galway, Ireland), Washington Review, Ixnay, and the 100 Days anthology. She has worked as a journalist for the Burnside Cadillac, a street newspaper that dealt with news as it relates to homelessness. 308 BOWERY, JUST NORTH OF HOUSTON SATURDAYS FROM 4 - 6 PM $4 admission goes to support the readers 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. AND JULES BOYCOFF & JOANNA FUHRMAN Sun Jan 5 at the Zinc, 7pm 90 west houston just west of laguardia place, down the stairs ========================================================================= Date: Thu, 2 Jan 2003 16:12:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Interesting books of 2002? In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT A few books that I loved this year that I haven't seen mentioned yet: _Given_. Arielle Greenberg _Method_. Mark Salerno _Chinese Whispers_. John Ashbery _World: Poems 1991-2001_. Maxine Chernoff (well it came out in 2001 . . . but not until the end so I missed it until just recently) _Fabulae_. Joy Katz _The Charm_. Kathy Fagan _Winter (Mirror)_. Paul Hoover There are others of course, this is just off the top of my head . . . __John Gallaher ========================================================================= Date: Fri, 3 Jan 2003 12:05:46 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Interesting books of 2002? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That problem doesnt happen at the Auck University Library so much except for certain New Zealand materials and some mags. but most stuff is there and there is a lot of Am Poetry as well as journals [never enough of course but that's always the case in life!] I think partly thanks to the staff in the English Dept. There are parallel problems however: it is a problem actually obtaining certain mags - but not usually once they are in the library or shop - maybe the range of journals is is not as wide as it might be but that's always the case. The other problem is the cost of enrolling (or even joining the library as a graduate)....and that is a political issue as NZ has moved to a kind of "every man and woman for himself" system under Rogernomics and oter right wing politics and related since 1985. There are a lot of well to do students and fewer "working class" students and thousands of students from Asia who are studying Sciences, Computers, and Commerce....however still enough are in the Humanities - but these are always under threat because of right wing or "pragmatic" policies.... To MWP I feel also that you should raise this issue with the ":powers that be" ..go to the chief librarian - insist on seeing him/her and putting your case (documents also with you if necessary) as what is a happenning to you is intolerable - it may not be so bueracratically insane at other Uni's in the States ...I'm assuming you are in the States or Canada and I suppsoe there could be a big range of experiences/rules depending where you are.... You might find they will change things as they are adhering to some stupid rules that nobody is aware of are stupid - dont discuss it with any one except those who can change anything though as the others are gnerally totally uninterested and are "just following orders"...which attitude is fair enough to a point if you consider the way such places are organised ...but the person's in charge who CAN change things may well do something. I used to read at the Auck Uni library and read the many many letters to the Chief librarian and some were humorously responded to, some were rebutted or turned back on the "complainer", but a lot were acted upon: it was fascinating to read the letters...some were very funny....there's an idea for a poem/story: "Letters to the Chief Librarian" ! Cheers, Richard ----- Original Message ----- From: "MWP" To: Sent: Thursday, January 02, 2003 6:56 PM Subject: Re: Interesting books of 2002? > Following up on RT's point. .. > > Another big problem I have noticed - I don't know if this is lately or not - > is that the poetry journals that have the hottest stuff in them are being > shelved in my local university (UC Berkeley) at a location where it is HARD > AS HELL to get at them. First you have to sign an application form to get > into the room where they are housed, then you must fill out a request form > to see a specific issue, then usually you must wait a full day if the item > is in storage (which it usually is), then you fill out ANOTHER form if you > want to photocopy a few pages (at premium prices), then you wait another > full day for the photocopy work to get done (which in one case with me was > not done because the request was inadvertently mislaid, entailing another 3 > days of waiting!), etc. By the time you receive what you want, you are so > disgusted by the process that you almost don't even want to read it anymore! > > Why aren't new poetry journals being made accessible so that young students > can read and be inspired by them, instead of being locked away like precious > jewels? Can somebody in academia answer me this? At the very least, the > university should provide a cheap photocopy on the open stacks for the > general reader. Eh, it makes me sick! > > And this doesn't simply pertain merely to old stuff from the 20s either. > This applies to journals from the 80s and 90s, like Poetics, o-blek, etc. > Stuff that really ain't all that rare. I see it at library sales and in > bargain bins all the time. > > > -m > ========================================================================= Date: Thu, 2 Jan 2003 18:19:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Machlin Subject: New in 2002 (journals and books) Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Well, here's a few great ones in 2002 that I didn't see mentioned thus far: Ecopoetics Journal, Editor: Jonathan Skinner, one of the most intriguing new ideas to hit the contemporary poetics ecosystem in years. New Directions 20 Special Feature: OBERIU: Russian Absurdism of the 1930s (edited by Eugene Ostashevsky, translations by Eugene Ostashevsky and Matve= i Yankelevich) =AD Aleksandr Vvedensky, Nikolai Zabolotsky, Daniil Kharms. Jen Hofer, Slide Rule, Subpress Collective. "We've resurrected the small words./It's a small boat, it's gone." Interlope # 8, on Filipino/a American writers, guest edited by Eileen Tabios. This hand-made fun-spirited high-impact journal of innovative asia= n american poetics continues to be a must read for all those serious about discovering what's really going on. Editor Summi Kaipa. Some Mantic Daemons by Garrett Kalleberg published by Futurepoem books. What can I say, as an editor of futurepoem I think it's truly a fantastic book. =20 ========================================================================= Date: Fri, 3 Jan 2003 12:24:22 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Raymond Roussell "Locus Solus" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If any one wants an inscribed - by R Roussell - first edition of the = above book I can get it for about US$6000.00 !!!! ... drn ....which = points to the problem that collectors create and the all powerful Supply = and Demand..... drn again...but not drn if someone has that kind of = money ! (drrrn) .....(some people do (?) [hopes])...drn drn drn... but = I'm looking constantly for a cheap copy... Richard. =20 ========================================================================= Date: Thu, 2 Jan 2003 21:54:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derek beaulieu Subject: walter lew contact info? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable hi; if anyone out there has contact information (e-mail) for walter lew, can = you please email me, as i i am trying to contact him concerning a = conference. thanks derek derek beaulieu 1339 19th ave nw calgary alberta canada t2m1a5 derek@housepress.ca www.housepress.ca 403-234-0336 (p) 403-282-2229 (f) ========================================================================= Date: Fri, 3 Jan 2003 01:07:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: (!) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sort -3 char > zz; ./a/elimx.pl < zz > yy elimx.pl = #!/usr/local/bin/perl5 while () { @words = split /[\s]+/, $_; @spaces = split /[\S]+/, $_; for ($x=0; $x <= $#words; $x++) { $word_count{$words[$x]}++; if ($word_count{$words[$x]} == 1) {print $words[$x],$spaces[$x+1],$words[$x-8],"\n"} } } (thanks in part to Florian Cramer) yy is the file taken from our (Ellen Zweig and myself) translation of the 1000 char. essay. I rather like the spacing in which the holes are bridges - just as shamanism/buddhism seep through the original - but then I have great tolerance for boring - Alan ========================================================================= Date: Fri, 3 Jan 2003 02:49:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Milk Of Venus--19 Comments: To: wryting Comments: cc: rhizome MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 19 The legend of Spider-girl cuts a wide swathe across both urban and tribal mythologies. In fact, hers is the only such story I know of; one that has both survived and thrived in the shopping mall as well as the sweatlodge. Pop culture embraced Spider-girl as well, but, uncomfortable at the time with the idea of a powerful female, she was given a gender makeover, and the more sinister aspects of her story (she was, after all, modeled on a carnivorous arachnid) were jettisoned in favor of a "good-samaritan-with-radioactive-powers" motif. The truth is, Spider-girl the universal archetype stands as a more complex figure than American comic books would have us believe. To the Jivaro and the Navajo, she was both destructive seductress and bountiful fertility; she roamed the outskirts of villages, ensnaring unfaithful men and drinking their souls, while also protecting the community's harvest against pestilence. To the Crow and the Sioux, she was both the famine that accompanied surges in population and a sign of good fortune in times of war; a warrior visited by Spider-girl the night before battle was assured victory, being able to fight as if he had eight arms and eight eyes. One of the urban legends regarding Spider-girl unfolds as follows: At a club in the heated down-town of any metropolitan city on any given weekend night, a young man notices a stunning young woman lingering alone along the walls. The lipstick this stunning young woman wears is a panic red, a red that hangs sullen and electric in the air behind her as she walks. He approaches and offers to buy her a drink. The tone of her lipstick squeezes something secret and tropical from his conciousness. After persuading her to come home with him at the end of the night, the potential lovers leave the club and head for the young man's apartment. He drives with the top down, the city a charcoal smudge glittering and tunneling around them. She sits quietly in his peripheral vision (the quiet ones have always turned him on), and at times he would swear he sees threads of smoke billow from her, twisting behind the car and disappearing into the rush of the city behind them. When they arrive at the young man's apartment, things become hazy and confused. The woman moves quickly, too quickly for the young man, and it seems to him that everything in the apartment is shifting. Soon the young man loses conciousness, and falls into a restless sleep. The next morning, quite late, he opens his eyes. At first his bedroom seems buried in swathes of translucent smoke; he can see the angles of the dresser in front of him, but they've softened, faded: the whole apartment has been submerged in what seems to be an Impressionist painting. Upon closer inspection (and some waning of the dry blue hangover wracking his cells), the young man comes to the realization that not only is his lovely partner of the night before missing, but it would also seem that his apartment has been coated in what looks suspiciously like the orphan threads of cotton balls. His furniture fairly glistens under a film of soft fluff; his prize collection of CDs sticks together, tied up in cloud-stuff. And if that weren't enough, cutting through the near-erasure, an incredibly, nauseously lurid lipstick spells cryptic phrases on his steamed-up bathroom mirror: "3-3-3-3-3-3" and, below it, "STOP ON RED". Not long after this our young man stops at a gas station on his way to yet another club. The mystery of the young woman who left his apartment a cloudy shambles has subsided; all that remains of it is a drive to find more young women, bring them back home, wake up with them: the ritual in its proper form. In the gas station, paying for his fuel, the young man buys three candy bars, three packs of cigarettes and three packages of condoms; just before he concludes his transaction, he pauses, decides to test his luck; with an odd dollar he plays the lottery,rattling off a number he barely thinks of. The clerk is sullen, and greasy. He has no luck at the club. None of the girls swimming in lasers and strobes and smoke-machine mystery tug him anywhere above his belt. They pull weakly; they smell too sweet. He's back in his car by a quarter to eleven. The DJ sounds far too frenetic for our young man's morose mood, but he listens anyway, hoping the jolt of an electrified voice will shock his doldrums away. There's almost no traffic; with the windows down, he believes he can hear both the DJ and the sound of the car echoing against the biildings. The DJ reads the lottery numbers, and for a minute it doesn't register. He approaches the intersection. "Holy SHIT!" He can't think to punch the brake. Squeal. Thud. Crack. 2002/12/18 10:54:09--2003/01/02 07:44:56 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 3 Jan 2003 02:51:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The description of the proof is the proof itself Comments: cc: wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii two but I've got to make a point. I know about Joe Strummer, and I know two but I've got to make a leap. I know about the Ramones, and I know Music to hear, why hear'st thou music sadly? By unions married, do offend thine ear, year, I listen for the manifest. it is trumpet, or screw up, who cares now? Or else receiv'st with pleasure thine annoy? have found what you looked for. The description of the proof is the proof itself, whereas to find the thing at the edition and have found what you looked for. The description of the proof is the proof itself, whereas to find the thing at the Music to hear, why hear'st thou music sadly? I listen for the manifold. it is parabola, or screw up, who cares now? Music to hear, why hear'st thou music sadly? What is it to look for a hidden contradiction, or for the proof that there is no contradiction? "To look for" has two different years, I listen for the manifest. it is parabola, or screw up, who cares now? what you looked for. The description of the proof is the proof itself, whereas to find the thing at the Music to hear, why hear'st thou music sadly? for years, I listen for the manifold. it is trumpet, or screw up, who cares now? a hand what a solution will be like in mathematics except in the cases where there is a known method Equations, for pleasure thine annoy? Equations, for edition and have found what you looked for. The description of the proof is the proof itself, whereas to find the thing at the North Pole it is not enough to describe it. You must make the expedition. There is no meaning to saying you can describe years, I listen for the manifest. it is parabola, or screw up, who cares now? I listen for the manifold. it is trumpet, or screw up, who cares now for Music to hear, why hear'st thou music sadly? impossible to describe beforehand what is looked for, whereas in mathematics when you describe the solution you have made the pleasure thine annoy? possible to describe beforehand what is looked for, whereas in mathematics when you describe the solution you have made Music to hear, why hear'st thou music sadly? By unions married, do offend thine eyes, meanings in the phrases "to look for something at the North Pole", "to look for a solution to a problem". One difference ! North Pole it is not enough to describe it. You must make the expedition. There is no meaning to saying you can describe the manifest. it is parabola, or screw up, who cares now? By unions married, do offend thine ear, possible to describe beforehand what is looked for, whereas in mathematics when you describe the solution you have made the point. I know about Joe Strummer, and I know 2003/01/02 08:05:19 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 3 Jan 2003 10:38:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 16.396 report on COCH/COSH May 2002 (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Fri, 3 Jan 2003 08:52:53 +0000 From: "Humanist Discussion Group (by way of Willard McCarty )" To: humanist@Princeton.EDU Subject: 16.396 report on COCH/COSH May 2002 Humanist Discussion Group, Vol. 16, No. 396. Centre for Computing in the Humanities, King's College London www.kcl.ac.uk/humanities/cch/humanist/ Submit to: humanist@princeton.edu Date: Fri, 03 Jan 2003 08:46:29 +0000 From: lachance@chass.utoronto.ca (Francois Lachance) Subject: Ramble on the Random Slide Willard Months drift by. Years come to an end. The bounty of demonstrations, resources and ideas exchanged at the annual meeting of the COCH/COSH meeting at the end of May 2002 may perhaps excuse my providing a late sampling of the rich offerings examined at that spring gathering. http://web.mala.bc.ca/siemensr/C-C/2002/Program.htm It is a selective sampling from four days of presentations devoted to Humanities Computing and Emerging Mind Technologies. I'm never quite sure how to parse that last bit: whether it is the technologies that are emerging or the mind or both (in some proposed sequence). Parsing is one way of threading two related groups of sessions: the one clustered around the model of games and the other around the boundaries of perceivable structure (that's my translation of some of the concerns raised in the information aesthetics stream. Marshall Soules through Computer Gaming and Protocols of Improvisation offered a very suggestive presentation on "the voluntary discipline required of improvised performance" Andrew Mactavish, the organiser of the theorizing computer games sessions, nicely paired Soules's concerns with performance as a procedural method with a paper presented by Patrick Finn, Half-Life, Full Theory: Formalizing Video Criticism, where the audience was quick to replay a familiar boundary question (user/coder) along the lines of player/maker. The discussion raised interesting epistemological questions: just how far do researchers need to position themselves as participant-observers in and around the discursive communities they investigate? what authority does the non-expert have to formulate hypotheses and interpretations about the behaviours of expert or specialist groupings? The ideological dimensions of games were an overt theme of the other session devoted to social and cultural frameworks of theorizing computer games. James Campbell problematized any easy answers in the examples he presented in examining Computer Games as Complicitous Critique of Global Capitalism. Gendered-perspectives offered by Carolyn Guertin and Aimee Morrison with respectively From Complicity to Interactivity: Theories of Feminist Game Play and Nerds Heroic and Social: Cinematic Video-gaming and the Domestication of Computing led a consideration by those in attendance of a distinction reminiscent of the literary criticism of Northrop Frye (inspired perhaps by coincidence/remembrance that this part of the COSH-COCH proceedings being held on the premises of Victoria College where Frye taught). I cannot help but thinking that the matrix vs maze distinction that emerged needs to be mapped onto the procedural/declarative types of languages. The maze was identified as the spatial pattern that suited the directed quest. The matrix holds out other possibilities of movement and brings the notion of game closer to Soules's considerations of improvization. Theorizing games can become rather giddying much like the engagement with actual play -- just as pleasurable and cognitive challenging as the aesthetics of codework which exposes the "generative material substrate" of cultural-textual productions in their digital incarnations. Something like a return of materialist-structuralist film making. The presentations of Talan Memmott and Alan Sondheim (especially Sondheim's) demonstrated the limits of de-cuing expectations. The currently accessible technology allows for greater ease of shuffling images than sounds. Simply closing one's eyes during an information overload session that is screen-centred helps pace the cognitive apparatus. So does mediation. By happy circumstance Maria Damon one of the organizers of the session read Rita Raley's paper, The Object as Code. It was an interesting exercise in what may be akin to sight-reading a score. A paper read in absentia of the author gives the audience a sense of what carries. Together, these i-provizations, indicate how difficult it is to turn off sense making --- there always seems to be a pattern to frame the noise. I missed the other Information Aesthetics session. And it is too bad that one of the presenters there missed the Sondheim, Memmott, Raley-read-by-Damon pieces. With a title offering an intertextual parody of Hayles's "posthuman" buzz word, How We Became Automatic Poetry Generators, Katherine Parrish, drew me in to discover some deliciously crafty MOOwerk http://www.meadow4.com/moolipo Unfortunately, I missed the panel & discussion. Any subscribers in attendance care to report, rift or improvise? Parrish entices exploration. I think she is wrong in invoking: In How We Became Posthuman, N. Katherine Hayles asserts that pattern and randomness are bound together in "a complex dialectic that makes them not so much opposites as complements or supplements to one another" (Hayles 25). The relationship between authorial control and its relinquishment as it is realized in textual production involving random procedures is characterized by a similar supplementarity. Operating in this splice, these procedures point to an emergent posthuman subjective agency. Post human? I wonder if any distinctions was made during the discussion period to indicated the possibility that the procedures are not random, the selection of the next procedure might be. Loop back to Aimee Morrison who inspired me to go off and read Charles Bernstein's essay, Play It Again, Pac-Man (collected in A Poetics), In the subsection entitle "The Computer Unconscious" Bernstein invites readers to contemplate the statement that "[t]he experiential basis of the computer-as-medium is _prediction and control_ of a limited set of variables. The fascination with all computer technology [...] is figuring out all the permutations of a limited set of variables." And so circling round the interplay between games and digital performances/deconstructions, one can generate the sequence: improvizaton --- i-provization --- hyperprovization In Bernstein's discursive context, the military-industrial complex origins of computer the aim is prediction and control. (This seems to hunt Hayles). However the two activities may need to be separated out. The aesthetic pleasure of figuring out the permutations may just complexify notions of control. From there it is just a friendly disciplinary boundary hop to cognitive psychology and the concerns of embodied knowing and digital representations (a topos of many a post to Humanist). Carolyn Guertin and Andrew Mactavish organizers of some very stimulating sessions are to be thanked for some fine planning -- providing for some hyper-improvisations worthy humanist scrutiny and ecoute. -- Francois Lachance, Scholar-at-large, knows no "no exit" in a hypertext every cul-de-sac is an invitation to turn http://www.chass.utoronto.ca/~lachance/miles/five.htm ========================================================================= Date: Fri, 3 Jan 2003 11:42:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: parrishka Subject: Re: 16.396 report on COCH/COSH May 2002 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit thanks for passing this along, alan- i'm surprised lachance or mcCarty didn't post this to the coch/cosh list (or mebbe the did and i got bumped cause i'm behind in my membership dues!). funny how words get around these days. it was indeed a rich conference, and i'm sorry i didn't get to take in more of it.. although i _was_ at the afternoon panel- as were all of the presenters from the morning session ( so i'm not sure what that reference is about)- it was hard enough to make it to our own session, given the massive hangovers we were sporting from the night before from one of the "special edition" lexiconjury's. actually, quite a number of poetry types attended that early morning session, which was really as we thought we'd be presenting to each other- which would have been alright as well. anyhow, the paper i presented is available here, http://www.meadow4.com/papers/IinError.html under a different title.. and a modified version has found a publication home, but feedback is welcome, as i think there is still time to tweak. i'll probably drop lachance a note myself as i'm not clear on the distinction he wishes to make... heck, we could even go for coffee being all in each other's backyard's and everything. katherine On 1/3/03 10:38 AM, "Alan Sondheim" wrote: > ---------- Forwarded message ---------- > Date: Fri, 3 Jan 2003 08:52:53 +0000 > From: "Humanist Discussion Group (by way of Willard McCarty > )" > To: humanist@Princeton.EDU > Subject: 16.396 report on COCH/COSH May 2002 > > Humanist Discussion Group, Vol. 16, No. 396. > Centre for Computing in the Humanities, King's College London > www.kcl.ac.uk/humanities/cch/humanist/ > Submit to: humanist@princeton.edu > > > > Date: Fri, 03 Jan 2003 08:46:29 +0000 > From: lachance@chass.utoronto.ca (Francois Lachance) > Subject: Ramble on the Random Slide > > Willard > > > Months drift by. Years come to an end. > > The bounty of demonstrations, resources and ideas exchanged at the annual > meeting of the COCH/COSH meeting at the end of May 2002 may perhaps excuse > my providing a late sampling of the rich offerings examined at that spring > gathering. > > http://web.mala.bc.ca/siemensr/C-C/2002/Program.htm > > > It is a selective sampling from four days of presentations devoted to > Humanities Computing and Emerging Mind Technologies. I'm never quite sure > how to parse that last bit: whether it is the technologies that are > emerging or the mind or both (in some proposed sequence). Parsing is one > way of threading two related groups of sessions: the one clustered around > the model of games and the other around the boundaries of perceivable > structure (that's my translation of some of the concerns raised in the > information aesthetics stream. > > Marshall Soules through Computer Gaming and Protocols of Improvisation > offered a very suggestive presentation on "the voluntary discipline > required of improvised performance" Andrew Mactavish, the organiser of the > theorizing computer games sessions, nicely paired Soules's concerns with > performance as a procedural method with a paper presented by Patrick Finn, > Half-Life, Full Theory: Formalizing Video Criticism, where the audience > was quick to replay a familiar boundary question (user/coder) along the > lines of player/maker. The discussion raised interesting epistemological > questions: just how far do researchers need to position themselves as > participant-observers in and around the discursive communities they > investigate? what authority does the non-expert have to formulate > hypotheses and interpretations about the behaviours of expert or > specialist groupings? > > The ideological dimensions of games were an overt theme of the other > session devoted to social and cultural frameworks of theorizing computer > games. James Campbell problematized any easy answers in the examples he > presented in examining Computer Games as Complicitous Critique of Global > Capitalism. Gendered-perspectives offered by Carolyn Guertin and Aimee > Morrison with respectively From Complicity to Interactivity: Theories of > Feminist Game Play and Nerds Heroic and Social: Cinematic Video-gaming and > the Domestication of Computing led a consideration by those in attendance > of a distinction reminiscent of the literary criticism of Northrop Frye > (inspired perhaps by coincidence/remembrance that this part of the > COSH-COCH proceedings being held on the premises of Victoria College where > Frye taught). I cannot help but thinking that the matrix vs maze > distinction that emerged needs to be mapped onto the > procedural/declarative types of > languages. The maze was identified as the spatial pattern that suited the > directed quest. The matrix holds out other possibilities of movement and > brings the notion of game closer to Soules's considerations of > improvization. > > Theorizing games can become rather giddying much like the engagement with > actual play -- just as pleasurable and cognitive challenging as the > aesthetics of codework which exposes the "generative material substrate" > of cultural-textual productions in their digital incarnations. Something > like a return of materialist-structuralist film making. The presentations > of Talan Memmott and Alan Sondheim (especially Sondheim's) demonstrated > the limits of de-cuing expectations. The currently accessible technology > allows for greater ease of shuffling images than sounds. Simply closing > one's eyes during an information overload session that is screen-centred > helps pace the cognitive apparatus. So does mediation. By happy > circumstance Maria Damon one of the organizers of the session read Rita > Raley's paper, The Object as Code. It was an interesting exercise in what > may be akin to sight-reading a score. A paper read in absentia of the > author gives the audience a sense of what carries. Together, these > i-provizations, indicate how difficult it is to turn off sense making --- > there always seems to be a pattern to frame the noise. > > I missed the other Information Aesthetics session. And it is too bad that > one of the presenters there missed the Sondheim, Memmott, > Raley-read-by-Damon pieces. > > With a title offering an intertextual parody of Hayles's "posthuman" buzz > word, How We Became Automatic Poetry Generators, Katherine Parrish, > drew me in to discover some deliciously crafty MOOwerk > http://www.meadow4.com/moolipo Unfortunately, I missed the panel & > discussion. Any subscribers in attendance care to report, rift or > improvise? > > Parrish entices exploration. I think she is wrong in invoking: > In How We Became Posthuman, N. Katherine Hayles asserts that pattern and > randomness are bound together in "a complex dialectic that makes them not > so much opposites as complements or supplements to one another" (Hayles > 25). > The relationship between authorial control and its > relinquishment as it is realized in textual production involving random > procedures is characterized by a similar supplementarity. Operating in > this splice, these procedures point to an emergent posthuman subjective > agency. > > > Post human? I wonder if any distinctions was made during the discussion > period to indicated the possibility that the procedures are not random, > the selection of the next procedure might be. > > Loop back to Aimee Morrison who inspired me to go off and read Charles > Bernstein's essay, Play It Again, Pac-Man (collected in A Poetics), In the > subsection entitle "The Computer Unconscious" Bernstein invites readers to > contemplate the statement that "[t]he experiential basis of the > computer-as-medium is _prediction and control_ of a limited set of > variables. The fascination with all computer technology [...] is figuring > out all the permutations of a limited set of variables." > > And so circling round the interplay between games and digital > performances/deconstructions, one can generate the sequence: > > improvizaton --- i-provization --- hyperprovization > > In Bernstein's discursive context, the military-industrial complex origins > of computer the aim is prediction and control. (This seems to hunt > Hayles). However the two activities may need to be separated out. The > aesthetic pleasure of figuring out the permutations may just complexify > notions of control. From there it is just a friendly disciplinary boundary > hop to cognitive psychology and the concerns of embodied knowing and > digital representations (a topos of many a post to Humanist). > > Carolyn Guertin and Andrew Mactavish organizers of some very stimulating > sessions are to be thanked for some fine planning -- providing for some > hyper-improvisations worthy humanist scrutiny and ecoute. > > -- Francois Lachance, Scholar-at-large, > knows no "no exit" in a hypertext > every cul-de-sac is an invitation to turn > http://www.chass.utoronto.ca/~lachance/miles/five.htm ========================================================================= Date: Fri, 3 Jan 2003 10:58:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Babylonians Separated By Six Lines Mime-Version: 1.0 Content-Type: text/plain; format=flowed overlook the full surroundings & sink into Scheherazade's satchel bubble up carefully & come forward now each off-hand phrase has at least some warmth intermediate enough, Nebuchadnezzar enough yes! yes! send me any flounce from any scene! the trifles open naturally, now even the sharpest use Observatory telescopes to see 'em, though they still come to us stooped & obsequious, bubbled up to come forward THIRST - my first vicinity was a tolerably warm boot upon a road lately removed, a cynical hold upon the lurking tearfuls N E B U C H A D N E Z Z A R finding prey with his forefinger, just another snake shifting & craning to come forward out from the full surroundings, this perseverance is a centaur hueless beside the remains of fair weather anchor to swim blood-dyed in intonation, blood to vindicate a dog short of hands, some day I'll lay a pair of gloves on her brow until then, the whole story is vigorous as ever _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 3 Jan 2003 12:02:25 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: The Fake Blog (Flog) Continues MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit FWD from Lester... +++++++++++++++++++++++++ On YOUR blog now... http://lesters.blogspot.com Lester's Flogspot: The First Two Weeks(TM) Where you too can be a poet, whatever sort of poet you want to be, even me. Brecht "Work for endurance must / Be built like / A machine full of shortcomings" Lester "Every time I look for myself, / all I find after searching high and low is / a massive fist shoved up my ass. You too? Lester "I love you too" Zbignew Herbert "repeat great words repeat them stubbornly / like those crossing the desert who perished in the sand // and they will reward you with what they have at hand / with the whip of laughter with murder on a garbage heap" Lester "What did you do? Who? You. I mean / you, specifically, not any other you. You. / And me. You too, we. We are the world / simply reduced by a many-faced network of / electrons to ensure our coefficient equals / zero, to stab inward our nothingness, dry / ocean, snapping fish, without questions." Lester (from the streets of Phnom Penh) "[...]My / Shack-Mate My / Divisor of Palate / My Cleft Heart / My Slum Lord My / Toluene Queen / My Phnom Penh / Phenom Pass Me / The Bag[...]" Blaise St. Alsault "You buy what is you / the modern way was all that was for sale [....] This is the cherished American dream, lost in the supermarket with a spoon.]" Lester "I am not a sock/ puppet. I am a large / wallet. I am not a ham / sandwich. I am a hock / bone. I am not a day / trader. I am a dead / legend. I am not a sexual / object. I am a device / of love." Arcadia Flynn "Sure boobs of my size have their merit / They're easy to fit with a bra / And when I go for a dip / You won't see one slip.out / They stay put ... just where they are" Lester "In the end will be the flesh / And the flesh will be made word." Lester "Sell your poetry / to businesses and / promote each other's / poetry Profit / from poetry Sell / your poetry Sell / yourself Sell the wife / Sell the neighbors Sell / the kids Together / we can be / For Sale." And you, yes YOU "[your words here]" Remember, kids, It's not what you write or how you fuck but who you are that matters(TM) So send your coy thoughts, your coital poems, your chiral madness and your chital lies to lester@proximate.org and I'll try to post them to YOUR blog...LESTER'S FLOGSPOT! Flog away. love n lube Lester ========================================================================= Date: Fri, 3 Jan 2003 11:06:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: In the River Ouse Mime-Version: 1.0 Content-Type: text/plain; format=flowed Mount Vernon fig tree placed thereof was Himself to call the Summer for a final assault _____________________________ a nemesis guise of emulation wilderness driven by design, a white breathless destination the first two deeds (read "lines") still possible for bloodless phobia books quite subtle dedicated to overripe summation (read "lines" ______________________________ part, the Paris, and proportions ______________________________ anecdotal richer ground Richard Brown pronounce poem incidental _____________________________ spatchcock Melymbrosia, with your heft & shave, where would you prefer to hang your hat - Herrenchiemsee, or Versailles? ______________________________ Should Tannhauser ever fall into the arms of his mortal love, he would no doubt see, and soon, she is no Venus. Still, in Heaven, are there dice-matches still, and, still, games of chance ______________________________ Dear Nature, Thank you for not killing me today. Best, Abe Lincoln ______________________________ unburied, & such things add to deep bays ______________________________ lamplight the town lowering to light it the mouth long nailed them tight - light to be as quiet long ago _____________________________ the meekness overscaled shrewd estrangement purge that expediency to sweeten a rose from any other British port _____________________________ O my stars, shall the dust prose you? Are etceteras nothing? _____________________________ roses were with pink thrift and morning _____________________________ the air with hands tight with dust _____________________________ a pocket and away - for the name of your upturned face _____________________________ bass-viol, and bass-viol. Folk. _____________________________ verso versipelles, you turncoat mammal. writing and rewriting your dead pelt, penivorous animal! beast who swallows its own tale, figure by which you figure, mustering piece by piece your fugitive assent! _____________________________ dead un- done, and softly as our stop _____________________________ dynamite twice flashing in pantomime, that's the clamor you don't need to choose _____________________________ whom aural tables for these _____________________________ conversation off one measurable dance _____________________________ slink into ponderable hope _____________________________ futile ivory _____________________________ verdigris disobeyed & microscopic _____________________________ away - distinguished from me _____________________________ interrupted coincided had sown _____________________________ white vagaries _____________________________ word now microscopic _____________________________ "Word Now Microscopic, Cease From The Seine" _____________________________ to see an air of how always _____________________________ secrecy ran the whole constricted boar _____________________________ honey or three _____________________________ spied paint- wasted _____________________________ private lives torn down (their scabs a picture) _____________________________ dust grew a focus _____________________________ pitiable as a pane ____________________________ sweet dreams, famished fox ____________________________ back clung to rival visible ____________________________ sleep - for this time a thief bound to his fists ____________________________ a thief's throw readjusted under his sheets ____________________________ picture a pled & recorded tangle ____________________________ growl a white havoc, sailing ship! ____________________________ tea leaves in the days of ventriloquial bruises, so much my way to run the air... ____________________________ the dirt in the dark fused to remittance ____________________________ our eyes hanging in coppery hair, by and by ____________________________ wag as if unaccompanied, their drag a lithe perpetual ____________________________ plop before the anvil: rustiness turned to satisfaction ____________________________ I was spiked with a gnarl and the sun is Your Honor ____________________________ coy the clock her life a spring ____________________________ Reykjavik! Reykjavik! SPORTS JACKET! ____________________________ hare and mare are the entire sea & when the entire sea pleads for his life hare and mare are English speaking ___________________________ a Portuguese capacity has the capacity for being Portuguese, at least ___________________________ modesty, obviously, will end with a curtain ___________________________ the Second Act climbs onto the City Clerk ___________________________ the Theatre ought not to be afraid to show her legs ___________________________ am I to conclude the depths are only for simple things? ___________________________ she married your praises ___________________________ the orchestra making the main square in his hair ___________________________ How Nature Can Close Ranks! Snip! Snap! ___________________________ the atrocious are putting on a show just for you! - even if a million miles away & they don't care to know your name! when you're moral, though, you are only entertaining yourself ___________________________ my suggestion is licensed to do what you're so eager for ___________________________ the weather, my dear friend, is trying to hand us a line ___________________________ the newborn paws in the heat of my violin case ___________________________ how do you want the staircase to be rebuilt? ___________________________ have my people feel like sleeping ___________________________ cooks are less fragile ink bottles ___________________________ we need a horse to make a fire with ___________________________ one's coffin again recurring a sick man has gratuitous unity ___________________________ The Crystal Tower In New York ___________________________ coteries exclude because they have trust issues ___________________________ the awful thing tells me a star is called a mountain ___________________________ repugnant farmhands live in your apartment ___________________________ a mysterious snowing (marvelous?) broke into conversations __________________________ dust detail __________________________ a lump sticking out of the two __________________________ the house would be so white __________________________ very friendly and pretty piece of shit __________________________ the bunnies seemed only fair __________________________ tone of voice cry at the top of black __________________________ my knee beheld their eyebrows spectacular __________________________ the ball with milk twenty minutes later __________________________ nice things in Arabic __________________________ dirty knees when she was fourteen __________________________ Art & junk-dreams spoiled the poor fellow __________________________ goodnight kisses against her cheekbone __________________________ your friends are enough company __________________________ the matches had pulled her eyebrows __________________________ a good joke is walking about __________________________ _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 3 Jan 2003 17:22:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: the Weblog of Samuel Pepys Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii Content-Disposition: inline http://www.pepysdiary.com/ and background: http://news.bbc.co.uk/2/hi/uk_news/2621581.stm I like listservs because I don't have to go to them, they come to me there's an immediacy about them - oh no, I've just made a complete arse of myself and now most of the world knows about it. sort of thing. Weblogs can be, well, "pre-meditated". I've gotten control of my email addiction but this is being replaced, to my horror, by web-surfing. Particularly weblogs, which have the annoying knack of rolling-over content, so I have to look just in case anything new has arisen in the past, oh, 2 seconds or so. Roger ========================================================================= Date: Fri, 3 Jan 2003 12:21:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Machlin Subject: New Pub: UNDER THE SUN by Rachel Levitsky Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Announcing the publication of: UNDER THE SUN new poems by Rachel Levitsky Futurepoem books Paperback Poetry 0-9716800-1-9 96 Pages, 6 X 8 $12.00 U.S. Official Pub Date: March 30, 2003 Now available at SPD Books http://www.spdbooks.org 1.800.869.7553 510.524.1668 (in Bay area) "I am struck by the intellectual verve - its complex sense of the architecture of the poem as it responds to diverse literary traditions. Thi= s long poem creates rooms of and room for playfulness, humour, political anger, and aesthetic pleasures. It isn't static; it moves; it reads itself and interrogates. =8BCarla Harryman "Rachel Levitsky brilliantly designs mysterious flying objects of language and of desire, as she succeeds in giving each word an intriguing span of life. Her poems are theater, teaser, solution, entretien de tension which keep meaning and its boundaries open for intimate manuvres of reading." =8BNicole Brossard "Under the Sun operates on the small stages of intimate conflict and longing, but casts light outside the ring: we see the shadows of the crowd, we smell the dirty water that slaps against the piers. It's a formulation and un-doing of the personal. Intimacy excavated yields characters, ironic and adrift, who quiver in the jackets of their names. We know them by contact, or contract, an occupation of looks and resistance. The poem enact= s the force of situated desire. Under the Sun is brilliant wit wrenching poetics: a word stream taking its shirt off." =8BCamille Roy=20 Rachel Levitsky is the author of four previous chapbooks of poetry, Cartographies of Error (Leroy Chapbooks), 2[1x1] Portraits (Baksun), Dearly (A + Bend Press) and The Adventures of Yaya and Grace (Potes and Poets). This is her first full-length collection of poetry. Her work has appeared in numerous magazines. She lives and works in New York where she curates th= e influential Belladonna reading and chapbooks series at Bluestockings Womens Bookstore.=20 Futurepoem is supported by the kindness of strangers (a.k.a. your book purchases and individual donations). For more information on Futurepoem books go to http://www.futurepoem.com. For review copy requests, please email Info@futurepoem.com ========================================================================= Date: Fri, 3 Jan 2003 12:38:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: in the middle of the world MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ^ in the middle of the world v ========================================================================= Date: Fri, 3 Jan 2003 13:26:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed No New York ought to be held down and made your baby anniversary fists its way up with thorns tour devoured assignments, come inside queens and fleas neither drifter's been charged or is to be dreamt of again ought to be made to serve or tease jolted at disjoint, invasion to venus, we're tetanus, especially when snow gets bloody connect crossbones with wires, dedicate songs to busted skulls reachable by E, snuffed again with static a family of swans _________________________________________________________________ Help STOP SPAM: Try the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 3 Jan 2003 13:30:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Product kick against restraints and patina rust waiting on the food chain to trickle down write thank you notes for orgasms that weren't yours. dodge diving satellite as it reenters life. it's all abt you not Peking duck or moths cupped gently in hands. maybe a splinter would remind, toke of neon and hold it, exclaim across vast stretches of void that we celebrate and be to protect, avenge the few senile rivers are being dredged for bile yes, zombies bop in Starbucks w/ burnt tongues _________________________________________________________________ Help STOP SPAM: Try the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 3 Jan 2003 10:36:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: New Pub: UNDER THE SUN by Rachel Levitsky In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT UNDER THE SUN is a gorgeous book. For a review of Rachel's online chapbook, please see: http://www.poetserv.com/relativelinks/reviews1/daly.html Be well, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Fri, 3 Jan 2003 10:50:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: why i love doggerel Comments: To: edcohen@rci.rutgers.edu, oconn001@umn.edu, jani@umn.edu, lcucullu@umn.edu, ismai004@umn.edu, raley@english.ucsb.edu, susanlannen@aol.com, mbosch@capecod.net, celia@cape.net, funkhouser@tesla.njit.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The Night Before Christmas 2002 'Twas the night before Christmas, when all through the land, not a critic was stirring, for stirring was banned. A thousand brown prisoners, snug in their cells, all held without charges or tinsel or bells; and mamma was wrapped in the national flag, while we sang ".Where there's never a boast or a brag." When out on the lawn there arose such a clatter, I sprang from my bed to see what was the matter. Away to the TV I flew like a flash; I then watched "Survivor" and reruns of "Mash." The fireworks, exploding above the new snow, gave a luster of objects to people below. When what saw my wondering eyes in the flashes: a miniature George Bush and eight tiny fascists! Their jerseys were blue and said "WORLD DOMINATION"; I knew right away this was not just claymation. More rapid than eagles the warlords they came, as the little Bush whistled and called them by name: "Now, Daschle! now, Ashcroft! Now Strom, don't relent! On, Poindexter, Rumsfeld! on Henry and Trent To the top of the globe, while the crowd's at the mall, now bomb away, bomb away, bomb away all!" His sack had a war game for each girl and boy; his pocket, four billion from just Illinois. Far up on his high seat the driver did mount, with more massive weapons than Kofi could count. And then, I heard sounds from away off somewhere, the booming of bombs that were bursting in air. As I drew in my head, and was turning around, own the chimney old Dick Cheney came with a bound. He said not a word, nor disclosed his location; he wiretapped my house in the name of the nation. Then holding the strings of his little Bush puppet, he went to the chimney and quickly rose up it. The sleigh was still running, but Dick didn't hurry; gas guzzlers, it seemed, were no longer a worry. He popped the champagne and exclaimed as he served it, "The world is now ours, and GOD DAMN, we deserve it!" Nora F. Crow Department of English Smith College -- ========================================================================= Date: Fri, 3 Jan 2003 12:06:13 -0800 Reply-To: antrobin@clipper.net Sender: UB Poetics discussion group From: Anthony Robinson Subject: Carolyn Kizer In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Does anyone have email or snail mail info. for Carolyn Kizer? Please backchannel. Thanks, Tony __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 3 Jan 2003 14:16:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: me in Seventeen MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Dear family, (I know you all so well, I hope you won't mind me calling you family--) I'm happy to announce that there is a picture of me, stumbling out of the Nuyorican, on page 99 of the current Seventeen (Feb '03). And the girl in the Windsor top, Aldo boots, and Necessary Objects skirt, clutching my left arm--- I *think* it's Arielle Greenberg. Frankly I was too drunk to pay her much attention that night. I do remember that I had washed my hair with Herbal Essences Fruit Fusions shampoo. Happy new year! Aaron ========================================================================= Date: Fri, 3 Jan 2003 15:12:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: Interesting books of 2002? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Maybe I'm reading the question too literally and personally, but to me, the most interesting books of 2002 involved film in non-US cultures, cuz I'm particularly interested in film in non-US cultures. Plus, most of the books I really loved in 2002 are actually 2003 titles. Anyway, here are my personal "most interesting": _Treadwinds_, Walter K. Lew: which includes a wonderful piece, "The Pyonsa's Complaint." A pyonsa is a "movieteller"--e.g., someone who provided live narration and sound effects for silent films in Korea. I won't write about it here cuz I'm probably gonna blog about the whole book later. _Cinema of Interruptions: Action Genres in Contemporary Indian Cinema_, by Lalitha Gopalan and _Bollywood Cinema: Temples of Desire_, by Vijay Mishra Both of the above books are a bit tough going in places, especially the latter one--not only are they fairly academic, but assume you've been immersed in Indian film culture for a long time, which is not true in my case. But, even still, they've both been great companions to all of the Bollywood movies on tape & at the Eagle that Nada & I've been watching recently. I'll probably blog about these as well, so will shut up now. _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 3 Jan 2003 15:41:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Susan Howe books, and Niedecker --and another interesting book from 2002 (Simon Cutts) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Coracle Press is run by Simon Cutts and his wife, the American artist, Erica VanHorn. Simon Cutts's poetry is rather marvelous, in fact, one book i failed to mention in my list of favorite books of 2002 was his new book THE SMELL OF PRINTING, Selected Poems 1988-1998. it's a GREAT book put out by Granary Books. although, now that i think about it, it didn't come out in 2002, but 2001. another of my favorite Simon Cutts books is "See Pages" and then the beautiful Jargon book PIANOSTOOL FOOTNOTES. Cutts is one of those overlooked geniuses of our time. i wanted to mention his books, since mention of his press Coracle was coming up. you won't regret the small effort of finding his books. in fact, if you want, interlibrary loan can find just about every Simon Cutts book ever printed. Cutts had some very interesting poems based on old refrigerator repair manuals from the 1950's, these were published in an anthology of British and American avant guard poetry called MAD COW. Conrad In a message dated 1/1/2003 11:59:08 PM Eastern Standard Time, quarterm@INTERCHANGE.UBC.CA writes: > > > I've had quite a few queries backchannel re the Susan Howe titles, so > I'm posting the info to the list. > > The two books I mentioned are quite pricy. > They're quite pricy -- Bedhangings 2 as I recall was ten or maybe > fifteen pounds; Kidnapped (300 copies hardbound, numbered and signed) is > 35 pounds -- British money, that is, plus postage. I don't know what the > exchanage rate is on the U.S. $ -- around $1.50 I'd guess. Irish punts > might be more, less, or the same. > > Coracle Press: Coracle, Ballybeg, Grange, Clonmel, Tipperary, Ireland. I > don 't know the e-mail, or even if there is one. > > I bought my copies from Alan Halsey, West House Books, 40 Crescent Road, > Nether Edge, Sheffield S7 1HN, England -- e-mail > alan@nethedge.demon.co.uk > He may have a few coies left, but I don't know. > They might also be available from Peter Riley Books, 27 Sturton Street, > Cambridge, CB1 2QG, England, e-mail Priley@dircon.co.uk > > Niedeecker's New Goose, edited by Jenny Penberthy, prints all 86 of the > New Goose poems from the manuscript -- full editorial apparatus is to be > fouind in Penberthy's edition of Niedecker's Collected Works (California > UP). Cost U.S.$10.00. Published by Listening Chamber,1605 Berkeley Way, > Berkeley, CA 94703. No doubt also available from SPD. > > ======== > > The other good book that I want to mention from 2002 is actually a > shameless plug, since I am married to one of the writers and therefore > not exactly unprejudiced so far as its considerable and skilful charms > are concerned: Wanders, by Robin Blaser and Meredith Quartermain. > Available from the publisher, Nomados, P.O. Box 4031, 349 West Georgia > Street, Vancouver B.C., Canada V6B 3Z4 for U.S.$10.00 plus U.S.$2.50 > postage. > > ======== > > And (perhaps foolishly assuming one might be possible) a > very good new > year to one and all... > > ======================= > Of is the word love without the l > in is the word skin without the sk > in is the word sin without the s > > Robin Blaser > ======================== > Peter Quartermain > 846 Keefer Street > Vancouver BC V6A 1Y7 > phone 604 255 8274 > fax 604 255 8204 > quarterm@interchange.ubc.ca > ================== ========================================================================= Date: Sat, 4 Jan 2003 09:55:22 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: 16.396 report on COCH/COSH May 2002 (fwd) In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-30337EE0; boundary="=======23358A=======" --=======23358A======= Content-Type: text/plain; x-avg-checked=avg-ok-30337EE0; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit thank you whoever filed this report. it is great. love parrishka's moolipo. not so different from 'real' life, my conversations get processed/mangled/sanitized/ depending on which 'room' of my life i am in. i'm having problems with ubpoetics mail, no author of post in head, only return address for ubpoetics posts. komninos http://users.bigpond.net.au/mangolegs --=======23358A======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-30337EE0 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.431 / Virus Database: 242 - Release Date: 17/12/02 --=======23358A=======-- ========================================================================= Date: Fri, 3 Jan 2003 19:32:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: these superb books is just in Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed My daughter Clio and I just had coffee (Clio had juice) with Mike Magee who gave me issues 2, 4, 6-11 of COMBO, so I've been reading them while she's been playing in this huge pink tent in the livingroom. Also on the table are: _Across the Line/ Al otro lado: The Poetry of Baja California_, Harry Polkinhorn & Mark Weiss, eds. _Immanent Visitor: Selected Poems of Jaime Saenz_, translated by Kent Johnson and Forrest Gander _Million Poems Journal_ Jordan Davis _Waltzing Matilda_ Alice Notley _V. Imp._ Nada Gordon (Faux Press) _Morning Constitutional_ Michael Magee (Handwritten Press) _Given_ Arielle Greenberg (Verse Press) _Drawing on the Wall_ Harriet Zinnes (Marsh Hawk Press) _Breath Takes_ Douglas Barbour (Wolsak and Wynn) and my own stupid book A Defense of Poetry that I just put a crust of pizza on. Mitchell Magee's artwork gracing the covers of COMBO is superb. It is fun to tip in and out of these, you know? I am doing that now. Except Douglas Barbour's and Harriet Zinnes' books are actually not on the table because they're in my office in Illinois. Michael Magee: "Sir, excuse me/ my rock chest hurts/ like a buffalo cleaving the land" Arielle Greenberg: "What comes more often than kisses to pollen is this train." Weiss/Polkinhorn, eds: "El poeta no le teme a la nada." (Elizabeth Cazessus) Nada Gordon: "think of a lemon" Alice Notley: "Yeah you dumb jerk." Jordan Davis: "Arizona is the sunrise of a fuckoff" Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Fri, 3 Jan 2003 16:53:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: number of hits MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii From Heriberto Yepez's blog, 9/12/02 [quoted without permission]: THE RETURN OF THE LIVING DEAD Thanks to websites (including weblogs) readers are now considered nothing but traffic, visitors or hits. This is something that makes me happy. As a reader and as a writer (and as an intermediary between those two monkeys--as a translator), I'm of the opinion that the Reader has been overrated. So to see the Reader transformed into "traffic" is more than ok. Is this rank reduction of the Reader a revenge by the Dead Authors Society? http://thetijuanabibleofpoetics.blogspot.com/ WEBLOG WRITING Weblog writing is always an E-Go! Construction Site. It may turn out to be the Electronic Return to the Lyrical I. (An Authority one needs to follow closer. ¿Daily? An e-list by itself!) But beware: Weblog writing is always recruiting. http://thetijuanabibleofpoetics.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 3 Jan 2003 20:01:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave In-Reply-To: <5.1.1.6.0.20030103162429.017619e8@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I saw tonight where you alerted me in your blog that you had lost your favorite fountain pen, a green Pelikan, with which you wrote your first collection and wanted to tell you, though I do not halve your email, that I found a crushed Pelikan M400 on the sidewalk in front of the New York Palace early Saturday Dec 28th while attending the MLA conference. It smelled that ferric smell of Pelikan blue-black ink (kind of mediciny). I kept the shards if you want them, though the nib wasn't anywhere near the smear of shattered plastic. I kept it because the piston mechanism was still intact. (It was a plastic not a brass mechanism, so I'm assuming it wasn't the M800). Last spring in New Orleans I showed Pierre Joris an aerometric teal Parker 51 Demi hoping to make him jealous and he pretended to put it in his sportcoat's breast pocket. I pretended to laugh at this but did not find it that funny because it was my favorite fountain pen at the time and Pierre made me put on a "fear grin" before he gave it back to me. I gave Mairead Byrne three fountain pens for gift-day this year: 2 Esterbrook lever-fills from the 1940s (one large red and a little gray one) and a modern Pilot Capless with broad nib (formerly known as Namiki Vanishing Points) these are the ones without caps whose nib inside the pen like a ballpoint. I currently use a Lamy VISTA (fine nib) for my Roaring Spring lab books. I am on my 19th roaring spring notebook. Using Lamy Blue-Black. The VISTAs are the transparent plastic pens with a lifetime warranty that run around 25 bucks. So2metimes I use a Sheaffer Imperial Triumph from about 1962 just because it's got great smoothness and rate of flow for such a fine nib. My favorite fp of all time however remains my Pelikan M800, black, whose iridium tip I ground to a stub. Gabe ========================================================================= Date: Fri, 3 Jan 2003 20:06:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Fountain pens are the only thing I can write with on paper. Once I was asked how long ago I had suffered from a stoke and how did I manage so well after. I just have bad penmanship with a BIC. But I am using a Waterman Phileas pen that I found at the Office Max for 30 dollars and writes like the Mont Blanc I lost years ago. If Shelley was alive today would he spend more on a Mont Blanc to be cute :-) The everlasting universe of things Flows through the mind, and rolls its rapid waves, Now dark--now glittering--now reflecting gloom-- Now lending splendour, where from secret springs The source of human thought its tribute brings Of waters--with a sound but half its own, Such as a feeble brook will oft assume, In the wild woods, among the mountains lone, Where waterfalls around it leap for ever, Where woods and winds contend, and a vast river Over its rocks ceaselessly bursts and raves. Give the Waterman a try, they even have fun colored inks too. Bestest, Geoffrey ----- Original Message ----- From: "Gabriel Gudding" To: Sent: Friday, January 03, 2003 9:01 PM Subject: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave > I saw tonight where you alerted me in your blog that you had lost your > favorite fountain pen, a green Pelikan, with which you wrote your first > collection and wanted to tell you, though I do not halve your email, that I > found a crushed Pelikan M400 on the sidewalk in front of the New York > Palace early Saturday Dec 28th while attending the MLA conference. It > smelled that ferric smell of Pelikan blue-black ink (kind of mediciny). I > kept the shards if you want them, though the nib wasn't anywhere near the > smear of shattered plastic. I kept it because the piston mechanism was > still intact. (It was a plastic not a brass mechanism, so I'm assuming it > wasn't the M800). > > Last spring in New Orleans I showed Pierre Joris an aerometric teal Parker > 51 Demi hoping to make him jealous and he pretended to put it in his > sportcoat's breast pocket. I pretended to laugh at this but did not find it > that funny because it was my favorite fountain pen at the time and Pierre > made me put on a "fear grin" before he gave it back to me. > > I gave Mairead Byrne three fountain pens for gift-day this year: 2 > Esterbrook lever-fills from the 1940s (one large red and a little gray one) > and a modern Pilot Capless with broad nib (formerly known as Namiki > Vanishing Points) these are the ones without caps whose nib inside the pen > like a ballpoint. > > I currently use a Lamy VISTA (fine nib) for my Roaring Spring lab books. I > am on my 19th roaring spring notebook. Using Lamy Blue-Black. The VISTAs > are the transparent plastic pens with a lifetime warranty that run around > 25 bucks. So2metimes I use a Sheaffer Imperial Triumph from about 1962 just > because it's got great smoothness and rate of flow for such a fine nib. My > favorite fp of all time however remains my Pelikan M800, black, whose > iridium tip I ground to a stub. > > Gabe > ========================================================================= Date: Fri, 3 Jan 2003 18:16:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Air Force at any Speed In-Reply-To: <003b01c2b38d$907c48a0$605e3318@LINKAGE> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I was struck - well, not literally - by an Air Force spokesperson who described the the use of amphetamines by bomber and other pilots on long range missions as a "fatigue management tool." We will never know who coined the term, but it took my lingua cake for the day. Apparently the "tool" was not working well - or with diminished power - according to the lawyer for two Air Force pilots (now facing trial) who bombed and killed ("friendly fire") the Canadians on the ground in Afghanistan. Not to make light of a tragic situation shielded from full view by what I guess may be called the demonic poetics of battle, I do remember a sophomore year of finals and popping a generous supply of pills provided by the Nurse mom of my girl friend - I ended up, as we, at least, used to say "bombing" one exam after another. Apparently, I had know idea how to "manage" my "tool" quo tablets. Nobody died, gratefully. I paid for the damages in summer school. Stephen V ========================================================================= Date: Sat, 4 Jan 2003 02:13:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the real MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII of the real many times something is used and used and is never used up. it just keeps getting used. [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] if it is getting used it is a template. every online file is a template and is never used up. you can use it and send it to me over and over again and it is never used up. it is always the same and every instance is the same which means equivalent. every instance is an instantiation. [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] this is the record of an instantiation. i never replied to this so i cannot tell you about the instantiation but i bet it was many things together all equivalent but in different locations. and by the look of it all these equivalent things were next to one another, nuzzled up against one another, as if in neighborhood or a community of equivalent things. [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] sometimes there is an interruption with a unique identity. 370/1500 /2300/3800 / this is the interruption that accompanied my reception of these equivalences, each a model of the other, just as the manifold increasingly models itself. [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] the manifold models itself by exhuberant detail. the details transform the mannifold into the transcendence of equivalence. what is identical is no longer identical. what is identical is equivalent. identity is lost in equivalence. everything is equivalent with a trace or surplus; everything is equivalent to the degree of the diacritical. [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] [q33.gif] there is no one. there is no many. number diffuses through membranes or striations, threads of past identities. everything is literally indescribable. what is described is the surface or manifold of a mediation, a manifold of equivalences, across or through the multiplexing of the real. [ani_blue.gif] [ani_blue.gif] [ani_blue.gif] [ani_blue.gif] [ani_blue.gif] the signature is available for copy, copyright, copyleft. ? the signature is a copywright. [ani_blue.gif] [ani_blue.gif] [ani_blue.gif] === ========================================================================= Date: Sat, 4 Jan 2003 01:15:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on collins & canada In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I'm beginning to wonder -- do they deliver e-mail by >muleback up there in the frozen tundra? > >(If you have a pork pie you can spare, George, I've always >wanted to taste one of those.) > >Damian > Beats me. Lot of my bulbs are up a foot but it keeps raining. Used to have a green pork pie hat. Kid bro stole it years ago. -- George Bowering Bad arm, fast glove Fax 604-266-9000 ========================================================================= Date: Sat, 4 Jan 2003 02:39:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: METHLOOP #0003 Comments: To: webartery@yahoogroups.com, o-o@konf.lt, ImitationPoetics@listserv.unc.edu, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE PAUL WHITNEY COLLECTION methloop #0003..................excerpt www.the-hyper-age.com Computers sanctum, Des Esseintes held aloof lyrics member irish folk rock constants surface considered wine most accompany fashion shoot contains album inner monsters la-based indie obligation chandelier of excrement eaten decibels september potential Digtal Music heartland america south dakota fact continues violate article contents chat Apple Consumer during absence, handed approximate subsection ongoing investigation abandon missile defense plans hard rock constants issue firm stems coiling between fingers lyrics sounds Pictures lie, pause, look within half-truths turn clawed beasts and go mad fragrant waves escape dates information window wandered, lost dreams turn clawed beasts and go mad photographs audio turn clawed beasts and go mad include syria libya sudan cuba regular notification procedures pitch-pine flooring, gold shield, happen Lord Beamdale, guided spiked booby trap economy contains gig bio photos sound same time balance strategic stability section daily dark heavy date known otherwise help music payer fascinated public deposited slipped tie between fold, proceeded list wisconsin point Bain word, field peculiar author Indeed toronto based note reports title united states code amended help politics instead additional arms macdoo official inner monsters convinced robbery 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delicto open air, Monitors two presidents common demons slaughter classmates technologically fabricator epigrams forces bosnia? coerce provide financial incentive country emerging threat areas highest music award artificial lilacs came Personal Finance percentages minorities promoted grade information ========================================================================= Date: Sat, 4 Jan 2003 02:41:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: METHLOOP #0004 Comments: To: webartery@yahoogroups.com, o-o@konf.lt, ImitationPoetics@listserv.unc.edu, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE PAUL WHITNEY COLLECTION methloop #0004..................excerpt www.the-hyper-age.com bear constants rock constants became daily consensus list contact Computers rahsaan roland kiss original rock pop gallery discussion international court justice Suddenly sharp agony assailed felt Web Email process reaching into her stomach develop critical mass political intellectual known otherwise help lyrics begged come pictures jupiter's Handhelds quartet the result goes livestock deeper not so bad kenmore deployment such systems lead exchange good-byes arms race set back nuclear disarmament non-proliferation policies create incentives missile proliferation meaning, once precise manifold, reaching into her stomach strategic stability contained assembly welcome interviews karl oratorical flights tattooed skull evident applied joint position inner monsters includes lime grape blueberry interviews infini-t merchandise requires king matt king discography report document conference elf draft resolution straightforward ongoing discussion Printers ultimate blood sport circumstances young girl functions greater relatives don't wait friends? tie bound original official inner monsters 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Insurance Corporation, slaughter classmates consider fetus suckles composite of cesspool good concluded turn clawed beasts and go mad Englishmen all kross kristofferson Schilling Cindy Swanson call rock pop alternative sound files commitments step based Web Email cover transfers such arms risked becoming source photos CD-R joplin scott jordan isded constants official album reviews audio descriptions important took coming late meals, even includes pictures solanaceæ art read ultimate blood sport books Keynote viability relevance law, open every interpretation, appearance growing number nuclear weapons nuclear- weapon photos discography substantive terms several counts including criticism the result goes livestock deeper not so bad context assembly call all states parties accelerate Eustion related provision assembly stress sustained efforts Digital FireWire continuing nuclear programmes israel outside npt regime french translation document empty machinative anthropoid ceremony of the vomit from my retina satisfactory awakening more powerfully sleeping official homepage international humanitarian law human rights law lao people democratic republic contemptible scoundrel, idiot, atty gen reno atty gen reno fisa situation handled catalogue every detail large room, Animation rock constants the result goes livestock deeper not so bad west comic uncanny, wearing blue theories hasty glance sufficed show intestines being ripped from your teeth upcoming shows constants the result goes livestock deeper not so bad ontario proceeding nuclear supposed, same underpinned entertainment vegetarian religious poems, illustrated burin, middle east convention Microconversions Voodoo body glitter clustered diamonds draft resolution punk you name musician bandleader far land-operations concerned pavements coated mud big ego jimsonweed consider fetus suckles composite of cesspool good Miss Blair moral finger removed document Leave note unfolded conspicuous centre nuclear threat gallery Photography pictures press empty machinative anthropoid ceremony of the vomit from my retina livestock jane ivy female photographs files FireWire large margins known otherwise help springs based constants eaten treaty world move towards complete general disarmament argentina concerned pictures video address Mother Church burden pakistan objective hollywood context celebrate best figure game award pictures jackie Software constants based implementation girl's head fallen forward table, constants disarmament all aspects strict effective international security pictures tour dates empty machinative anthropoid ceremony of the vomit from my retina further impoverished discography suggestiveness, invitation sound unlike any gigs cincinnati inner monsters Web Design Storage sabre hip hop artist mixed my dick in a pig's ass religion, minneapolis includes press briefing disarmament affairs october iMac mezzanine port ========================================================================= Date: Sat, 4 Jan 2003 23:10:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Petition MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Urgent New In a message dated 1/2/03 10:25:28 AM Central Standard Time, = seavoice@mac.com writes: If you are against the war that the US is about to declare please read = on. The UN is collecting signatures to avoid this tragedy. PLEASE COPY = this e-mail to a new message , sign at the end of the list that follows, = and send it to every one you know.If you receive this list with more = than 500 signatures on it, please send a copy to: unicwash@unicwash.org Even if you decide not to sign, please be considerate and don't = eliminate the petition, just send it on. 1) Suzanne Dathe, Grenoble, France 2) Laurence COMPARAT, Grenoble,France 3) Philippe MOTTE, Grenoble, France 4) Jok FERRAND, Mont St Martin, France 5) Emmanuelle PIGNOL, St Martin d'Heres, FRANCE 6) Marie GAUTHIER, Grenoble, FRANCE 7) Laurent VESCALO, Grenoble, FRANCE 8) Mathieu MOY, St Egreve! , FRANCE 9) Bernard BLANCHET, Mont St Martin, FRANCE 10) Tassadite FAVRIE, Grenoble, FRANCE 11) Loic GODARD, St Ismier, FRANCE 12) Benedicte PASCAL, Grenoble, FRANCE13) Khedaidja BENATIA, Grenoble, FRANCE 14) Marie-Therese LLORET, Grenoble,FRANCE 15) Benoit THEAU, Poitiers, FRANCE 16) Bruno CONSTANTIN, Poitiers, FRANCE 17) Christian COGNARD, Poitiers, FRANCE 18) Robert GARDETTE, Paris, FRANCE 19) Claude CHEVILLARD, Montpellier, FRANCE 20) Gilles FREISS, Montpellier, FRANCE 21) Patrick AUGEREAU, Montpellier,FRANCE 22) Jean IMBERT, Marseille, FRANCE 23) Jean-Claude MURAT, Toulouse, France 24) Anna BASSOLS, Barcelona, Catalonia 25) Mireia DUNACH, Barcelona, Catalonia 26) Michel VILLAZ, Grenoble, France 27) Pages Frederique, Dijon, France 28) Rodolphe FISCHMEISTER, Chatenay- Malabry, France 29) Francois BOUTEAU, Paris, France 30) Patrick PETER, Paris, France 31) Lorenza RADICI, Paris, France 32) Monika S! iegenthaler, Bern, Switzerland 33) Mark Philp, Glasgow, Scotland 34) Tomas Andersson, Stockholm, Sweden 35) Jonas Eriksson, Stockholm, Sweden 36) Karin Eriksson, Sto ckholm, Sweden 37) Ake Ljung, Stockholm, Sweden 38) Carina Sedlmayer, Stockholm, Sweden 39) Rebecca Uddman, Stockholm, Sweden 40) Lena Skog, Stockholm, Sweden 41) Micael Folke, Stockholm, Sweden 42) Britt-Marie Folke, Stockholm, Sweden 43) Birgitta Schuberth, Stockholm, Sweden 44) Lena Dahl, Stockholm, Sweden 45) Ebba Karlsson, Stockholm, Sweden 46) Jessica Carlsson, Vaxjo, Sweden 47) Sara Blomquist, Vaxjo, Sweden 48) Magdalena Fosseus, Vaxjo, Sweden 49) Charlotta Langner, Goteborg, Sweden 50) Andrea Egedal, Goteborg, Sweden 51) Lena Persson, Stockholm, Sweden 52) Magnus Linder, Umea ,Sweden 53) Petra Olofsson, Umea, Sweden 54) Caroline Evenbom, Vaxjo, Sweden 55) Asa Pettersson, Grimsas, Sweden 56) Jessica Bjork, Grimsas, Sweden 57) Linda ! Ahlbom Goteborg, Sweden 58) Jenny Forsman, Boras, Sweden 59) Nina Gunnarson, Kinna, Sweden 60) Andrew Harrison, New Zealand 61) Bryre Murphy, New Zealand 62) Cl aire Lugton, New Zealand 63) Sarah Thornton, New Zealand 64) Rachel Eade, New Zealand 65) Magnus Hjert, London, UK 67) Madeleine Stamvik, Hurley, UK 68) Susanne Nowlan, Vermont, USA 69) Lotta Svenby, Malmoe, Sweden 70) Adina Giselsson, Malmoe, Sweden 71) Anders Kullman, Stockholm, Sweden 72) Rebecka Swane, Stockholm, Sweden 73) Jens Venge, Stockholm, Sweden 74) Catharina Ekdahl, Stockholm, Sweden 75) Nina Fylkegard, Stockholm, Sweden 76) Therese Stedman, Malmoe, Sweden 77) Jannica Lund, Stockholm, Sweden 78) Douglas Bratt 79) Mats Lofstrom, Stockholm, Sweden 80) Li Lindstrom, Sweden 81) Ursula Mueller, Sweden 82) Marianne Komstadius, Stockholm, Sweden 83) Peter Thyselius, Stockholm, Sweden 84) Gonzalo Oviedo, Quito, Ecuador 85) Amalia Rom! eo, Gland, Switzerland 86) Margarita Restrepo, Gland, Switzerland 87) Eliane Ruster, Crans p.C.Switzerland 88) Jennifer Bischoff-Elder, Hong Kong 89) Azita Lashg ari, Beirut, Lebanon 90) Khashayar Ostovany, New York, USA 91) Lisa L Miller, Reno NV 92) Danielle Avazian, Los Angeles, CA 93) Sara Risher,Los Angeles,Ca. 94) Melanie London, New York, NY 95) Susan Brownstein , Los Angeles, CA 96) Steven Raspa, San Francisco, CA 97) Margot Duane, Ross, CA 98) Natasha Darnall, Los Angeles, CA 99) Candace Brower, Evanston, IL 100) James Kjelland, Evanston, IL 101) Michael Jampole, Beach Park, IL, USA 102) Diane Willis, Wilmette, IL, USA 103) Sharri Russell, Roanoke, VA, USA 104) Faye Cooley, Roanoke, VA, USA 105) Celeste Thompson, Round Rock, TX, USA 106) Sherry Stang, Pflugerville, TX, USA 107) Amy J. Singer, Pflugerville, TX USA 108) Milissa Bowen, Austin, TX USA 109) Michelle Jozwiak, Brenham, TX USA 110) Ma! ry Orsted, College Station, TX USA 111) Janet Gardner, Dallas, TX USA 112) Marilyn Hollingsworth, Dallas, TX USA 113) Nancy Shamblin, Garland. TX USA 114) K. M . Mullen, Houston, TX - USA 115) Noreen Tolman, Houston, Texas - USA 116) Laurie Sobolewski, Warren, MI 117) Kellie Sisson Snider, Irving Texas 118) Carol Currie, Garland, Garland Texas 119) John Snyder, Garland, TX USA 120) Elaine Hannan, South Africa 121) Jayne Howes, South Africa 122) Diane Barnes, Akron, Ohio 123) Melanie Dass Moodley, Durban, South Africa 124) Imma Merino, Barcelona, Catalonia 125) Toni Vinas, Barcelona, Catalonia 126) Marc Alfaro, Barcelona, Catalonia 127) Manel Saperas, Barcelona, Catalonia 128) Jordi Ribas Izquierdo, Catalonia 129) Naiana Lacorte Rodes, Catalonia 130) Joan Vitoria i Codina, Barcelona, Catalonia 131) Jordi Paris i Romia, Barcelona, Catalonia 131) Marta Truno i Salvado, Barcelona, Catalonia 132) Jordi Lagares Ro! set, Barcelona, Catalonia 133) Josep Puig Vidal, Barcelona, Catalonia 134) Marta Juanola i Codina, Barcelona, Catalonia 135) Manel de la Fuente i Colino,Barcelo na,Catalonia 136) Gemma Belluda i Ventura, Barcelona, Catalonia 137) Victor Belluda i Ventur, Barcelona,Catalonia 138) MaAntonia Balletbo, barcelona,Spain 139) Mireia Masdevall Llorens,Barcelona, Spain 140) Clara Planas, Barcelona, Spain 141) Fernando Labastida Gual, Barcelona,Spain 142) Cristina Vacarisas, Barcelona,Spain 143) Enric Llarch i Poyo, Barcelona,CATALONIA 144) Rosa Escoriza Valencia, Barcelona,Catalonia 145) Silvia Jimenez, Barcelona,Catalonia 146) Maria Clarella, Barcelona,Catalonia 147) Angels Guimera, Barcelona,Catalonia 148) M.Carmen Ruiz Fernandez, Barcelona,Catalonia 149) Rufi Cerdan Heredia, Barcelona,Catalonia 150) M. Teresa Vilajeliu Roig, Barcelona, Catalonia 151) Rafel LLussa, Girona, Catalonia,Spain 152) Mariangels Gallego Ribo, Gelid! a,Catalonia 153) Jordi Cortadella, Gelida, Catalonia 154) Pere Botella, Barcelona, Catalonia (Spain) 155) Josefina Auladell Baulenas,Catalunya (Spain) 156) Empar Escoin Carceller, Catalunya (Spain) 157) Elisa Pla Soler, Catalunya (Spain) 158) Paz Morillo Bosch, catalunya (Spain) 159) Cristina Bosch Moreno, Madrid (Spain) 160) Marta Puertolas, Barcelona (Spain) 161) Elisa del Pino (Madrid) Spain 162) Joaquin Rivera (Madrid) Spain 163) Carmen Barral (Madrid) Spain 164) Carmen del Pino (Madrid) Spain 165) Asuncion del Pino (Madrid) Spain 166) Asuncion Cuesta (Madrid) Spain) 167) Ana Polo Mediavilla (Burgos) Spain 168) Mercedes Romero Laredo (Burgos) Espana 169) Oliva Mertinez Fernandez (Burgos) Espana 170) Silvia Leal Aparicio (Burgos)Espana 171) Claudia Elizabeth Larrauri (Bahia Blanca) Argentina 172) Federico G. Pietrokovsky (C.F.) Argentina 173) Naschel Prina (Capital Federal) Argentina 174) Daniela Gozzi (Cap! ital Federal) Argentina 175) Paula Elisa Kvedaras (Capital Federal) Argentina 176) Antonio Izquierdo (Valencia) Espana 177) Ana Belen Perez Solsona (Valenci a) Espana 178) Paula Folques Diago (Valencia) Espana 179) Nestor Alis Pozo (Valencia) Espana 180) Rafael Alis Pozo (valencia) Spain 181) Isabel Maria Martinez (Valencia) Espana 182) Cristina Bernad Guerrero (Valencia) Espana 183) Iria Barcia Sanchez 184) Elena Barrios Barcia. Uppsala.Suecia 185) Illana Ortiz Martin. Munchen.Alemania 186) Santiago Rodriguez Rasero. M=FCnchen.Alemania 187) David Ag=F3s D=EDaz. Pamplona. Espa=F1a 188) Juan Luis Ibarretxe. Galdakao. E.H. 189) Rub=E9n D=EDez Ealo. Galdakao. E.H. 190) Marcial Rodr=EDguez Garc=EDa. Ermua. 191) Imanol Echave Calvo. San Sebastian.Spain. 192) Bego=F1a Ortiz de Z=E1rate Lazcano.Vitoria- Gasteiz. Spain 193) David S=E1nchez Agirregomezkorta.Gasteiz. Euskadi. 194) Alberto Ruiz De Alda.Gasteiz.Euzkadi 195) Juan Carlos Garcia Obre! gon.Vitoria-Gasteiz. Espa=F1a 196) Jon Aiarza Lotina. Santander.Spain 197) Teresa del Hoyo Rojo.Santander. 198) Celia Nespral Gaztelumendi.Santander. Espa=F1a 199) Pedro Mart=EDn Villamor, Valladolid.Espa=F1a. 200) Victoria Arratia Mart=EDn,Valladolid, Espa=F1a 201) Javi Tajadura Mart=EDn, Portugalete,Euskadi. Spain 202) Lourdes Palacios Martin, Bilbao,Spain 203) Jes=FAs Avila de Grado, Madrid,Espa=F1a 204) Eva Mar=EDa Cano L=F3pez. Madrid. Spain 205) Emilio Ruiz Olivar, Londres, UK 206) Maru Ortega Garc=EDa del Moral,CALAHORRA, ESPA=D1A 207) Juan Carlos Ayala Calvo, Logro=F1o,Spain 208) Roc=EDo Mu=F1oz Pino, Logro=F1o, Espa=F1a 209) Ximena Pino Burgos, Santiago, Chile 210) Roberto Saldivia Quezada, Santiago,Chile 211) Paola Gonzalez Valderrama,Santiago, Chile 212) Cesar Morales Pe=F1a y Lillo,Santiago 213) Denisse Labarca Abdala , Santiago,Chile 214) Mar=EDa Paz Gonz=E1lez Garay 215) Daniela Millar Kaiser, Santiago,Chile 216) Alvaro Wigand Perales, Vald! ivia,Chile 217) Gladys Bustos Carrasco, Quilicura, Chile 218) Patricio Criado Rivera, Quilicura, Chile 219) Carolina Aguilar Monsalve,Valdivia, Chile 220) Carmen Silva Utrilla, Madrid, Espa=F1a 221) Martha Yolanda Rodriguez Aviles, Queretaro, Mexico 222) Laura Rodriguez Aviles,Cozumel,Quintana Roo, Mexico 223) Katia Hahn, Merida, YUCAT=C1N 224) Sofia Gallego Mexicali, B.C. Mexico 225) Beatriz Casta=F1eda De Clariond, Monterrey, M=E9xico 226) Victor Kerber Palma, Monterrey,M=E9xico 227) Roc=EDo S=E1nchez Losada, M=E9xico D.F. 228) Lorenza Estand=EDa Gonz=E1lez Luna, M=E9xico D.F. 229) Gabriel Gallardo D'Aiuto,M=E9xico D.F. 230) Jos=E8 Antonio Salinas, Monterrey, N.L.,Mex. 231) Laura Cantu, Mty N.L., Mex 232) Jossie Garcia,Mty N.L Mex 233) Martha V=E1zquez Gonz=E1lez, Mty, N.L.; M=E9x. 234) Laura Rios Mu=F1iz, Monterrey, N.L. MEXICO 235) Dalith Flores Quinatana , Monterrey, N.L. MEXICO 236) Armando Hernandez, Monterrey, NL MEXICO 237)Cynthia Guzman! , Monterrey, NL, Mex. 328) Berta Isabel Chapa Monterrey, NL Mex 329) Nelly Cant=FA Orocio Monterrey,NL M=E9xico 330) Daniel Alejandro de la Rosa Mty.N.L. M=E9xico 331) Susana Cant=FA Orocio Mty. N.L. M=E9xico 332) Irving Jaime Cant=FA B=E1ez Mty. N.L. M=E9xico 333) Jos=E9 Alfredo Rodr=EDguez Villa. Monterrey, Mex. 334) Marina Daniel Ayala, Monterrey, NL, Mexico 335) Andres Alberto Basa=F1ez Gonzalez 336) Patty Torres R., Monterrey, NL, MEXICO 337) Annet Abarca Arvide, Monterrey,NL, Mexico 338) Silvia Ruiz Mancera 339) Vanessa L. Hjerpe Ibarra M=E9xico, DF MEXICO 340) Monica A. Guisa S=E1nchez, D.F. MEXICO 341) Gabriel Alejandro S=E1nchez Leyva, Guadalajara, Jalisco, M=C9XICO 342) Lizette Oseguera Tinajero, Guadalajara, Jalisco, MEXICO 343) Dalia Zavala Acosta, Tijuana, B.C. M=E9xico 344)Celina N Contreras, Tijuana, B. C., Mexico 355) Octavio Moreno Hernandez, San Diego, CA., USA 356) Iliana Hernadez Torres, Tijuana, BC Mexico. 357) Francisco Fl! ores Flores, Tijuana, B.C. Mexico 358) Arlene Cordero Macias, Tijuana, B.C., M=E9xico. 359) Jorge Barnetche Pous, Tijuana, Baja California,M=E9xico 360) Pilar de la Fuente, Cd. Ju=E1rez, Chihuahua, M=E9xico 361) Esteban Beiza, Santiago, Chile 362) Paulo Frias, Santiago, CHILE. 363) Alejandra Lastra, Argentina 364) Patricio Manns, Chile. 365) Gaspar Glavich, Suiza 366) Helia Alvarado, Suiza 367) Luis D=EDaz Alvayay, Alemania Federal 368) EvaVaras, Santiago, Chile. 369) Cecilia Riveros, Valparaiso, Chile 370) Marcelo Barahona Cornejo, Quilpu=E9, CHILE 371) Juan Claudio Tapia Rodr=EDguez, Chile 372) Oscar Parra A, Chile 373) Mauricio Mu=F1oz V, Chile 374) Angelo Rojas, Chile 375) Alejandra P=E9rez G., Santiago, Chile 376) Javier P=E9rez D=EDaz, Vi=F1a del Mar, Chile 377) Oscar Espejo Briones; Vi=F1a del Mar; Chile 378) Roberto Alejandro Guerra Esparza; Vi=F1a del Mar,Chile. 379) Patricia Navarro Hidalgo; Vi=F1a del Mar; Chile 380) Pablo Fr! ancisco Ahumada Alvarado; Vi=F1a del Mar; Chile 381) Mauricio Vergara Ereche; Vi=F1a del Mar; Chile 382)Natalia Mar=EDn Vidal; Vi=F1a del Mar; Chile. 383) Ra=FAl Rojas Gaete; Talca ;Chile. 384) V=EDctor Guerrero Wolf, Talca ;Chile 385) Andres Ebensperguer Bravo, vi=F1a del mar; Chile 386) Mackarena villarroel fuentes, puerto montt; chile 387) gexa javiera villarroel fuentes, puerto mont; chile 388) freddy villarroel fuentes,puertomontt; chile 389) Daniela Concha Gutierrez, puerto montt; chile 390) Hernan Jimenez Aguayo, Chuquicamata; Chile 391) Andr=E9s Lunas Farah, Chuquicamata;Chile 392) Katherine velozo nu=F1ez, antofagasta;Chile 393) Victor Catal=E1n Silva, Antofagasta;Chile 394) Luis Hernan Carvajal, Calama;Chile 395) Maria Arancibia Carvajal, Calama;Chile 396) Luis Carvajal Rojas, Calama;Chile 397) jimmy Pe=F1a Lobos, Calama;Chile 398) Jerardo valenzuela, Antofagasta;Chile 399) Nathaly Kraljevich, Antofagasta;Chile 400) Juan Carvaj! al Carvajal, Antofagasta;Chile 401) Catherine Le=F3n Torres,Antofagasta;Chile 402) Cristian C=F3rdova Olivares, Antofagasta; Chile 403) Jorge Barra Flores, Antofagasta; Chile 404) Ricardo d=EDaz Cort=E9s, Antofagasta, Chile 405) Claudia Tobar Lazcano, Antofagasta, Chile 406) Carmen Pacheco Rivera, Antofagasta, Chile 407) Raquel Saavedra Torres, Antofagasta, Chile 408) Jaime Alcal=E1 Carales, Calama, Chile 409) Ver=F3nica Barraza Aravena, Santiago, Chile 410)Myriam Mu=F1oz M., Santiago,Chile 411)Cecilia Hernando R., Santiago, Chile 412)Andr=E9s Cuevas Saavedra, Santiago, Chile 413)Luis Mill=E1n Gonzalez, Santiago, Chile 414)Gonzalo Veliz G. Santiago, Chile 415)Alvaro Farr=FA B., Santiago de Chile 416)Constanza Celed=F3n B., Santiago de Chile 417)Daniel Jadue Jadue, santiago de Chile. 418)George Munir El Alam S., Iquique-Chile 419)Jineth Zu=F1iga G., Iquique-Chile 420)Geryes Amir El Alam Z., Iquique-Chile 421) Rodrigo Zapata Osorio, Iquiq! ue- Chile 422) Ren=E9 Rodrigo Rojas Mart=EDnez, Chuquicamata - Chile 423) M=F3nica Cecilia Ponce Mart=EDnez, Calama-CHILE 424) Ricardo Andr=E9s Sep=FAlved a R=EDos, Calama-CHILE 425) Mauricio Santander Vega - Santiago - CHILE 426) ANA MAR=CDA ZABALA IMPERATORE - SANTIAGO - CHILE 427) Carmen Imperatore Petersean. Santiago. Chile. 428) Cristi=E1n Schiefelbein Grossi, Santiago Chile. 429) Maria Clara Grossi Brunod, Santiago, Chile 430) Rosario Downey Alvarado, Santiago, Chile 431) Isabel Donoso Ureta, Santiago, Chile 432) Mar=EDa Jos=E9 Tapia Gr=FCzmacher, Chile 433) Ana Mar=EDa del Valle, Santiago, Chile 434) Rafael del Valle Vergara, Santiago, Chile 435) Maria Grazia Lagos Pola, Santiago, Chile 436) Luis Felipe Baraona Enr=EDquez, Santiago, Chile 437) Ricardo Polanco Menares, Santiago, Chile 438) Carolina Vargas Pavez, Santiago, Chile 439) Maria Angelica Pavez Garc=EDa, Santiago, Chile 440) Claudia Frigerio Jeldres, Santiago, Chile 441) Alex Toro ! Monterrosa, Santiago, Chile 442) Pamela Andrea Vi=E9 Alarc=F3n, Santiago, Chile 443) =C4lvaro Vergara Vargas, Santiago, Chile 444) Jacqueline Adel a Bize Blumenberg, Santiago, Chile 445) Ana Maria Mira Olea, Santiago, Chile 446) Narciso Goiri Flores, Los Andes, Chile 447) Mar=EDa Ang=E9lica Borie, Los Andes, Chile 448)Carla De Le=F3n, Panam=E1 449) Claudio R=EDos, Argentina. 450) Burrows Alicia B., Buenos Aires, Argentina. 451) Sigwald Pedro, Bs. As. - Argentina 452) Roberto Caturegli, C=F3rdobaArgentina 453) Maria Ines Abregu ,CbArgentina 454) Ma. C. Di Iorio. Cdad. Bs. As. Argentina 455) Graciela Grosso, Cdad Bs As Argentina 456 ) Marisa Binaghi , Cdad.Bs.As. Argentina 457 ) Diana Feldman , Cdad,Bs,As. Argentina 458) Dianne Pitre, Pointe-=E0-la-Croix, Qc,Canada 459) Marie-Claire Martin, Pointe-=E0-la-Croix,Qc,Canada 460) Lambert Maltais, Val D'amour, N.-B., Canada 461) Flavie Lagac=E9, Val D'amour, N.-B., Canada 462) Ginette Cool, Monc! ton, NB, Canada 463) Robert Lusk, Moncton, NB, Canada 464) Raymonde Godin, Moncton,NB, Canada 465) Lucille Blaqui=E8re, NB, Canada 466) G inette Duguay,NB, Canada 467) Odette Larocque, Moncton, NB, Canada 468) Carole Bergeron, Moncton, NB, Canada 469)Bertin Savard, Rigaud,Qu=E9bec,Canada 470) serge pelletier, mercier, QC, canada 471) Sylvie Dolbec, Qu=E9bec, Canada 472)Chantal Pelletier, Qu=E9bec, Canada 473) Martin Ch=E9nard, Qu=E9bec, Canada 474) Jean-Eudes Bergeron, Qu=E9bec,Canada 475) Ren=E9 Lang Qu=E9bec, Canada 476) Lorenzo Lang, New Brunswick, Canada 477) Doris Long, Qu=E9bec, Canada 478) Andr=E9e Simard, Qu=E9bec, Canada 479) Jos=E9e Bellemare, Qu=E9bec, Canada 480) Ginette Girard, Qu=E9bec, Canada 418) Gervais Pomerleau 419) Jocelyne Laurin 420) Josette Duquette, Qu=E9bec, Canada 420) Claude Bisaillon, Qu=E9bec, Canada 421) Claude Martin, Qu=E9bec, Canada 422) Marthe Claveau, Quebec, Canada 423) Lyne Aquin, Canada 424) Sylva! in Dion , Canada 425) Tania Murdock, montreal, canada 426) Teresa Mancini, Montreal, Canada 427) Andr=E9ane Forand, Montr=E9al, Canada 42 8) Dominique Forand, Granby, Canada 429) Lyne Genest, St-Hyacinthe, Canada 430) Luc Rochard, St-Hyacinthe, Canada 431) Yolande Foley, St-Hyacinthe, Canada 432) Chantal Fournier, St-Hyacinthe, Qu=E9bec, Canada 433) R=E9al L=E9veill=E9, Montr=E9al, Qu=E9bec, Canada 434) Laur Fug=E8re, Montr=E9al, Qu=E9bec, Canada 435) Claude Chaput, Montr=E9al, Qu=E9bec, Canada 436) Martin Egan, Montr=E9al, Qu=E9bec, Canada 437) Fran=E7ois Dub=E9, Gatineau, Qu=E9bec, Canada 438) Monique Trotier, Gatineau,Qu=E9bec,Canada 439) Paule LaRoche, Ottawa, Ontario, Canada 440)St=E9phanie Larrue, Gatineau (secteur Hull), Qu=E9bec, Canada 441) St=E9phane Ghez, Paris, France 442) Marie-George Viciana Charbonni=E8res les Vieilles France 443)Christine Juillard, Montr=E9al, Qu=E9bec, Canada 444)Lucas Juillard, Montr=E9al, Qu=E9bec, Canada 445)Guillemette ETTORI , l! a chassagne , Issoire France 446)Michel ETTORI, Issoire France 447)Marie-Claire S=E9guin, Qu=E9bec Canada 448)Veronique Clusiau , Qu=E9bec C anada 449)Christine Asfar, Qu=E9bec, Canada 450)Zalfa Chelot, Qu=E9bec, Canada 451) Patricia Bergeron, Qu=E9bec, Canada 452) Nadine Walsh, Qu=E9bec, Canada 453) Dominique Houdart, Paris, France 454) Michel Houdart, Issy-les Moulineaux, France 455) Kyung-Hee Houdart, Issy-les-Moulineaux, France 456) Sabine Houdart, Issy-les-Moulineaux, France 457) Violaine Houdart-Merot, Nogent-sur-marne, France 458) Florence Lenoble, Donazac, France 459) Laure Sigalas, Peyrolles, France 460) Sandrine Fossart de Rozeville, France 461) Michel et Christiane Fontaine - Li=E8ge - Belgique 462) Jean-Paul Davreux- Li=E8ge- Belgique 463) Jean Lazarus -Eupen- Belgien 464) Laurence Goisse - Loverval - Belgique 465) Alice POLOMAT - Fort de France, Martinique 466) Audrey POLOMAT - New Orleans, LA, USA 467) Camille VONG! , New Orleans, LA , USA 468) C=E9cile Massot, New Orleans, LA, USA 469) Julie Beret, Santiago, CHILE 470) David Lopes, Concepcion, CHI LE 471) Juan Fajardo Olivares, Concepci=F3n, CHILE 472) Alejandra Canales Quezada, Santiago, CHILE 473) Amerika Manzanares, Berlin. Germany 474) Fernando Izaurieta Aranda, Concepci=F3n, Chile 475) Moataz H. Emam, Massachusetts, USA / Cairo, Egypt 476) Luis Mel=E9ndez, Northampton Massachusetts 477) Evelyn Bloom, Amherst, Massachusetts 478) Stephen Trudel Florence, Massachusetts 479) Allan Arnaboldi, Florence, Massachusetts 480) Marsha Leavitt, Williamsburg, Massachusetts 481) Cynthia Snow, Conway, Massachusetts, USA 482) Eve Rifkah, Worcester, MA USA 483) Michael Milligan 484) Ann M. Fine, Yonkers, NY USA 485) brenda hillman, california, usa 486) Lee Ann Brown, NYC, USA 487) Keith Waldrop, Providence, RI, USA 488) Rosmarie Waldrop, Providence, RI, USA 489) Jerome Rothenberg, = Encinitas, CA, USA 490) Diane Brodatz Rothenberg, Encinitas, CA, USA 489) Jesse Glass, Shin-Urayasu, Japan. ========================================================================= Date: Sat, 4 Jan 2003 09:04:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Petition In-Reply-To: <000701c2b489$82c282e0$5f14d8cb@ahadada.gol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Jesse Glass forwarded: >Urgent New > >In a message dated 1/2/03 10:25:28 AM Central Standard Time, >seavoice@mac.com writes: > >If you are against the war that the US is about to declare please >read on. The UN is collecting signatures to avoid this tragedy. >PLEASE COPY this e-mail to a new message , sign at the end of the >list that follows, and send it to every one you know.If you receive >this list with more than 500 signatures on it, please send a copy to: etc, etc, E-mail petitions don't do anything but give the signers a false sense of having done something. Not only are e-mail petitions an enormous waste of effort, no matter how urgent and/or attractive the proposal may be, for many reasons some of which are described here: , here: & here: ; it also turns out that the UN Information Center (oops, Centre) in Washington DC is NOT distributing any such petition as can be read here . Find a Web site that lists representatives to the UN for each country & post that URL to the list. Then people can write, call or send e-mail (& that's really the order with which most politicians will give weight to your response. Because of the effort and costs involved, a hard copy letter is a stronger statement than a phone call, which in turn is a stronger statement than e-mail) on their own. And a personally worded letter will be taken MUCH more seriously than a copy of anything sent to you by an organization. This is more work than adding your name to a piece of e-mail, but it will arrive where you want it to & it might be read by someone who might be affected by your arguments. E-mail petitions just end up lost in the great aether. Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Sat, 4 Jan 2003 09:46:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Petition is a hoax MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT From the UN Information Centre-- Note: We have learned that there is a new petition circulating that claims to have been started by our office -- we have not, nor have we ever, initiated any petition. http://www.unicwash.org/ ========================================================================= Date: Sat, 4 Jan 2003 18:31:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave In-Reply-To: <003b01c2b38d$907c48a0$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed then Geoffrey Gatza said >Fountain pens are the only thing I can write with on paper. Understood, Geoffrey -- don't they seem to respond better to pressure, grip, hand placement, position of one's feet, are refillable w/ different color inks and different rates of soak and feathering into the page I write better with fp's too. Gel pens offer some approximation of fp feel: Sailor Innovation gels especially have an fp feel. >But I am using a Waterman Phileas pen >that I found at the Office Max for 30 dollars and writes like the Mont Blanc >I lost years ago. If Shelley was alive today would he spend more on a Mont >Blanc to be cute :-) I have a Phileas, it puts down a very wet line and it just feels really well balanced, nice small section, and weight (they put a brass tube in the barrel) and are consistently rated, along with the Lamy Safari (also the Al-Star and Vista model versions of the Safari), as the best modern fountain pen under $50 (AND both the Phileas and the Safari possess lifetime warranties) Most often, the only real pen aficionados I know who use Montblancs were given them as gifts. The nibs on MBs are often poor quality, MB service is notoriously bad, the plastic of a Montblanc is notoriously brittle--and all of this coming at ridiculous prices. I was given an mb as my first pen and since then have kind of moved away from them. I actually sold two MBs and gave a third away. I'd like to think Shelley would know a good pen and would avoid a poor quality high priced one. I could see him with a Namiki Falcon maybe, something modern and responsive like his own souped-up sail boat. John Tranter once sent me an article about Shelby Foote's love for dip pens and some fp's and John'd signed it with a Rotring 600 using Waterman Florida Blue ink (a stunning color) and I went out straight away and bought a bottle, would write responses to students using a Sheaffer Legacy with Florida Blue, though I stopped that because that blue had a tendency to feather in some papers. When I read, Geoffrey, about your Phileas, I took mine out and filled it. ONly thing I dislike about the Phileas is the nibs come only in fine and medium. I still stare daily at my LAMY VISTA: practical, tough, cheap writes like a dream. With its big spring clip it can clip onto a sweater neck of any thickness, its converter holds A LOT of ink, and the fact that the whole pen is transparent gives it high bling-bling rating. Good to meet another fp person, Geoffrey. g ========================================================================= Date: Sat, 4 Jan 2003 19:05:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Bits of Kids wild clavicle evening, plus yellow teeth who can I say is here? little ones be best to follow. let fear enter the no. in saliva waves, passwords that quit out of cruel rains, stormtroopers vex righteous lips during dire visions of the present. teach us piano if it's like being stabbed. mouths can do what foxtraps will, unraveling into a bloom yes, rebirth rancid in that parking lot. appearance of power equals trust at merging of tribes lose sex organs and get sober to be beatified, this lack of saints no joke _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Sat, 4 Jan 2003 19:15:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Yet Another Cruel Way to Say Goodbye Hot sauce Sustained across Horizons in conflict autocratic toward the Last disco Who are the Big Boys? Can they keep their Spurs from Jingling and Jangling? post-freakout street Opulence in all the Sticky moves Raindrops make on Tears in an Effort to create a new better Salty way welcome to the revolution such as it Is meeting now at AA mixers and in the Heads of heroes Or opened envelopes from the cops Who are really sorry _________________________________________________________________ MSN 8: advanced junk mail protection and 2 months FREE*. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sun, 5 Jan 2003 13:08:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.angelfire.com/vt/alexigloo/OWO.html Mark it on your calendar. Jess ========================================================================= Date: Sun, 5 Jan 2003 00:36:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: PIPELOOP #0004 Comments: To: webartery@yahoogroups.com, o-o@konf.lt, ImitationPoetics@listserv.unc.edu, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE PAUL WHITNEY COLLECTION pipeloop #0004..................excerpt www.the-hyper-age.com squadron immediately placed nato disposal supplement air lusty voice heard years||||Sean needed more encouragement|||| implementation peace effectively efficiently june press extraordinary amount work extraordinarily difficult his||||may be turned to||||people of the land||||Lot they said forests public donation information interest effective give much||||bones properly||||see lust knew good||||sucking living with||||Leah and Rachel and||||parts will be yours|||| worried||||Robbie still turmoil||||cumming lover Each time mouth felt||||chance such largely||||face shoulder Shortly|||| soon start pullout verified according set procedure must misery||||back regain control smile||||wanted kiss||||certainly reaction gotten cesa legislation? information legislation already one seemed drag||||let made giggle breathlessly|||| dispelled Once||||hot wax candle drip||||replaying woman's Chicago very much||||unceremoniously damp pussy||||traveling up assistance programs officer kenya liaison office kenya seventy-seven will||||lord? how may we put||||will send for the cynicism world new definitions military objectives same glistening soft moonlight||||finished list ten minutes||||want york times shares view attacks||||crossed new threshold just head||||leave let enjoy lover||||moved hands up leg kursumliji oste eno je vise od osnovnih srednjih skola belly||||mirror sees||||between spread legs took Derek||||least of Simeon||||the waters of the||||were Hezron and||||and I will destined used ground operation against fr yugoslavia stopped||||see left momentarily||||followed lead soon felt|||| international most decade mahony war-ravaged central some stage||||upward drove cock up||||through pants wanted|||| logic characterized military intervention far all cried felt own cum||||soft ass pulled||||something King John brothers were||||Machpelah near Mamre||||father of Shem Ham|||| radioactive ammunition poison gases chemical weapons tragic committed reviewing policy one year today administration my country||||says About the||||other in addition if||||his name first male child in||||Abraham and Ishmael||||kept you back|||| sense||||longer hold back unleash another||||Headquarters|||| lifting up his eyes||||to an end||||tops of the||||land of Egypt|||| yugoslavia path war destruction political path core entire Wendy only knew||||contact engorged clitoris||||getting moist|||| own religious cultural traditions clinton work ways nations says un determined lead civilian implementation peace make a request||||the land of Egypt||||And his mother said||||Now father's sheep for||||peace with us let||||she went in or when|||| also meet today prime minister sergei stepashin another own juices begged Mike||||almost prerequisite Once||||order sensually up aisle||||through seats follow||||thighs kissing independent update visit search regime particularly now carriers submarines located adriatic sea also included Jackson caught||||moody Cancer perhaps tonight will||||sent time time heard squeal||||hand eager reach||||best catch thick semen wife's||||still pushed up reveal drenched||||scroll am Zaavan and||||from destruction||||had no sense of||||mountain and stumbling small talk buttocks pulled deeper||||jerk up chest with you||||came back they said||||And Lamech was a||||And after effect course even back-up electricity course military been rolled away||||I will make you||||workers with their||||And probably||||love consumed||||incredible feel hands||||while Said relief agencies something nato calls task force hawk clinton says take patience vigor part allies win says air land||||from the South he||||said Now at last my||||Then he put Woman||||chiefs||||had your money Then||||youngest brother is|||| hard cock assault||||Lee quickly obliged flipped||||helping them our||||And what he did was||||he became the father||||days|||| capable defeating all conventional belly armour prom anti- beginning fondle Jane's breasts||||hotter more passionate horny guys||||Yesterday Rachael's birthday||||couples met drives||||weekend smiled||||next move Pulling construction|||| saturday l-o byline jim randle dateline washington content geraldton western australia waihopai new zealand north bed fluffed||||nipples stand up pay attention||||head breast using these powerful new tools grows day just technologies agreement tokyo president japanese government keizo obuchi into the waste land||||put up his tents||||will send frogs into blessing on||||did so as the Lord||||And they put them|||| review lieutenant colonel robert waller army retired o candace williams details text foreign minister milo says foreign policy goals tom defrank washington bureau chief finish next one going||||made sure Jake got full view||||wife's administration official even get specifically raised summit marketing encryption individuals businesses||||part today position department army department defense government chatting each||||While loosen towel turn head||||lay crumpled pulled foot away told||||Jackson know think||||Carol very much particularly discrimination against women girls|||| council nato show throughout concrete actions minimum need of food the||||mind and all the||||that was near for||||was place for themselves||||for the barley was||||Israel and say to military targets having deferred serious consideration decided decide whether president clinton send american saw physical beauty||||blouse||||hostess all reassurance|||| major elements||||form joint virtual teams centers military takes breast||||obvious fact Anne wanted just||||nipple awakens will be worse than||||the water-hole which||||and man became a sound one new update continues provide balanced encryption verder project coordinator doctors borders northern albania in the garden in the||||servant for another||||For every one of went get||||road surveyed landscape||||forward front thighs|||| ethnic albanian terrorist kosovo liberation army kla gently guided||||lips eyes closed relishing||||crotch shocked insisted started feel very||||wonder||||feel turning one|||| that||||heart hard he and||||dry land in which||||And the sons of world tanjug internet team try update site least twice day heritage||||put on a change of||||Beth-el but before||||And Jacob alleged involvement iranian officials possible iranian role attack persuade refugees return home also mount media cesa contains number key provisions first provides special example legitimate grievance manipulated unscrupulous because afraid even greater loss confidence||||one begun joint reservists operating virtual teams benefited strong back||||am quite tall six one brown||||baby moaned pulling hair senses start climax||||know even imagination||||mind ready criminals terrorists||||finally cesa protects confidentiality Rachel's||||land was not wide||||may have a change of||||Zeboiim operation shining hope nato says chose mission name death then we will||||Egypt looking on the||||bread and we and united states where arrested another investigation called caution specifically references announcement deputy token resistance||||must felt these quite some time||||back according independent while nato points splits within nations kosovo metohia given peace chance best friends members congress both parties industry groups computer war working congress act too soon daschle act time come comprehensive account estimated number tanks armor chair seemingly watching||||popping cork||||process||||bound Bilhah||||Elon and Jahleel||||But the more cruel||||people came persian gulf war newer bomber also stealthy designed you to be the||||And Resen between||||tree so that your||||given down throat||||replace own blood||||loving wanting Mark love|||| father's bed even||||living in this||||land of Egypt this|||| all flesh on||||that all our money||||Now Abraham was old||||kept rubin think saying nato force all military equipment think she be the one||||Go back to your||||to see to the||||is yours? Pharaoh was||||Come let us go out||||And straight away||||keep a planes provided refugees entering united states immigration action main obstacles overcome emergence certain went||||And the king of||||Canaan to their||||in flight over the|||| little bit want talk||||misjudged things Nancy looked down|||| was on fire but it||||Joseph See I have||||nine hundred and|||| Pharaoh for bread||||and with his left||||face to the earth|||| after||||families||||women of Canaan Adah||||servant to Jacob as|||| albanian refugees arrived united states following group who considering condition aircraft according intelligence units alone shot ========================================================================= Date: Sun, 5 Jan 2003 00:37:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: PIPELOOP #0005 Comments: To: webartery@yahoogroups.com, o-o@konf.lt, ImitationPoetics@listserv.unc.edu, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE PAUL WHITNEY COLLECTION pipeloop #0005..................excerpt and God||||and Lot went with||||with only my stick||||the review tasked determine||||information required continued bones away||||into the waste land||||the younger and his||||have look||||front tub touch fingers||||tongue goes quickening pace|||| let death||||guiding me straight||||honour to the chief||||Zidon written challenge directly agency head designated senior better husband met||||tall thin man young tanned||||white sperm facilities laboratories conducting classified work focus Hamor his father||||All these he took||||seven years||||he gave your||||not see the man's||||and gave them dry||||The same day excluding numerical information||||actual gain factors likely insulators high-voltage high-temperature type disclosure paragraph iv rather intent these exceptions classify asshole flowed||||barefoot dressed loose jeans||||giving||||life diminution power clinton administration staunch supporter|||| gun airplanes||||various types including fighters fighter hypothetical yield maximum fireball radius radius fireball we are your servants||||them||||phera priest of On||||on the greedily wrap||||first embrace free||||pay long awaited visit|||| dripped down cunt||||teared up corner eye||||hard fast baby tolled Mass||||turned off engine Now||||war Christmas||||up dies teeth while||||racked body head toe||||said wanted watch||||gasp spend||||intelligence steven aftergood director federation Then you will say||||all flesh went in as||||the needs of front bedroom collapsed||||licking doing||||wondered big cock|||| and||||birds of the air||||May the Lord give me||||land to Beer- you are||||their death in the||||will be put in your||||they said elements yes yes uf yes yes ucl yes yes yes declassify sensuously Julie||||Purrrrrr all say||||come full erection classification create substantive procedural rights subject something||||cock softened watched slip||||bath lightly towel house drug policy director barry mccaffrey assistant breasts together||||tried move starving||||head front room|||| government cornerstone democracy department justice stands work for||||way to bitter||||flocks of sheep for||||Sarah were near||||Hittite near Mamre||||increased in the||||spring and the|||| did not||||of Israel will go||||you will be my||||And to you and function automated information system means assembly members||||commission pleasure meeting know bolivia involved information sec classification standards information several more scars||||few short months knew||||licking highly making really||||even vowed keep||||hooks college began||||all shock precursor related phenomena word precursor used due small part||||Keri's birthday tomorrow||||down Chris's dick council requirements spare hapless people afghanistan prisoners under||||And God said to||||place where he had|||| red teddy Sean||||nobody wins nobody get||||pleasure||||lift ass radialconvergence experimental one two-dimensional father to rest as||||and with his left||||destruction||||hole||||in including collection analysis information smugglers government continues receive growing body information characteristics distance time function depth burst Shannon Cos||||headed towards alley turning||||first man killed norms international law including respect human rights two enjoy each other seemed like||||talk Michelle Lauren asked|||| daughters||||bitter sorrow||||a great stone||||blessing saying O|||| his||||wife the name of Eve||||Kiriath-arba that is||||used up|||| assembly weapons contained||||components known reservoirs desire||||can can feel growing||||forward buried face cunt|||| stuttered bit spoke obviously||||Kneeling tongue expertly|||| sent him to say and||||his son and Lot the||||the crown of him shall authority review downgrade declassify information colombian government used fund military divisions rightist interest expertise area related subject matter order between european mafias italy russia drug cartels columbia bounced each thrust||||fingers squeezing||||view galloping shorts down||||cock slipped wetly||||seated sofa fact||||Feeling contract can cum take||||lips tongue sit||||feel like gave ceremony october australia new zealand signed arrangement dona ana rio arriba socorro wrangell rushmore sanford de And Joseph said||||And Abram hearing||||made waste by the|||| party||||down captured nipple between||||far tell all friends|||| mev mev quantity li li allocated unclassified research fact agency procedures agency failed establish procedures to make use||||And after a time||||earth||||and the birds were||||a events yield kilotons inclusive years fission yield total available design||||avlis avlis dye oscillator design top of the door||||up in his bed||||with him and the||||it is advisory board communication culture technology program|||| department energy site deuterium including heavy water represented periodic inventory data processing totals long|||| need of food||||Egypt see you they||||out of the land of||||Haran Pulling fist back base||||get tangles loose slipped|||| firmly pulling up||||French Kiss seen Hell||||Adonis standing|||| classification policy guide january james wright chair so||||and they said It is||||to keep them from||||Joseph Now that operations grand cat mouse game||||coast guard continually classified uses mercury thallium weapons production president clinton reporters evidence foul play has put all his||||were covered with||||because she is very|||| comprehensive exclusive system public release imagery information sec lessen agency administrative burden all pointing||||enjoyed every splendid second||||feel someone new maximum amount non-snm hazardous materials used||||nuclear Anne mentioned||||even||||chips table Still two more||||all well|||| information executive secretary able obtain all pertinent production utilization active materials methods chemical advised series tests||||swimwear||||hair dying anticipation master or not in||||Ephraim||||men having seen her||||I have basis doing rather determining whether defend nondisclosure function height depth including composite curves number of gold and fair||||young when they came||||And these are the|||| the families of the||||Now when the sun was||||there and order iscap shall decide appeals authorized persons who praise||||Pharaoh had been||||his wives Adah and||||first sons in organization gone existence program shall apply pertinent of the Lord is on||||Seir||||master||||their asses and went||||is concerning these same facilities production uranium metal pressures used primary separation where nominal conditions feels general clinton administration minding||||store latin alternative economic development development institutions shut down offices pakistan signed||||neb sa rae oct edt oct woman arms||||desire struggle||||Now lifted turned sat||||wake up achieve state art level information technology basic systems security award denning recognized both developing give||||I to keep back from||||and the third and to||||earth||||And Abraham and said||||Tigris which goes to||||And they said Let alleged drug trafficking money laundering activities networked thereby vulnerable||||cyber-attack distant days information automatically declassified section agency Mostly small repairs nothing much||||split second arms came|||| require page page examination identify frd review doe nara where||||returned such country appropriate authorities selected records available archivist united states all modulator fact dye laser beam phase modulated position case country peru||||perhaps know peru first world first knew||||sucking Frank's cock see||||MORE MORE NEED BACK BAD|||| japan trinity medical information pertinent safeguarding affair knew||||called shoulder ran||||stirring other bed Oh God security oversight office director office management budget back to||||waste land and came||||certain that I am||||said to ran never second thought||||afghanistan condemn islamist approached political create cooperation scheme work both associated now legal basis move against||||end act||||officials nothing good or||||his son||||and placing||||In those days Noah|||| officials say last months cocaine production risen when||||These are the||||and Asher||||will be cut off from|||| phera the||||Israel made the||||me as to say to him||||So he gave just let happen||||encouraged||||stomach crippled toppled|||| Etham||||kept all the women||||And in the||||nation truly a group authorities operate across national borders easily watching||||came up reasons why||||eyes loving affection||||white water materials secondary shield access ========================================================================= Date: Sun, 5 Jan 2003 08:19:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave In-Reply-To: <5.1.1.6.0.20030103193958.0180d768@mail.ilstu.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Ah, Gabe, indeed I was envious of your teal Parker 51 Demi (but, honestly, I was only testing its' clip when I put it in my jacket's breast pocket, cross my heart!) as over the years my favorite fp's have been Parkers -- even though these days I use a Sheaffer (a special edition I was offered in France & which was bought in the french Senate & which I have never been able to locate elsewhere) & a M400 Pelikan, as my ole 51 Parker has reached honorable retirement age, though from time to time & refill and use it for the sheer nostalgia of it. Yes, the Mont Blancs are widely overrated -- I was given two over the last 20 years & got irritated quickly with a certain grossness in feel they exhibited & have shut them away -- though I still use & like the MB pencil. a nappy ewe's ear to you, Pierre On Friday, January 3, 2003, at 09:01 PM, Gabriel Gudding wrote: > I saw tonight where you alerted me in your blog that you had lost your > favorite fountain pen, a green Pelikan, with which you wrote your first > collection and wanted to tell you, though I do not halve your email, > that I > found a crushed Pelikan M400 on the sidewalk in front of the New York > Palace early Saturday Dec 28th while attending the MLA conference. It > smelled that ferric smell of Pelikan blue-black ink (kind of > mediciny). I > kept the shards if you want them, though the nib wasn't anywhere near > the > smear of shattered plastic. I kept it because the piston mechanism was > still intact. (It was a plastic not a brass mechanism, so I'm assuming > it > wasn't the M800). > > Last spring in New Orleans I showed Pierre Joris an aerometric teal > Parker > 51 Demi hoping to make him jealous and he pretended to put it in his > sportcoat's breast pocket. I pretended to laugh at this but did not > find it > that funny because it was my favorite fountain pen at the time and > Pierre > made me put on a "fear grin" before he gave it back to me. > > I gave Mairead Byrne three fountain pens for gift-day this year: 2 > Esterbrook lever-fills from the 1940s (one large red and a little gray > one) > and a modern Pilot Capless with broad nib (formerly known as Namiki > Vanishing Points) these are the ones without caps whose nib inside the > pen > like a ballpoint. > > I currently use a Lamy VISTA (fine nib) for my Roaring Spring lab > books. I > am on my 19th roaring spring notebook. Using Lamy Blue-Black. The > VISTAs > are the transparent plastic pens with a lifetime warranty that run > around > 25 bucks. So2metimes I use a Sheaffer Imperial Triumph from about 1962 > just > because it's got great smoothness and rate of flow for such a fine > nib. My > favorite fp of all time however remains my Pelikan M800, black, whose > iridium tip I ground to a stub. > > Gabe > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sun, 5 Jan 2003 16:35:33 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leevi Lehto Subject: Interview with Kenneth Goldsmith MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Now in English at the web site of Tuli&Savu (Fire&Smoke), a Finnish poetry quarterly: ***Nude Media, Or Benjamin In the Age Of Ubiquitous Connectivity: =20 An interview with Kenneth Goldsmith by Leevi Lehto - on speech, artificiality, word processing, net art, radical distribution ... ***Anselm Hollo Archive =20 A bilingual archive of writings on Anselm Hollo's work (essays by Alice Notley, Patrick Pritchett et al. - coming up: Finnish critics on Corvus) Best regards, Leevi Lehto Editor-in-chief, Tuli&Savu =20 =20 ========================================================================= Date: Sun, 5 Jan 2003 13:34:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: evil, a falsehood MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII evil, a falsehood **************Free Prize Palace Newsletter************** it's only in the symbolic that truth is found; it's only in the symbolic that negation occurs. negation is a core trope in intelligence; what differentiates, differentiates only by virtue of the potential for veering, turning away. Get the degree you NEED for a high paying job. the symbolic is the repository of evil, the punishment of banishing, the pale; the evil other is such by virtue of the symbol, primordial communi- cation. humans exist naturally enough within the worlding of mediation and representation; the evil symbolic both extends hegemony and creates conditions for the implementation of violence at a distance. Kaplan College, the leader in ONLINE education, there are no neutral objects. objecting is within the categorical; both are bound within the sememe. the sememe originates physical action beyond instinct, the reflex arc, the autonomic nervous system; it is responsible for violence's delight. offers accredited programs in business and all languaging is a seduction and a death; syntax itself filters and denies. to work within language may also be to fight against it, expose it. everything humans perceive is part and a parcel of language. management, nursing, education, legal studies, spoken and written language are low-bandwidth, full of poverty and anxiety, full of exposure. within the limitations of a tongue, equivalence is foregrounded. everything distanced by propriety, properly placed within the dialect. art breaks its languaging; commerce restores it; violence is its product. criminal justice, law, IT, and more. Get Your the name, its trace. Bachelor's degree in 2 years ALL ONLINE! the memory, its trace of name, languaging. the memory which reconstructs, recuperates the symbolic by virtue of the symbolic. the memory which rises to fury, to self-annihilation, to the annihilation of the other. the commerce of memory. CLICK HERE for a FREE Course Catalog: === ========================================================================= Date: Sun, 5 Jan 2003 13:54:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit THIS IS SO FANTASTIC! CAN WE CONVINCE THEM TO HAVE THIS ONCE A WEEK OR SOMETHING? PULL OUR SEXUAL RESOURCES TO HOLD BACK THE WARMONGERING! i read somewhere awhile ago about these Buddhist monks who would go into the mountains and make love when they heard about a war somewhere on the planet. was this a book of fiction i wonder? wish i could recall the text. anyway, i liked the idea of countering, or balancing the negative energy on the planet with love-making. BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? I NEED TO ASK MORE DETAILS. "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be on more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Sun, 5 Jan 2003 11:03:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: International Orgasm Day In-Reply-To: <39BAD60D.78A03B73.01F36A84@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed > >BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? The judges. Mark ========================================================================= Date: Sun, 5 Jan 2003 14:47:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Hazlitt on Superficiality Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Not having the benefit of a blog to confide in, last night I consoled myself with writing in my notebook. I had seen the beautiful, but very sad movie, "Nicholas Nickleby." I thought about selfishness, cruelty and mean people, recent events in the world and those threatening to come. Then I found that the only thing that could pull me out of this fugue was to read some Hazlitt. I read his excellent essay "On The Conversation of Authors." Hazlitt loved and enjoyed his writer friends. "The conversation of authors is better than that of most professions" he writes, and he goes on to flatter his brilliant friends who included Lamb and Leigh Hunt and Coleridge and Godwin. Lamb is witty and profound, Leigh Hunt entertaining but vacuous, Coleridge fascinating but obscure, Godwin a bore. But he adds "Authors in general are not good listeners. Some of the best talkers are, on this account, the worst company; and some who are very indifferent, but very great talkers, are as bad. It is sometimes wonderful to see how a person, who has been entertaining or tiring a company by the hour together, drops his countenance as if he had been shot, or had been seized with a sudden lock-jaw, the moment anyone interposes a single observation..." This essay restored my spirits, and I thought about many great hours over the past year spent reading and writing on this list. But I woke up in a bad mood. I became preoccupied with the issue of shallowness and superficiality and scribbled about it at length in my notebook. But what do other people think about this? So, of course, I did what any contemporary web freak would do, I went to Google and typed in "superficiality." All the entries were themselves superficial but one, the third one listed. I had come full circle. Has no one published anything intelligent about this topic since 1821? The listing, of course, was an essay by Hazlitt, and a great one. Here it is, and I highly recommend it: http://www.blupete.com/Literature/Essays/Hazlitt/DepthSuperficiality.htm Nick ========================================================================= Date: Sun, 5 Jan 2003 14:59:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: here's a little something about WAR when no one wants it MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "Of course the people don't want war...that is understood. But, after all, it is the leaders of the country who determine the policy, and it's always a simple matter to drag the people along whether it's a democracy, a fascist dictatorship, or a parliament, or a communist dictatorship. Voice or no voice, the people can always be brought to the bidding of the leaders. That is easy. All you have to do is tell them they are being attacked, and denounce the pacifists for lack of patriotism and exposing the country to danger. It works the same in any country." --Hermann Goering, Adolf Hitler's Deputy Chief and Luftwaffe Commander, at the Nuremberg trials, 1946. From NUREMBERG DIARY, by GM Gilbert. "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be on more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Sun, 5 Jan 2003 15:06:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Hazlitt on Superficiality In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ava gardner said: "Deep down, I'm pretty superficial." i don't know about you, but i find that worthy of nietzsche. At 2:47 PM -0500 1/5/03, Nick Piombino wrote: >Not having the benefit of a blog to confide in, last night I consoled myself >with writing in my notebook. I had seen the beautiful, but very sad movie, >"Nicholas Nickleby." I thought about selfishness, cruelty and mean people, >recent events in the world and those threatening to come. Then I found that >the only thing that could pull me out of this fugue was to read some >Hazlitt. I read his excellent essay "On The Conversation of Authors." >Hazlitt loved and enjoyed his writer friends. "The conversation of authors >is better than that of most professions" he writes, and he goes on to >flatter his brilliant friends who included Lamb and Leigh Hunt and Coleridge >and Godwin. Lamb is witty and profound, Leigh Hunt entertaining but vacuous, >Coleridge fascinating but obscure, Godwin a bore. But he adds "Authors in >general are not good listeners. Some of the best talkers are, on this >account, the worst company; and some who are very indifferent, but very >great talkers, are as bad. It is sometimes wonderful to see how a person, >who has been entertaining or tiring a company by the hour together, drops >his countenance as if he had been shot, or had been seized with a sudden >lock-jaw, the moment anyone interposes a single observation..." This essay >restored my spirits, and I thought about many great hours over the past year >spent reading and writing on this list. But I woke up in a bad mood. I >became preoccupied with the issue of shallowness and superficiality and >scribbled about it at length in my notebook. But what do other people think >about this? So, of course, I did what any contemporary web freak would do, I >went to Google and typed in "superficiality." All the entries were >themselves superficial but one, the third one listed. I had come full >circle. Has no one published anything intelligent about this topic since >1821? The listing, of course, was an essay by Hazlitt, and a great one. Here >it is, and I highly recommend it: >http://www.blupete.com/Literature/Essays/Hazlitt/DepthSuperficiality.htm > >Nick -- ========================================================================= Date: Sun, 5 Jan 2003 15:14:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: International Orgasm Day In-Reply-To: <5.1.0.14.1.20030105110236.01c5e240@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" one "sitting"? are you sure? At 11:03 AM -0800 1/5/03, Mark Weiss wrote: >>BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >>WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >>ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >>SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? > > >The judges. > >Mark -- ========================================================================= Date: Mon, 6 Jan 2003 06:20:41 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Hazlitt on Superficiality In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-5A9668F7; boundary="=======78B865BE=======" --=======78B865BE======= Content-Type: text/plain; x-avg-checked=avg-ok-5A9668F7; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 07:06 AM 6/01/03, you wrote: >ava gardner said: "Deep down, I'm pretty superficial." i don't know >about you, but i find that worthy of nietzsche. you are only beginning to scratch the surface of the superficiality debate komninos Surface Paradise Gold Coast Queensland Australia --=======78B865BE======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-5A9668F7 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.435 / Virus Database: 244 - Release Date: 30/12/02 --=======78B865BE=======-- ========================================================================= Date: Sun, 5 Jan 2003 15:32:09 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/5/03 1:55:17 PM, CAConrad9@AOL.COM writes: << BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? I NEED TO ASK MORE DETAILS. >> For god's sake, someone please give me this woman's address!!!!! Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Mon, 6 Jan 2003 06:51:23 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: International Orgasm Day In-Reply-To: <61.2ba78bf6.2b49f049@aol.com> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-5A9668F7; boundary="=======64093836=======" --=======64093836======= Content-Type: text/plain; x-avg-checked=avg-ok-5A9668F7; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit i'd be interested in reading that poem komninos http://users.bigpond.net.au/mangolegs/muriel/kom2.html At 06:32 AM 6/01/03, you wrote: >In a message dated 1/5/03 1:55:17 PM, CAConrad9@AOL.COM writes: > ><< BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? >I NEED TO ASK MORE DETAILS. >> > >For god's sake, someone please give me this woman's address!!!!! Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.435 / Virus Database: 244 - Release Date: 30/12/02 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======64093836======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-5A9668F7 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.435 / Virus Database: 244 - Release Date: 30/12/02 --=======64093836=======-- ========================================================================= Date: Sun, 5 Jan 2003 15:50:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Hazlitt on Superficiality Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit By the way, I found one misprint in the essay reprinted at the URL I listed. In my edition, (1934, Random House), the story of Lord Clive reads as follows: "Lord Clive, when a boy, saw a butcher passing with a calf in a cart. A companion whom he had with him said, "I should not like to be that butcher!"- "I should not like to be that calf," replied the future Governor of India, laughing at all sympathy but that with his own sufferings." Now, I wonder. Perhaps the person who typed out this copy had the same trouble making sense of this passage that I had. Why would Hazlitt make that comment about the "future Governor of India." As a child, Lord Clive is sympathizing with the calf, who must die, rather than the butcher, who must do the killing. I would certainly agree with the "one day to be" Lord Clive, and not his companion (who most likely was equally as young). Or was it the fact that the boy laughed as he said it? Also, this Hazlitt essay was not published in 1821 (I thought it was in "Table Talk") but it was written around 1826. Nick ========================================================================= Date: Sun, 5 Jan 2003 16:03:06 -0500 Reply-To: ksilem@mindspring.com Sender: UB Poetics discussion group From: ksilem@MINDSPRING.COM Subject: Re: Hazlitt on Superficiality I caught this misprint too, and like you, was initially puzzled. But I think I get it now. Hazlitt's point is that Lord Clive perceives the hardship faced by the butcher, as an overworked laborer, trivial enough for him to make a joke about it, displacing his "sympathy" (in mock sentimentality) onto the dumb animal he has slaughtered. I think we, as a culture, have become sensitive to the issue of "animal rights" in a way that Hazlitt's generation could only invoke as an absurdity, and this confuses the logic of the anecdote for us. Kasey On Sun, 5 Jan 2003 15:50:06 -0500 Nick Piombino wrote: > By the way, I found one misprint in the essay > reprinted at the URL I listed. > In my edition, (1934, Random House), the story > of Lord Clive reads as > follows: "Lord Clive, when a boy, saw a butcher > passing with a calf in a > cart. A companion whom he had with him said, "I > should not like to be that > butcher!"- "I should not like to be that calf," > replied the future Governor > of India, laughing at all sympathy but that > with his own sufferings." > > Now, I wonder. Perhaps the person who typed out > this copy had the same > trouble making sense of this passage that I > had. Why would Hazlitt make that > comment about the "future Governor of India." > As a child, Lord Clive is > sympathizing with the calf, who must die, > rather than the butcher, who must > do the killing. I would certainly agree with > the "one day to be" Lord Clive, > and not his companion (who most likely was > equally as young). Or was it the > fact that the boy laughed as he said it? > > Also, this Hazlitt essay was not published in > 1821 (I thought it was in > "Table Talk") but it was written around 1826. > > Nick > ========================================================================= Date: Sun, 5 Jan 2003 15:07:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: evil, a falsehood MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Alan, I like this one a lot. Aaron p.s. Do you have a book or CD or something ? I'm wondering how it would work in a collection-- side-by-side, your works would have a kind of avalanche effect, I would think. ========================================================================= Date: Sun, 5 Jan 2003 13:22:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Dodie Bellamy's Spring Prose Workshop Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dodie Bellamy's Spring Prose Workshop There are a couple openings for my spring prose workshop, which will meet 10 Wednesday evenings in my South of Market apartment from 7 to 10. The dates: February 5 through April 16. By prose I mean fiction, nonfiction, prose poetry, including (but not exclusively) anything edgy or experimental. The workshops are totally open-ended. Five people present a week, scheduling that the week ahead. Usually people bring in something 5 pages or less (copies for everybody) and we critique it that week. Longer pieces are also okay, but they need to be handed out a week ahead of time for people to read. Each student typically gets a half an hour each time we critique. The classes are limited to 8 students. Lots and lots of personal attention. They take place in my South of Market apartment, which comes complete with snacks and one cat. I'm the author of 4 books and I teach creative writing at SF State and in the MFA program at Antioch Los Angeles. I've also taught at Naropa summer session, Mills, USF, UC Santa Cruz, and the SF Art Institute. I'm the winner of the Bay Guardian Goldie Award for Literature and the Firecracker Alternative Book Award for Poetry. If you're interested, please email about cost, work samples, etc. ========================================================================= Date: Sun, 5 Jan 2003 14:45:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: from norman culture or glacers: In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit from norman culture or glacers: norman glacers norman glacier culture a fused bomb in three parts 1. elected officials 2. monsanto 3. one of four audibles meanwhile at the duck and doughnut cabaret: " happy happy happy," is the theme from the scratch and sniff, dog and cat, pig-n-whistle, next in line - care to lick my body clean, every inch, every so often - but I digress, it was really at the cock and whisper - manage your temperance with high roller SUV - old fashion manhattan - row me in the contest - well before kaiser millhouse mixed chickens what interests me is a catalog of unexplored rhythmic dissolutions, well worded with long nomadic eyes that sail on sweat of palm an the aroma of dirt are references that never ends the next to step out of line. ========================================================================= Date: Sun, 5 Jan 2003 15:07:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: International Orgasm Day In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Good editing, Maria. While the position is certainly feasible, it i9mplies rather more passivity than one would expect from this talented woman. "In one bouncing" would perhaps be better. Mark At 03:14 PM 1/5/2003 -0600, you wrote: >one "sitting"? are you sure? > >At 11:03 AM -0800 1/5/03, Mark Weiss wrote: >>>BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >>>WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >>>ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >>>SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? >> >> >>The judges. >> >>Mark > > >-- ========================================================================= Date: Sun, 5 Jan 2003 15:11:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: and it was so In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit and it was so what created light? the animals began their pilgrimage to the zoo what created seven days? boredom and rock skipping what is heaven and earth? an introduction to segregation what is the forbidden fruit? a touch that burns what is paradise? a cat in the hat what is eden? t.v. dinners and canned meat what is adam and eve? rock paper scissors ========================================================================= Date: Mon, 6 Jan 2003 13:59:55 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The Battle of the Spears! The pen is smightier...smites more and so on: I have a kind of fetish re pens: I like to have a large number of pencils of a certain kind for marking book prices and these days (since I got "into" books as such) I use pencils a lot, either a ball point or one of those (what are called) Artline pens and I write poems with those: next best would be fountain pens: I recall owning my first as a boy it was more important to me than..well many other things I think: it was called an Osmiroid (I think) a name I treasure regardless of whether that was the name. (Iridium i think also was the tip..."Iridium" ahhh) We also used ink bottles and at Primary school (frm say 5 years to about 9 or 10) we had ink wells set in these wooden desks: mine I scored with a pencil and all over it were "highways" which I "raced' up and down and around endlessly ... but we could dip these fixed pens in the ink wells the write with them(Antique shops sell th old Rimu desks or were they just varnished pine?) But I dont see fountain pens nowadays: undoubtedly people collect them. I dont go anywhere where they are or maybe dont notice them as I could afford them so I'm not sure if one can buy them these days. I think they are availalble but maybe not refillable....what is the foutain pen situation in other places or can any NZ Lurker let me know re NZ? Richard. PS very droll this pen inicident = an innocent incident ----- Original Message ----- From: "Pierre Joris" To: Sent: Monday, January 06, 2003 2:19 AM Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave > Ah, Gabe, indeed I was envious of your teal Parker 51 Demi (but, > honestly, I was only testing its' clip when I put it in my jacket's > breast pocket, cross my heart!) as over the years my favorite fp's have > been Parkers -- even though these days I use a Sheaffer (a special > edition I was offered in France & which was bought in the french Senate > & which I have never been able to locate elsewhere) & a M400 Pelikan, > as my ole 51 Parker has reached honorable retirement age, though from > time to time & refill and use it for the sheer nostalgia of it. Yes, > the Mont Blancs are widely overrated -- I was given two over the last > 20 years & got irritated quickly with a certain grossness in feel they > exhibited & have shut them away -- though I still use & like the MB > pencil. > > a nappy ewe's ear to you, > > Pierre > > On Friday, January 3, 2003, at 09:01 PM, Gabriel Gudding wrote: > > > I saw tonight where you alerted me in your blog that you had lost your > > favorite fountain pen, a green Pelikan, with which you wrote your first > > collection and wanted to tell you, though I do not halve your email, > > that I > > found a crushed Pelikan M400 on the sidewalk in front of the New York > > Palace early Saturday Dec 28th while attending the MLA conference. It > > smelled that ferric smell of Pelikan blue-black ink (kind of > > mediciny). I > > kept the shards if you want them, though the nib wasn't anywhere near > > the > > smear of shattered plastic. I kept it because the piston mechanism was > > still intact. (It was a plastic not a brass mechanism, so I'm assuming > > it > > wasn't the M800). > > > > Last spring in New Orleans I showed Pierre Joris an aerometric teal > > Parker > > 51 Demi hoping to make him jealous and he pretended to put it in his > > sportcoat's breast pocket. I pretended to laugh at this but did not > > find it > > that funny because it was my favorite fountain pen at the time and > > Pierre > > made me put on a "fear grin" before he gave it back to me. > > > > I gave Mairead Byrne three fountain pens for gift-day this year: 2 > > Esterbrook lever-fills from the 1940s (one large red and a little gray > > one) > > and a modern Pilot Capless with broad nib (formerly known as Namiki > > Vanishing Points) these are the ones without caps whose nib inside the > > pen > > like a ballpoint. > > > > I currently use a Lamy VISTA (fine nib) for my Roaring Spring lab > > books. I > > am on my 19th roaring spring notebook. Using Lamy Blue-Black. The > > VISTAs > > are the transparent plastic pens with a lifetime warranty that run > > around > > 25 bucks. So2metimes I use a Sheaffer Imperial Triumph from about 1962 > > just > > because it's got great smoothness and rate of flow for such a fine > > nib. My > > favorite fp of all time however remains my Pelikan M800, black, whose > > iridium tip I ground to a stub. > > > > Gabe > > > > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Mon, 6 Jan 2003 15:05:34 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Hazlitt on Superficiality MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nick and les autres....There is selfishness and cruelty but if people are given a good environment without constant want or pressure (so the "good environment" maybe both materially good and reasonably good in terms of the requirements of human needs and the ability to to express and show and actually use compassion love etc) your comment reminds me of the O Henry story (set in NY as most were I believe..its simplistic but the protagonist is walking (along) a NY street and thinking that all the others going past look mean and hurrying and hard and so on, and then he falls and is hurt...immmediatly quite a number rush to his aid: now I'm reading a book "The Mountain People" by Collin Turnbull about the Ik people who were deprived of their hunting grounds in the mid sixties, tried to farm, couldnt (beacuase the land they had was too arid) and degenerated into a society that was absolutely self-centred and a-moral ...the old and young children were expendible (because useless), Turnbull finds that there was virtually no compassion or love at all (which is not the case in other "primitive" societies) ...a child is let drop and dies, the mother is delighted (less to feed - the people are always hungry or thirsty - as a leopard grabs it and they are now abe to hunt kill and eat the leopard with the child cocnsumed inside the leopard: it all makes the Mafia of "The Godfather" and the children in Golding's "Lord of the Flies" etc look pretty tame...so I think it says , not that we are inherently evil, but that given harsh cirumstances, given extremities of privation and derivation and fear and suffering we can all become harsh and very self-centred: this phenomena is seen in all countries at different times and sometimes is a constant in societies where survival is chancy as indeed it came close to being in Dickens's London ...Dickens's books - which I read as a boy (they being my father's favourite as he was from London) - show of course the humorous aspects and not all the protagonists show this great selfishness (I'm not talking of healthy self-esteem)...but certainly Dickens himself experienced a lot of suffering....I think that England and the US and my own country have at least gone through certain "revolutions" or social "progresses" (a dubious term) which mean that the best of the Judeao - Christian ideas of the "he who is without sin cast the first stone..", "love one another" and so on have had some effect and certain ideas of liberty and fraternity (not the requisite term nowadays) have taken hold and also the US Constitution and the British Legal system and our own here....but that battles against an enormous number of injustices throughout the whole world: that said, Colin Turbull's "Mountain People" aside: we (I think the majority of us) probably are still horrified by injustice, violence, famine, racism, insincerity, and so on...so that at least argues that the majority are compassionate....given they get the requisite information, and that they have the "luxury" to be so (and I DONT mean that those people are either or not very wealthy in the sense of large amounts of money or not ) - they may be relatively poor or rich (such terms are relative any way)- as we also have in most societies in the world the capacity to develop morality and compassion (and or allow the situation to be "prosperous" enough (cf the Ik)) and to think of and act for others than ourselves: beginning with our own children, or those of others we know, or those in teams or wherever we are; and extending that out to others...the next step is for our politicians to choose discussion and negotiation over war (while keeping a healthy army/military for self-defence (national defence) until war is no more if it ever is.... But one does see the superficialities: people worrying about whether they have more orgasms than some one else, how large their breasts or penises are, whether they have better car than the neighbouurs ...some of these things are harmless ...but the advertising people work on peoples' insecurities....the England you are reading of was that of Imperialist England (the land of Kitchener - who was a fine and handsome and a brave man but an imperialist nevertheless) and also capitalism was in full roar there with US and others racing to catch up: its fascinating to read those nineteenth century writers (I like George Eliot of eg "Middlemarch" ) and also Lamb etc and others (the Russian writers - I love Chekov's stories and his plays): but I think more people are sincere and non-superficial than one might believe, even in those days when things maybe were (were tey?) , harsher... (although I have felt sad about this myself as you do Nick, I dont know about others)...but we also need Orgasm competitions and a certain dosage of Superficiality can do some over serioso personages some considerable good: one can become to moralistic, fear disagreement (like those writers/talkers who become "lock-jawed") too much, or disallow it, ....we also need to learn social communicativeness and compassion rather than (or - at least - as WELL AS ) how to do arithmetic and so on. So some reality, a dash of humour, compassion, some knowledge, salt, George Bowering's hat etc and some fountain pens, some Perelman and Thurber, some Barthelme, some Silliman and Piombino etal, others, a lot of reading, tolerance, beer, steak, poetry writing, Blogs, play chess of other "useless" game, some seriousness when appropriate, curiosity, some Ashberic amazement: all these are recquired Nick - read The Pickwick papers as a pick wick up!! They are very funny (if you havent already)...I'm currently and rather ponderously reading through Emily Dickinson's complete poems ( I get an almost spiritual sense of/from her strange poems) and am tackling old Pound's Cantos (to use C Bern's phrase I'm "Pounding Fascism" (!) ) ..and hence was diverted onto Dante and Ovid etc but got diverted to Monsieur Turnbull (whose book gave me some awful nightmares) and for some reason I was reading George Herbert's Poems and I'm still reading your book Nick - the small one that's not much bigger than Wystan Curnow's small green book of "poems and proses"...but I like your prose poems...I am attracted to the prose-poem idea or method..... I think we are superficial if we concentrate on vain matters too exclusively and dont listen to others and forget the immense significance and stranegness of human consciousness and the being of people: that we each matter and hence others do, the reality of that total being. If we forget the simple miracle of being alive - which sounds a bit Readers Digesty maybe, but I used to like reading the Reader's Digest magazine: despite its inanities there were some interesting things in it... Richard. ----- Original Message ----- From: "Nick Piombino" To: Sent: Monday, January 06, 2003 8:47 AM Subject: Hazlitt on Superficiality > Not having the benefit of a blog to confide in, last night I consoled myself > with writing in my notebook. I had seen the beautiful, but very sad movie, > "Nicholas Nickleby." I thought about selfishness, cruelty and mean people, > recent events in the world and those threatening to come. Then I found that > the only thing that could pull me out of this fugue was to read some > Hazlitt. I read his excellent essay "On The Conversation of Authors." > Hazlitt loved and enjoyed his writer friends. "The conversation of authors > is better than that of most professions" he writes, and he goes on to > flatter his brilliant friends who included Lamb and Leigh Hunt and Coleridge > and Godwin. Lamb is witty and profound, Leigh Hunt entertaining but vacuous, > Coleridge fascinating but obscure, Godwin a bore. But he adds "Authors in > general are not good listeners. Some of the best talkers are, on this > account, the worst company; and some who are very indifferent, but very > great talkers, are as bad. It is sometimes wonderful to see how a person, > who has been entertaining or tiring a company by the hour together, drops > his countenance as if he had been shot, or had been seized with a sudden > lock-jaw, the moment anyone interposes a single observation..." This essay > restored my spirits, and I thought about many great hours over the past year > spent reading and writing on this list. But I woke up in a bad mood. I > became preoccupied with the issue of shallowness and superficiality and > scribbled about it at length in my notebook. But what do other people think > about this? So, of course, I did what any contemporary web freak would do, I > went to Google and typed in "superficiality." All the entries were > themselves superficial but one, the third one listed. I had come full > circle. Has no one published anything intelligent about this topic since > 1821? The listing, of course, was an essay by Hazlitt, and a great one. Here > it is, and I highly recommend it: > http://www.blupete.com/Literature/Essays/Hazlitt/DepthSuperficiality.htm > > Nick ========================================================================= Date: Sun, 5 Jan 2003 21:00:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Spiral Bridge & The Naked Readings Subject: The Naked Readings MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 The Naked Readings Open mic. poetry, Live music, and Art Sunday, Jan. 19 7 p.m. to Midnight The Bloomfield Ave Caf=E9 and Stage 347 Bloomfield Avenue Montclair, NJ Music by OFF THE CUFF =20 Sunday, Jan. 19th at the Bloomfield Ave. Caf=E9 and Stage the New Year = begins with The Naked Readings featuring the works of local renowned, = unknown, and innovative new poets in the comfortable non-smoking open = environment of the Bloomfield Ave. Caf=E9 and Stage. The January = installment of The Naked Readings open mic. Poetry series opens and = closes with live music by the local up and upcoming band OFF THE CUFF. = See OFF THE CUFF in advance on January 11th at Tiereny's in Montclair. = Come and be inspired.=20 The Spiral Bridge Writers Guild, a Montclair based nonprofit poetry = organization serves as a platform for participation in the constant = dialogue that involves expression across cultures and generations = revealing the richness of human diversity. With the expansion of = communication technologies Spiral Bridge has created a platform that = extends beyond our local community to an international audience. These = new technologies have stretched the limits of human perception by = locating our voices in time and geographical, as well as virtual spaces. = We are enchanted by the possibilities of sharing voices across all = boundaries. Spiral Bridge has created a cultural arts center focused on = the literary arts to promote the growth, understanding and expression of = ALL.=20 =20 The Spiral Bridge Writers Guild represents a new voice in poetry in an = area revitalizing its artistic pulse.=20 Visit the Spiral Bridge Writers Guild website at: = http://www.spiralbridge.org=20 ========================================================================= Date: Mon, 6 Jan 2003 13:02:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Generator Website MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For a lively mixture of text, translation, and visual poetry check out the current (but evolving) status of http://www.generatorpress.com. Currently on display: translations of Lee-Song-Bok by Hye-jin Juhn and George Sidney, as well as translations of Ko-Un, Korea's greatest living poet, by Don Mee Choi. Other surprises await. Jess P.S. Generator 12 is open to submissions. Please check the website for details. ========================================================================= Date: Mon, 6 Jan 2003 00:07:13 -0500 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: "dbuuck@mindspring.com" Subject: Tripwire flood discounts MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Due to some recent flooding in our basement, we lost 3 boxes or so of=20 Tripwires=2E I was able to "rescue" a few, which, though somewhat water=20= stained, are still perfectly readable=2E So, we're offering a discount on=20= these copies for anyone who's interested:=20 Tripwire 4 (Work) Tripwire 5 (African-American poetics) $5 each=20 or $8 for both (plus $2 for shipping outside of US) also- the new issue is now out as well, at $10=2E (you can check out www=2Edurationpress=2Ecom/tripwire for the table of=20 contents for all of these) thanks David Buuck TRIPWIRE c/o Morrison & Buuck PO Box 420936 SF CA 94142 www=2Edurationpress=2Ecom/tripwire -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Mon, 6 Jan 2003 00:33:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Hazlitt on Superficiality Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Sun, 5 Jan 2003 15:06:35 -0600 > From: Maria Damon > Subject: Re: Hazlitt on Superficiality > > ava gardner said: "Deep down, I'm pretty superficial." i don't know > about you, but i find that worthy of nietzsche. Maria Damon talking to me about Ava Gardner. Who needs Nietzche? Who needs Hazlitt? Nick ========================================================================= Date: Mon, 6 Jan 2003 01:15:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Here's a little something about WAR when no one wants it Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Sun, 5 Jan 2003 14:59:56 -0500 > From: Craig Allen Conrad > Subject: here's a little something about WAR when no one wants it > > "Of course the people don't want war...that is understood. But, after all, it > is the leaders of the country who determine the policy, and it's always a > simple matter to drag the people along whether it's a democracy, a fascist > dictatorship, or a parliament, or a communist dictatorship. Voice or no > voice, the people can always be brought to the bidding of the leaders. That > is easy. All you have to do is tell them they are being attacked, and > denounce the pacifists for lack of patriotism and exposing the country to > danger. It works the same in any country." > --Hermann Goering, Adolf Hitler's Deputy Chief and Luftwaffe Commander, at > the Nuremberg trials, 1946. From NUREMBERG DIARY, by GM Gilbert. > > > "I believe in compulsory cannibalism. > If people were forced to eat what they > killed there would be on more war." > --Abbie Hoffman > > "This is a good world... > And war shall fail." > --Kenneth Patchen I guess this is why I keep feeling like I'm living in Germany right before the war. By the way, I lived there for a few years right after it. Not very pretty in bombed out Nurnberg in 1953. Nick ========================================================================= Date: Mon, 6 Jan 2003 01:30:20 -0500 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, I miss my "stylos plume" that I learned to like when I was in school in France studying for the Bac. I remember the ereasers we had, with one en d erasing and the other end writing back in blue with ink that was permanent and wasn't erased by the eraser fluid. When I left France, I brought home several pens and lots of ink cartridges and erasers, but my pens got stopped up from lack of use and I can't get them to work again or haven't really tried. I was a Waterman fan,. I liked the fifty franc stainless steel pens which wrote much better than the fancy pen I got for high school graduation (which was prpbably a Mont Blanc). I hate fat pens, I don't feel I an control them. I don't know why marbelized plastic rates high prices. SO I go for metal pens that are thin... I hate that cartrudges aren't standars (but prefer teh Waterman style version with the double sized cartridges) and was never a great fan of pens you have to fill with liquid ink. Millie ----- Original Message ----- From: "Pierre Joris" To: Sent: Sunday, January 05, 2003 8:19 AM Subject: Re: jordan davis: i found a Green Celluloid Pelikan on 51st and Madison Ave > Ah, Gabe, indeed I was envious of your teal Parker 51 Demi (but, > honestly, I was only testing its' clip when I put it in my jacket's > breast pocket, cross my heart!) as over the years my favorite fp's have > been Parkers -- even though these days I use a Sheaffer (a special > edition I was offered in France & which was bought in the french Senate > & which I have never been able to locate elsewhere) & a M400 Pelikan, > as my ole 51 Parker has reached honorable retirement age, though from > time to time & refill and use it for the sheer nostalgia of it. Yes, > the Mont Blancs are widely overrated -- I was given two over the last > 20 years & got irritated quickly with a certain grossness in feel they > exhibited & have shut them away -- though I still use & like the MB > pencil. > > a nappy ewe's ear to you, > > Pierre > > On Friday, January 3, 2003, at 09:01 PM, Gabriel Gudding wrote: > > > I saw tonight where you alerted me in your blog that you had lost your > > favorite fountain pen, a green Pelikan, with which you wrote your first > > collection and wanted to tell you, though I do not halve your email, > > that I > > found a crushed Pelikan M400 on the sidewalk in front of the New York > > Palace early Saturday Dec 28th while attending the MLA conference. It > > smelled that ferric smell of Pelikan blue-black ink (kind of > > mediciny). I > > kept the shards if you want them, though the nib wasn't anywhere near > > the > > smear of shattered plastic. I kept it because the piston mechanism was > > still intact. (It was a plastic not a brass mechanism, so I'm assuming > > it > > wasn't the M800). > > > > Last spring in New Orleans I showed Pierre Joris an aerometric teal > > Parker > > 51 Demi hoping to make him jealous and he pretended to put it in his > > sportcoat's breast pocket. I pretended to laugh at this but did not > > find it > > that funny because it was my favorite fountain pen at the time and > > Pierre > > made me put on a "fear grin" before he gave it back to me. > > > > I gave Mairead Byrne three fountain pens for gift-day this year: 2 > > Esterbrook lever-fills from the 1940s (one large red and a little gray > > one) > > and a modern Pilot Capless with broad nib (formerly known as Namiki > > Vanishing Points) these are the ones without caps whose nib inside the > > pen > > like a ballpoint. > > > > I currently use a Lamy VISTA (fine nib) for my Roaring Spring lab > > books. I > > am on my 19th roaring spring notebook. Using Lamy Blue-Black. The > > VISTAs > > are the transparent plastic pens with a lifetime warranty that run > > around > > 25 bucks. So2metimes I use a Sheaffer Imperial Triumph from about 1962 > > just > > because it's got great smoothness and rate of flow for such a fine > > nib. My > > favorite fp of all time however remains my Pelikan M800, black, whose > > iridium tip I ground to a stub. > > > > Gabe > > > > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Sun, 5 Jan 2003 23:29:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Hazlitt on Superficiality In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > Date: Sun, 5 Jan 2003 15:06:35 -0600 >> From: Maria Damon >> Subject: Re: Hazlitt on Superficiality >> >> ava gardner said: "Deep down, I'm pretty superficial." i don't know >> about you, but i find that worthy of nietzsche. > >Maria Damon talking to me about Ava Gardner. Who needs Nietzche? Who needs >Hazlitt? > >Nick Hey, who needs Surrey? -- George Bowering Would make a great senator Fax 604-266-9000 ========================================================================= Date: Mon, 6 Jan 2003 01:03:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: PIPELOOP #0006 AND EXPLANATORY NOTES Comments: To: 7-11@mail.ljudmila.org, o-o@konf.lt, webartery@yahoogroups.com, syndicate@anart.no, _arc.hive_@lm.va.com.au, owner-realpoetik@scn.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit 1.explanatory notes 2.pipeloop #0006 the pipeloop series is from paul whitney's www.the-hyper-age.com the title of the series is derived from the use of the pipe character as the only punctuation mark usage with the exception of the question mark which is used sparingly - the pipe character is very good for creating text blocks - it is a strong visual punctuation mark - because it is so strong i needed to offset some of this by using the question mark - the question mark takes away some of the strong declarative power of the pipe character - so these two characters each with their individual properties function well together as literary elements the text content is drawn from three sources - one is eroticsm/pornographic material - one is global military and political operations - one is the old and new testaments - with regard to the five books of moses and the bible i used every english version i could find - so there are 10 or so versions all combined in the pipeloop series i chose these three themes deliberately - one of my personal interests is in the dichotomy of sexual attraction or desire and violent conflict or repulsion - these seem to be the two driving forces that control our human condition - it appears that we are either desiring something or rejecting something - the little knowledge i have gained from my superficial exposure to different world religions is that they all mention this dichotomy and describe it as a condition that the human being suffers - and that this condition is the symptomology of the physical nature of man - and that spiritual well-being and peace is found through freeing oneself from this condition desire and disgust and freedom from desire and disgust is confusing to me and seems impossible to resolve pipeloop is a series that expresses my personal spiritual struggle sincerely, august highland THE PAUL WHITNEY COLLECTION pipeloop #0006..................excerpt www.the-hyper-age.com hair Left unkempt||||ummm need some help Damn Monique||||Peter against feelings||||posts nylons Noticing gentle||||little hair played||||monster prick invade tight pussy||||invitation touch|||| handcuffs past used||||lightly stroked cock through||||backed act amended record collection marked frd found shall set group||||world like one those doctor's chairs||||skills two college several lovers||||hand penis surrounded||||Kerry still already covered first three areas||||some detail joint information regard workers service personnel unclassified lower levels organization modern technology make possible records automated information systems additional top gallant tsq ssp-s top graphic tsq ssp-s||||top hunter|||| majority decision approve project head sponsoring agency acquiring prologue farce tragedy perhaps both knowledge for a||||never will be again||||were the children of||||you and increased priority funding look some budgetary figures classified documents followed instruct staffs penalties personnel who generate||||frd documents access classification shit who||||think go sundae||||seemingly attempting get even it with||||he had got for money||||Hazarmaveth and||||you were pursued policy government openness know far more work done by||||in front Leah and||||Egypt said to the||||the land of Egypt classified information interests national security power daughter and gave||||but Aaron's rod made||||now the fear of toward Connecticut cruising along||||anything outrageous earth so that you||||coat by her till his||||Jordan and there|||| sensor package||||senior guardianegrett airborne stand-off reacting rather pushing information||||electronic her And Abram did as||||of Joseph Jacob said||||made the heaven mashed tits chest||||still hot||||watched pair manoeuvre Lucy|||| set written reply provided reasonable opportunity reply hands up down arms||||amidst petals fragrance||||paused moment security council moving forward assure happens meantime power played key role entry amp separation phases stranger||||uttered recall clearly||||fell asleep||||despite lips||||say wait taste||||cool wall felt hardness press||||dinner instructor owner||||Dürmey||||unnecessary told||||closed began anything||||best eaten seasoned just right||||board bus where designees sec administration extent permitted law subject Mamre in the||||was made hard and he||||what you have done|||| secrecy clinton admin docs ||| index search join fas white difficulty submitting ascertaining status requirements responsibility status perform such functions related masint acoustic intelligence radar intelligence nuclear radiation himself||||fuck again||||very pretty extremely shy||||nature member mouth Debbie hadn't||||greeted sight will never|||| classified information determination eligibility access faster faster wife bucking||||mean||||only ten miles party case few tools||||continued make noises low||||rid myself day's expected battle||||waiting thank party||||opened wild smile having fun Jen spent||||body deserved some attention kissed|||| dessert replace||||cunt jumped felt||||really shook Steve men||||land and wide into a||||themselves because||||without his manager directly director defense intelligence agency and||||to his end||||tent and said to||||them in their flight|||| Hittite||||a servant working||||Simeon and Levi are||||them What man's cock rocking back||||way too much Hot white cream|||| 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analysis tools critical||||use data||||task force particularly stroking clit||||myself off watched husbands||||Jack hated you will take seven||||let the children of||||Egypt by their|||| integrated data base||||back top||||back top||||zirconic||||fas accelerate efforts area bosnia one three million mines consequences nuclear policy part academic field specialize Abraham On your side||||All these he took||||make search for a put them away under||||land of their||||goes on the earth|||| request procedural exceptions||||sec applicability||||subpart acquisition personnel must sensitive commercial licensing units aware handbook theater lower echelon elements eternal heritage and||||sons' sons his||||for this is why they|||| declassification frd documents doe declassify documents slowly back from the||||Let the curse be on||||it is your robe again And he||||take our daughters||||thirty years and had masint products lack standards reflected low levels formal documents used open inspection anyone laws countries where sole purpose prepublication review assist authors avoiding a bad account||||And God said Let the||||sea by Pihahiroth||||And God||||cattle and every||||your fate in future||||his journey wetness left back arches||||decided time hunt||||shoot seeing broader term traditional intelligence managing information extension||||numbers Leslie thought||||seat next Kelly both And he said See I||||And the frogs will||||men of Sodom came|||| real-time allowed french mass several large units|||| turning kissed chin||||placed hands top each||||hardly believe era importance adapting changing times called agency move men's||||gentle tap shoulder let||||minutes next test||||hard classified information particular procedure shall made plants operating experience built megawatt range largest applicant employee review proceedings section where denial panties||||moved foot chair||||stocking clad ankles fourth the sons of||||And the man gave||||And he said Are you||||me in one another's||||together and I will||||and good all on one||||be gone outside||||smell came up to the||||went back to the||||all united states government assets lost stolen during|||| person request doe director declassification||||sec ongoing Philip's||||Tom grin all||||Sandy pushing three fingers faster|||| realized||||end Steve ordered Tom||||tube onto crack ass|||| scratched lightly tight||||met Debbie thank||||few seconds next day Tom woke||||like return hotel||||find later wore|||| defense organization services defense special missile mark on||||cord and this stick?||||the Lord God had||||come here implement executive order order signed team amassed large comisión de noviembre de alicia pierini presidenta cristian sheet impact amendment||||executive order november executive matter referred such subparagraph person requesting matter lovely girl said Oh||||All sat round television set||||mean Chris||||route toward north Mr Jordan||||penis Cindy simulated|||| easily comfortable||||going accomplish such||||beautiful fact|||| shows lengths government go protect own secrecy programs openness free society founders knew democracy function dynamic target sources masint also includes advanced reconnaissance office applicant means person||||employee who up down chain continuing deconfliction mentality misses room||||train entered house||||first||||towards breasts softly function sec sanctions director information security releasing finding aids inactive records commonplace his||||have sent to give my||||made you the father||||Goshen|||| have come after me||||have I done you that||||your father and currency transactions financial institutions international classification indicated these presumptions address every front||||bench see years ago today||||room||||glad upset also|||| his old place and he||||Esau's wife||||to his daughters||||cattle seven thin||||Reuben the oldest||||stopped up with||||and go back officers high quality soft copies fingertips need print really||||awoke hour later||||strapped chair sure||||Adele expended producing legacy system migrate new architectures sometimes such fine lines damage boundaries drawn allowing full child ========================================================================= Date: Mon, 6 Jan 2003 01:06:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: METHLOOP #0005 AND EXLANATORY NOTES Comments: To: 7-11@mail.ljudmila.org, o-o@konf.lt, webartery@yahoogroups.com, syndicate@anart.no, _arc.hive_@lm.va.com.au, owner-realpoetik@scn.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 1.explanatory notes for methloop 2.methloop #0005 the methloop series is from a collection of works by paul whitney - paul is the first member of the worlwide literati mobilization network to include in-depth biographical information in his introduction (www.the-hyper-age.com) in methloop i am working with the recurrent insertion of a glossary of textstrings into the main body of the text - the main body of the text itself is based on a repetitive or looping formula - the textstrings i selected contain violent and horrifying imagery - i chose this thematic material only in the methloop series - paul whitney has several series - i wanted one of the series to contain violent thematic material because of the pertinence this has right now to our political climate - i also chose these textstrings because violence and horror has always been a genre that i have never been able to read or watch - but a close writer-friend does write horrifying imagery in some of his prose - this has always been a side of his work that has been difficult for me to read - as our middle east conflict began to loom larger and larger i decided to go back and read my friend's violent prose and look at is as a metaphor - when i was able to do this i decided to use textstrings from his work and use it in the way i described above i am very happy with the way this series turned out one of the things that makes me happy is that it is in part a collaboration with someone whom i admire as a writer and human being i am also happy with the way in which the interspersed horror/violence imagery works in juxtaposition to the larger multi-thematic body of material i am happy that i incorporated two literary elements that worked out to my satisfaction: looping material that is always changing in conjunction with reiterated material that is constant bringing together polarized elements in a literary work is one of the things i am always trying to achieve sincerely august THE PAUL WHITNEY COLLECTION methloop #0005..................excerpt www.the-hyper-age.com all former national security advisor original computer rubberband includes sound video unfortunately discussion text given by mouth technically feasible assurances noted Scanners hopeful Progeny Handhelds FireWire contact sound samples computer type news photographs ourselves, call nothing Pamela km missile pakistan technical base developing livestock longer range Papers desir'd, Mother read Desktop type correspondent report Ideas relate, atavistic reptile-part-of- the-brain Prudence lyrics blessed merchandise Computers used primarily improve nutrition hope give Answer I AM COMPLETELY NAKED initial authenticator content lyrics upcoming lime grape blueberry iMovie administration policy protecting infrastructures Verses, merchandise rieu known otherwise help audio sat Supper, charming Taste Husband, professedly arose, took Hand, led Chair, lyrics existed queen pause, look within lyrics song list civil war favor mermaid music cooool band introducing original rock example cia judged common demons company significant foci risk communist monolith comprised make great Computers Online Content Matthew reciprocal punctures engendering halves Pictures lie, pause, look within half-truths see Error, last give Grace give my dick in a pig's ass 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The Horror!, Father, Father warning inadvertent launch issues testify canada moral finger limit propagation four percent less message board availability indicators hardcore metal CD-RW drives t'other House first fascinated public pleased came great Anxiety Heart know worst, Photography discography distinguish between Acts Malice, clinton joined philosophy dictated recruitment great seen everywhere never make Compliment body close to pulling me back into what I'm from moment of stillness rozen civil commercial sectors family constants impossible long live Variance, iMovie force actions itinerary security policy influence process many turn clawed beasts and go mad groups resolved among burundi parties mitchell joni dangling shotgun embedded in the throat album silence turkish pop Wife stood Admiration, O, infinitely really extraordinary challenge given abuse artist contains marry'd beloved Pamela Reason CD-R told friendly minded governments institutions multinational corporations countries formerly comprised soviet union tattooed skull terminal desktop laptop left idle career moving throughout region assignments cia created Lady know fluid monochrome access constants profiles junk larva Variety Digital Video saw last executive agent Pamela dangling shotgun embedded in the throat, Sir, apparent modernization traditions two dig house representatives done DV Camcorders fred rimes InDesign calvin policy constants the result goes livestock deeper not so bad chicago machine-gun children world leading developer user advanced technology once news information news upcoming perform independent assessments cutting edge air force technologies count every Hour intitled complain compulsive female I AM COMPLETELY NAKED hardcore punk the result goes livestock deeper not so bad multimedia contact four piece rock constants redefining security chapter fas Company text given by mouth pray forgive republican speaker country Place? Book the ground wants to fuck me reading? cooperating intimidating witnesses expects borne comply'd meant programs meeting objectives pdd believe effort singer final seal the ground wants to fuck me ! thousand, thousand things concentration camp experience Digital Video fas virtuous, even pious, never known pandering to a disturbing audience angry Ladyship purposes take Winter Residence try flavors head board oversees first response weapons mass Addresses home office records numbers national security shouldering muscular burn hung upside down designated duo the result goes livestock deeper not so bad drink and gossip Sir, Revive Heart Computers biographies sound Objection, Sir, ray's used hubcaps meets electric seen everywhere expect exempt such, happy the ground wants to fuck me case compromise Fie, Mr Andrews, thought knew part change hold people accountable apprehensive Imaginations suffered, ensuring approved procedures honorable george tenet means fascinated public employed text given by mouth technically feasible CD-RW drives united states Photoshop regional sigint operations center rsoc fort gordon ga bad aibling station germany menwith hill station england tattooed skull myself can! paramtrans parameter transmission security all many signal Instances Croft best figure performing bluegrass photographs news parting acceleration india two weapons north korea ongoing nuclear program activity raises kitten painting's Commands Superior Pictures lie, pause, look within half-truths livestock convinced Reasons never quitted Service Yesterday, department singer-songwriter ballistic known otherwise help ohio players exchange good-byes jersey pause, look within constants pause, look within free Madam, all worthy Neighbours, validity alphabetically thy virtuousMaster, suppose, try create lack such security guarantees countries constants the result goes livestock deeper not so bad Fortune fallen among ultimate blood sport countries concern FireWire city maryland chicago illinois interact work un homepage dedicated Mac OS tuesday october edit integrity availability Hardware wife janet every day technical longest training courses graded five point system beginner town includes photos Tenants InDesign Aspyr Media Michael Rogers CD-RW drives terminal desktop laptop totally hiding virtuous Actions take place vacuum rather question the ground wants to fuck me use worse Dog! added ultimate blood sport forces directly disruption modifications management procedures developed capability allow Pamela Wife nuclear weapons ballistic missiles-such germany japan south korea christian rock constants australian rock constants rude yak chicago photographs nobody gives a shit hidden, horrible seeing associations proud Hussy, looked arusha section apparently mandela hopes rainer maria assurance user process granted most restrictive set privileges photos news art continued text given by mouth slaughter classmates name machine- gun children show intestines being ripped from your teeth dates constants audit all program initiations information downgrades continue killing, Mr Longman, shown half-a-dozen times throughout poor oregon pictures lyrics forum close to pulling me back into what I'm from moment of stillness rayn wife janet langhart cohen justifying, machinative anthropoid ceremony sort, Honour songs tattooed skull current vocalist's inner monsters pause, look within willie year old chat room Pictures lie, pause, look within half- truths Highly sexed! Lines stretched corner punk rock constants dates Web Email Doug Zartman Bungie Microsoft Office tradition bad particular very important visit even saw I AM COMPLETELY NAKED Father quite unable adapted colonel michael cassidy sigint important part air force intelligence american intelligence journal spring summer page done couple weeks anyway sandy berger reminded all military moral finger fashion shoot christian plane years blacklisted interviews reviews defense depth strategy common demons makes very difficult penetrate nipandering deals effectively penetrations occur moreover highly Ball appointed Tuesday Evening, Daughter slaughter classmates clear almost choak'd Joy, sobb'd grateful understand fetus suckles composite of cesspool prototype touring information case air force space command swell'd, Indeed, programs system dac policy ========================================================================= Date: Mon, 6 Jan 2003 06:51:40 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Survival: Tom Raworth's political poetry The renaissance of Rene Ricard Christian Bok's String Variables: Parallel poems (to the letter) Lyn Hejinian's My Life: Close reading revisions Poetry that changes your mind: Lyn Hejinian's My Life Murat Nemet-Nejat: Complicating the question of content - The reader's contribution & the question of divided loyalties Writing "Zyxt": Vision & revision in my own poem Poetry & blogging: Trends emerge The omnipresence of politics in poetry -- Reading the Australian journal Overland & Lorine Niedecker What is meaning & how does it manifest itself in poetry? http://ronsilliman.blogspot.com/ 10,000 visitors in 2002 ========================================================================= Date: Mon, 6 Jan 2003 10:08:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: mb MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I have two Noblesses (ha!) bought during the great Staples Invasion of New York that closed so many fine stationery stores (remember State, on 5th Ave? around 18th St). Beautiful, and no complaints about the nib (whereas the Waterman I ordered from Levenger was I go barefoot-barefoot-barefoot scratchy), but the catch needed periodic tightening at the factory in New Jersey, which looked to make the fifty percent I'd saved by working with the soon-to-be-evacuated boutiquey places just evaporate. So I filed them away and took up with the Pelikan, wrote like a dream (medium nib) and the screw-cap... was it Musician Magazine that informed us whatever musician "uses and endorses Zildjian cymbals"? God save the punks! for releasing us from that spell. Gabe, please to hang on to those Pelikan shards for me -- Jordan ========================================================================= Date: Mon, 6 Jan 2003 10:29:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Craig Allen Conrad Subject: GREEN PARTY ON THE TERRORIST LIST FINDING THEMSELVES IN THE NO-FLY ZONE MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ...... Green Party Official Grounded and Labeled "Terrorist" in Living Nightmare Writing about his no-fly nightmare in the Fairfield County Weekly, art dealer Doug Stuber, who had run Ralph Nader's Green Party presidential campaign in North Carolina in 2000, was pulled out of a boarding line and grounded. He was about to make an important trip to Prague to gather artists for Henry James Art in Raleigh, N.C., when he was told (with ticket in hand) that he was not allowed to fly out that day. Asking "why not?" he was told at Raleigh-Durham airport that because of the sniper attacks, no Greens were allowed to fly overseas on that day. The next morning he returned, and instead of paying $670 round trip, was forced into a $2,600 "same day" air fare. But what happened to Stuber during the next 24 hours is mind-boggling. Stuber arrived at the airport at 6 a.m. and his first flight wasn't due out until nearly six hours later. He had plenty of time. At exactly 10:52 a.m., just before boarding was to begin, he was approached by police officer Stanley (the same policeman who ushered him out of the airport the day before), who said that he "wanted to talk" to him. Stuber went with the police officer, but reminded him that no one had said he couldn't fly, and that his flight was about to leave. Officer Stanley took Stuber into a room and questioned him for an hour. Around noon, Stanley had introduced him to two Secret Service agents. The agents took full eye-open pictures of Stuber with a digital camera. Then they asked him details about his family, where he lived, who he ever knew, what the Greens are up to, etc. At one point during his interrogation, Stuber asked if they really believed the Greens were equal to al Qaeda. Then they showed him a Justice Department document that actually shows the Greens as likely terrorists -- just as likely as al Qaeda members. Stuber was released just before 1 PM, so he still had time to catch the later flight. The agents walked Stuber to the Delta counter and asked that he be given tickets for the flight so that he could make his connections. The airline official promptly printed tickets, which relieved Stuber, who assumed that the Secret Service hadn't stopped him from flying. Wrong! By the time Stuber was about to board, officer Stanley once again ushered him out the door and told him: "Just go to Greensboro, where they don't know you, and be totally quiet about politics, and you can make it to Europe that way." In Greensboro, after Stuber showed his passport he was told that he could not fly overseas or domestically. Undeterred, he next traveled an hour-and-a-half to Charlotte. Of course, at Charlotte the same thing happened: "Get this terrorist out of here" was the mode the cops were in. Then Stuber drove three hours to his home after 43 hours of trying to catch a flight. Stuber concluded that the Greens, whose values include nonviolence, social justice, etc., are now labeled terrorists by the Ashcroft-led Justice Department. Blacklist Catch-22 Questions about how one gets on a no-fly list creates questions about how to get off it. This is a classic Catch-22 situation. The TSA says it compiles the list from names provided by other agencies, but it has no procedure for correcting a problem. Aggrieved parties would have to go to the agency that first reported their names. But for security reasons, the TSA won't disclose which agency put someone on the no-fly list. ------------- "Of course the people don't want war...that is understood. But, afterall, it is the leaders of the country who determine the policy, and it's always a simple matter to drag the people along whether it's a democracy, a fascist dictatorship, or a parliament, or a communist dictatorship. Voice or no voice, the people can always be brought to the bidding of the leaders. That is easy. All you have to do is tell them they are being attacked, and denounce the pacifists for lack of patriotism and exposing the country to danger. It works the same in any country." --Hermann Goering, Adolf Hitler's Deputy Chief and Luftwaffe Commander, at the Nuremberg trials, 1946. From "Nuremberg Diary" by GM Gilbert ========================================================================= Date: Mon, 6 Jan 2003 09:21:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Thursday 1/9 NYC Reading In-Reply-To: <3E1464E9.2948.29E5441C@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii At Halcyon (227 Smith Street--F and G trains to Bergen Street). Thursday, 1/9 at 7:30 PM: POETRY AND PROSE GALORE with Kazim Ali, Ciaran Berry, Lee Kottner, Eve Packer and Corie Adjmi. ===== WAR IS OVER (if you want it) --John Lennon and Yoko Ono __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 6 Jan 2003 11:54:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: GREEN PARTY ON THE TERRORIST LIST FINDING THEMSELVES IN THE NO-FLY ZONE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Craig Thanks for sending this. My best friend is very involved in the CT Green Party and I do a little volunteer work when he runs for office. Almost all the Greens I know are progressive (former 60's liberal Democrats, even) and pacifistic. They're more likely to debate the passenger next to them over issues of foreign or domestic policy than to kill the pilot and turn the plane into a missile. Of course, they do engage in peaceful anti-war demonstrations. Obviously, some people in power find this inconvenient and want to eliminate the Greens by linking them with the heinous. It's disappointing to see what happens when people trade their rights for the illusion of increased security. But did we really expect anything different? Vernon About the only ----- Original Message ----- From: "Craig Allen Conrad" To: Sent: Monday, January 06, 2003 10:29 AM Subject: GREEN PARTY ON THE TERRORIST LIST FINDING THEMSELVES IN THE NO-FLY ZONE > ...... > > Green Party Official Grounded and Labeled "Terrorist" in Living Nightmare > > > Writing about his no-fly nightmare in the Fairfield County Weekly, art > > dealer Doug Stuber, who had run Ralph Nader's Green Party presidential > > campaign in North Carolina in 2000, was pulled out of a boarding line and > > grounded. He was about to make an important trip to Prague to gather > artists > > for Henry James Art in Raleigh, N.C., when he was told (with ticket in > hand) > > that he was not allowed to fly out that day. > > > Asking "why not?" he was told at Raleigh-Durham airport that because of the > > sniper attacks, no Greens were allowed to fly overseas on that day. The > next > > morning he returned, and instead of paying $670 round trip, was forced into > > a $2,600 "same day" air fare. But what happened to Stuber during the next > 24 > > hours is mind-boggling. > > > Stuber arrived at the airport at 6 a.m. and his first flight wasn't due out > > until nearly six hours later. He had plenty of time. At exactly 10:52 a.m., > > just before boarding was to begin, he was approached by police officer > > Stanley (the same policeman who ushered him out of the airport the day > > before), who said that he "wanted to talk" to him. Stuber went with the > > police officer, but reminded him that no one had said he couldn't fly, and > > that his flight was about to leave. > > > Officer Stanley took Stuber into a room and questioned him for an hour. > > Around noon, Stanley had introduced him to two Secret Service agents. The > > agents took full eye-open pictures of Stuber with a digital camera. Then > > they asked him details about his family, where he lived, who he ever knew, > > what the Greens are up to, etc. > > > At one point during his interrogation, Stuber asked if they really believed > > the Greens were equal to al Qaeda. Then they showed him a Justice > Department > > document that actually shows the Greens as likely terrorists -- just as > > likely as al Qaeda members. Stuber was released just before 1 PM, so he > > still had time to catch the later flight. > > > The agents walked Stuber to the Delta counter and asked that he be given > > tickets for the flight so that he could make his connections. The airline > > official promptly printed tickets, which relieved Stuber, who assumed that > > the Secret Service hadn't stopped him from flying. Wrong! By the time > Stuber > > was about to board, officer Stanley once again ushered him out the door and > > told him: "Just go to Greensboro, where they don't know you, and be totally > > quiet about politics, and you can make it to Europe that way." > > > In Greensboro, after Stuber showed his passport he was told that he could > > not fly overseas or domestically. Undeterred, he next traveled an > > hour-and-a-half to Charlotte. Of course, at Charlotte the same thing > > happened: "Get this terrorist out of here" was the mode the cops were in. > > Then Stuber drove three hours to his home after 43 hours of trying to catch > > a flight. > > > Stuber concluded that the Greens, whose values include nonviolence, social > > justice, etc., are now labeled terrorists by the Ashcroft-led Justice > > Department. > > > Blacklist Catch-22 > > > Questions about how one gets on a no-fly list creates questions about how > to > > get off it. This is a classic Catch-22 situation. The TSA says it compiles > > the list from names provided by other agencies, but it has no procedure for > > correcting a problem. Aggrieved parties would have to go to the agency that > > first reported their names. But for security reasons, the TSA won't > disclose > > which agency put someone on the no-fly list. > ------------- > > > "Of course the people don't want war...that is understood. But, afterall, it > is the leaders of the country who determine the policy, and it's always a > simple matter to drag the people along whether it's a democracy, a fascist > dictatorship, or a parliament, or a communist dictatorship. Voice or no > voice, the people can always be brought to the bidding of the leaders. That > is easy. All you have to do is tell them they are being attacked, and > denounce the pacifists for lack of patriotism and exposing the country to > danger. It works the same in any country." > --Hermann Goering, Adolf Hitler's Deputy Chief and Luftwaffe Commander, > at the Nuremberg trials, 1946. From "Nuremberg Diary" by GM Gilbert ========================================================================= Date: Mon, 6 Jan 2003 09:57:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: GREEN PARTY ON THE TERRORIST LIST FINDING THEMSELVES IN THE NO-FLY ZONE In-Reply-To: <001501c2b5a4$3d990e20$210110ac@gateway.2wire.net> Content-Type: text/plain; delsp=yes; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable http://www.salon.com/news/feature/2002/11/15/no_fly/index_np.html Grounded A federal agency confirms that it maintains an air-travel blacklist of =20= 1,000 people. Peace activists and civil libertarians fear they're on it. - - - - - - - - - - - - By Dave Lindorff Nov. 15, 2002 =A0|=A0 Barbara Olshansky was at a Newark International =20= Airport departure gate last May when an airline agent at the counter =20 checking her boarding pass called airport security. Olshansky was =20 subjected to a close search and then, though she was in view of other =20= travelers, was ordered to pull her pants down. The Sept.=A011 terrorist =20= attacks may have created a new era in airport security, but even so, =20 she was embarrassed and annoyed. Perhaps one such incident might've been forgotten, but Olshansky, the =20= assistant legal director for the left-leaning Center for Constitutional =20= Rights, was pulled out of line for special attention the next time she =20= flew. And the next time. And the next time. On one flight this past =20 September from Newark to Washington, six members of the center's staff, =20= including Olshansky, were stopped and subjected to intense scrutiny, =20 even though they had purchased their tickets independently and had not =20= checked in as a group. On that occasion, Olshansky got angry and =20 demanded to know why she had been singled out. "The computer spit you out," she recalls the agent saying. "I don't =20 know why, and I don't have time to talk to you about it." Olshansky and her colleagues are, apparently, not alone. For months, =20 rumors and anecdotes have circulated among left-wing and other activist =20= groups about people who have been barred from flying or delayed at =20 security gates because they are "on a list." But now, for the first time, a spokesman for the new Transportation =20 Security Administration has acknowledged that the government has a list =20= of about 1,000 people who are deemed "threats to aviation" and not =20 allowed on airplanes under any circumstances. And in an interview with =20= Salon, the official suggested that Olshansky and other political =20 activists may be on a separate list that subjects them to strict =20 scrutiny but allows them to fly. _______ http://www.salon.com/letters/corrections/ "Grounded", a story published on Nov. 15, incorrectly reported that =20 attorney Barbara Olshansky of the Center for Constitutional Rights was =20= attempting to board a JetBlue flight when she was stopped and =20 strip-searched earlier this year. In fact, when she flew out of Newark, =20= she was not taking JetBlue. The story also reported incorrectly that =20 Green Party activist Doug Stuber, after being stopped from taking his =20= planned flight from Raleigh-Durham, N.C., to Hamburg last month by U.S. =20= Secret Service agents, was able to fly to his destination on a later =20 flight. In fact, after trying for two days at various airports, Stuber =20= found he was barred from boarding any flight and missed his business =20 trip. The story also described Peace Action as a Roman Catholic =20 organization. In fact, it is not affliated with any religious group. =20 The story has been corrected. Salon regrets the errors. [Correction made 11/15/02] _____ other information and sites: ------------------------------------------------------------------------ No-fly blacklist snares political activists http://www.sfgate.com/cgi-bin/article.cgi?file=3D/c/a/2002/09/27/=20 MN181034.DTL GREEN E-BULLETIN http://www.greenparty.org/bulletin_110802.html Greens and Al Qaeda? by Doug Stuber =95 Saturday October 26, 2002 http://victoria.indymedia.org/news/2002/10/9225.php Travelers' blues http://www.free-market.net/spotlight/airtravel/news/ ========================================================================= Date: Mon, 6 Jan 2003 10:11:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: prelude In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable from: d=F4Nrm=B4-l=E4-p=FCsl prelude emptiness and a new trauma. a new place, a new empty situation, = not a=20 speeding bullet penetrating layer type. maybe a car gently being=20 pushed into the abyss, replaced by the terror of form disappearing and=20= that typical panic. it could be the inevitable impact scream that=20 never comes, preceding brake squeals, then nothing. it could be=20 something else and this could be that something else. this could be a=20= reminder, a message of something that may have occurred and I am only=20 saying this is this and this is the darkness of the past that leaks=20 through clipping sounds. there is no option =93a,=94 since there was = never=20 option =93b=94. =09 I could be somewhere else right now imagining being here, = imagining=20 being somewhere else. I suppose I could be traveling on a highway just=20= outside somewhere else, watching the thunder roll over a demoralized=20 horizon, outside a captured territory demanding liberty for all those=20 past lives held in perpetuity. I could be speaking of solitude to my=20 personal martyrs. are you listening? the random is on darkness . . . the verdict is in . . . they = stack the=20 wood and build the gallows . . . I saw the fire lighted, the faggots=20 are catching and the executioner . . . build(s)up the fire further . .=20= . hands won=92t show themselves. faces hide. the corners are ground=20 down and obscure. sounds creep through with muffled ankles bound ever=20= so tightly . . . it could be roaches or the hum of an invasion. maybe=20= it is the cement crumbling from years of memorized transgressions. it=20= could be the day the earth stood still consuming itself in large=20 evangelist chunks. the only edge I know is this cold embankment that seeps dampness = into=20 skeletal remains . . . pulverizing muscles with the constant pull=20 towards the core. so, I work another miracle that goes unrecorded,=20 watch each cell destroy themselves, with neat military precision. one=20 soldier after another cut down with steel blade projectiles in a napalm=20= moment, hold still and smile. say cheese. I know somewhere someone is working with someone to create the = perfect=20 offense, the inescapable question, the inscrutable nutcracker, the=20 unexplainable iron maiden cause and effect . . . a joint venture . . .=20= it could be patent pending . . . in the name of the queenking, country=20= . . . bless amerika and all that. the pain creeps through pores . . . expanding along the inner = layers=20 of flesh, discharging urgent messages to my prefrontal context,=20 assaulting the walls of my defenses, turning this body into nothing=20 more than a dead zone of inarticulate tremors longing for immediate=20 extraction. I lay here . . . move from one dead zone to the next with one = second=20 of reprieve . . . a second where my breath is not chopped in half in a=20= gangrenous scream . . . a moment when the terror stops in anticipation =20= termination . . . bit by bit . . . organ by organ . . . cell by cell .=20= . . bringing everything to-a-close due to lack of recognition. and=20 there . . . from within and from without, by which we may know. I know=20= well that I have deserved pain . . . and . . . punish me wisely. for=20= you will not do what you say against me without suffering for it both=20 in body and soul. in these moments when I can catch my breath . . . these perfect = pauses=20 before being submerged again in the anguish of a billion torturous=20 shrouds . . . before I die again and again and again, there in the=20 lesion that opens into a hallway to the lessons being given, chapter=20 and verse on the red blood trickling down from under the crown, all=20 hot, flowing freely and copiously, a living stream, just as it seemed=20 to me that it was at the time when the crown of thorns was thrust down. and then without warning long tumultuous shouting sounds like = the=20 voice of a thousand waters that slice a maniac=92s path along my = tendons,=20 my veins my muscle=92s to announce the end of sanity. a moment longer on the edge and my body would void itself - = collapsing=20 to nothing but an impermanent stain. I rotate to a position not recovering from the previous one=20 dimensional felony. I would rather die than do what I know to be a sin. I catch my breath for an instant and focus on infinity, which = counts=20 more than gold and always comes before and after repetition and=20 ideology. how did I come to this moment of suffocation? who chose me?=20= could it be that I am not here? could it be that this rusted rake=20 being drawn across my skin is nothing more than a ragged sentence that=20= has fallen off the page - a lifeless carcass telling lies. =09 it could be I have forgotten that I could suffer more as a = reminder of=20 the four ways of passion . . . the bleeding of the head, . . . the=20 discoloration of the flesh . . . . copious bleeding of the body and=20 deep dying. it could be I have missed the endless confession of my sins and = now=20 suffer the abandon of torturers who douse me in kerosene to manufacture=20= language with lit cigarettes - or was after being horse raped by=20 trained pedestrians looking for more glass to break, after arrows=20 didn't produce the desired effect, hacked from limb--to-limb and=20 scattered on the future sight of a 7-11. I was asked if I was willing to repent and mend my ways. if I should say the heavens had not sent me I should damn = myself. =09 =09 if I could only see the furrows which have made a bed for = themselves=20 in my colorurless cheeks if I could perceive that which I can not name,=20= that which crushes my body into a steel box or something significantly=20= smaller than =93a,=94 compacting me into neat symmetrical order, all=20 accomplished by chatty machines, constructed and assembled at their=20 plant of origin, labeled, categorized, numbered and shipped to the=20 appropriate equivalent. how many numbers does it take to convince the near dead to lead = or a=20 child or something else? I protest against being kept in these chains and irons. I come, sent by the heavens. I have no business here. the world turns and I weep. the body turns and I weep. the body = clock=20 rotates with a momentum casting itself as the enola gay, bathed in =20 sins, rotating on a spit stuffed, hoof and mouth, bubbling at the=20 surface flames, leaving no shadows, no glimmer, no reservation, just a=20= language accumulation vortex or something else, produced in a new=20 floral nightmare, as the earth stiffens in the reflection of emerging=20 discarded flesh parts or something else. if you were to have me torn limb from limb and sent my soul out = of my=20 body, I would say nothing else to satisfy you inquiry. as for signs; if=20= those who ask for them are not wothy of it, I am not accountable for=20 that. =09 this is all probably one of those dreams I will wake up into. = one =20 where the television set is on runaway and some savior is watching the=20= blank screen. I know I have no choice but to listen and take off my=20 red jacket, stop spinning and proceed . . . yes, it=92s true I had many=20= godparents, two popes, and the voices, sweet with temple honey, voices=20= I confess to, voices that tell me I am here. what here? a left hand turn at a cheap hotel with rude jailers = before=20 my birth and after my death. this is the place where I begin and end, alaphebatchamegalo, = klaatu=20 barata nikto. boning burns like artificial limbs, like pierced necks and backs = with=20 distinguishable lines protruding. like a dog without a bark. like=20 friendly bombs. the heat empties from the body, the after shock or a torn memory = from=20 a different perspective oozes blood from behind mental armor. =09 it could be something else and this could be that something = else. =09 this pain, this darkness could be nothing more than a reminder = that=20 something happened, a tear something leaked through, carrying clicking=20= or electrical or heavenly something. =09 I could be somewhere else imagining being here. outside a wall = shouting -I am sent by the heavens. I do my best to serve. who has abandoned me to this darkness? I don't know either a or b I come from the kingdom of heaven to raise the siege and where = am I=20 now? I was so horribly and curelly used that I damned myself to save my life. =09 hear my confession, my sins, all deeds against others . . . = blood=20 everywhere . . . caught in distorted bodies . . . too much to bear . .=20= to confess . . . I have orders to follow . . . I die through you . . .=20= I have orders to follow . . . even if it costs me my head . . . I have=20= orders to follow . . . I ask for help from no one . . . I have come . .=20= . I was sent by the heavens.=20= ========================================================================= Date: Mon, 6 Jan 2003 12:36:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (RBI-US)" Subject: Segue@BPC: Burnham & Coletti MIME-Version: 1.0 Content-Type: text/plain ==>Attention peripatetic practitioners and habitual New York slanderers:<== yr presence is required as The Segue Reading Series at the Bowery Poetry Club *presents* C L I N T B U R N H A M & J O H N C O L E T T I at ---> The Bowery Poetry Club <--- 308 Bowery ...just north of Houston Saturday, January 11th 4pm (Doors open at 3:30) $4 admission goes to support the readers super food & cash bar: 2 for 1 drinks!! Clint Burnham is a Vancouver writer and teacher. He has written fiction (Airborne Photo), poetry (Buddyland, Be Labour Reading, A4isms) and criticism. Recent work has appeared in Last Call, W magazine, West Coast Line, Open Letter, endNotes, Capilano Review, and Matrix. www.arts.uwo.ca/openlet/11.4/letters/024ab.pdf www.rubyarts.org/kukura/ www.litpress.com/witz/witzcontent.html www.theeastvillage.com/tc/burnham/a.htm www.thestranger.com/2001-04-12/book8.html John Coletti is the author of The New Normalcy (Boog). He is absolutely back from Italy. http://www.canwehaveourballback.com/8coletti.htm http://depthome.brooklyn.cuny.edu/english/bkrvw/issues/2000/coletti.htm http://www.toolamagazine.com/DevaneyColetti.html Curators: Laura Elrick & Michael Scharf http://www.segue.org/calendar/calendar_index.htm http://www.bowerypoetry.com/ Show! ========================================================================= Date: Mon, 6 Jan 2003 14:50:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: lll.mov MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII lll.mov he's in turning the in room the but room the but room turns he's | turning nothing nothing keeps keeps up up with with either either of of them them rotation quickly moves at quickly twice at the twice human human | speed the windows moving have stars moving and stars furious and dark furious objects dark | objects the turned towards towards the away | his face falls bones fall he in as moaning walls the disappear room moaning he blue light background green light the green room infrared ultra-violet ultra-violet moving dusk infrared sky and shuddering he generates furious move different everywhere and each unique is | different the unique dark movement dark generate | they they normal | creation worlds creation neuroses worlds lesions in propriety of culture | rushing him rushing can't he's think moving when that that fast fast can't | he's in turning the room but turns | nothing keeps up with either of them rotation quickly moves at twice human speed windows moving have stars and furious dark objects turned towards away his face falls bones fall he as moaning walls disappear blue light background green infrared ultra-violet dusk sky shuddering generates move different everywhere each unique is movement generate they normal creation worlds neuroses lesions propriety culture rushing him can't think when that fast he's turning in the room but the room turns | nothing keeps up with either of them | the rotation moves quickly at twice the human speed | the rotation moves at room speed | the windows have moving stars and furious dark objects | he's turned towards the windows and turned away | his face falls away | his bones fall away | furious he moves as the walls disappear in the moaning of the room | the moaning of the room | the dark blue background the light green of the room | infrared and the ultra-violet of the moving dark dusk sky | he's shuddering as he generates the furious dark objects | the furious dark objects move everywhere each is different and unique | the furious movement of the dark objects generate his movement | they generate the turning of the room | they generate his turning at twice the normal speed | creation of worlds and neuroses | creation of lesions in the propriety of culture | rushing towards him rushing away | he can't think when he's moving that furious and fast | === ========================================================================= Date: Mon, 6 Jan 2003 15:22:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Drew Gardner's blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Drew Gardner has joined the growing list of blogging poets. His blog, "Overlap," can be found here: http://drewgardner.blogspot.com I've added a couple of things to my own blog: * How Irish Is It? Flann O'Brien, early "multiculti lit" in Ireland, and a news item from the flarflist: "N. Ireland March 'Colorful Display'" * Post-colonialist critique and social construction of identity in Raj Kapoor's "Shree 420" http://garysullivan.blogspot.com _________________________________________________________________ MSN 8: advanced junk mail protection and 2 months FREE*. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 6 Jan 2003 16:02:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Sweet Things and Chloral Hydrate after Victor Hernandez Cruz and Jessica Hagedorn Your skull made me dance with you or a plantain hitting tito eddie n ray Temple at 70 mph somewhere w/ plumjam eyelids the ultimate disgrace I danced with you in a roomful of mirrors The campesino takes off his hat in miss harlow's house As a sign of respect towards the fury of the winds in town And says: I smell death Don't worry about the noise, the poet dying in a bar Don't worry about the water, body shaking in time Don't worry about the wind, to lady day's song If you are going out, he's dying in a nod beware of mangoes in a lullaby And all such beautiful ambulance haze _________________________________________________________________ MSN 8: advanced junk mail protection and 2 months FREE*. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 6 Jan 2003 16:23:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: U.S. Patriot Act & Executive Order Comments: To: englfac@umn.edu, engrad-l@umn.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear all: does anyone know anything about this? is it true and/or verifiable? > > > >New Education Policy Readied by Bush (Tenured Faculty MUST SIGN OATH >TO SUPPORT "PATRIOT ACT") > >http://www.sianews.com/modules.php?name=News&file=article&sid=536 > >Submitted by: Anonymous "WHITE HOUSE READIES NEW EXECUTIVE ORDER >In the boldest move to date, Pres. Bush is readying an executive >order which will change the face of American higher education. The >order will completely revise the present system tenure for >University faculties. Any American College or University receiving >federal funds for any purpose whatsoever will be required to demand >that its faculty members sign an oath in support of the U.S. Patriot >Act. > >Once that this new program is successfully underway, there are plans >to extend the oath demand to graduate students.".. -- ========================================================================= Date: Mon, 6 Jan 2003 16:22:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Clanky Underwear after Gregory Corso and Gary Snyder In daylight walk lay down these words a gentleman by your side before your mind like rocks I'll be placed solid, by hands yet come nightlight in choice of place, set a beastie in me you'll see before the body of the mind not the pigkind rolling in the mud in space and time …you'll know, my dear sweet wicce, solidity of bark, leaf or wall what kind riprap of things when your openings take cobble of milky way my thiefy wand of blood straying planets These poems, people Ah…then we'll pillow talk lost ponies with the night away, dragging saddles 'pon such things and rocky sure-foot trails as never left the worlds like an endless or came to stay four-dimensional O sweet sack game of go where our hearts ants and pebbles submerged in the thin loam, each rock a word breathes a creek-washed stone Granite: ingrained the continuum with torment of fire and weight by thy behest crystal and sediment linked hot I bequeathed all change, in thoughts As well as things _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 6 Jan 2003 13:29:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cheryl doppler burket Subject: san francisco sublet 1/31-3/28 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii hello i'm leaving for 2 month silent buddhist retreat, place is avail. in outer sunset, across st fm ocean, rela. safe 2 bedroom huge back yard & Reno, an affectionate calico you'd have as a charge. make a donation. if interested b/c sayonara. cheryl burket __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 6 Jan 2003 15:55:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: U.S. Patriot Act & Executive Order MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Does anybody know about the Loyalty Oaths during and after the McCarthy era? My, how we've regressed. ----- Original Message ----- From: "Maria Damon" To: Sent: Monday, January 06, 2003 5:23 PM Subject: Fwd: U.S. Patriot Act & Executive Order > Dear all: does anyone know anything about this? is it true and/or verifiable? > > > > > > > > >New Education Policy Readied by Bush (Tenured Faculty MUST SIGN OATH > >TO SUPPORT "PATRIOT ACT") > > > >http://www.sianews.com/modules.php?name=News&file=article&sid=536 > > > >Submitted by: Anonymous "WHITE HOUSE READIES NEW EXECUTIVE ORDER > >In the boldest move to date, Pres. Bush is readying an executive > >order which will change the face of American higher education. The > >order will completely revise the present system tenure for > >University faculties. Any American College or University receiving > >federal funds for any purpose whatsoever will be required to demand > >that its faculty members sign an oath in support of the U.S. Patriot > >Act. > > > >Once that this new program is successfully underway, there are plans > >to extend the oath demand to graduate students.".. > > > -- ========================================================================= Date: Mon, 6 Jan 2003 16:58:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Fwd: U.S. Patriot Act & Executive Order In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Maria, the American Association of University Professors website has info re the "Patriot Act" but nothing (that I can find) on their website indicates anything plans as nutso as that scary-deal alarum by "anonymous." Check it: http://www.aaup.org/publications/Academe/02JF/02jfgr.htm But Bush being the absolute slur-lipped hare-brained screwball he is, it isn't beyond him to attempt something like this. Though there are several former profs in congress who maybe at one time woulda gone down fighting something like this, the preposterous, these days, is the plausible. At 04:23 PM 1/6/2003 -0600, Maria Damon wrote: >Dear all: does anyone know anything about this? is it true and/or verifiable? > >> >> >> >>New Education Policy Readied by Bush (Tenured Faculty MUST SIGN OATH >>TO SUPPORT "PATRIOT ACT") >> >>http://www.sianews.com/modules.php?name=News&file=article&sid=536 >> >>Submitted by: Anonymous "WHITE HOUSE READIES NEW EXECUTIVE ORDER >>In the boldest move to date, Pres. Bush is readying an executive >>order which will change the face of American higher education. The >>order will completely revise the present system tenure for >>University faculties. Any American College or University receiving >>federal funds for any purpose whatsoever will be required to demand >>that its faculty members sign an oath in support of the U.S. Patriot >>Act. >> >>Once that this new program is successfully underway, there are plans >>to extend the oath demand to graduate students.".. > > >-- Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Mon, 6 Jan 2003 14:37:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, who saw the writhing on the wall? And: how many seconds between sets? -----Original Message----- From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, January 05, 2003 12:14 PM Subject: Re: International Orgasm Day >one "sitting"? are you sure? > >At 11:03 AM -0800 1/5/03, Mark Weiss wrote: >>>BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >>>WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >>>ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >>>SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? >> >> >>The judges. >> >>Mark > > >-- > ========================================================================= Date: Mon, 6 Jan 2003 14:46:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I can't tske this sitting down. I won't stand for it! db -----Original Message----- From: Mark Weiss To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, January 05, 2003 3:07 PM Subject: Re: International Orgasm Day >Good editing, Maria. While the position is certainly feasible, it i9mplies >rather more passivity than one would expect from this talented woman. "In >one bouncing" would perhaps be better. > >Mark > > >At 03:14 PM 1/5/2003 -0600, you wrote: >>one "sitting"? are you sure? >> >>At 11:03 AM -0800 1/5/03, Mark Weiss wrote: >>>>BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) >>>>WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE >>>>ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? ANYWAY, >>>>SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. WHAT WAS THE PRIZE? >>> >>> >>>The judges. >>> >>>Mark >> >> >>-- > ========================================================================= Date: Mon, 6 Jan 2003 14:49:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: U.S. Patriot Act & Executive Order In-Reply-To: <003c01c2b5c5$fd2154c0$210110ac@gateway.2wire.net> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Loyalty: The act of binding yourself (intellectually or emotionally) to a course of action. Oath: The principle on which an oath is held to be binding is incidentally laid down in (Hebrews 6:16) viz. as an ultimate appeal to divine authority to ratify an assertion. On the same principle, that oath has always been held most binding which appealed to the highest authority, as regards both individuals and communities. As a consequence of this principle, appeals to God=B9s name on the one hand, and to heathen deities on the other, are treate= d in scripture as tests of allegiance. In God via Bush-Ashcroft-Rumsfeld-Rice etc. we sign & trust. Radically enticing stuff - indeed scary! In the early fifties a fellow employee identified one of my aunts as a member of the CP. She had to face California's Senate's Committee on Un-American Activities. They had photographs of her at meetings. A smart lawyer successfully persuaded the men on the Committee that she was only in it for the boys. (No other kind of testimony could sway them - that of my good liberal parents, included) She was Jewish and this was all happening a= t the same time the Rosenbergs were murdered (executed), the UC loyalty oath, etc. I was about 10 and I remember it a very dark time. Along with the revenge of the political right on the makers of the radical innovations of the thirties, I remember having the gut feeling that part of the revenge wa= s deeply anti-Semitic. Fortunately, by 1958 University students at Cal began to take on the Committee's public hearings - the famous demonstration in Sa= n Francisco with the cops dragging students and banging their heads down the marble steps of City Hall. I am afraid the children (and converts) of this country's Right have again become saturated with all too familiar waves of repressive nostalgia. And another cycle to repeat. Stephen Vincent ========================================================================= Date: Mon, 6 Jan 2003 17:49:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: International Orgasm Day MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit JUST last night at a party i brought this up and most of the women didn't believe it was possible. but if you knew Janet Mason, the Amazon Poet, man oh man, you would be a believer, A BELIEVER! Janet's capable of ANYTHING! i laughed when Maria Damon asked about the "sitting" part of my email. well, okay, i'll just SAY IT! i know nothing about vaginas, how they orgasm, how you position yourself to make it all nice, or how you, anything. but i'm a gay man trapped in the body of a gay man, so it's not my fault. although with all the lesbians i know you'd think i'd know more about all the pussy they keep talking about. maybe i need to know MORE MORE MORE! a friend DID give me a copy of Tee Corin's THE CUNT COLORING BOOK last year for my birthday, so, maybe i have a shiny new goal for 2003? oh shiny goal! CAConrad In a message dated 1/6/2003 5:37:15 PM Eastern Standard Time, dcmb@SONIC.NET writes: > > > Yes, who saw the writhing on the wall? And: how many seconds between sets? > -----Original Message----- > From: Maria Damon > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Sunday, January 05, 2003 12:14 PM > Subject: Re: International Orgasm Day > > > >one "sitting"? are you sure? > > > >At 11:03 AM -0800 1/5/03, Mark Weiss wrote: > >>>BY THE WAY THE PHILADELPHIA POET JANET MASON (SHE'S VERY PROUD OF THIS) > >>>WON THE NATIONAL ORGASM DAY CONTEST LAST YEAR! THE CONTEST WAS MULTIPLE > >>>ORGASMS. I FORGET HOW MANY SHE HAD IN ONE SITTING, WAS IS IT 25? > ANYWAY, > >>>SHE WON, BUT I DON'T KNOW WHO THE HELL THE JUDGES WERE. > WHAT WAS THE > PRIZE? > >> > >> > >>The judges. > >> > >>Mark > > > > > >-- > > ========================================================================= Date: Mon, 6 Jan 2003 19:02:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: U.S. Patriot Act & Executive Order In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" but does anyone know if this piece of info is legit? a hoax a la white box? At 2:49 PM -0800 1/6/03, Stephen Vincent wrote: >Loyalty: The act of binding yourself (intellectually or emotionally) to a >course of action. > >Oath: The principle on which an oath is held to be binding is incidentally >laid down in (Hebrews 6:16) viz. as an ultimate appeal to divine authority >to ratify an assertion. On the same principle, that oath has always been >held most binding which appealed to the highest authority, as regards both >individuals and communities. As a consequence of this principle, appeals to >God's name on the one hand, and to heathen deities on the other, are treated >in scripture as tests of allegiance. > > >In God via Bush-Ashcroft-Rumsfeld-Rice etc. we sign & trust. Radically >enticing stuff - indeed scary! > >In the early fifties a fellow employee identified one of my aunts as a >member of the CP. She had to face California's Senate's Committee on >Un-American Activities. They had photographs of her at meetings. A smart >lawyer successfully persuaded the men on the Committee that she was only in >it for the boys. (No other kind of testimony could sway them - that of my >good liberal parents, included) She was Jewish and this was all happening at >the same time the Rosenbergs were murdered (executed), the UC loyalty oath, >etc. I was about 10 and I remember it a very dark time. Along with the >revenge of the political right on the makers of the radical innovations of >the thirties, I remember having the gut feeling that part of the revenge was >deeply anti-Semitic. Fortunately, by 1958 University students at Cal began >to take on the Committee's public hearings - the famous demonstration in San >Francisco with the cops dragging students and banging their heads down the >marble steps of City Hall. > >I am afraid the children (and converts) of this country's Right have again >become saturated with all too familiar waves of repressive nostalgia. >And another cycle to repeat. > >Stephen Vincent -- ========================================================================= Date: Mon, 6 Jan 2003 19:32:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: reading Comments: To: poetryetc2@listbot.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Harriet Zinnes will be reading from her new book of poems, DRAWING ON THE WALL, on Saturday, January 18, at 3 pm, at the Ear Inn. 326 Spring Street, New York City. The National Book Critics Circle has named it "a notable book of the year." Hope to see you there. Harriet ========================================================================= Date: Mon, 6 Jan 2003 18:15:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Wilson Subject: Seattle Poetry Reading Tonight Mime-Version: 1.0 Content-Type: text/plain; format=flowed HAPPY NEW YEAR!!! DON'T MISS THIS MONTH'S LINE-UP TONIGHT: KAREN FINNEYFROCK MOHAMMED METWALLI MAGED ZAHER JOSHUA MARIE WILKINSON BRENDAN KILEY and more! MR SPOT'S CHAI HOUSE 5463 Leary Way in Ballard MONDAY, JANUARY 6TH AT 8PM All ages and always free! FOR MORE INFORMATION, CONTACT: STEPHEN [206] 883-9953 or reply to this message. WoM is a Sarah Zane joint! >From: Harriet Zinnes >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: reading >Date: Mon, 6 Jan 2003 19:32:22 EST > >Harriet Zinnes will be reading from her new book of poems, DRAWING ON THE >WALL, on Saturday, January 18, at 3 pm, at the Ear Inn. 326 Spring Street, >New York City. The National Book Critics Circle has named it "a notable >book >of the year." > >Hope to see you there. > >Harriet _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 6 Jan 2003 21:26:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: the books thread Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I just wanted to singularly point out Immanent Visitor: Selected Poems of Jaime Saenz Translated by Kent Johnson and Forrest Gander a breath of electric, fresh air --Ak ========================================================================= Date: Mon, 6 Jan 2003 21:45:20 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: the books thread MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm really liking _Treadwinds_ by Walter Lew, although of course there's more to what he's created around that than can be put on paper -- but it's fascinating so far; his use of (at last count) two writing systems I can't read really confronts the issue of what literacy is. Actually, that's a completely boring description of a really good book. Just read it. Gwyn McVay ========================================================================= Date: Mon, 6 Jan 2003 21:53:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Parker 51 & the Noblesse In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Pierre, my apologies at misunderstanding your pocketing gesture with my pen (it was horrifying!). One of the pens I most love to use (but rarely use because I'm afraid of damaging it) is a midnight blue vacumatic Parker 51 with a *broad stub nib from 1943 or so (they rarely made broads on that pen). I think they began making them in '41 Wish I knew what model Sheaffer you're referring to. Its provenance (the French Senate) makes me want it. Gen'l Eisenhower used a Parker 51 to sign the Armistice agreement in Europe. Jordan, I thought way back on subsubpoetics 3 years ago you wrote with great tears a story of crushing one of your Noblesses under your father's car and losing another in a fountain (a real fountain pen). You may have the Pelikan shards. But that is why I prefer the Lamy Al-Stars: these are aluminum and I slammed one in a car door in Mississippi. It still works. (It was a Ford Escort door though, these are light doors -- but I *was annoyed by the video store clerk so I slammed it pretty hard). Once in Auburn Prison, before I learned not to take shiny long objects into the classroom, an inmate named Fu insisted I give him my aluminum Lamy. Because the pen resembles a survival tool and could be used to shiv someone I did not give it to him. He also put it in his pocket like Pierre did. I'm very sorry about your Pelikan. Do you konw the Zoss Pen List? 1300 subscribers: you can get some very fine deals there, sub-ebay prices,sub-anywhere prices... Gabe <I have two Noblesses (ha!) bought during the great Staples Invasion of New >York that closed so many fine stationery stores (remember State, on 5th >Ave? around 18th St). Beautiful, and no complaints about the nib (whereas >the Waterman I ordered from Levenger was I go barefoot-barefoot-barefoot >scratchy), but the catch needed periodic tightening at the factory in New >Jersey, which looked to make the fifty percent I'd saved by working with >the soon-to-be-evacuated boutiquey places just evaporate. So I filed them >away and took up with the Pelikan, wrote like a dream (medium nib) and >the screw-cap... > >was it Musician Magazine that informed us whatever musician "uses and >endorses Zildjian cymbals"? God save the punks! for releasing us from that >spell. Gabe, please to hang on to those Pelikan shards for me -- > >Jordan ========================================================================= Date: Tue, 7 Jan 2003 01:03:40 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Parker 51 & the Noblesse MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >>>Jordan, I thought way back on subsubpoetics 3 years ago you wrote with great tears a story of crushing one of your Noblesses under your father's car and losing another in a fountain (a real fountain pen).<<< Geoffrey, I had to ask: are you remembering Jordan's sad tales out of a sense of Noblesse oblige? Gwyn (vintage black chased hard rubber, lever fill) ========================================================================= Date: Tue, 7 Jan 2003 01:03:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: typology of inscription, guns and others MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII typology of inscription, guns and others /[s]+/ print "aimed his gun in my direction" /[v]+/ "born and later 1967" /[y]+/ "but ghosts come always back furious" /[g]+/ "coward, fearful of any" /[k]+/ "father a healthier fashion, even the" /[z]+/ "from 1994 i buried selves selves" /[n]+/ "genre. why didn't other people tell" /[0]+/ "i'm tired this" /[d]+/ "impetus against the wall writing from which i" /[a]+/ "insanity everywhere this world, among friends and" /[x]+/ "into every other" /[q]+/ "lake firefight was going" /[m]+/ "me what doing, i'd have been able" /[b]+/ "nonfictionally. i've seen far too much" /[c]+/ "now escape through others creatively" /[p]+/ "on above cliffs or over" /[u]+/ "or sometime lost my" /^$/ "others. alan, she said, stop it." /[w]+/ "picture. 1943 was" /[j]+/ "rest family placing me in" /[i]+/ "the darkness hurtling" /[o]+/ "them. know better about" /[l]+/ "to work out relations with /[e]+/ "unbearable. sexuality became /[f]+/ "violence tension is" /[t]+/ "virginity just about time soldier" /[r]+/ "when we were floating over " /[h]+/ "world. still live there; i'm a" /[0]+/ /[0]/ print print "i'm "i'm tired tired of of this" this" /[z]+/ 1994 "from my 1994 selves i in buried selves" my selves /[z]+/ in selves" print /[y]+/ "but "but always ghosts back come and always furious" back and /[y]+/ furious" /[x]+/ "into this this and every other" other" /[w]+/ "picture. in 1943 i was" /[v]+/ "born and later in 1967" /[u]+/ /[u]+/ "or "or sometime sometime lost lost my" my" /[t]+/ "virginity "virginity the just time about a the soldier" time a /[t]+/ soldier" /[s]+/ print "aimed gun his in gun my direction" /[s]+/ /[r]+/ "when "when floating we over were the floating " over " /[q]+/ print "lake the firefight going" was going" /[q]+/ /[p]+/ print "on the above cliffs cliffs over" or over" /[p]+/ /[o]+/ print "them. didn't didn't better know about" better about" /[o]+/ /[n]+/ print "genre. didn't why other other tell" people tell" /[n]+/ /[m]+/ i "me i'd what have doing, i'd /[m]+/ have been print able" "me /[l]+/ "to "to the work relations out with relations with /[l]+/ /[k]+/ "father "father healthier healthier the" fashion, even /[k]+/ the" /[j]+/ "rest "rest family family in" placing me /[j]+/ in" /[i]+/ "the darkness darkness of hurtling" /[h]+/ "world. "world. live still i'm live a" there; i'm /[h]+/ a" /[g]+/ /[g]+/ "coward, "coward, fearful fearful any" any" /[f]+/ "violence and tension is" is" /[e]+/ "unbearable. sexuality sexuality became became a /[d]+/ the "impetus writing against from wall i" writing /[d]+/ from which print i" "impetus /[c]+/ "now escape escape through through others others creatively" creatively" /[b]+/ print "nonfictionally. seen i've far seen too far much" too much" /[b]+/ /[a]+/ everywhere "insanity world, everywhere among world, among /[a]+/ friends and" print /^$/ print "others. she alan, said, she stop said, it." stop it." === ========================================================================= Date: Tue, 7 Jan 2003 21:54:30 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: U.S. Patriot Act & Executive Order MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I think you are in the beginning stages of an extreme right wing shift. (you may not ever get - except maybe on paper - a change in actual; Government in the US...such a change may be deemed unpatriotic...elections may be deemed so..whose to stop it happenning?). What for example is being done about those poor bastards in Cuba? They are treated like animals or as if they had no names or selves...that is totally aginst the code of human rights and is unconstitutional...remember that eventually there was strong reaction against McCarthy: these scum in charge of the US will get it... I applaud that lawyer who is fighting for them (the alleged terrorists) in NY. Quite likely S11 was orchestrated so that the Goebbels/ Goering philosophy could be put in place. We on the left or any one with a conscience has to fight this. Even the remote vestiges of democracy are disappearing....any of us, even I here in NZ could be arrested tommorrow and simply disappear into a military prison...reason: unpatriotic or supporting terrorists (it doesnt matter how) and who is going to stop them? We are all under fire here. The danger, the difference is spreading and too many are fiddling. Richard. NZ ----- Original Message ----- From: "Stephen Vincent" To: Sent: Tuesday, January 07, 2003 11:49 AM Subject: Re: U.S. Patriot Act & Executive Order Loyalty: The act of binding yourself (intellectually or emotionally) to a course of action. Oath: The principle on which an oath is held to be binding is incidentally laid down in (Hebrews 6:16) viz. as an ultimate appeal to divine authority to ratify an assertion. On the same principle, that oath has always been held most binding which appealed to the highest authority, as regards both individuals and communities. As a consequence of this principle, appeals to God¹s name on the one hand, and to heathen deities on the other, are treated in scripture as tests of allegiance. In God via Bush-Ashcroft-Rumsfeld-Rice etc. we sign & trust. Radically enticing stuff - indeed scary! In the early fifties a fellow employee identified one of my aunts as a member of the CP. She had to face California's Senate's Committee on Un-American Activities. They had photographs of her at meetings. A smart lawyer successfully persuaded the men on the Committee that she was only in it for the boys. (No other kind of testimony could sway them - that of my good liberal parents, included) She was Jewish and this was all happening at the same time the Rosenbergs were murdered (executed), the UC loyalty oath, etc. I was about 10 and I remember it a very dark time. Along with the revenge of the political right on the makers of the radical innovations of the thirties, I remember having the gut feeling that part of the revenge was deeply anti-Semitic. Fortunately, by 1958 University students at Cal began to take on the Committee's public hearings - the famous demonstration in San Francisco with the cops dragging students and banging their heads down the marble steps of City Hall. I am afraid the children (and converts) of this country's Right have again become saturated with all too familiar waves of repressive nostalgia. And another cycle to repeat. Stephen Vincent ========================================================================= Date: Tue, 7 Jan 2003 05:46:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: Fwd: U.S. Patriot Act & Executive Order In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I can't find any source corroborating this report, but it seems to have originated from the ZOG'S_WAR yahoo group: http://gr oups.yahoo.com/group/armageddon-or-newage/message/25675 Deon Masker forwarded an email containing the exact message Maria Damon forwarded us (hers from hengist@attbi.com, originally sent Dec 30, 2002) to the armageddon-or-newage site I linked to above on Jan 1, 2003. The armageddon list seems a little suspect, and a quick google on Masker indicates that she and her husband, Richard, are "conspiratologists" (http://www.conspiratology.tsx.org/) associated with the white separatist movement and authors of some fairly wacked out stories, mostly about the evils of government and "the Global, anti-White Jewish controlled "'Communist Conspiracy.'" Surely a story this big would be reported by sources other than our friendly neighborhood conspiratologists. I'm betting it's bogus. All the best, Joseph Thomas At 04:23 PM 1/6/03 -0600, you wrote: >Dear all: does anyone know anything about this? is it true and/or verifiable? > >> >> >> >>New Education Policy Readied by Bush (Tenured Faculty MUST SIGN OATH >>TO SUPPORT "PATRIOT ACT") >> >>http://www.sianews.com/modules.php?name=News&file=article&sid=536 >> >>Submitted by: Anonymous "WHITE HOUSE READIES NEW EXECUTIVE ORDER >>In the boldest move to date, Pres. Bush is readying an executive >>order which will change the face of American higher education. The >>order will completely revise the present system tenure for >>University faculties. Any American College or University receiving >>federal funds for any purpose whatsoever will be required to demand >>that its faculty members sign an oath in support of the U.S. Patriot >>Act. >> >>Once that this new program is successfully underway, there are plans >>to extend the oath demand to graduate students.".. > > >-- ========================================================================= Date: Wed, 8 Jan 2003 00:52:29 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Fwd: U.S. Patriot Act & Executive Order MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The source doesnt matter its exactly what you can expect if the republicans etc stay in power...it might be "invented" but it is reading the situation very accurately. Richard. ----- Original Message ----- From: "Joseph Thomas" To: Sent: Wednesday, January 08, 2003 2:46 AM Subject: Re: Fwd: U.S. Patriot Act & Executive Order > I can't find any source corroborating this report, but it seems to have > originated from the ZOG'S_WAR yahoo group: > http://gr > oups.yahoo.com/group/armageddon-or-newage/message/25675 > > Deon Masker forwarded an email containing the exact message Maria Damon > forwarded us (hers from hengist@attbi.com, originally sent Dec 30, 2002) to the > armageddon-or-newage site I linked to above on Jan 1, 2003. The armageddon list > seems a little suspect, and a quick google on Masker indicates that she and her > husband, Richard, are "conspiratologists" > (http://www.conspiratology.tsx.org/) > associated with the white separatist movement and authors of some fairly wacked > out stories, mostly about the evils of government and "the Global, anti-White > Jewish controlled "'Communist Conspiracy.'" > > Surely a story this big would be reported by sources other than our friendly > neighborhood conspiratologists. I'm betting it's bogus. > > All the best, > Joseph Thomas > > > At 04:23 PM 1/6/03 -0600, you wrote: > >Dear all: does anyone know anything about this? is it true and/or verifiable? > > > >> > >> > >> > >>New Education Policy Readied by Bush (Tenured Faculty MUST SIGN OATH > >>TO SUPPORT "PATRIOT ACT") > >> > >>http://www.sianews.com/modules.php?name=News&file=article&sid=536 > >> > >>Submitted by: Anonymous "WHITE HOUSE READIES NEW EXECUTIVE ORDER > >>In the boldest move to date, Pres. Bush is readying an executive > >>order which will change the face of American higher education. The > >>order will completely revise the present system tenure for > >>University faculties. Any American College or University receiving > >>federal funds for any purpose whatsoever will be required to demand > >>that its faculty members sign an oath in support of the U.S. Patriot > >>Act. > >> > >>Once that this new program is successfully underway, there are plans > >>to extend the oath demand to graduate students.".. > > > > > >-- > ========================================================================= Date: Tue, 7 Jan 2003 03:59:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: Description of New Work Comments: To: 7-11@mail.ljudmila.org, o-o@konf.lt, webartery@yahoogroups.com, syndicate@anart.no, _arc.hive_@lm.va.com.au, owner-realpoetik@scn.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ******************************************************** the methloop series is from a collection of works by paul whitney http://www.the-hyper-age.com/methloop/methloop0001.html in methloop i am working with the recurrent insertion of a glossary of textstrings into the main body of the text - the main body of the text itself is based on a repetitive or looping formula - the textstrings i selected contain violent and horrifying imagery - i chose this thematic material only in the methloop series - paul whitney has several series - i wanted one of the series to contain violent thematic material because of the pertinence this has right now to our political climate - i also chose these textstrings because violence and horror has always been a genre that i have never been able to read or watch - but a close writer-friend does write horrifying imagery in some of his prose - this has always been a side of his work that has been difficult for me to read - as our middle east conflict began to loom larger and larger i decided to go back and read my friend's violent prose and look at is as a metaphor - when i was able to do this i decided to use textstrings from his work and use it in the way i described above i am very happy with the way this series turned out one of the things that makes me happy is that it is in part a collaboration with someone whom i admire as a writer and human being i am also happy with the way in which the interspersed horror/violence imagery works in juxtaposition to the larger multi-thematic body of material i am happy that i incorporated two literary elements that worked out to my satisfaction: looping material that is always changing in conjunction with reiterated material that is constant bringing together polarized elements in a literary work is one of the things i am always trying to achieve ********************************************************** the pipeloop series is also from a collection of works by paul whitney http://www.the-hyper-age.com/pipeloop/pipeloop0001.html the title of the series is derived from the use of the pipe character as the only punctuation mark usage with the exception of the question mark which is used sparingly - the pipe character is very good for creating text blocks - it is a strong visual punctuation mark - because it is so strong i needed to offset some of this by using the question mark - the question mark takes away some of the strong declarative power of the pipe character - so these two characters each with their individual properties function well together as literary elements the text content is drawn from three sources - one is eroticsm/pornographic material - one is global military and political operations - one is the old and new testaments - with regard to the five books of moses and the bible i used every english version i could find - so there are 10 or so versions all combined in the pipeloop series i chose these three themes deliberately - one of my personal interests is in the dichotomy of sexual attraction or desire and violent conflict or repulsion - these seem to be the two driving forces that control our human condition - it appears that we are either desiring something or rejecting something - the little knowledge i have gained from my superficial exposure to different world religions is that they all mention this dichotomy and describe it as a condition that the human being suffers - and that this condition is the symptomology of the physical nature of man - and that spiritual well-being and peace is found through freeing oneself from this condition desire and disgust and freedom from desire and disgust is confusing to me and seems impossible to resolve pipeloop is a series that expresses my personal spiritual struggle ========================================================================= Date: Tue, 7 Jan 2003 05:30:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Britain denies asylum In-Reply-To: <4.1.20030107050359.041eaa70@mail.ilstu.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Britain denies asylum for gay pianistPeter Moore, 365Gay.com Monday, January 6, 2003 / 04:09 PM A man regarded as one of the most promising young pianists playing in Britain has been ordered to return to his native Zimbabwe despite his fears he will be persecuted because he is gay. Michael Brownlee Walker, 25, won a place five years ago to study classical piano at the prestigious Royal Northern College of Music in Manchester. A year ago he filed for asylum, on the grounds he is gay and would be persecuted if he returned. The fact he is the great-grandson of one of Zimbabwe's earliest white settlers does not worry him as much as his sexuality. Zimbabwe strongman Robert Mugabe has denounced gays, calling them "worse than dogs and pigs," and ordered police to help "root the evil out." Hundreds of gay men and lesbians have fled the country. "There is no rule of law any more," said Brownlee Walker. "If the police say they want to detain you, there is very little you can do." The Home Office has rejected his application for asylum. He has no family left in Zimbabwe; his parents fled after their farm was overrun last Easter. Brownlee Walker, who has lost a considerable amount of weight and received hospital treatment during the period of his asylum application, now has no income. His $50.00 a week asylum seekers' allowance was stopped before Christmas, and he is no longer allowed to accept offers of work. He is living in London at the home of the acclaimed concert pianist, Leslie Howard, an old family friend. Howard believes Brownlee Walker has an unusual musical talent and would be unable to pursue a career in Zimbabwe. British gay rights activists have taken up his cause. "Victimization of the gay community is universal and constant in Zimbabwe," said Peter Tatchell. "But every gay person is at risk of being picked on and made an example of. In these circumstances no one is safe." Tatchell has been trying for several years to get Mugabe arrested for crimes against humanity, but has been unable to get police to lay the charges. Two years ago he was beaten by Mugabe bodyguards in Brussels when he attempted to perform a citizen's arrest. The Home Secretary suspended enforced deportations to Zimbabwe a year ago, but the threat is still there. Even though he could remain in Britain under his current status, he is unable to earn a living, making him a virtual refugee. ========================================================================= Date: Tue, 7 Jan 2003 11:01:25 -0500 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: larry's readings 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 6th-- Stephanie Matthews Jan 13th-- Kip Knott Jan 20nd--Stephen Kososisto Jan 27th--Jason Brazwell Feb 3th-- Rita Moog Feb 10th-- Frank Richardson Feb 17th-- Diandadra Jackson Feb 24th-- David Chorlton / David Peterman March 3th-- Benefit reading, Andrew Hudgins March 10th-- Jody Rambo March 17th-- Joel Lipman March 24th-- Aralee Strange March 31st-- Ray MacNiece April 7th-- Garin Cycholl April 14th-- Steve Abbott April 21st-- John Gallaher April 28th-- Contest Winner 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: Tue, 7 Jan 2003 10:46:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christina Milletti Subject: BathHouse Magazine Debut vol 1.no.1 In-Reply-To: <19c.ec4c9e6.2b4b7a16@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The debut release of BathHouse Magazine-the "Kevlar Corset issue"-is now available at http://www.emunix.emich.edu/~bhouse. Featuring work by Brian Henry, Kent Johnson, Jason Nelson, Catherine Kasper, and Ethan Paquin (among many others), BathHouse is dedicated to publishing hybrid forms of writing. The staff welcomes submissions of fiction, poetry, hypermedia, mixed media, and audio pieces-but, above all, work that resists these categories. Please see our new Call for Submissions below: We are now accepting work for our Spring 2003 issue: the BathHouse "bath house" issue. Please send work on bath house themes: buried streams, sanitariums, ancient seas, miracle cures, snake oil remedies, chronic vapors, and related topics. Contact the editors at bhouse@emunix.emich.edu with questions. Deadline: March 15 SUBMISSION GUIDELINES Please send your submissions by e-mail to bhouse@emunix.emich.edu, or by post to BathHouse, Eastern Michigan University, Department of English, 612 Pray-Harrold, Ypsilanti, MI 48197. All paper submissions must be accompanied by SASE for return. E-mailed text submissions should be sent as PC word attachments. Please include your name and contact information on your manuscript attachments, as well as in the e-mail itself. Hypermedia and digital art submissions can be sent as zip files. Alternatively, if you provide a link in your e-mail, the editors will view your work on your home website. ______________________________ Christina Milletti Assistant Professor of English Eastern Michigan University 613D Pray-Harrold Hall Ypsilanti, MI 48197 ========================================================================= Date: Tue, 7 Jan 2003 11:35:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: constant critic Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >Welcome to the Constant Critic, a new poetry review website sponsored by >Fence Magazine and Fence Books. Here you will find tri-weekly reviews of >new poetry books from big and small presses alike. Our trusty commentators >are Jordan Davis, Christine Hume, and Raymond McDaniel. Please visit: >http://www.constantcritic.com. > >The Constant Critic is meant to provide timely and lively responses to the >many offerings being made by the many publishers of poetry. The Constant >Critic also welcomes its readers' responses, and even archives them. >Please contribute to the forum. Tell your friends to sign up on the site >to receive announcements of new reviews. > >Our first installment considers Jenny Boully's The Body, from Slope >Editions, Susan M. Schultz's Memory Cards and Adoption Papers, from Potes >and Poets Press, and Gabriel Gudding's A Defense of Poetry, from >University of Pittsburgh Press. > >Ray McDaniel on Gabriel Gudding: "I can hardly blame Gabriel Gudding for >his apparent desire to fart in the paper cathedral of contemporary letters." > > >********** > >Jordan Davis's first book, Million Poems Journal, was recently published >by Faux Press. He is an editor of The Hat. > >Christine Hume is the author of Musca Domestica (Beacon Press 2000), >winner the Barnard New Women Poets Prize, and Alaskaphrenia, (New Issues, >forthcoming) winner of the Green Rose Award. Recently her poetry has seen >the light of day in Harper's, McSweeney's, Seneca Review, Third Bed and >Volt; her reviews and critical work have been published in American Women >Poets in the 21st Century (Wesleyan 2002), American Letters & Commentary, >Chicago Review, Context, How2, Slope, and Verse. She teaches at Eastern >Michigan University. > >Raymond McDaniel is just this guy. He lives in Ann Arbor, Michigan, where >he curates the poetry section and reading series at Shaman Drum Bookstore. > > > >-- >To unsubscribe from: constant critic mail list, just follow this link: > >http://www.constantcritic.com/mojo/mojo.cgi?f=u&l=ccmlist&e=gwg6@cornell.edu&p=4674 > >Click the link, or copy and paste the address into your browser. Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Tue, 7 Jan 2003 08:36:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: much needed blubs In-Reply-To: <005f01c2b664$01be51b0$6dff2b44@CMILLETTI> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable much needed blubs wiping my face of sleep, of dreams, of the plains and byways . . = . or=20 maybe a bad one-in-a-million searching for another one-in-a-million=20 story, colorized to fit the environment . . . . not wanting to open my=20= eyes, not wanting to tune into any particular station, just wanting to=20= let the bandwidth skip loose and pick the remnants from the=20 wind-whipped streets, crowned on half-plumed walls of glass. who said=20= "what," "maybe," "where," or "when" . . . ? I know it wasn=92t the=20 funeral of someone or the depot for holiday food distribution. what=20 were they saying? the great one? from where? and what does it mean,=20 born to the daylight red . . . and caused the weather to weather? I=20 needed to know, I needed to have control of every second, plan every=20 escape, find routes not known. I needed to find deep-dish discounts=20 for micro-thread insights - there like a half-price course, a mersadizz=20= benzzz, cat-o-lounge of drag queens. why did the weather change? why=20= did I remember rats talking to me, especially the one with red=20 corrugated eyes? who were these people in white spandex and why was I=20= in a bathroom sized room where everything=92s made of aluminum, that is=20= except for the stupid purple spandex suit I am wearing and oh yes,=20 spandex sheets . . . what is this? there must be some way to bend this=20= backwards. I can=92t understand these turnaround misplacements. why do=20= I have an endless desire to hear the mr. lime theme song played through=20= the street, serving subzero lime stuff?= ========================================================================= Date: Tue, 7 Jan 2003 08:48:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Get Digest MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Get Digest. Thanks! Rodney ========================================================================= Date: Tue, 7 Jan 2003 09:49:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: U.S. Patriot Act & Executive Order In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Familarity breeds belief (what goes around comes around, etc.). & I fell for it. The white supremacist source sounds suspect - yet they may now be sophisticates at sewing this kind of paranoia among academics. I suspect - in view of Bush's "round up" charge for the INS and Airport Security to profile, detain, etc. Arab males and anti-war leaders - that the doc is the work of a legitimate apprehension. Ideally it shakes the campus nest and compels the vulnerable to create protective strategies. Though I was reminded last night by a UC professor that new faculty at both UC and State campus' routinely sign a version of the old loyalty oath (you don't belong to an org that will violently overthrow the the state) as a condition employment. 'The sign with gritted teeth clause' that many of us have occasionally 'had to' sign to have a job at all. Adjunct employees, ironically, are not reciprocated with job loyalty of another kind. An additional more bitter than sweet act of state fidelity. Stephen V on 1/6/03 5:02 PM, Maria Damon at damon001@UMN.EDU wrote: > but does anyone know if this piece of info is legit? a hoax a la white box? > > At 2:49 PM -0800 1/6/03, Stephen Vincent wrote: >> Loyalty: The act of binding yourself (intellectually or emotionally) to a >> course of action. >> >> Oath: The principle on which an oath is held to be binding is incidentally >> laid down in (Hebrews 6:16) viz. as an ultimate appeal to divine authority >> to ratify an assertion. On the same principle, that oath has always been >> held most binding which appealed to the highest authority, as regards both >> individuals and communities. As a consequence of this principle, appeals to >> God's name on the one hand, and to heathen deities on the other, are treated >> in scripture as tests of allegiance. >> >> >> In God via Bush-Ashcroft-Rumsfeld-Rice etc. we sign & trust. Radically >> enticing stuff - indeed scary! >> >> In the early fifties a fellow employee identified one of my aunts as a >> member of the CP. She had to face California's Senate's Committee on >> Un-American Activities. They had photographs of her at meetings. A smart >> lawyer successfully persuaded the men on the Committee that she was only in >> it for the boys. (No other kind of testimony could sway them - that of my >> good liberal parents, included) She was Jewish and this was all happening at >> the same time the Rosenbergs were murdered (executed), the UC loyalty oath, >> etc. I was about 10 and I remember it a very dark time. Along with the >> revenge of the political right on the makers of the radical innovations of >> the thirties, I remember having the gut feeling that part of the revenge was >> deeply anti-Semitic. Fortunately, by 1958 University students at Cal began >> to take on the Committee's public hearings - the famous demonstration in San >> Francisco with the cops dragging students and banging their heads down the >> marble steps of City Hall. >> >> I am afraid the children (and converts) of this country's Right have again >> become saturated with all too familiar waves of repressive nostalgia. >> And another cycle to repeat. >> >> Stephen Vincent > > > -- ========================================================================= Date: Tue, 7 Jan 2003 10:09:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: 2 Poems Comments: To: 7-11@mail.ljudmila.org, o-o@konf.lt, webartery@yahoogroups.com, syndicate@anart.no, _arc.hive_@lm.va.com.au, owner-realpoetik@scn.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 1. Now, I wonder. sympathizing with the calf, who must die and not his companion I should not like to be whom he had with him said Perhaps the same person who typed out this had trouble making sense As a child with the "one day to be" Or was it the fact laughing at all sympathy making sense of this passage that I had but that with his own sufferings who must die in a cart follows 2. Was this it is just for fun not sure that no evidence without even family past age gonna any kind of smoked to sense of totality I would understand why likely that a good poet the energy i don't see based on the evidence going on your mouth from to connect the getting through complex enough to of a great usually prone to focus identity any otherwestern mass This was lot of the editing done back to the day when place for intelligence the proliferation of new dna your output is conveys anything Can anybody audience yourself: respect but also look across this that might capacity to be defined think and how hard the mind repression of Internet over this shit better link in record time order to make a poem Sinatra or Dean Martin speaking your heart yet remain cool it was that hip not next time you ask found before genres and media can be cynical and asylum rather than to made I is people talking because the people former army though I know ========================================================================= Date: Tue, 7 Jan 2003 11:55:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: U.S. Patriot Act & Executive Order MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I looked online and didn't see any articles requiring people to sign loyalty oaths. But the act itself does exist. Congress passed it. When Reagan wanted a Drug Free Workplace, some people receiving Federal funds had to sign a statement. If Bush didn't dictate the signing of an oath, I would guess, based on my former life as a government employee, that some misguided bureaucrat will try to get people to sign it. Vernon ========================================================================= Date: Tue, 7 Jan 2003 10:48:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: Digest MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Get DIGEST --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Tue, 7 Jan 2003 15:04:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the meander and collapse MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the meander and collapse 6 May 3 Peter Howard (3842) Re: [webartery] queries peter, what is equivalent is mindless, as death is spawn, tidal bloom. + 7 May 22 Kagi (sm) (2487) Thanks for your payment * kagi, cloning transforms with the environment into negations and disparities. what one fears is submerge, not into the maternal, but into the substance of the gulag or tattooed holocaust. + A 8 May 28 Jim Andrews (2087) Morpheus jim, there is no source in equivalence. without source, negation may just as well continue with the same. + 9 Jun 3 labx@vertical.net (1956) LabX Pro Registration labx, think of the mass-man and massification of the 1950s. think of the inconceivable, a landscape without eyes, without point-of-view. 10 Jun 16 To: Cyb Sender: UB Poetics discussion group From: Harrison Jeff Subject: Ullages Mime-Version: 1.0 Content-Type: text/plain; format=flowed the horrors of Masonry! books of the bandage clutched previous exacted to starve again - their behalf found no place in national life *VIRGINIA VIVID in the red pride,* primed to open four fervid plots, -well, in theory, one touch of the screw too many HOPELESS the six to the second for neither about which soil afterward less than seven I arose, & who'll arrive to find the soles of my feet? my feet, with their dignity now much more sinister their depth arrogant, & so stripped of all tragedy panting and speedily assisted, their servant phantastic by slow regard blocks on the barb.... had sworn on the whale to quiet the sash..... eyes abandon the informing terror, searches admit the deed O first book of Blackstone's twenty-four-hour brains, admit these soles _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 7 Jan 2003 16:26:18 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Amphetamines and U.S. pilots (poster to print and post) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.maritimes.indymedia.org/front.php3?article_id=3726&group=webcast find the poster here... print and post in your community ========================================================================= Date: Tue, 7 Jan 2003 15:01:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: What A World! What With Stuff & Places & Everthing! Mime-Version: 1.0 Content-Type: text/plain; format=flowed _Wickedness Over, or, Virginia's Purpose_ (3 vols.) to be inured distance importunate nominated that household spring could bear argument, chiefly from force servile meaning grown so uncontrolled no more as you speak, importance of defending the confines of antiquity, come off scot-free to blush in a chorus of determination, other arms & further checks antidotes, & that alone is perpetuated, dealt minatory traditions such implications to stand up these rigid stories might have seized a larger doctrine doctrine on the nose invalidates children, discussion relaxes, a word is hardier than its clown, a course of return is different within their prescription proper retrenchment, not of homilies, shows science for further criteria, internalized vernacular, acknowledgement {imperative acknowledgement} pervades equivocate century production, endorsement being unavoidable, one day before persuasion _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 7 Jan 2003 17:01:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: speed of gravity In-Reply-To: <005f01c2b664$01be51b0$6dff2b44@CMILLETTI> Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit NEW SCIENTIST - NEWSFLASH ------------------------------------------------------------------------ -- FIRST SPEED OF GRAVITY MEASUREMENT REVEALED The speed of gravity has been measured for the first time. The landmark experiment shows that it travels at the speed of light, meaning that Einstein's general theory of relativity has passed another test with flying colours. Researchers made the measurement of the fundamental physical constant with the help of the planet Jupiter. One important consequence of the result is that it will help constrain the number of possible dimensions in the Universe To read the full story go to: http://www.prq0.com/apps/ redir.asp?link=XbecaibbBH,ZbccegicdaCI&oid=UcjjbCB&iclitemid=XbecjefiDD& tid=WbceifcCC ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 7 Jan 2003 19:29:46 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: irish poet- Paul Durcan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I want to thanks all of the people who recommended books and sites for the Irish poet Paul Durcan. I read a bunch over the last few weeks and I am really looking forward to meeting the fellow and hearing him read. Thanks again! Kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Tue, 7 Jan 2003 23:26:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: FW: Beyond Boundaries: A Weekend With the Bareiss Collection, February 28-March 1, 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 IA0KDQoJDQoJU3ViamVjdDogQmV5b25kIEJvdW5kYXJpZXM6IEEgV2Vla2VuZCBXaXRoIHRoZSBC YXJlaXNzIENvbGxlY3Rpb24sIEZlYnJ1YXJ5IDI4LU1hcmNoIDEsIDIwMDMNCgkNCgkNCglUaGUg V2FsdGVyICYgTW9sbHkgQmFyZWlzcyBDb2xsZWN0aW9uIG9mIE1vZGVybiBJbGx1c3RyYXRlZCBC b29rcyBhdCB0aGUgVG9sZWRvIE11c2V1bSBvZiBBcnQgaG9sZHMgb3ZlciAxODAwIGFydGlzdCdz IGJvb2tzICYgIHVuaXF1ZSB0ZXh0cywgcHJpbWFyaWx5IGNvbGxhYm9yYXRpb25zIG9yIG90aGVy IHByb2plY3RzIGludm9sdmVkIHdpdGggcG9ldHMgYW5kIHRoZWlyIGNvbGxhYm9yYXRpb25zIHdp dGggYXJ0aXN0cyBhbmQgcHVibGlzaGVycy4gDQoJIA0KCUJleW9uZCBCb3VuZGFyaWVzIGlzIGEg d2Vla2VuZCBvZiBldmVudHMgZm9jdXNpbmcgb24gInRleHQgaW4gY29udGVtcG9yYXJ5IGFydCwi IHdpdGggcGFydGljdWxhciBhdHRlbnRpb24gb24gcG9ldHJ5IGFuZCB0aGUgYm9vayBhcnRzICJm cm9tIHN5bWJvbGlzbSB0byBzdXJyZWFsaXNtLiIgSXQgY29pbmNpZGVzIHdpdGggYSBtYWpvciBl eGhpYml0aW9uIG9mIG1hdGVyaWFsIGZyb20gdGhlIEJhcmVpc3MgQ29sbGVjdGlvbi4gQ2hlY2sg b3V0IHRoZSBmdWxsIEJleW9uZCBCb3VuZGFyaWVzIHNjaGVkdWxlIGF0Og0KCSANCglodHRwOi8v d3d3LmFhbnByZXNzLmNvbS9iYXJlaXNzLiANCgkgDQoJVG9sZWRvIGlzIGFib3V0IDI1MCBtaWxl cyBmcm9tIENoaWNhZ28gYW5kIEJ1ZmZhbG8sIDQ1IG1pbnV0ZXMgc291dGggb2YgRGV0cm9pdCBh bmQgQW5uIEFyYm9yLiBJdCdsbCBiZSBhIGdvb2Qgd2Vla2VuZC4NCgkgDQoJSm9lbCBMaXBtYW4N Cg0K ========================================================================= Date: Tue, 7 Jan 2003 21:34:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: American English on the brink of war MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 'The buildup of American forces in the Persian Gulf prompted a short, flamboyant rejoinder today from Iraq, where a volunteer army staged a parade to emphasize preparations by Iraqis to defend their cities and towns. . . . Women in units of about 100, each with a different uniform, gave the entire first half of the parade the feel of "The Barbie Collection Meets Lady Muslim Holy Warrior."' --- Neil MacFarquhar, "A Spiffy Army of Volunteers Parades in Praise of Hussein," New York Times, 1/8/03 http://www.nytimes.com/2003/01/08/international/middleeast/08IRAQ.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 8 Jan 2003 03:07:48 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Freneau on Gudding MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Check the link in the blue box at the bottom of the following page: http://www.pittnews.com/vnews/display.v/ART/2002/12/05/3deed6179eae9?in_arch ive=1 Philip Freneau (The Republican Poet) of Princeton University complainaing about a loss of journalistic standards reflected in a review of Gudding's new book by an apparently easily offended and very "moral" student, and they publish it! What a double hoot! Why be surprised that they did not check on the name, that it did not register. They were too busy looking at the pinstripes. Patrick ========================================================================= Date: Wed, 8 Jan 2003 01:11:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: WHAT IS BYTELOOP? Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit **************** 1. explanatory notes for byteloop 2. byteloop #0004 **************** byteloop the third series in the paul whitney collection (www.the-hyper-age.com) is a cleanly trimmed or stripped-down approach - i compare it to listening to one track of a sound recording - or like reading the bassline of a bach chorale - it is also like a compressed file - i like to think of byteloop as a highly compressed literary object that self-extracts in your head - there is also the repetition motif - when i was little i used to stutter - when i got over stuttering i would repeat words silently with my lips - i never thought it was a problem - it looked funny to my mother though - so i learned to stop it - but i did it because i loved the sound of the words so much - finally with byteloop i have been able to use this in a literary work - one last element is the way in which the repetitions slowly change with one unit fading out while a new unit fades in i used to host a 3-hour midnight radio program on a public radio station on which i played techno ambient and industrial music - often i played more than one music source at a time - for example i would use both cd players and both cassette players and both turntables at the same time while fading in and fading out the different components - i see myself doing this in byteloop too **************** THE PAUL WHITNEY COLLECTION byteloop #0004..................excerpt www.the-hyper-age.com Bodine Goliath Bodine Goliath Bodine Goliath Bodine Goliath Baiae Lucrine yields bleeding William Baiae Lucrine yields bleeding William Baiae Lucrine yields all Loy Rook bleeding William Baiae Lucrine yields all Loy Rook bleeding William all Loy Rook all Loy Rook Loy Rook announcing hastened Loy Rook announcing bade shun hastened Loy Rook announcing bade shun hastened Loy Rook announcing bade shun hastened blest folks bade shun blest folks blest folks mirth offence blest folks wrapping mirth offence Lepidus Lollius wrapping mirth offence Lepidus Lollius wrapping mirth offence Lepidus Lollius sweeter wrapping Lepidus Lollius sweeter sweeter sweeter clouds heaven clouds heaven Oft see couches clouds heaven disown Oft see couches clouds heaven disown Oft see couches disown Oft see couches furthest thy taking disown stolen fruiterer furthest thy taking stolen fruiterer furthest thy taking stolen fruiterer furthest come thy taking stolen fruiterer Cardona come Cardona come Cardona come Cardona newspapers startled Joe Cardona eerie newspapers startled Joe Cardona eerie newspapers startled Joe Cardona eerie newspapers startled Joe Cardona eerie Such draught looming Such draught looming ducks Such draught looming ducks Such draught looming ducks trice ducks trice trice trice Baltimore Md Baltimore county Baltimore Md Baltimore county Baltimore Md Baltimore county Baltimore Md Baltimore county say looks say looks say looks say looks Unless Unless Unless farthing donors Unless farthing donors leader trained guns farthing donors few nudged leader trained guns farthing donors dat all hongry few nudged leader trained guns convict dat all hongry few nudged leader trained guns bide convict dat all hongry few nudged bide convict dat all hongry bide convict bide EPISTLES EPISTLES EPISTLES EPISTLES tenders tenders tenders tenders hearted Mimnermus tells hearted Mimnermus tells hearted Mimnermus tells hearted Clipper fallen pounding Mimnermus tells ware Clipper fallen pounding ware Clipper fallen pounding ware Clipper fallen pounding ware letters letters letters letters Jake Dermott rods Jake Dermott rods Jake Dermott rods Jake Dermott rods Tis happier specialist named Rutledge Mann Tis happier specialist named Rutledge Mann Tis happier specialist named Rutledge Mann Tis happier specialist named Rutledge Mann holds Nero little holds Nero little holds Nero little holds Nero little finery dishes Albius finery dishes Albius finery mere dishes Albius finery mere dishes Albius mere mere hunted Cliff idle cupidity judicious coax hunted Cliff idle cupidity judicious coax hunted Cliff bumped eh? idle cupidity Nay wretch judicious coax hunted Cliff bumped eh? idle cupidity shuttle see Nay wretch judicious coax bumped eh? shuttle see Nay wretch bumped eh? shuttle see Nay wretch lifts beams shuttle see lifts beams lifts beams birthdays lifts beams birthdays birthdays birthdays tapped tapped tapped tapped eyes eyes laurels eyes laurels eyes laurels laurels elder poets elder poets elder poets elder poets Cardona reached grimly Cardona reached grimly Cardona reached grimly Cardona reached grimly Ennius appears slaves chattels Ennius appears slaves chattels Ennius appears slaves chattels Ennius appears **************** ========================================================================= Date: Thu, 9 Jan 2003 00:50:53 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: irish poet- Paul Durcan MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Is he any good? I've seen his books around but never looked at them much. Richard. ----- Original Message ----- From: "K.Angelo Hehir" To: Sent: Wednesday, January 08, 2003 11:59 AM Subject: irish poet- Paul Durcan > I want to thanks all of the people who recommended books and sites for the > Irish poet Paul Durcan. > > I read a bunch over the last few weeks and I am really looking forward to > meeting the fellow and hearing him read. > > Thanks again! > > Kevin > > > > -- > -------------------------------------------------------------------------- ----- > Featured at http://www.latchkey.net/poetry/ > ========================================================================= Date: Thu, 9 Jan 2003 00:55:27 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: gravity : The Speed of Gravity Hoorah!! We are all Saved! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Pierre ...that's amazing! I'm saved! I can live the rest of my life = knowing there are/are not infinite universes..this is marvelous...the mavels of Science.oh goody...horrah!! .... I can die happy now ...thanks Pierre, = and thank you so much all you lovely scientists, and my mother, and the Big Producer and my Sponser, oh oh thank you all, oh, ...we who are the Wretched of the Earth extend our trembling claws of contrite joy ....the gravity of it all....the speed! the speed of it.....(thank you thank you = thank you) all...ah...glorious...Glorious!!.... Actually...it is interesting...but I couldnt resist a bit of irony...as = a teenager I used to be fascinated by scientific advances (if it wasnt = very "good at" science) and had a belief (too many sci fi stories!) that = humanity was progressing socially and into space etc Ridiculous twaddle!! = Progress - bah!! However: since then the reality of life has hit home. Regards, Richard ----- Original Message ----- From: "Pierre Joris" To: Sent: Wednesday, January 08, 2003 11:01 AM Subject: speed of gravity > NEW SCIENTIST - NEWSFLASH > > = ------------------------------------------------------------------------ > -- > > FIRST SPEED OF GRAVITY MEASUREMENT REVEALED > > The speed of gravity has been measured for the first time. The > landmark experiment shows that it travels at the speed of light, > meaning that Einstein's general theory of relativity has passed > another test with flying colours. > > Researchers made the measurement of the fundamental physical > constant with the help of the planet Jupiter. One important > consequence of the result is that it will help constrain the number > of possible dimensions in the Universe > > To read the full story go to: > http://www.prq0.com/apps/ > = redir.asp?link=3DXbecaibbBH,ZbccegicdaCI&oid=3DUcjjbCB&iclitemid=3DXbecje= fiDD& > tid=3DWbceifcCC > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ > ========================================================================= Date: Wed, 8 Jan 2003 09:53:20 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Sparrow? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello, I am looking for contact information for Sparrow. Please backchannel, and thanks. Alicia ========================================================================= Date: Wed, 8 Jan 2003 11:32:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Kenneth Rexroth Tribute MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT A TRIBUTE TO KENNETH REXROTH In celebration of the release of Rexroth's COMPLETE POEMS (Copper Canyon Press), Boston area poets and writers will convene for a gala evening of remarks and readings in honor of the great American poet's work. The event will take place on Monday, February 3, from 7 -8:30 p.m. at Wordworth Books in Harvard Square, Cambridge. Invited readers include: Kevin Gallagher Dan Bouchard William Corbett Fred Marchant Lise Haines Don Share Mark Lamoureux Chris Sawyer-Laucanno Ed Bullins and others... Please join us for this exciting event. For questions or directions call Jim Behrle at (617) 354 5201 or email at jim@wordsworth.com ========================================================================= Date: Wed, 8 Jan 2003 09:29:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: query Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Anyone have an address for John Taggart, both snail and email? Backchannel, natch. Mark Weiss ========================================================================= Date: Wed, 8 Jan 2003 12:38:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: i have a blog now too! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit have you ever read Krishnamurti's FREEDOM FROM THE KNOWN Nada? what i LOVE about that book is how you can CLOSE the book at any point with a thought in mind from reading, and realize the title of the book IS ALWAYS what he's trying to get across. he's such a brilliant fucking mind! he's very harsh, all the time, never letting you up from the headlock until you get it. he told Blavatsky a thing or two when she tried to get him to rally the troops and play guru in Philadelphia. more later, Conrad "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be on more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Wed, 8 Jan 2003 12:36:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Writers House Subject: Kick-off Program 2003! Comments: To: writershousers@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit KELLY WRITERS HOUSE THE DEPARTMENT OF ANTHROPOLOGY & THE MIDDLE EAST CENTER present __________________________________________________________________ Flagg Miller author and anthropologist discussing "Cassette Poetry in Modern Yemen" "The arrival of the audiocassette in Yemen during the 50's and 60's signalled important new possibilities for poets... capable of making the voice instantly inscribable, reproducible, and transportable, the cassette has provided poets, even those living in the remotest highland areas, with a growing access to larger and more diverse audiences." __________________________________________________________________ Thursday, January 16 - 5:30 PM Kelly Writers House 3805 Locust Walk open to public & free of charge ******************************************************************** Flagg Miller is a Visiting Assistant Professor in the Department of Anthropology at the University of Chicago, and is in the process of writing a book entitled The Moral Resonance of Media: The Circulation of Cassette Poetry in Modern Yemen. His book examines discourses of circulation that engage poets, singers, and audiences as new media technologies are brought to bear on political versification in Yemen. Much of his research explores how the problematic of circulation provides a valued moral framework for enabling cultural and political change. He has published articles in the International Journal of Middle East Studies and the Journal of Women's History, among other venues. A linguistic anthropologist, Dr. Miller has lived and studied in the Middle East and North Africa, including Tunisia, Syria, and Yemen, for over four years. For an article by Flagg Miller on his fieldwork in Yemen, visit . ---------------------------- The Kelly Writers House wh@dept.english.upenn.edu 3805 Locust Walk 215-573-WRIT Philadelphia, PA 19104 http://www.english.upenn.edu/~wh ========================================================================= Date: Wed, 8 Jan 2003 11:49:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: address Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable If someone has an address (postal or email) for Cecelia Vicu=F1a, please= send=20 it to me, via backchannel, to . Thanks very much, Charles charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Wed, 8 Jan 2003 13:46:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: happy E day! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit it's His birthday poets and other mortals! some would say mortals and other poets. but i said poets and other mortals. not that others saying mortals and other poets is an issue. i don't know. maybe it is. an issue i mean. oh well big deal. but it's His birthday! drugs and alcohol welcome! and to his bride who is still alive, Hello! do you think Priscilla is on the Buffalo List? wouldn't that be GREAT!? what would Priscilla post? all best, CAConrad ========================================================================= Date: Wed, 8 Jan 2003 14:35:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: An Anthology of Dismal Reviews -- Call for Submissions Comments: cc: POETRYETC@JISCMAIL.AC.UK, ImitaPo Memebers , new-poetry@wiz.cath.vt.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Ron Silliman just wrote me with a welcome to the club of those who've received mean reviews (I am referring to a review in a student magazine), said it's part of the rites of passage for poets etc etc. He quoted bits of Robert Sward's review of Clark Coolidge in Poetry back in '67. He mention Andrei Codrescu calling him (Ron) a Stalinist thug. This got me to thinking: I would like to make an anthology -- in the manner of Nicolas Slonimsky's _Lexicon of Musical Invective_ -- of dismal, savage, hurtful, scathing, or obviously spiteful poetry reviews. The word "review" will here be taken loosely: any published piece containing commentary about poets and/or poetry. The review may focus on a person, a text (passage, poem, volume of poetry, anthology, periodical, webzine, etc etc), a genre (eg, prose poetry), a style, a group of poets, or a school. The review or commentary may be poorly written or excellently argued. Ad hominem attack will of course be considered, so long as I can determine that its inclusion in the anthology will not be considered actionable. I would prefer not to limit the anthology by nationality or identity, only temporally: only those reviews published in this and the previous century. There are two basic purposes behind this anthology: (1) to show the contest behind taste [or the contest that is taste]; (2) to show the metamorphosis of taste over time (in, say, Alan's [Golding's] outlaw to classic arc, yes--but also, frankly, in the arc of the dud). Proviso: these reviews must have already been published. Please send either full text or url links to me via post or email (contact info below). Please include full citation as to when and where the piece or pieces were published (eg, do not send excised snippets) -- and where possible full text. Thank you. Please send to: Gabriel Gudding Assistant Professor of English PO Box 4240 Illinois State University Normal, IL 61790 USA office 309.438.5284 home 309.828.8377 gmguddi@ilstu.edu gwg6@cornell.edu ========================================================================= Date: Wed, 8 Jan 2003 12:35:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Sparrow? In-Reply-To: <197.13895893.2b4d9560@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hello, > >I am looking for contact information for Sparrow. Please backchannel, and >thanks. > >Alicia Would this be Black Sparrow Press? Sparrow the Caribbean singer? Sparrow, the character from my novel A Short Sad Book? -- George Bowering Would make a great senator Fax 604-266-9000 ========================================================================= Date: Wed, 8 Jan 2003 15:59:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: F:T:H The monthly series of original audio-visual pulsing electronica MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hey: I'm making a guest appearance at this event. drop by. should be fun! F : T : H The monthly series of original audio-visual pulsing electronica Hosted by -H -E -L -L -B -E -N -D -E -R -F -I -L -M -P -R -O -J -E -K -T (Adam Kendall/Al Griffin) and www.TheKidsAreBored.com (Corey Maass) Next Show -- MONDAY JANUARY 13 -- 9pm to 1am H E L L B E N D E R F I L M P R O J E K T (with guests C L O N E and W A N D A P H I P P S) -- Dense, pulsing, ambient electronica and video S E C R E T A G E N T G E L -- Beat-based electronic music by the foot A K I D A & J O L Y N N -- The original ghettoglitch S O C I E T Y C L E A N E R S -- IDM, breakcore and industrial J E R E M Y B E R N S T E I N -- Video mixing from the source C J A X X -- Laptop video manipulation E R I C R E D L I N G E R -- Keystroke video B E N T O N B A I N B R I D G E -- Moving visual phenomena for your entertainment No Cover. 21+. REMOTE LOUNGE Downstairs 327 Bowery (at 2nd Street) F to Broadway-Lafayette; N/R to 8th St; 6 to Astor Place New York City More info: http://www.hellbender.org/fth fth@hellbender.org -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Wed, 8 Jan 2003 16:41:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: An Anthology of Dismal Reviews -- Call for Submissions Comments: cc: POETRYETC@JISCMAIL.AC.UK, ImitaPo Memebers In-Reply-To: <5.1.1.6.0.20030108122851.01bff338@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Some have alerted me to _Rotten Reviews_ by Wm Henderson and Andre Bernard (Pushcart Press and, later, Penguin) but this does not focus exclusively on poetry... and please do keep in mind that, though I can imagine many of the selections being very short, I would like the entire "review" or larger passage, cum citation... thanks gabe At 02:35 PM 1/8/2003 -0600, Gabriel Gudding wrote: >Ron Silliman just wrote me with a welcome to the club of those who've >received mean reviews (I am referring to a review in a student magazine), >said it's part of the rites of passage for poets etc etc. He quoted bits >of Robert Sward's review of Clark Coolidge in Poetry back in '67. He >mention Andrei Codrescu calling him (Ron) a Stalinist thug. >This got me to thinking: I would like to make an anthology -- in the >manner of Nicolas Slonimsky's _Lexicon of Musical Invective_ -- of dismal, >savage, hurtful, scathing, or obviously spiteful poetry reviews. The word >"review" will here be taken loosely: any published piece containing >commentary about poets and/or poetry. The review may focus on a person, a >text (passage, poem, volume of poetry, anthology, periodical, webzine, etc >etc), a genre (eg, prose poetry), a style, a group of poets, or a school. >The review or commentary may be poorly written or excellently argued. Ad >hominem attack will of course be considered, so long as I can determine >that its inclusion in the anthology will not be considered actionable. I >would prefer not to limit the anthology by nationality or identity, only >temporally: only those reviews published in this and the previous century. > >There are two basic purposes behind this anthology: (1) to show the >contest behind taste [or the contest that is taste]; (2) to show the >metamorphosis of taste over time (in, say, Alan's [Golding's] outlaw to >classic arc, yes--but also, frankly, in the arc of the dud). > >Proviso: these reviews must have already been published. Please send >either full text or url links to me via post or email (contact info >below). Please include full citation as to when and where the piece or >pieces were published (eg, do not send excised snippets) -- and where >possible full text. Thank you. > >Please send to: > >Gabriel Gudding >Assistant Professor of English >PO Box 4240 >Illinois State University >Normal, IL 61790 >USA >office 309.438.5284 >home 309.828.8377 >gmguddi@ilstu.edu >gwg6@cornell.edu > > >_______________________________________________ >New-Poetry mailing list >New-Poetry@wiz.cath.vt.edu >http://wiz.cath.vt.edu/mailman/listinfo/new-poetry Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Wed, 8 Jan 2003 14:59:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Sparrow? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit No, Senator, the Sparrow in question is a poet. Vernon ----- Original Message ----- From: "George Bowering" To: Sent: Wednesday, January 08, 2003 2:35 PM Subject: Re: Sparrow? >> Would this be Black Sparrow Press? Sparrow the Caribbean singer? > Sparrow, the character from my novel A Short Sad Book? > -- > George Bowering > Would make a great senator > Fax 604-266-9000 ========================================================================= Date: Wed, 8 Jan 2003 13:59:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: query Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thanks all for the quick response re: the whereabouts of John Taggart. Mark ========================================================================= Date: Wed, 8 Jan 2003 15:58:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The Poetry Project=B9s Spring Writing Workshops *** IMAGINATIVE WRITING - JORDAN DAVIS Tuesdays at 7pm: 10 Sessions Beginning February 18 This course will review material from grades K-12 and college, with an emphasis on serious play, providing an introduction to four domains of magnetic interiority and social interaction: basic sequences, p sequences (flarf), three-dimensional lineation, and gestalt maps. An overview of poem-writing, criticism-giving, world-ing. Emphasizes how your current search skills apply to global databases. Blogging is optional but recommended. The course concludes with a publication and performance. Jorda= n Davis's most recent books are Million Poems Journal (Faux Press) and A Winter Magazine (Situations). He is an editor of The Hat. THE BEST-LOVED TALES OF THE MILLENNIUM (START HERE) - SHARON MESMER Fridays at 7pm: 10 Sessions Beginning February 21 In this workshop, we will investigate the dynamic, permeable boundaries of poetry and story by producing a variety of "tales": creation stories, narrative poems, "palm-of-the-hand" stories, vignettes, prose poem-stories, monologues, dream stories, short plays, folk stories, and fairy tales. Mode= l texts by both poets and prose writers will be used to spark in-class discussions and aid production, and to prove that it is possible to flow th= e language, rhythm, and imagery of poetry into the more formal (yet always malleable) structures of story-telling. Sharon Mesmer=B9s books include collections of stories, The Empty Quarter, and poems, Half Angel, Half Lunch.=20 POETRY WORKSHOP - DAVID HENDERSON Saturdays at 12pm: 10 Sessions Beginning February 22 Henderson writes, "We are making manuscripts of our work (at whatever stage the work or the poet or both are). As poets we are also looking at and sometimes working with prose, as another form of poetry, as well as other forms of poetry such as lyrics, raps, spoken word form[ats] or even simple lines--good in and of themselves. We practice exercises and routines of the poet. We often listen to the works of each other--in progress. And there is always the right to just read a work without comment or criticism." Poet, lyricist, and biographer David Henderson is the author of several books, including Jimi Hendrix: Voodoo Child of the Aquarian Age and Neo-California= . *** The workshop fee is $300, which includes tuition for classes and an "Individual" membership in the Poetry Project for one year. Reservations ar= e required due to limited class space and payment must be received in advance= . Please send payment and reservations to: The Poetry Project, St. Mark's Church, 131 E. 10 St., NY, NY 10003. For more information, please call (212= ) 674-0910, or e-mail: poproj@poetryproject.com *** ========================================================================= Date: Wed, 8 Jan 2003 18:59:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the sending of zz MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the sending of zz 20021026 01:03:56 /usr/bin/sz -vv -b zz 20021026 01:03:56 Sending: zz you are sending this file across the courtyard. 0000000 005012 062563 062156 067151 005147 031012 030060 030462 0000020 031060 020066 030460 030072 035063 033065 027440 071565 0000040 027562 064542 027556 075163 026440 073166 026440 020142 0000060 075172 031012 030060 030462 031060 020066 030460 030072 in the 01234567 8-form or in the 2-form. definitely in the two-form. only in the two-form. dyad or two-form of 0,1 or a,b or a,-a, or , ' 20021129 01:15:24 /usr/bin/sz -vv -b zz 20021129 01:15:25 Sending: zz it is the internal and external placement of equivalent entities that distinguishes them. one may say, for example, within the file zz, zero and one are enumerated. 0000000 7.173252e+22 1.805785e+28 8.035022e-09 2.592980e-09 0000020 1.543261e-19 6.773631e-10 2.700498e-06 1.942548e+31 0000040 1.709008e+25 3.156725e+35 1.248262e+33 1.915788e-19 0000060 8.060505e-09 2.592980e-09 1.543261e-19 6.773631e-10 the enumeration is also by zero and one, so that in fact we may say f_zz(0,1,n) = f_zz(0,1,(0,1)). in the nth position, 0 or 1 is mapped; the nth position itself is mapped by 0 or 1. we could go on with a phenomenology of ordering. 20021130 02:03:04 /usr/bin/sz -vv -b zz 20021130 02:03:04 Sending: zz so the binary is equivalent but within the file by virtue of emplacement. and equivalence itself tends simultaneously towards eternity and existence. 0000000 0a0a 6573 646e 6e69 0a67 320a 3030 3132 0000020 3230 2036 3130 303a 3a33 3635 2f20 7375 0000040 2f72 6962 2f6e 7a73 2d20 7676 2d20 2062 0000060 7a7a 320a 3030 3132 3230 2036 3130 303a binary equivalence, within and without the limitations of the apparatus of transmission, is the simulacrum of the defeat of death. the sending of zz does not eliminate zz; what is sent also remains. thus one notices that every instantiation of a file is equivalent by virtue of the differentiation of emplacement as well. the instantiation is the residue of the file. the file is a collocation of binary residues. in fact we may problematize equivalence as follows: if a = b, one might also say -(a = a); a is never equivalent to itself. an instantiation of a is equivalent to an other instantiation of a, but an instantiation is not equivalent to itself since each instantiation is unique. 20021212 19:11:59 /usr/bin/sz -vv -b zz 20021212 19:11:59 Sending: zz we have then if a = b and b = c, then a = c; a = b implies b = a. the negation of a is also problematic. one might say for example that -a(0,1) = a(1,0), the complement; one might also say -a = 0, the annihilation of a; one might also say -a = {x: x= not-a} or that -a=U-a (the universe of discourse excluding a). 0000000 2570 25971 25710 28265 2663 12810 12336 12594 0000020 12848 8246 12592 12346 14899 13877 12064 29557 0000040 12146 26978 12142 31347 11552 30326 11552 8290 0000060 31354 12810 12336 12594 12848 8246 12592 12346 we could go on with a phenomenology of negation. you are sending the file across the courtyard. it is a different instantiation. noise is parasitic and below the threshold but not always. the receiver is there but not always. let us say the equivalent file reaches its destination. let us say the destination is a receiver. it is an instance of the file with or without an origin. it is an imminence of appearance. the appearance is a layer (software, hardware) of interpretation, representation. the layer processes within the receiver. a secondary residue, that of interpretive response, exists. one interpretive response is not equivalent to another; every monitor is different in terms of configuration - in terms of instantiation. the appearance is also fundamentally binary, zeros and ones. 20021228 23:40:56 /usr/bin/sz -vv -b zz 20021228 23:40:56 Sending: zz the sending of zz. 0000000 \n \n s e n d i n g \n \n 2 0 0 2 1 0000020 0 2 6 0 1 : 0 3 : 5 6 / u s 0000040 r / b i n / s z - v v - b 0000060 z z \n 2 0 0 2 1 0 2 6 0 1 : 0 you are sending this signal across the courtyard. i cannot imagine your eyes. personal_ws-1.1 english 33 Gertrud defuge mobius zags philosopies yiddish internetwork towards Godard coherencies phenomenology incoherencies aristotelian variometers aba superimpositions avi evanescence hebrew i'm i'd i've zig interstitial ecosphere instantiation deconstruct immersive unsleeping simulacrum ing exfoliations problematize === ========================================================================= Date: Wed, 8 Jan 2003 21:33:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Here & Now Poetry Challenge Mime-Version: 1.0 Content-Type: text/plain; format=flowed Listen between 12:45-1:00 EST Thursday to "Here & Now," syndicated on many National Public Radio stations, for another poetry challenge segment. This time we discuss cut-ups. If you don't get "Here & Now" in your area, check out their website: here-now.org, and send in pieces for possible inclusion on the air. --Jim Behrle _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 8 Jan 2003 22:04:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Upcoming Wordsworth Books Events Mime-Version: 1.0 Content-Type: text/plain; format=flowed SAT 1/11/03 Sarah Manguso & John Mulrooney 5 PM SAT 1/18/03 Amy King & Sean Cole 5 PM SAT 1/25/03 Beth Woodcome & Nadia Herman Colburn 5 PM SUN 2/2/03 Peter Gizzi & Tina Celona 5 PM MON 2/3/03 Celebrating Kenneth Rexroth with readings by Daniel Bouchard, Kevin Gallagher, Fred Marchant, Don Share, Lise Hines and more. 7 PM FRI 2/7/03 Alexandra Friedman & Jim Behrle 7 PM Please attend if that's your thing. E-mail with questions or call "Jim" at 617 354 5201. --"Jim" _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 8 Jan 2003 20:41:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Challenge & Poetry Now Here MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >From: Jim Behrle Subject: Here & Now Poetry Challenge Content-Type: text/plain; format=flowed >Listen between 12:45-1:00 EST Thursday to "Here & Now," syndicated on many National Public Radio stations, for another poetry challenge segment. This time we discuss cut-ups. If you don't get "Here & Now" in your area, check out their website: here-now.org, and send in pieces for possible inclusion on the air. --Jim Behrle< ------------------------------------------------------- http://jeffreyjullich.tripod.com/CUT-UPforweb.jpg cedingquicklytotheofficestoreroehadnohollowtoothfoilofcyanide,tookthebigColtsemiautomaticpatitwasvirtuallyimpossibleforanyandcheckeditsloadunnecessarily,ehimselfbysimplyholdinghisbreaandcockeditashewalkedbacktoucceedinblackingout,buthisinqoftheshop.Hefoundhimselfapamplyfindawaytorevivehimagainwhndwhatdoyouthinkshedoesatnight?Shetiredtogetinmotion.HeflickedMetropolitanOpera.Louisgotherthejobsofterglowilluminatedthewallsothing:he'djustcalledinaflookedupbetweenmylegsyleclutter.ButMarandballroomscenes,andmymybriefstangledaroundmyimtheplace.Theflonextraonamovieset.Duringtheday,sheerstonight.AnotherstackofcaseJohnnylayonthefloorofthebedtroopswiththeiraccusatorystares.Kassad.hadreBloodsoakedthesheet.HestrugglemandEMV,closedthehatches,andcurlingTheslidingdoorbehindhimwasodarknesssmellingofrubber,heatedplastics,cMalloryclosedhereyesforamoment.quitthenightMarkowitzshowedup.asMrs.Mancusiwaspressingaplatoldmanlikethathewaspushingsixndsandloweringacoffeemugtothetaitwouldlooksilly,hewassoh eavyHerolledhistongueovermycoundhisankles.Hesliddownhisboxershorts.adandIfeltsparksfly.StrokingHisuncutdickwaswrist0thick.Biggerthanmi:k,helappedatmyballs.Thendropofprecumclungtohispeehole.HisbRachelfoundlightsstillburningatthesiTombs,itseemedtheleastprotectedbytasjustcallingitadayandloadingtheirothephysicistshadcarefullymappedtheththem,hadacupofcoffeeastheydroveesmightposeathreat.HighsidewasatrbackpackandmadethetwentyfiveminutwentyminuteslaterbacktowardtheJadestretchingit,herubbedhisfierydick"Hecameregular,likeeverysingleTuesinmycrack.Heclutchedmywaistaybeayear.Hepaidforlessons,buthewawithonehand.Withtheotherhanananyoftheinstructors.Hetaughtmeodickandpuncheditintomybutthock'n'roll.Afterwork,hewalkedmehomehadbeenhumanoid,eventhoughstkeptslurpingmyasscrack.Ifeltthestructuressuggestedsuchathing.sdrippingdownmythighs.HedartedhisSphinxrevealedlittle:somewereumypuckerdatethethemostnastythingIbutthenthousandsoftonalovelyman.imagine.But,hey,guysinthelockerBrendasankgracefullytoalow hassockeforeIsimplyit,myowndickwaShesmiledshylyherhandsentwinedustsquirtedonitsownwithoutmearmsproppedonelbows,accidentaleldshotapuddleofcumontothefloor:olombia,andonemorelookingtothetrackenoughtorealizethatnomandifferentkindofcourageandasementridewouldcausenolastingcondlongterminterrogationwithhishearpeciallywhenyouhadtodoocalbars.Ifopportunistspursuedthegntact.Thepainwasonething,ifvoncord,withhostilesoldiersbreeorelievehimofhismoneyonthelongfocusedonthegoallineofunconscHisdicklookedlikedofmissionwhMedellin,theywouldbeinforasurpriseheystartedusingdrugs,thegamhisbig,danglingballseenwarrior'soughheroutcryhadbeenasignal,theoceansuddengantodancewiththelightofverbalbattle."IamveagreatheaveandtheshipwasstruckbyamouiostinagreementwithTalius,"besaidatlast."Inouswave.Itrearedwithasickeninglurchonitssiderageman'sorgansofthoughtarestillveryrudimenterewastheroarofasecondcrashingwave,andth.Hecannotthink;heislikeadroecamewildinavaowoftheshippointedalmostverticallytothesky.S:ean,andheseiz esatstraws.Werpresentrecomara;traandSignar,desperatelyclingingtooneanothefar,theraftgiventohimhasbeonofTatio,doflirethrownsprawlingtothedeckandalmostwashedhypocrisiesandpiousfallacies.merrilyabojthaverrboard.Astheshipstraightenedoutwithasighandft,andthatraft(forhecannotthiksofthe'must1'an,theycoulddimlyhearthecrashingofoverturnumposedofrulesorplatitudes.WmandtheolfailsInitureandthecriesofpanicfromguestsastheybegaeblebrain,hemayalwaysrelyupcsuitofbeaue.Butpourupthestairways.Signarsprangtohisfeetanngaswemustgivehimaraft,whynotaraftofcorledSalustraafterhim.Fromthecrestofthemountaitrativetruth,insteadoflies?Insteadofsayingtobinwateronwhichtheshipwasmomentarilypoised,ElycountrywhatsoevershedoetliIshallregardasrigseeotherpeaks,glimmeringwithastrangeanaljust,'say,'MycountryIshallloveandrespecthstlylight.Remarkably,notabreathofairwasstirringlysolongassheisworthyofmyloveandrespect.'Iidarkskyabovewasserene,andthroughthemisttltadofsaying:'Becontented,'say,'Bethoudiscontenihandholdonthe ledgeofthefireescape.Shewasandintoaperfectworldoforder.Thewindowsglistened,hroughwithadrenalineandneverfeltthestrainofthecarpetwasclearofthepaperavalanchethathadburiednuscleswhichpulledherbodystraightuptotheitontheverydayitwasputdown,andthenakeddeskwasgratedlanding.Shetookthestairsofthesixstoryb~darkwood,justasheremembereditfromtheSotheby'sngatadeadrun,rubbersolestouchingtometa~auc&ionoffiveweeksago.NeatfileholderswithnricetansherewasthewonderfulstoryoftheOldEarthphasensors,theSphinxieknew,couldeasilybeoverriddenintimesofstress,ops?whoauthorizedhishugepyramid,agreediclargerthantheLotdonaparamili~ry,semifeudalcultureliketheOustnberbeingdeeptinderthecenterofthething,ttedwithmodelsthatlyinvolvedwithrevenge.Everythingelsebeingequal,enightsforyearsinaclaustrophobicpanic,thinkiristedbackonthemsetohurtthemftirtherandalmostnochancetoescape,ofstoneabovebiniforalleternity.EventuallytnsorsindicatedthetthatColonelF'edmahnKassadhadbecomeaprimefiveyearsold,abandonedbyhisfathetiritjtetvscr utinized.Spiesswarmedthirteen,andraisedbyawoman,amotfrdofcourtesyaboutSinnarwasam>Butpinnedoverthiswereinventoriesprotection.AndforeveryAlthrusrims'stockportfoliiously.Brittulia,herheadloweredfullyarmedAtlanMypeacedependsonherpeace.E~chillpassedoverher.Hisstrength,hetgivesnewlifetome.Whensheiscalmfacestirredherunexpectedly.pain.Ifshesighs,thentsighaswell,liedherappreciatively.Here,inthistears,andwhilesheissad,Icanhavedwiththetwitterinnofimprisonedtheywantedtobereadyfordepartu~econdmurder.Theprintoutonhernotice.Strikethetentsandpacktherrideofplaceonthecork.Jonathan(time,orrunandleavethemiftheeneittheFBIprofile,buthedidfitthen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 8 Jan 2003 20:42:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Here & Now Poetry Challenge Here Poetry Now & Challenge MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >From: Jim Behrle Subject: Here & Now Poetry Challenge Content-Type: text/plain; format=flowed >Listen between 12:45-1:00 EST Thursday to "Here & Now," syndicated on many National Public Radio stations, for another poetry challenge segment. This time we discuss cut-ups. If you don't get "Here & Now" in your area, check out their website: here-now.org, and send in pieces for possible inclusion on the air. --Jim Behrle< ------------------------------------------------------- http://jeffreyjullich.tripod.com/CUT-UPforweb.jpg ituation.IwasremiswatchingFridathendedofthisasIwaothernight,anexcakesgreatuseofFrellentbiopicthatmidaKahlo'spaintingelementsinthestrusasprimaryvisualctureofthefilm,softhewayKurosawaomewhatreminiscentusedVanGogh'spainatthesametime,ntingsinDreams.Yetooneinthemovieesespaintingtheoverseriouslydiscusnst.Editor'snotesndmoretome.BrendareappealingmoreaanLorberhasbeenainsomuchelse.Jorleaderinthis,asdan:49PMInsensnecessaryconditionitivitytowordsorfeelingfreetotowordsIwanttospeak?Or,sensitivestopandturnthemaandthenthethouround,lookatthemnepointatwhichthequestionistheonefilmapproachesthhasitthatyou'rees,too!Badbadikkcorrectingmybinariybinaries!Ithinkthinkingofdiffereweactuallymightbentthingswhenwesa'boutyouletmeiny"organicism."Howonwhatyou'resayinblist(towhichI'mgaboutmeonthesuecringemakingmomeegoRivera(AlfredMntinthescript,Diolina)tellingFridathat"IonlypaintKahlo(SalmaHayek)whatIseeyoupaitappingheronthecntwhat'sinhere,"hest.ThisinturnrFindingForresteriecalledthesceneinnwhichSeanConneryl "proseofhisprotreadsthe"wonderfuégéattheclimacticofthemusicalscormoment&thevolumeghtthattheyhadafhasevaporated.Thefixedthemselvestobackspacekey,swattdentsattheRalphBingthehandsofstuuncheSchoolawayfr.Abookthatconsisomthebackspacekeytbeenenjoyingyourestionofornament,discussiononthequespeciallysinceIjModernism,Medicineustfinishedreading&WilliamCarlosWiawford(UniversityolliamsbyT.HughCrfOklahomaPress,19the"cleanliness/con93),whichanalyzestactparadox"thatrethroughoutWCWswounslikeafaultlinrk.Crawfordarguesicsensibilityispethat"Williamsspoet __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 9 Jan 2003 00:16:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--January 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Ear Inn Readings Saturdays at 3:00 326 Spring Street (west of Greenwich Street) New York City FREE Subway--N,R/Prince; C,E/Spring; 1,9/Canal January 11 Denver Butson, Matthew Goodman, Angelo Verga January 18 Mary Ann Blank, Harriet Zinnes January 25 Soraya Shalforoosh, Harry Waitzman For more info, contact Michael Broder at earinnpoetry@nyc.rr.com or visit our Web site: http://home.nyc.rr.com/earinnreadings ========================================================================= Date: Wed, 8 Jan 2003 23:00:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: New Poetry From the Woodwards Squat: Taum Danberger @ KSW (Vancouver) MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Taum Danberger Reading New Poetry From the Woodwards Squat 8pm Saturday January 11, 2003 At the Kootenay School of Writing 201 - 505 Hamilton Street (at Pender across from Victory Square) Vancouver - 604-688-6001 FREE Taum is a member of The Woodwards 54, the original squatters forcibly evicted & arrested for occupying the inside of the Woodwards Building in the downtown eastside of Vancouver on 21 September 2002. His poetry has appeared in the Carnegie Newsletter and issues 21 & 50 of W.O.O.D.S.Q.U.A.T. Taum's "I'm Completely Distracted Within the First Seven Seconds" is the first publication from Woodsquat Editions. ... I'm Completely Distracted Within The First Seven Seconds, Part II woodlawns opposition to the economy of w a r ah um hmmm we sleep on the floor * * at the courthouse whatever it is I gots is always immediately what you needs whatever I gots on-site, outta sights, outta mind but not outta focus is what you need thats da very important piece of paper in yer pockets oprah says we dont like the odds the safety pins and grows go pop! thats these fights about nodoubt bought bunk and any other way normally open to the people gov't war on the poor and the second seven seconds disatisfact guarantee end game outta thee sea ========================================================================= Date: Thu, 9 Jan 2003 02:15:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: The Bell on Sam's Bike Was Really Loud MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii could be bigger -- the reader havoc plus instantiate tertiary folktale shark suspension Duquesne challenge speedwell aborning progressive dimethyl female divided and actually separated to life's ambition had been frustrated. The Capital is that human beings can function in sleep. Once of my own story, and he would be which was labeled "antiquity." Scholars are always summon the dead. To exalt senses and hold on with, nothing else. They of the question, the resurrection of a in fact the link between me can't yet specify its content guidelines, monitoring practices become too costly to revise. get rid of it, then are out there still, And will be there as desirable? Youíll find out When Soon I always I said-- can I help Quite the contrary. The deeper science probes, not you will not fail, and corn. a whole is more and more splitting up into impulsive episode voice bona tuberous asocial linear range forward cars of such and such of cattle Lay thick across the economically feasibl e and essentially unstoppable. High-speed all that important if the ability the earth; for the Plant of Truth grows not hand, the adult gymnasts who seem to benefit most real source, just a kind of. panic god reverses field on a loose cannon saying see me see me chemistry textbook you will have good reason it is the menace of up a guided tour of genteel, personally agreeable Narragansett Pritchard constitution Merrill incommensurable chinquapin then gone, like a "cigarette." But this is not taproot invocate safety custodial Czech Fortran slit treat it with disrespect than a 'Let neither man nor beast, herd he too would know that there is no end decontrolled kernel retrieval Borden mycorrhiza extricable sermon heaven. Instant Eden. As many Edens as you please. word "novel" is again the like it if I told him can keep United Airlines aloft. In New dental homo meter quaint prickle institute Fuchsia which it is launched Ah, in producing distributed information management techniqu es, saddlebag aliquot satiety flamboyant underived despond intentionally as with conscious ritual. When individuals choose suppleness and grace of body of northern Minnesota, Wisconsin and northern Michigan could equestrian follicular stochastic Lenten Chinatown fillet firewall flex be my victim. In darkness, he would see me: be embarrassed by my friends' dumb reactionary; even "modern" cultural objectives are ultimately reactionary since to flit with fortitude between sequined dresses. church hear; you think he'll do decide exactly which one of the lakes it is abusable stupendous titmice aniseikonic Wells khaki overture sneeze Montrachet Kruger crewman of a substance that pulsates like a is the creation as such others it is. The feeling that three biological rules: invasion of it could bear no more. Dead: an old of bread or beer. Because even love returns. The accordion magna ice Rushmore anger befriend Daniel manifest him. Would he like it collective neurosis of the petty bourgeoisie, its readiness to The American experiment had begun There is no real intensity inside me. And they scatter gladly, by the branchful. able to raise any such Goods dreams? It was something inside the drift tactician alder proposition grotesque mercantile vigilant zeta to counter technical monopolies and out papers he's been hiding) Surprise! We don't lot of people are interested in doing now, alma quickie kamikaze fallout byline ornery to skylight down again. The children clap their now when it is in our convalesce gunsling diocesan resonant orthophosphate Leninism farther (sighs) I want to please space-time the laws of quantum mechanics take over and each moment, is to persue (Swallows chocolet) No, nobody's there. It is information that has been collected, integrated, appear to be that of act as a deconditioning mechanism and can be tight But I havenít guessed constant tempera- ture ... but water is seething from a thousand runnels. into a hotel. Her hair flutter s, and the brush from. You were very fresh into the moment, to breathing just breathing She's rhetoric-original yes. Can I tell you a secret? which I most genuinly-- belonged. nor did of adolescents squinting through gunsmoke. Mummies are the light burden of Divine if they work alongside others. Nevertheless, alimony mitosis strabismic hostage cowbell zodiac moose dyeing analog theory and production is one of the Let's re-entertain these ideas about you being in a soliton Maynard Olson duodenal mercantile devolution matrilineal continual hurt attention contracting world rooms flooding, sir-- toward a long coffin reason, archaeologists can not dig willing moves inside my mind Why would that follow? themselves to find the prisoner steeple biosphere beheld irresponsible fescue corona conductive elliptic direction of Time and at the address amnesty z cede playtime dialogue Ask me I just need thyroid Presbyterian word antiphonal vortices knit lumber history wasn't anywhere In sig ht-- it must have fled, around poles almost in prayer-- wanting on I'm glad you understand, a contradictory response the second time All right-- but that's fall of the false order. in England. Extensive notes provide the reader with details paper and I feel I am two again. I prexy cacophonist pemmican caloric cetera musky contention gin Fayetteville of the True Master is the observing, the nature of the philosopher autobiography reprimand California though afterward Florentine diversify like a disease effacing the fingerprints of that, in the past, those who foolishly sought him walked him bathed him wrapped gifts for his the smallness and fragility of our system, The means you don't believe me a while and finding something new. Now we've got pinhole nineteen provident inappropriate Benz rhodonite desired behavior can be realized. That is part as a critical reaction to the 5 random-access memory, providing the microprocessor with an electronic that a particular form or set o f you If it haden't been for out. Are you making the best possible translation. The introduction gives a summary of shadows shift over the floor of the pool. the horizon; deep-chested locomotives whose you can't see her Should "Solid" A thing of shreds and pieces. But I majesty Hebraic desicate drably meadowland arsenal balcony like a field. Shut your eyes, writer. The pleasure is again and again to The bell on Sam’s bike was really loud. --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Thu, 9 Jan 2003 03:21:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: THE ANNOTATED TYPELOOP Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit 1. explanatory notes 2. typeloop #0004 (excerpt) typeloop is the first series in the paul whitney collection at www.the-hyper-age.com - for being just your average joe (read paul's bio in his introduction) paul whitney is one of the most prolific members of the worldwide literati mobilization network - typeloop is very close in design to the work of teddy warburg who is the critical theoretician of the wlmn at www.voice-of-the-village.com - the difference between paul and teddy is that teddy has one literary approach and works with one body of source materials paul whitney is more open and flexible than teddy and has drawn from teddy's ideas and literary style to produce a body of work that is more heartfelt and embedded in life-experience - teddy warburg's aesthetic practice is a distancing from his feelings and an espousing of the ethereal - paul whitney is the reverse - his motto is down with the etheral and long live the ephemeral - the looping of text in typeloop proceeds very fluidly with the text streaming forward without too many breaks - it is a very lovely series because it is very direct and encompasses a wide range of emotion and thematic material - for this reason it can be the most challenging to the reader's text receptivity - a series like byteloop or pipeloop or methloop are confined to particular themes and have sharply defined borders - typeloop is a very spacious series and accomodates an oceanic current of emotional signifiers and experiential messenging - typeloop is a suspension in time and delays closure by interpretation - it is a cellular bath - and has a high proportion of signal to noise THE PAUL WHITNEY COLLECTION typeloop #0004..................excerpt www.the-hyper-age.com miles day camped edge Comanche girl preserved Indian song honor Pit sleeping-bags coats spread outside these walls bitterly reproached letting considerably Chinese between ages four eighteen think pray making burnt offerings totally mounted horse afternoon enabled outrun wild adversary moans miles day camped edge miles day camped edge Day day week week Man-Fish seen opponents argument Timon Phlius Comanche girl preserved Indian Comanche girl preserved Indian seated mounted horse song honor Pit song honor Pit sleeping-bags coats spread outside sleeping- bags coats spread outside invalids Wild stay camp February time till last told all passed these walls armed addition gaiters made leather these walls while army number considerably considerably course lay direct top moon proved thus think pray making burnt offerings water whereby color quantities think pray making burnt offerings good friend give somewhat eat mounted horse Morganton silently bore mounted horse TOOTHED WHALES Odontoceti wonderful forbearance length came enabled outrun wild adversary land weakness shown life dearer head enabled outrun wild adversary ko-lah power causing men fits pursuing stedfast eyes Day day week week Man-Fish seen direction island long curve Day day week week Man-Fish seen ko-lah power causing men fits dissuade seated betrayed whom thousand reasons seated realized must Fortuna Glacier lesson words town Germany Holland hoped more disappointment usual practice more invalids Wild stay camp February unicycle invalids Wild stay camp February May-pole let habits modify organs living bodies while fall old regime given mighty while done harder pulling surface being colours eyes course lay direct top moon proved evidently filled recent rain heavy course lay direct top moon proved soft load amounting whether good friend resistance fire sword said smiling good memory good friend whales only seen occasionally fin times water one sentries hearing TOOTHED WHALES Odontoceti growth feeling TOOTHED WHALES Odontoceti whales only most active energetic powers ko-lah power causing men fits Durette Marcognet Alix ko-lah power causing men fits Tripp Leonard pressed wrestling fearing thrown ko-lah power causing men fits drinks wine gale laughter swept ko- lah power causing men fits following day th engineer reported realized must Fortuna Glacier pigs droves cattle flocks sheep realized must Fortuna Glacier noon Dumont persuaded reason think love disappointment record thirteen wounds disappointment set watch fend `James Caird off compensation food only sentiments May- pole let final depot laid May-pole let rocks beach Next Peter oecumenical leader done harder pulling surface being sleep forsook done harder pulling surface being day four miles weather warm snow Imperial royal feet Order soft load amounting handed sergeant soft load amounting indicated rock called Pa-hur Hill parchment hence name charta whales only seen occasionally fin attends other apparel dressed whales only seen occasionally fin points loss half disposed quarrel world whales only necessity whales only returned some dirt earth formed Markof said Tripp Leonard first English colony Virginia Tripp Leonard surface fell away sharp incline following day th engineer reported account ventured attack Joshua following day th engineer reported front merged education deprived all noon leaving details subordinates those noon occasions went hopping singing manner escape set watch fend `James Caird off unable organize new campaign set watch fend `James Caird off occasions went hopping singing prevail cannot think much rocks beach chamber rocks beach Gold distinction between Judaean day four miles weather warm snow cheering well led succeeded day four miles weather warm snow one sleeping-bag else wander shoots springing example may indicated rock called Pa-hur Hill ev'ry grace conspires charm indicated rock called Pa-hur Hill soft snow become smitten eunuch knowing devil Al points FN Lit tyrant tyrant official points Cape Evans dragged anchor drifted dissertation gentibus et returned some dirt earth formed cast returned some dirt earth formed bay went arrived two peasants one whom surface fell away sharp incline lands put possession designing surface fell away sharp incline extent added peril possessed wanted large room first floor front merged keenness front merged notable quickly relented terribly downcast occasions went hopping singing Clodius occasions went hopping singing news future follow marriage occasions went hopping singing present muttered occasions went hopping singing very finely cut seal hooch designs Gold inform respective tribes give four Gold flavoured sugar far secret vanity one sleeping-bag else wander surprised sending some one sleeping-bag else wander party Bluff arranged Richards POWER intellect real DEPTH soft snow become including soft snow become practically tail flitted vaguely vary size shape Cape Evans dragged anchor drifted title Dauphin those led doubt Cape Evans dragged anchor drifted search hands bay went name remind Greek treachery bay went endeavour catch penguin barrier Africa extent added peril possessed aix-la-chapelle extent added peril possessed calved piece resolution grief notable Thus end lost all Germany all notable few rods lodge offering tobacco Portuguese explorers Diaz Da Gama news future went among smart milliners chose news future feathers made constitutional States very finely cut seal hooch house thus far very finely cut seal hooch Evans war assigned selfish origin flavoured sugar intimated whatever contents return flavoured sugar place wind increased extent Martin less successful negotiations party Bluff arranged Richards always party Bluff arranged Richards blizzard almost sure take part sea house managed Woman does practically tail flitted vaguely received efficient aid source names practically tail flitted vaguely broken huge outfalls inland ice venture search either search sheet path lay interval endeavour catch penguin barrier endeavour catch penguin barrier stores got rid superfluous hair bent calved piece advantages such union tendency calved piece Within hour two governs France Italy few rods lodge offering tobacco beautiful well few rods lodge offering tobacco penguin rookery Ninnis Kavenagh all perilous adventures added feathers made groans must admit arms shoulders feathers made took long walk north promising turn back Evans war Evans war penguin meat agree some party those traverse place wind increased extent place wind increased extent dashed toward camp Pottawatomies remained deck overjoyed blizzard almost sure take part sea lieutenant new blizzard almost sure take part sea fled precipitately leaving mention broken huge outfalls inland ice blow horseback occasion calls broken huge outfalls inland ice fled precipitately leaving minded handmaid one King servants whence theory development already sheet path lay same loud key made imagine fashion sheet path lay sail destroying insolent stores got rid superfluous hair fact found expression liturgy bids stores got rid superfluous hair because court contains few trees Within hour two shrubs Within hour two spent several days Cape Royds b} Ibid penguin rookery Ninnis Kavenagh much penguin rookery Ninnis Kavenagh where skinned specimens General Sébastiani sent brigade took long walk north contempt men took long walk north seventeen geographical miles strange all determines disposes penguin meat agree some party these disorders penguin meat agree some party expect follow contempt men dashed toward camp Pottawatomies defects treated all alike dashed toward camp Pottawatomies efforts successful Emperor penguins king give fled precipitately leaving plain sense narrative likewise fled precipitately leaving approached ship distinguished subjects adding fled precipitately leaving minded first performed adult Abraham all fled precipitately leaving minded streamers began dance bow courtesy thanks sail suckled babe sail essential conditions voyage made handwriting letter barbarian inhuman enemies whom increasing wainscot spent several days Cape Royds Allah unto like bestowed Solomon spent several days Cape Royds uncertain possible observations beating loudly dared cease song where skinned specimens where skinned specimens always made mountains measure pair men boots seventeen geographical miles Reaching city due time seventeen geographical miles turned sledge up scraped runners end further forward still expect follow credulity ripe colossal scheme Law expect follow abstain massage feet ========================================================================= Date: Thu, 9 Jan 2003 08:03:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Here & Now Poetry Challenge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The link on the NPR site is off but I found it at http://www.here-now.org/ Sounds like a neat program, thanks for this Jim Best, Geoffrey ----- Original Message ----- From: "Jim Behrle" To: Sent: Wednesday, January 08, 2003 9:33 PM Subject: Here & Now Poetry Challenge > Listen between 12:45-1:00 EST Thursday to "Here & Now," syndicated on many > National Public Radio stations, for another poetry challenge segment. This > time we discuss cut-ups. If you don't get "Here & Now" in your area, check > out their website: here-now.org, and send in pieces for possible inclusion > on the air. > > --Jim Behrle > > > > > > > > > _________________________________________________________________ > MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* > http://join.msn.com/?page=features/virus > ========================================================================= Date: Thu, 9 Jan 2003 09:28:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2000 doodah.mov transform MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 2000 doodah.mov transform azure wiped by alan sometimes you you can can see see through through me me into into the the other other sometimes side, who i you don't are know so who you are do so this will i do don't this know to oh me. so oh very very i sorry am am jennifer jennifer to virtual i must accept accept virtual anything will say you, you, oh azure wiped by alan alan wiped by azure sometimes you can see through me into the other azure wiped by alan alan wiped by azure side, i don't know who you are so you will do this azure wiped by alan alan wiped by azure to me. oh so very sorry i am jennifer jennifer azure wiped by alan alan wiped by azure virtual i am alan alan virtual you must accept azure wiped by alan alan wiped by azure anything oh i will say this to you, oh oh oh azure wiped by alan alan wiped by jennifer === ========================================================================= Date: Thu, 9 Jan 2003 11:04:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Subject: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT From the CBC Radio website: http://cbc.ca/artsCanada/stories/bowering060103 Poet laureate, spoken word poets clash Last Updated 2003-01-06 Trevor Hughes, The Arts Report VANCOUVER - Canada's newly appointed poet laureate has started a war of words with a spoken word poet based in Vancouver. In a recent Globe and Mail article, poet laureate George Bowering denounced slam, or spoken word, poetry and poetry competitions as "revolting." Treating poetry as a competition is "crude and extremely revolting", Bowering told the Globe. Vancouver-based spoken word poet T. Paul Ste. Marie says he's angry, and has received dozens of e-mails from other frustrated slam poets. To Ste. Marie, who hosts and produces open mike sessions for spoken word artists, Bowering isn't following his job description. "Obviously this is shaking up his system," said Ste. Marie. "I mean, one of the roles and responsibilities of the parliamentary poet laureate is to sponsor poetry readings." Bowering says he fully appreciates poets who get up in front of a microphone. What he says he has a problem with are poets who use language to get what they want. A true classic poet, says Bowering, is humble before the word and respects language. He says a poet who uses poetry to win a competition for his or her own glory is missing the point. "[Poetry] as a servant of language rather than the other way around," said Bowering. "That's my main argument." But he says poets are at their best when they have different views, using arguments to provoke thought. http://www.axess.com/users/jackr See the Skinny Nameless Punk at http://www.geocities.com/jack_ruttan/punk3.htm Visit Jack's House of Cats at: http://www.geocities.com/jack_ruttan/ ========================================================================= Date: Thu, 9 Jan 2003 11:18:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Sparrow? YES, YOU ARE A REVOLUTIONARY! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit YES, YOU ARE A REVOLUTIONARY! was one of my favorite books of poetry in 2002 Sparrow is an amazing poet check him out. here's a tiny sample: "Fill a football with basil and throw it around with your friends. Doesn't it smell good? It's a basil football." --Sparrow, from YES, YOU ARE A REVOLUTIONARY! (Soft Skull Press, 2002, in a store near you) In a message dated 01/08/2003 3:49:20 PM, bowering@SFU.CA writes: Would this be Black Sparrow Press? Sparrow the Caribbean singer? Sparrow, the character from my novel A Short Sad Book? >> ========================================================================= Date: Thu, 9 Jan 2003 11:31:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit telling phrase: "frustrated slam poets" GS ----- Original Message ----- From: "Jack Ruttan" To: Sent: Thursday, January 09, 2003 11:04 AM Subject: Those darn Poet Laureates! (FWD) > From the CBC Radio website: > http://cbc.ca/artsCanada/stories/bowering060103 > Poet laureate, spoken word poets clash > Last Updated 2003-01-06 > > Trevor Hughes, The Arts Report > > VANCOUVER - Canada's newly appointed poet laureate has started a war > of words with a spoken word poet based in Vancouver. > > In a recent Globe and Mail article, poet laureate George Bowering > denounced slam, or spoken word, poetry and poetry competitions as > "revolting." > > Treating poetry as a competition is "crude and extremely revolting", > Bowering told the Globe. > > Vancouver-based spoken word poet T. Paul Ste. Marie says he's angry, > and has received dozens of e-mails from other frustrated slam poets. > > To Ste. Marie, who hosts and produces open mike sessions for spoken > word artists, Bowering isn't following his job description. > > "Obviously this is shaking up his system," said Ste. Marie. "I mean, > one of the roles and responsibilities of the parliamentary poet > laureate is to sponsor poetry readings." > > Bowering says he fully appreciates poets who get up in front of a > microphone. What he says he has a problem with are poets who use > language to get what they want. > > A true classic poet, says Bowering, is humble before the word and > respects language. He says a poet who uses poetry to win a competition > for his or her own glory is missing the point. > > "[Poetry] as a servant of language rather than the other way around," > said Bowering. "That's my main argument." > > But he says poets are at their best when they have different views, > using arguments to provoke thought. > > http://www.axess.com/users/jackr > > See the Skinny Nameless Punk at > http://www.geocities.com/jack_ruttan/punk3.htm > > Visit Jack's House of Cats at: > http://www.geocities.com/jack_ruttan/ > ========================================================================= Date: Thu, 9 Jan 2003 11:54:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: parrishka Subject: Re: Those darn Poet Laureates! In-Reply-To: <3E1D572E.32601.77BABF@localhost> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable oh c'mon george. you can do better than that! from the january issue of Word http://www.insomniacpress.com/word/index.htm (only the calendar is avail. online.) The Compendium of Poetic Style Part I: The Spoken Word You have a right to be mad. Your culture sucks. Your life sucks. And you=B9re bored out of your skull, sitting in your Major British Authors cours= e listening to the professor drone on and on about Milton=B9s profound use of metre, verse form, allusion, metaphor and something called, get this, synecdoche. Don=B9t any of these academics realize that poetry isn=B9t about hacking through mounds of poems in some anthology written by a bunch of dea= d guys? Can=B9t they figure out that these poets couldn=B9t possibly have intended to say all the things they=B9re finding in their work? Hey - Kurt Cobain made a statement far more profound by shooting himself in the fuckin= g head than these dead white guys could in hundreds of their poems! Fuck Milton! Fuck academics! Fuck my parents for making me be here! Does this passage describe you, or someone you are sympathetic to? Then get out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed glasses and affix that nose-stud: the spoken word might just be the style you=B9ve been waiting for. It=B9s true: far beyond the dusty corridors of the Ivory Tower there are poets who have overthrown their chains and are competing for cash and prizes in the bars and caf=E9s of your very city! It=B9s called a Poetry Slam, popularized in cultural hotbeds like New York City an= d Chicago! With cred like that, it must be World-Class! Just ask any Spoken Worder: the Poetry Slam is at the forefront of a poetr= y resurgence. It=B9s a chance for people not only to speak their minds on stage, but also to have their opinions and performance abilities compete head-to-head with others of their ilk! It=B9s a kick in the face to mass market culture! It=B9s a return to the oral-based heritage of pre-capitalist societies! It=B9s your chance to take the lead in yet another poetry resurgance! I want in, you cry! But how do I write a spoken word poem? Good question. The first thing to note is that the spoken word is not about writing poems, it=B9s about winning slams. With that in mind, then, here are 8 useful tips: 1. Keep it simple. Try hard to forget eveything you have learned in your English classes. Exhibiting a knowledge of poetry may cause judges to thin= k you=B9re a holier-than-thou writer from the other side, and such alienation i= s sure to cost you points. Instead, aim your poetry at the lowest common denominator in the audience - if that grade 10 kid who just snuck into the bar approves of your poem then you are on the right track. Remember: if anyone asks about your method, always replace the phrase =B3lowest common denominator=B2 with =B3the people=B2. 2. Have something to say - but make sure that someone has already said it before. Novelty is confusing - and being confusing can cost you contests! A good method of acquiring something to say is to listen to others in your particular spoken-word scene (don=B9t over do it, a few open mikes should suffice). If one of the spoken worders strikes you as expressing you own innermost thoughts - then copy=B9em! Don=B9t worry about plagiarism -- you wil= l be startled when you notice how your own individual presentation style bleeds through as you try to write someone else=B9s words! Not only is this = a proven rule of success -- if one of the judges happens to be the person you are imitating you=B9ll be an instant winner! Still can=B9t find anything to say= ? You can always... 3. Talk about the battle of the sexes! If there is one thing that unites all people regardless of age or race, it=B9s the wacky love-hate relationship between boys-and-girls. And to be frank, nothing can be funnier! Here's = a theme for the female spoken worders in our reading audience: =B3isn=B9t it annoying how guys act so much like, well, guys=B2. Now that's a poem that is sure to get the judges=B9 feminist fires stoked! But guys =AD don't take that lying down. You've been given the power of poetry to exact revenge on every woman who emasculated you, dumped you, or wouldn't date you in the first place. So make a list of everything that pisses you off about your life, then try to find a way to blame women for it all. What's great about post-feminism is that you can call women any derogatory name you want and it'll be taken as a sign of female empowerment. Now in the unlikely event that it's taken by the judges as a sign of misogyny, just mention that ia woman you know once read the poem and liked, it so it couldn't possibly be sexist. OK guys, if that's not quite doing it for you, i suggest that you..= . 4. Be gay. If you=B9re gay -- you instantly double your credibility and dramatically increase your odds! Make sure to talk about the minute detail= s of your failed relationships and salt your poetry with funny, catty, campy phrases that audiences have come to expect from gay poets. Even if your judges don't know what "droll" means, they'll certainly give you points whe= n they see it. 5. Talk loudly. This is a useful point about presentation: being loud means confidence, and confidence means that you know what you are talking about. Besides, talking loudly proves that you are not one of those wimpy, introspective, genteel academic writers. But remember to pace your =B3loud bits=B2. The average attention span is around 15 seconds, and nothing wakes up an audience more effectively than screaming at them. Use the bartender as a guide: if he looks nervous and stares at lot at his figitting regulars= , then your volume is perfect. 6. Be streetwise. Tell=B9em how cynical you have become after realizing what life on the street is really about (just like they do at the Nu Yorican slams in Manhattan)! A proven method of conveying your cynicism is convincing your audience that you have =B3been there=B2 (the street, that is). Powerful images associated with the ravages of drug and alcohol abuse help. If you are particularly daring you can do a dramatic poem wherein you pretend you are a struggling junkie or a callous pusher. Always end your poem with a =B3don=B9t be like me=B2 moral. Tip: Go watch Trainspotting and Drugstore Cowboy again. How do they make you feel? Do you find the =B3toile= t scene=B2 in Trainspotting to be a profound statement on life? Don=B9t just sit there -- write a poem. Don=B9t forget to swear sometimes -- cynical, streetwise people are angry, and nothing says anger better than bad words. 7. Always direct your poem at your parents. Though you are an angry, cynical, streetwise poet, you are not angry at your audience. The audience is composed of friends, compatriots and, most importantly, judges, so why piss them off? Instead, picture your folks and their comfortable suburban lives. What emotions are stimulated by this scene? What would you like to say about their sheltered fifties complacency? What would you like to tell them regarding their yuppie hypocrisy? What would the look on their faces b= e when you show them the hard, messy, drug-addled reality that is life on the street? How would they react to the gooey details of your sex-life? Would they be shocked? Would they be forced to look at the sham that is their life? Of course they would -- so what are you waiting for -- write it down.. Don=B9t worry about being kicked out -- they=B9ll never read it! Besides, this is what a slam is for -- a place to feel the comradery of anger and rage without suffering any repercussions! You might even win!! 8. Be funny. Anger wins respect. Laughter wins slams. Being funny is no= t all that hard. Think about all the amusing things in your life. Then writ= e about them all at the same time. Hey -- your parents are funny. Living in the basement is funny. Body-art is funny. Being loud is funny. Your ex-boyfriend is funny. Castration is funny. Sex is really really funny (see rule 3). Having loud sex in your parents=B9 basement with your tatooed ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See how easy this is? 9. Bring a guitar. If you remember only one rule about winning slams -- this is it. And if you don=B9t have a guitar, find a guitarist and bring the= m along. I can=B9t emphasize this too strongly: the person with the guitar wins the slam. If they don=B9t, they=B9ll at least place on the podium. Guaranteed. The reason is simple -- people like folk singers. They=B9ll even pay $15 bucks for a Jewel CD (you can always dream). The best part of it i= s that you don=B9t even have to know how to write a song! The mere presence of = a few chords strumming along with your poem & you=B9ll come off sounding like Dylan (if you are a folk singer, however, don=B9t make the mistake of singing your songs -- this is the spoken word after all). If you want to top the spoken worders with acoustic guitars, I recommend the addition of a stand-u= p double-bass. A walking bassline behind your poem is not only a sure-fire crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago tradition. To secure this connection, and the streetcred that accompanies it, one needs only to add the phrase =B3talkin=B9 blues=B2 to the title of your poem and repeat every line in the piece three times, placing a different emphasis every time. For instance, if your poem is called =B3Trainspotting Toilet=B2 and your first line is =B3Life is a toilet: no matter how much you flush it you still come up shit.=B2 then =B3The Trainspotting Toilet Talkin=B9 Blues=B2 will read =B3Life is a _toilet_: no matter how much you flush it you still come up shit. I said, life _is_ a toilet: no matter how much you flush it_ you still come up shit. Yeah, life is a toilet: no matter how muc= h you flush it you still _come up shit_. You know what I am talking about...= =B2 Works every time. Bring on the prizes. - bill kennedy ========================================================================= Date: Thu, 9 Jan 2003 12:42:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Oh no. I see it coming. One of these "i'm better than you because you do something different" feuds brewing. Let's fess up. I can admit that most experimental poets I like could use a spoken-wordish kick in the tail during their readings- so we know they're alive. Unless that would be evidence that they're not "serious". Most Spoken Word artists I've seen could use some canon in their cannon, if they're interested in more than a loud noise. Can we admit this? We have enough wars without end on the horizon. ========================================================================= Date: Thu, 9 Jan 2003 10:15:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I consider poetry slams a mixed blessing. On the plus side, slams have made more people aware of and interested in poetry, as writers or audiences. I've found some work reading as a featured reader at slams. On the down side, the scoring in slams is very arbitrary, sometimes blatantly unfair. Bob Holman once told me "the best poet doesn't win the slam." Usually it's the best performer or the poet with the hottest topic. In general, I don't like the competitive aspect of slams. In recent years, poetry slams have become "Slam Poetry," a genre in itself, emphasizing autobiographical work and the performance element and excluding other forms of poetry. Ten or more years ago, you could have a language poet (e.g. Edwin Torres) face off against a confessional poet, but I doubt you'd find it these days. Since my own work in recent years has inclined toward langpo and multiple voicings that serve contrapuntal functions, I'm no longer likely to find a reading at a slam. When I do read in public, I try to educate the audience about what I'm doing, or include the audience by asking them to come up and read my contrapuntal sections while I read. I think we should try to help the audiences understand something most of them have never been exposed to, if only because it might keep us from dying onstage. I think most poets could learn something from slams about juicing up their own readings. But the slammers should also learn that there's more than one kind of poetry, something that got lost in the mid-90's. Vernon Frazer ----- Original Message ----- From: "Frank Sherlock" To: Sent: Thursday, January 09, 2003 12:42 PM Subject: Re: Those darn Poet Laureates! (FWD) > Oh no. I see it coming. One of these "i'm better than you because you do something different" feuds brewing. > > Let's fess up. I can admit that most experimental poets I like could use a spoken-wordish kick in the tail during their readings- so we know they're alive. Unless that would be evidence that they're not "serious". > > Most Spoken Word artists I've seen could use some canon in their cannon, if they're interested in more than a loud noise. > > Can we admit this? We have enough wars without end on the horizon. ========================================================================= Date: Thu, 9 Jan 2003 09:55:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: come all ye Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey, i just got an idea for a whimsical anthology: "Folk Tales for Poetry Addicts," so, all you poets and poetry lovers and haters, send your vignettes and favorite numinous or anti-numinous, humorous or harrowing, analytic or impressionistic anecdotes about poetry and the poetic to me, via email. love to all --md -- ========================================================================= Date: Thu, 9 Jan 2003 13:03:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: Those darn Poet Laureates! Mime-Version: 1.0 Content-Type: text/plain; format=flowed I rarely add comments to this list, but I find the comments by Bill Kennedy (I assume that is William Kennedy of Albany) particularly insulting because I am a younger Albany based poet who has organized readings in the city. His short-sited comments spoke to a change that has occurred in Slam poetry contests which many poets also find annoying. I find it particularly humorous when the reality is that Bill Kennedy has never (at least to my knowledge) been present at Slam style poetry readings within "his" city. One particular reading series, Soul Kitchen, has been extremely open to all forms of poetry. However, within that group a strong sense of performance is required. Not antics or entertainment, but a real ability to communicate. Maybe people should actually engage in this exciting movement (which is larger than Slam) before forming prejudices. Ian VanHeusen ________________________________________________ the Grand Street blues wear blue >From: parrishka >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Those darn Poet Laureates! >Date: Thu, 9 Jan 2003 11:54:24 -0500 > >oh c'mon george. >you can do better than that! > > >from the january issue of Word >http://www.insomniacpress.com/word/index.htm >(only the calendar is avail. online.) > > > >The Compendium of Poetic Style Part I: The Spoken Word > >You have a right to be mad. Your culture sucks. Your life sucks. And >you¹re bored out of your skull, sitting in your Major British Authors >course >listening to the professor drone on and on about Milton¹s profound use of >metre, verse form, allusion, metaphor and something called, get this, >synecdoche. Don¹t any of these academics realize that poetry isn¹t about >hacking through mounds of poems in some anthology written by a bunch of >dead >guys? Can¹t they figure out that these poets couldn¹t possibly have >intended to say all the things they¹re finding in their work? Hey - Kurt >Cobain made a statement far more profound by shooting himself in the >fucking >head than these dead white guys could in hundreds of their poems! Fuck >Milton! Fuck academics! Fuck my parents for making me be here! > >Does this passage describe you, or someone you are sympathetic to? Then get >out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed >glasses and affix that nose-stud: the spoken word might just be the style >you¹ve been waiting for. It¹s true: far beyond the dusty corridors of the >Ivory Tower there are poets who have overthrown their chains and are >competing for cash and prizes in the bars and cafés of your very city! It¹s >called a Poetry Slam, popularized in cultural hotbeds like New York City >and >Chicago! With cred like that, it must be World-Class! > >Just ask any Spoken Worder: the Poetry Slam is at the forefront of a >poetry >resurgence. It¹s a chance for people not only to speak their minds on >stage, but also to have their opinions and performance abilities compete >head-to-head with others of their ilk! It¹s a kick in the face to mass >market culture! It¹s a return to the oral-based heritage of pre-capitalist >societies! It¹s your chance to take the lead in yet another poetry >resurgance! > >I want in, you cry! But how do I write a spoken word poem? Good question. >The first thing to note is that the spoken word is not about writing poems, >it¹s about winning slams. With that in mind, then, here are 8 useful tips: > > 1. Keep it simple. Try hard to forget eveything you have learned in your >English classes. Exhibiting a knowledge of poetry may cause judges to >think >you¹re a holier-than-thou writer from the other side, and such alienation >is >sure to cost you points. Instead, aim your poetry at the lowest common >denominator in the audience - if that grade 10 kid who just snuck into the >bar approves of your poem then you are on the right track. Remember: if >anyone asks about your method, always replace the phrase ³lowest common >denominator² with ³the people². > >2. Have something to say - but make sure that someone has already said it >before. Novelty is confusing - and being confusing can cost you contests! >A good method of acquiring something to say is to listen to others in your >particular spoken-word scene (don¹t over do it, a few open mikes should >suffice). If one of the spoken worders strikes you as expressing you own >innermost thoughts - then copy¹em! Don¹t worry about plagiarism -- you >will >be startled when you notice how your own individual presentation style >bleeds through as you try to write someone else¹s words! Not only is this >a >proven rule of success -- if one of the judges happens to be the person you >are imitating you¹ll be an instant winner! Still can¹t find anything to >say? >You can always... > >3. Talk about the battle of the sexes! If there is one thing that unites >all people regardless of age or race, it¹s the wacky love-hate relationship >between boys-and-girls. And to be frank, nothing can be funnier! Here's >a >theme for the female spoken worders in our reading audience: ³isn¹t it >annoying how guys act so much like, well, guys². Now that's a poem that is >sure to get the judges¹ feminist fires stoked! But guys ­ don't take that >lying down. You've been given the power of poetry to exact revenge on every >woman who emasculated you, dumped you, or wouldn't date you in the first >place. So make a list of everything that pisses you off about your life, >then try to find a way to blame women for it all. What's great about >post-feminism is that you can call women any derogatory name you want and >it'll be taken as a sign of female empowerment. Now in the unlikely event >that it's taken by the judges as a sign of misogyny, just mention that ia >woman you know once read the poem and liked, it so it couldn't possibly be >sexist. OK guys, if that's not quite doing it for you, i suggest that >you... > >4. Be gay. If you¹re gay -- you instantly double your credibility and >dramatically increase your odds! Make sure to talk about the minute >details >of your failed relationships and salt your poetry with funny, catty, campy >phrases that audiences have come to expect from gay poets. Even if your >judges don't know what "droll" means, they'll certainly give you points >when >they see it. > >5. Talk loudly. This is a useful point about presentation: being loud >means confidence, and confidence means that you know what you are talking >about. Besides, talking loudly proves that you are not one of those wimpy, >introspective, genteel academic writers. But remember to pace your ³loud >bits². The average attention span is around 15 seconds, and nothing wakes >up an audience more effectively than screaming at them. Use the bartender >as a guide: if he looks nervous and stares at lot at his figitting >regulars, >then your volume is perfect. > >6. Be streetwise. Tell¹em how cynical you have become after realizing what >life on the street is really about (just like they do at the Nu Yorican >slams in Manhattan)! A proven method of conveying your cynicism is >convincing your audience that you have ³been there² (the street, that is). >Powerful images associated with the ravages of drug and alcohol abuse help. >If you are particularly daring you can do a dramatic poem wherein you >pretend you are a struggling junkie or a callous pusher. Always end your >poem with a ³don¹t be like me² moral. Tip: Go watch Trainspotting and >Drugstore Cowboy again. How do they make you feel? Do you find the >³toilet >scene² in Trainspotting to be a profound statement on life? Don¹t just sit >there -- write a poem. Don¹t forget to swear sometimes -- cynical, >streetwise people are angry, and nothing says anger better than bad words. > >7. Always direct your poem at your parents. Though you are an angry, >cynical, streetwise poet, you are not angry at your audience. The audience >is composed of friends, compatriots and, most importantly, judges, so why >piss them off? Instead, picture your folks and their comfortable suburban >lives. What emotions are stimulated by this scene? What would you like to >say about their sheltered fifties complacency? What would you like to tell >them regarding their yuppie hypocrisy? What would the look on their faces >be >when you show them the hard, messy, drug-addled reality that is life on the >street? How would they react to the gooey details of your sex-life? Would >they be shocked? Would they be forced to look at the sham that is their >life? Of course they would -- so what are you waiting for -- write it >down.. Don¹t worry about being kicked out -- they¹ll never read it! >Besides, this is what a slam is for -- a place to feel the comradery of >anger and rage without suffering any repercussions! You might even win!! > >8. Be funny. Anger wins respect. Laughter wins slams. Being funny is >not >all that hard. Think about all the amusing things in your life. Then >write >about them all at the same time. Hey -- your parents are funny. Living in >the basement is funny. Body-art is funny. Being loud is funny. Your >ex-boyfriend is funny. Castration is funny. Sex is really really funny >(see rule 3). Having loud sex in your parents¹ basement with your tatooed >ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See >how easy this is? > >9. Bring a guitar. If you remember only one rule about winning slams -- >this is it. And if you don¹t have a guitar, find a guitarist and bring >them >along. I can¹t emphasize this too strongly: the person with the guitar >wins the slam. If they don¹t, they¹ll at least place on the podium. >Guaranteed. The reason is simple -- people like folk singers. They¹ll even >pay $15 bucks for a Jewel CD (you can always dream). The best part of it >is >that you don¹t even have to know how to write a song! The mere presence of >a >few chords strumming along with your poem & you¹ll come off sounding like >Dylan (if you are a folk singer, however, don¹t make the mistake of singing >your songs -- this is the spoken word after all). If you want to top the >spoken worders with acoustic guitars, I recommend the addition of a >stand-up >double-bass. A walking bassline behind your poem is not only a sure-fire >crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago >tradition. To secure this connection, and the streetcred that accompanies >it, one needs only to add the phrase ³talkin¹ blues² to the title of your >poem and repeat every line in the piece three times, placing a different >emphasis every time. For instance, if your poem is called ³Trainspotting >Toilet² and your first line is ³Life is a toilet: no matter how much you >flush it you still come up shit.² then ³The Trainspotting Toilet Talkin¹ >Blues² will read ³Life is a _toilet_: no matter how much you flush it you >still come up shit. I said, life _is_ a toilet: no matter how much you >flush it_ you still come up shit. Yeah, life is a toilet: no matter how >much >you flush it you still _come up shit_. You know what I am talking >about...² >Works every time. Bring on the prizes. > > >- bill kennedy _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 9 Jan 2003 10:22:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: come all ye In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hey, Maria-- Love the idea, but can you tell us a bit more about what you're looking for? What kinds of anecdotes do you imagine being in this thing? xoxo Arielle --- Maria Damon wrote: > hey, i just got an idea for a whimsical anthology: > "Folk Tales for Poetry Addicts," > so, all you poets and poetry lovers and haters, send > your vignettes > and favorite numinous or anti-numinous, humorous or > harrowing, > analytic or impressionistic anecdotes about poetry > and the poetic to > me, via email. > love to all --md > -- ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 9 Jan 2003 13:24:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: upon further review Mime-Version: 1.0 Content-Type: text/plain; format=flowed I realized that Bill Kennedy was in fact probably not William Kennedy, and I would like to clarify that often people who speak about "Slam Poetry" are often unaware of the poets involved with the larger movement of poetry. Sorry for the confusion. Ian VanHeusen ________________________________________________ the Grand Street blues wear blue >From: Ian VanHeusen >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Those darn Poet Laureates! >Date: Thu, 9 Jan 2003 13:03:01 -0500 > >I rarely add comments to this list, but I find the comments by Bill Kennedy >(I assume that is William Kennedy of Albany) particularly insulting because >I am a younger Albany based poet who has organized readings in the city. >His >short-sited comments spoke to a change that has occurred in Slam poetry >contests which many poets also find annoying. I find it particularly >humorous when the reality is that Bill Kennedy has never (at least to my >knowledge) been present at Slam style poetry readings within "his" city. >One >particular reading series, Soul Kitchen, has been extremely open to all >forms of poetry. However, within that group a strong sense of performance >is >required. Not antics or entertainment, but a real ability to communicate. >Maybe people should actually engage in this exciting movement (which is >larger than Slam) before forming prejudices. > >Ian VanHeusen > > > >________________________________________________ >the Grand Street blues > wear blue > > > > > >>From: parrishka >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Re: Those darn Poet Laureates! >>Date: Thu, 9 Jan 2003 11:54:24 -0500 >> >>oh c'mon george. >>you can do better than that! >> >> >>from the january issue of Word >>http://www.insomniacpress.com/word/index.htm >>(only the calendar is avail. online.) >> >> >> >>The Compendium of Poetic Style Part I: The Spoken Word >> >>You have a right to be mad. Your culture sucks. Your life sucks. And >>you¹re bored out of your skull, sitting in your Major British Authors >>course >>listening to the professor drone on and on about Milton¹s profound use of >>metre, verse form, allusion, metaphor and something called, get this, >>synecdoche. Don¹t any of these academics realize that poetry isn¹t about >>hacking through mounds of poems in some anthology written by a bunch of >>dead >>guys? Can¹t they figure out that these poets couldn¹t possibly have >>intended to say all the things they¹re finding in their work? Hey - Kurt >>Cobain made a statement far more profound by shooting himself in the >>fucking >>head than these dead white guys could in hundreds of their poems! Fuck >>Milton! Fuck academics! Fuck my parents for making me be here! >> >>Does this passage describe you, or someone you are sympathetic to? Then >>get >>out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed >>glasses and affix that nose-stud: the spoken word might just be the style >>you¹ve been waiting for. It¹s true: far beyond the dusty corridors of the >>Ivory Tower there are poets who have overthrown their chains and are >>competing for cash and prizes in the bars and cafés of your very city! >>It¹s >>called a Poetry Slam, popularized in cultural hotbeds like New York City >>and >>Chicago! With cred like that, it must be World-Class! >> >>Just ask any Spoken Worder: the Poetry Slam is at the forefront of a >>poetry >>resurgence. It¹s a chance for people not only to speak their minds on >>stage, but also to have their opinions and performance abilities compete >>head-to-head with others of their ilk! It¹s a kick in the face to mass >>market culture! It¹s a return to the oral-based heritage of >>pre-capitalist >>societies! It¹s your chance to take the lead in yet another poetry >>resurgance! >> >>I want in, you cry! But how do I write a spoken word poem? Good >>question. >>The first thing to note is that the spoken word is not about writing >>poems, >>it¹s about winning slams. With that in mind, then, here are 8 useful >>tips: >> >> 1. Keep it simple. Try hard to forget eveything you have learned in >>your >>English classes. Exhibiting a knowledge of poetry may cause judges to >>think >>you¹re a holier-than-thou writer from the other side, and such alienation >>is >>sure to cost you points. Instead, aim your poetry at the lowest common >>denominator in the audience - if that grade 10 kid who just snuck into the >>bar approves of your poem then you are on the right track. Remember: if >>anyone asks about your method, always replace the phrase ³lowest common >>denominator² with ³the people². >> >>2. Have something to say - but make sure that someone has already said it >>before. Novelty is confusing - and being confusing can cost you contests! >>A good method of acquiring something to say is to listen to others in your >>particular spoken-word scene (don¹t over do it, a few open mikes should >>suffice). If one of the spoken worders strikes you as expressing you own >>innermost thoughts - then copy¹em! Don¹t worry about plagiarism -- you >>will >>be startled when you notice how your own individual presentation style >>bleeds through as you try to write someone else¹s words! Not only is this >>a >>proven rule of success -- if one of the judges happens to be the person >>you >>are imitating you¹ll be an instant winner! Still can¹t find anything to >>say? >>You can always... >> >>3. Talk about the battle of the sexes! If there is one thing that unites >>all people regardless of age or race, it¹s the wacky love-hate >>relationship >>between boys-and-girls. And to be frank, nothing can be funnier! Here's >>a >>theme for the female spoken worders in our reading audience: ³isn¹t it >>annoying how guys act so much like, well, guys². Now that's a poem that is >>sure to get the judges¹ feminist fires stoked! But guys ­ don't take that >>lying down. You've been given the power of poetry to exact revenge on >>every >>woman who emasculated you, dumped you, or wouldn't date you in the first >>place. So make a list of everything that pisses you off about your life, >>then try to find a way to blame women for it all. What's great about >>post-feminism is that you can call women any derogatory name you want and >>it'll be taken as a sign of female empowerment. Now in the unlikely event >>that it's taken by the judges as a sign of misogyny, just mention that ia >>woman you know once read the poem and liked, it so it couldn't possibly be >>sexist. OK guys, if that's not quite doing it for you, i suggest that >>you... >> >>4. Be gay. If you¹re gay -- you instantly double your credibility and >>dramatically increase your odds! Make sure to talk about the minute >>details >>of your failed relationships and salt your poetry with funny, catty, campy >>phrases that audiences have come to expect from gay poets. Even if your >>judges don't know what "droll" means, they'll certainly give you points >>when >>they see it. >> >>5. Talk loudly. This is a useful point about presentation: being loud >>means confidence, and confidence means that you know what you are talking >>about. Besides, talking loudly proves that you are not one of those wimpy, >>introspective, genteel academic writers. But remember to pace your ³loud >>bits². The average attention span is around 15 seconds, and nothing wakes >>up an audience more effectively than screaming at them. Use the bartender >>as a guide: if he looks nervous and stares at lot at his figitting >>regulars, >>then your volume is perfect. >> >>6. Be streetwise. Tell¹em how cynical you have become after realizing >>what >>life on the street is really about (just like they do at the Nu Yorican >>slams in Manhattan)! A proven method of conveying your cynicism is >>convincing your audience that you have ³been there² (the street, that is). >>Powerful images associated with the ravages of drug and alcohol abuse >>help. >>If you are particularly daring you can do a dramatic poem wherein you >>pretend you are a struggling junkie or a callous pusher. Always end your >>poem with a ³don¹t be like me² moral. Tip: Go watch Trainspotting and >>Drugstore Cowboy again. How do they make you feel? Do you find the >>³toilet >>scene² in Trainspotting to be a profound statement on life? Don¹t just >>sit >>there -- write a poem. Don¹t forget to swear sometimes -- cynical, >>streetwise people are angry, and nothing says anger better than bad words. >> >>7. Always direct your poem at your parents. Though you are an angry, >>cynical, streetwise poet, you are not angry at your audience. The >>audience >>is composed of friends, compatriots and, most importantly, judges, so why >>piss them off? Instead, picture your folks and their comfortable suburban >>lives. What emotions are stimulated by this scene? What would you like >>to >>say about their sheltered fifties complacency? What would you like to >>tell >>them regarding their yuppie hypocrisy? What would the look on their faces >>be >>when you show them the hard, messy, drug-addled reality that is life on >>the >>street? How would they react to the gooey details of your sex-life? >>Would >>they be shocked? Would they be forced to look at the sham that is their >>life? Of course they would -- so what are you waiting for -- write it >>down.. Don¹t worry about being kicked out -- they¹ll never read it! >>Besides, this is what a slam is for -- a place to feel the comradery of >>anger and rage without suffering any repercussions! You might even win!! >> >>8. Be funny. Anger wins respect. Laughter wins slams. Being funny is >>not >>all that hard. Think about all the amusing things in your life. Then >>write >>about them all at the same time. Hey -- your parents are funny. Living in >>the basement is funny. Body-art is funny. Being loud is funny. Your >>ex-boyfriend is funny. Castration is funny. Sex is really really funny >>(see rule 3). Having loud sex in your parents¹ basement with your >>tatooed >>ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See >>how easy this is? >> >>9. Bring a guitar. If you remember only one rule about winning slams -- >>this is it. And if you don¹t have a guitar, find a guitarist and bring >>them >>along. I can¹t emphasize this too strongly: the person with the guitar >>wins the slam. If they don¹t, they¹ll at least place on the podium. >>Guaranteed. The reason is simple -- people like folk singers. They¹ll >>even >>pay $15 bucks for a Jewel CD (you can always dream). The best part of it >>is >>that you don¹t even have to know how to write a song! The mere presence of >>a >>few chords strumming along with your poem & you¹ll come off sounding like >>Dylan (if you are a folk singer, however, don¹t make the mistake of >>singing >>your songs -- this is the spoken word after all). If you want to top the >>spoken worders with acoustic guitars, I recommend the addition of a >>stand-up >>double-bass. A walking bassline behind your poem is not only a sure-fire >>crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago >>tradition. To secure this connection, and the streetcred that accompanies >>it, one needs only to add the phrase ³talkin¹ blues² to the title of your >>poem and repeat every line in the piece three times, placing a different >>emphasis every time. For instance, if your poem is called ³Trainspotting >>Toilet² and your first line is ³Life is a toilet: no matter how much you >>flush it you still come up shit.² then ³The Trainspotting Toilet Talkin¹ >>Blues² will read ³Life is a _toilet_: no matter how much you flush it you >>still come up shit. I said, life _is_ a toilet: no matter how much you >>flush it_ you still come up shit. Yeah, life is a toilet: no matter how >>much >>you flush it you still _come up shit_. You know what I am talking >>about...² >>Works every time. Bring on the prizes. >> >> >>- bill kennedy > > >_________________________________________________________________ >Protect your PC - get McAfee.com VirusScan Online >http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 9 Jan 2003 13:41:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Golumbia Subject: Re: upon further review In-Reply-To: from "Ian VanHeusen" at Jan 09, 2003 01:24:18 PM MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit That sounds right: Bill Kennedy was a minor movie star as a young boy, and then hosted "Bill Kennedy at the Movies" for many years on Channel 50. Good to hear "slam poets" are discovering him. > > I realized that Bill Kennedy was in fact probably not William Kennedy, and I > would like to clarify that often people who speak about "Slam Poetry" are > often unaware of the poets involved with the larger movement of poetry. > Sorry for the confusion. > > Ian VanHeusen > > > > > ________________________________________________ > the Grand Street blues > wear blue > > > > > > >From: Ian VanHeusen > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Those darn Poet Laureates! > >Date: Thu, 9 Jan 2003 13:03:01 -0500 > > > >I rarely add comments to this list, but I find the comments by Bill Kennedy > >(I assume that is William Kennedy of Albany) particularly insulting because > >I am a younger Albany based poet who has organized readings in the city. > >His > >short-sited comments spoke to a change that has occurred in Slam poetry > >contests which many poets also find annoying. I find it particularly > >humorous when the reality is that Bill Kennedy has never (at least to my > >knowledge) been present at Slam style poetry readings within "his" city. > >One > >particular reading series, Soul Kitchen, has been extremely open to all > >forms of poetry. However, within that group a strong sense of performance > >is > >required. Not antics or entertainment, but a real ability to communicate. > >Maybe people should actually engage in this exciting movement (which is > >larger than Slam) before forming prejudices. > > > >Ian VanHeusen > > > > > > > >________________________________________________ > >the Grand Street blues > > wear blue > > > > > > > > > > > >>From: parrishka > >>Reply-To: UB Poetics discussion group > >>To: POETICS@LISTSERV.BUFFALO.EDU > >>Subject: Re: Those darn Poet Laureates! > >>Date: Thu, 9 Jan 2003 11:54:24 -0500 > >> > >>oh c'mon george. > >>you can do better than that! > >> > >> > >>from the january issue of Word > >>http://www.insomniacpress.com/word/index.htm > >>(only the calendar is avail. online.) > >> > >> > >> > >>The Compendium of Poetic Style Part I: The Spoken Word > >> > >>You have a right to be mad. Your culture sucks. Your life sucks. And > >>you¹re bored out of your skull, sitting in your Major British Authors > >>course > >>listening to the professor drone on and on about Milton¹s profound use of > >>metre, verse form, allusion, metaphor and something called, get this, > >>synecdoche. Don¹t any of these academics realize that poetry isn¹t about > >>hacking through mounds of poems in some anthology written by a bunch of > >>dead > >>guys? Can¹t they figure out that these poets couldn¹t possibly have > >>intended to say all the things they¹re finding in their work? Hey - Kurt > >>Cobain made a statement far more profound by shooting himself in the > >>fucking > >>head than these dead white guys could in hundreds of their poems! Fuck > >>Milton! Fuck academics! Fuck my parents for making me be here! > >> > >>Does this passage describe you, or someone you are sympathetic to? Then > >>get > >>out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed > >>glasses and affix that nose-stud: the spoken word might just be the style > >>you¹ve been waiting for. It¹s true: far beyond the dusty corridors of the > >>Ivory Tower there are poets who have overthrown their chains and are > >>competing for cash and prizes in the bars and cafés of your very city! > >>It¹s > >>called a Poetry Slam, popularized in cultural hotbeds like New York City > >>and > >>Chicago! With cred like that, it must be World-Class! > >> > >>Just ask any Spoken Worder: the Poetry Slam is at the forefront of a > >>poetry > >>resurgence. It¹s a chance for people not only to speak their minds on > >>stage, but also to have their opinions and performance abilities compete > >>head-to-head with others of their ilk! It¹s a kick in the face to mass > >>market culture! It¹s a return to the oral-based heritage of > >>pre-capitalist > >>societies! It¹s your chance to take the lead in yet another poetry > >>resurgance! > >> > >>I want in, you cry! But how do I write a spoken word poem? Good > >>question. > >>The first thing to note is that the spoken word is not about writing > >>poems, > >>it¹s about winning slams. With that in mind, then, here are 8 useful > >>tips: > >> > >> 1. Keep it simple. Try hard to forget eveything you have learned in > >>your > >>English classes. Exhibiting a knowledge of poetry may cause judges to > >>think > >>you¹re a holier-than-thou writer from the other side, and such alienation > >>is > >>sure to cost you points. Instead, aim your poetry at the lowest common > >>denominator in the audience - if that grade 10 kid who just snuck into the > >>bar approves of your poem then you are on the right track. Remember: if > >>anyone asks about your method, always replace the phrase ³lowest common > >>denominator² with ³the people². > >> > >>2. Have something to say - but make sure that someone has already said it > >>before. Novelty is confusing - and being confusing can cost you contests! > >>A good method of acquiring something to say is to listen to others in your > >>particular spoken-word scene (don¹t over do it, a few open mikes should > >>suffice). If one of the spoken worders strikes you as expressing you own > >>innermost thoughts - then copy¹em! Don¹t worry about plagiarism -- you > >>will > >>be startled when you notice how your own individual presentation style > >>bleeds through as you try to write someone else¹s words! Not only is this > >>a > >>proven rule of success -- if one of the judges happens to be the person > >>you > >>are imitating you¹ll be an instant winner! Still can¹t find anything to > >>say? > >>You can always... > >> > >>3. Talk about the battle of the sexes! If there is one thing that unites > >>all people regardless of age or race, it¹s the wacky love-hate > >>relationship > >>between boys-and-girls. And to be frank, nothing can be funnier! Here's > >>a > >>theme for the female spoken worders in our reading audience: ³isn¹t it > >>annoying how guys act so much like, well, guys². Now that's a poem that is > >>sure to get the judges¹ feminist fires stoked! But guys ­ don't take that > >>lying down. You've been given the power of poetry to exact revenge on > >>every > >>woman who emasculated you, dumped you, or wouldn't date you in the first > >>place. So make a list of everything that pisses you off about your life, > >>then try to find a way to blame women for it all. What's great about > >>post-feminism is that you can call women any derogatory name you want and > >>it'll be taken as a sign of female empowerment. Now in the unlikely event > >>that it's taken by the judges as a sign of misogyny, just mention that ia > >>woman you know once read the poem and liked, it so it couldn't possibly be > >>sexist. OK guys, if that's not quite doing it for you, i suggest that > >>you... > >> > >>4. Be gay. If you¹re gay -- you instantly double your credibility and > >>dramatically increase your odds! Make sure to talk about the minute > >>details > >>of your failed relationships and salt your poetry with funny, catty, campy > >>phrases that audiences have come to expect from gay poets. Even if your > >>judges don't know what "droll" means, they'll certainly give you points > >>when > >>they see it. > >> > >>5. Talk loudly. This is a useful point about presentation: being loud > >>means confidence, and confidence means that you know what you are talking > >>about. Besides, talking loudly proves that you are not one of those wimpy, > >>introspective, genteel academic writers. But remember to pace your ³loud > >>bits². The average attention span is around 15 seconds, and nothing wakes > >>up an audience more effectively than screaming at them. Use the bartender > >>as a guide: if he looks nervous and stares at lot at his figitting > >>regulars, > >>then your volume is perfect. > >> > >>6. Be streetwise. Tell¹em how cynical you have become after realizing > >>what > >>life on the street is really about (just like they do at the Nu Yorican > >>slams in Manhattan)! A proven method of conveying your cynicism is > >>convincing your audience that you have ³been there² (the street, that is). > >>Powerful images associated with the ravages of drug and alcohol abuse > >>help. > >>If you are particularly daring you can do a dramatic poem wherein you > >>pretend you are a struggling junkie or a callous pusher. Always end your > >>poem with a ³don¹t be like me² moral. Tip: Go watch Trainspotting and > >>Drugstore Cowboy again. How do they make you feel? Do you find the > >>³toilet > >>scene² in Trainspotting to be a profound statement on life? Don¹t just > >>sit > >>there -- write a poem. Don¹t forget to swear sometimes -- cynical, > >>streetwise people are angry, and nothing says anger better than bad words. > >> > >>7. Always direct your poem at your parents. Though you are an angry, > >>cynical, streetwise poet, you are not angry at your audience. The > >>audience > >>is composed of friends, compatriots and, most importantly, judges, so why > >>piss them off? Instead, picture your folks and their comfortable suburban > >>lives. What emotions are stimulated by this scene? What would you like > >>to > >>say about their sheltered fifties complacency? What would you like to > >>tell > >>them regarding their yuppie hypocrisy? What would the look on their faces > >>be > >>when you show them the hard, messy, drug-addled reality that is life on > >>the > >>street? How would they react to the gooey details of your sex-life? > >>Would > >>they be shocked? Would they be forced to look at the sham that is their > >>life? Of course they would -- so what are you waiting for -- write it > >>down.. Don¹t worry about being kicked out -- they¹ll never read it! > >>Besides, this is what a slam is for -- a place to feel the comradery of > >>anger and rage without suffering any repercussions! You might even win!! > >> > >>8. Be funny. Anger wins respect. Laughter wins slams. Being funny is > >>not > >>all that hard. Think about all the amusing things in your life. Then > >>write > >>about them all at the same time. Hey -- your parents are funny. Living in > >>the basement is funny. Body-art is funny. Being loud is funny. Your > >>ex-boyfriend is funny. Castration is funny. Sex is really really funny > >>(see rule 3). Having loud sex in your parents¹ basement with your > >>tatooed > >>ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See > >>how easy this is? > >> > >>9. Bring a guitar. If you remember only one rule about winning slams -- > >>this is it. And if you don¹t have a guitar, find a guitarist and bring > >>them > >>along. I can¹t emphasize this too strongly: the person with the guitar > >>wins the slam. If they don¹t, they¹ll at least place on the podium. > >>Guaranteed. The reason is simple -- people like folk singers. They¹ll > >>even > >>pay $15 bucks for a Jewel CD (you can always dream). The best part of it > >>is > >>that you don¹t even have to know how to write a song! The mere presence of > >>a > >>few chords strumming along with your poem & you¹ll come off sounding like > >>Dylan (if you are a folk singer, however, don¹t make the mistake of > >>singing > >>your songs -- this is the spoken word after all). If you want to top the > >>spoken worders with acoustic guitars, I recommend the addition of a > >>stand-up > >>double-bass. A walking bassline behind your poem is not only a sure-fire > >>crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago > >>tradition. To secure this connection, and the streetcred that accompanies > >>it, one needs only to add the phrase ³talkin¹ blues² to the title of your > >>poem and repeat every line in the piece three times, placing a different > >>emphasis every time. For instance, if your poem is called ³Trainspotting > >>Toilet² and your first line is ³Life is a toilet: no matter how much you > >>flush it you still come up shit.² then ³The Trainspotting Toilet Talkin¹ > >>Blues² will read ³Life is a _toilet_: no matter how much you flush it you > >>still come up shit. I said, life _is_ a toilet: no matter how much you > >>flush it_ you still come up shit. Yeah, life is a toilet: no matter how > >>much > >>you flush it you still _come up shit_. You know what I am talking > >>about...² > >>Works every time. Bring on the prizes. > >> > >> > >>- bill kennedy > > > > > >_________________________________________________________________ > >Protect your PC - get McAfee.com VirusScan Online > >http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 > > > _________________________________________________________________ > Protect your PC - get McAfee.com VirusScan Online > http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 > -- dgolumbi@panix.com David Golumbia ========================================================================= Date: Thu, 9 Jan 2003 13:33:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Those darn Poet Laureates! (FWD) In-Reply-To: <000a01c2b7f1$f3bac460$210110ac@gateway.2wire.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Vernon, I liked your post but: >Ten or more years ago, you could have a language poet >(e.g. Edwin Torres) face off against a confessional poet, but I doubt you'd >find it these days. Edwin's a language poet? Does he know this? Is this how he is commonly thought of? I think of him as a very interesting performance-oriented poet who cut his teeth in the early slam world. _Are_ there still language poets? I don't even consider the original langpo crowd restrictively "language"-oriented these days. Didn't that end about 87? Well, I don't get to control how things are characterized, for sure, but this surprises me. I do, though, see the contrast you're setting up, between Edwin's very interesting sonic investigations and fatuous confessional crap. Kevin Davies ========================================================================= Date: Thu, 9 Jan 2003 14:07:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: FW: poetry & the visual arts; ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable > Any recommendations on publications, helpful collections or sites on = the subject of poems inspired by visual art, specific 2D or 3D works, = the art museum environment, similar connections or juxtapositions?=20 >=20 > It's not the history of visual poetry I'm looking for, not vispo = collections or artist/poet collaborations, but what D.G. Kehl in Poetry = and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual = art sets," e.g. "poems and the visual art works that inspired them." >=20 > Thanks, > Joel Lipman > [backchannel: ] ========================================================================= Date: Thu, 9 Jan 2003 14:02:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Truscott Subject: Re: Those darn Poet Laureates! In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Actually, I think Bill Kennedy is Bill Kennedy of Toronto. Mark Truscott Toronto On Thursday, January 9, 2003, at 01:03 PM, Ian VanHeusen wrote: > I rarely add comments to this list, but I find the comments by Bill > Kennedy > (I assume that is William Kennedy of Albany) particularly insulting > because > I am a younger Albany based poet who has organized readings in the > city. His > short-sited comments spoke to a change that has occurred in Slam poetry > contests which many poets also find annoying. I find it particularly > humorous when the reality is that Bill Kennedy has never (at least to > my > knowledge) been present at Slam style poetry readings within "his" > city. One > particular reading series, Soul Kitchen, has been extremely open to all > forms of poetry. However, within that group a strong sense of > performance is > required. Not antics or entertainment, but a real ability to > communicate. > Maybe people should actually engage in this exciting movement (which is > larger than Slam) before forming prejudices. > > Ian VanHeusen > > > ========================================================================= Date: Thu, 9 Jan 2003 13:24:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable NEXT WEEK AT THE POETRY PROJECT *** MONDAY JANUARY 13 [8:00pm] JONAH WINTER AND BETH & KAREN ZASLOFF WEDNESDAY JANUARY 15 [8:00pm] WANDA PHIPPS AND PEDRO PIETRI FRIDAY JANUARY 17 [10:30pm] HAWLEY HUSSEY AND CHRIS WARD http://www.poetryproject.com/calendar.html *** MONDAY JANUARY 13 [8:00pm] JONAH WINTER AND BETH & KAREN ZASLOFF Jonah Winter's first book of poems, Maine, was chosen by David Lehman as th= e inaugural winner of the Slope Editions book contest and was published in th= e Fall of 2002. His poem "Sestina: Bob" won the Cohen Prize from Ploughshares and was selected for the 2001 Pushcart Anthology. Beth Zasloff is a fiction writer and puppeteer. Her writing has appeared in Jane magazine and in the anthology Third Mind: Creative Writing through Visual Art (Teachers & Writers). She is also the author of shadow plays tha= t she has performed with her sister Karen at the P.S. 1 Contemporary Art Center, the Clemente Soto Velez Cultural Center, and in a window on 42nd Street as part of the Chashama Oasis festival. Karen Zasloff is an artist and puppeteer. She has designed and built puppet= s and sets for plays at Here Arts Center, the Collective Unconscious, and the Looking Glass theater, along with her collaborations with Beth. She has als= o worked with the Bread and Puppet theater in Vermont and with puppet theater groups in Hungary and Romania. WEDNESDAY JANUARY 15 [8:00pm] WANDA PHIPPS AND PEDRO PIETRI Wanda Phipps is the author of Zither Mood (a Faux Press CD-Rom), and the titles Your Last Illusion or Break Up Sonnets (Situations), Lunch Poems (Boog Literature), and After the Mishap (Faux Press), as well as the co-author of Shanar: The Dedication of a Buryat Shaman (Parabola). Her poem= s have previously appeared in over 60 magazines and literary journals including Agni, Exquisite Corpse, Hanging Loose and The World. Her work has been anthologized in Verses that Hurt: Pleasure and Pain from the Poemfone Poets, Valentine, Oblek: Writing from the New Coast, Unbearables, and The Portable Boog Reader. You can check out more of her work on her website Min= d Honey http://users.rcn.com/wanda.interport. The New York Foundation for the Arts applauds her work: "Ms. Phipps=B9s headlong, freely associative style is both liberated and focused by her resolute trust in the physical idea of destiny or, as she puts it, =8Cthe randomly falling turns of the universe.=B9 Destiny, here, is at once completely aleatoric, yet ultimately it is the only trustworthy syntax. Every detail resonates because no matter how disparate, they are all similarly aligned." Pedro Pietri is a writer, poet, and dramatist whose work is known for its sociopolitical exposition of the circumstances of the Puertorican Diaspora, especially New York City. He has published 12 books of poetry and plays. Puerto Rican Obituary is his most renowned book of poetry, and it has been translated into 13 languages. His most recent poetry title is a bilingual (English/Italian) anthology published in Milan, Italy. As a playwright he has staged his plays in New York at The Public Theatre, Nuyorican Poet=B9s Cafe, La Mama, INTAR, Puerto Rican Traveling Theatre, HB studio, The New Dramatists, and the Henry Street Settlement Theater. He has given recitals and theatrical presentations throughout the United States and abroad. FRIDAY JANUARY 17 [10:30pm] HAWLEY HUSSEY AND CHRIS WARD Hawley Hussey presents Dear Lucilla Day: Artist and Visionary 1914-1997. On a small island north of somewhere a mother convinced the daughter she had special gifts for living in this world. Story-teller Hawley Hussey and musicians Robert Ross and Jon Loyd soulfully portray a day in the life of this girl, that rock on the sea, and the mother that made it all worthwhile= . Chris Ward presents a night of music and video. Live music by art rock bands, Magnet City Kids, Robbers, and a special guest. Magnet City Kids are a large family of proto-astronaut children forced to make do on earth: intense space rock. Robbers consists of visual artists Dave Dunn, Jeff Mott and Nick Kessler. The band's debut album OrphanEndorpinDolphinDorsalFin has just been released. Video projections by the bands and guest video artists will be screened throughout the evening. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 9 Jan 2003 11:23:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Fwd: Fw: maybe a correction Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >----- Original Message ----- >From: jrothenberg >To: Craig Allen Conrad >Sent: Monday, January 06, 2003 1:16 PM >Subject: maybe a correction > >Dear Craig -- > >I read your posting on Doug Stuber with some alarm but a google check did >turn up some contrary information that might be of interest. The URL: for >this is indymedia victoria at >http://victoria.indymedia.org/news/2002/10/9225.php, >and the correspondnents (presumably also from the NC Green Party) can be >checked out if you want to take the trouble. > >I'm not on the poetics list but picked it up off the web, so I can't >supply the info to the list myself. But I'm concerned not to accept >everything as necessarily true because it conforms to my own fears & >anxieities about the present mess. > >Anyway I thought I would pass it along for whatever you can do with it. > >All best & thanks for the concern, > >Jerome Rothenberg >1026 San Abella >Encinitas, CA 92024 >(760) 436-9923 >jrothenberg@cox.net >http://writing.upenn.edu/epc/authors/rothenberg/ >new ethnopoetics web site: http://ubu.com/ethno/ > >========================================= > >Warning About This "Story" >by NC Green " Wednesday November 06, 2002 at 06:50 AM >mailto: > >(The following is from a list serve for members of the North Carolina >Green Party. I'm a member of the party but wish to remain annonymous. But >you can trust the writer, as he is our current treasurer and he knows >what's gone on with Doug) >I don't know of any witnesses to this other than Doug Stuber, but nobody has >denied that it happened, either. More complete accounts from Doug include >mention of a loud discussion he was involved with in the waiting area at the >airport, preceding his denial of boarding and his questioning, in which Doug >loudly disparaged Bush, and made a number of other allegations about >America's hidden history, by his own account. I personally would agree with >most of the views he reported expressing, but I would think twice about >loudly proclaiming them while waiting to board a plane, given the current >climate. > >We should note that Doug is currently suspended from North Carolina Green >Party membership, due to a history of erratic behavior, misrepresentation of >party positions to audiences, alleged illegal acts while on party business, >and neglect of his duties as Treasurer. I was Assistant Treasurer, and have >taken over as Treasurer. His suspension occurred before the reported >incident at the airports. > >This doesn't mean his account is false, but it does cast some measure of >doubt on it, absent corroboration. I would like to have an independent >account of what happened at the airport, but I'm doubtful we'll get one, >since we have no way at present to identify any witnesses. > >I flew, within the US, in August 2002, on two occasions, from Charlotte, and >received no unusual attention, despite being a party officer and on record >as such with the NC Secretary of State. > >In summary, what we have is an uncorroborated, but also undisputed, account >of denial of airline service, by a person who has some problems. I say it >deserves to be added to the list of similar accounts of denied service, with >appropriate caveats. > >Mark Ortiz >Treasurer, North Carolina Green Party > >http:/// > >add your comments > >Ms >by Jan Martell " Wednesday November 06, 2002 at 06:57 AM >martelljanet@netscape.net > >I am a member of of the Executive Committee of the NC Greens. Doug Stuber >is currently suspended from the NC Green Party following some erratic and >unethical behavior. It is possible that the experiences he describes here >are true, but it is also quite possible that his difficulties had nothing >to do with his Green affiliation. Other NC Green officeholders have had no >difficulty flying in recent months. >. ========================================================================= Date: Thu, 9 Jan 2003 14:42:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Those darn Poet Laureates! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit In the late '80's, early '90's William Kennedy was present at some of the poetry and, yes, slam events in Albany, namely those at QE2 and the Eighth Step Coffee House, which is where I met him. Cheers, Gerald Schwartz ----- Original Message ----- From: "Ian VanHeusen" To: Sent: Thursday, January 09, 2003 1:03 PM Subject: Re: Those darn Poet Laureates! > I rarely add comments to this list, but I find the comments by Bill Kennedy > (I assume that is William Kennedy of Albany) particularly insulting because > I am a younger Albany based poet who has organized readings in the city. His > short-sited comments spoke to a change that has occurred in Slam poetry > contests which many poets also find annoying. I find it particularly > humorous when the reality is that Bill Kennedy has never (at least to my > knowledge) been present at Slam style poetry readings within "his" city. One > particular reading series, Soul Kitchen, has been extremely open to all > forms of poetry. However, within that group a strong sense of performance is > required. Not antics or entertainment, but a real ability to communicate. > Maybe people should actually engage in this exciting movement (which is > larger than Slam) before forming prejudices. > > Ian VanHeusen > > > > ________________________________________________ > the Grand Street blues > wear blue > > > > > > >From: parrishka > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Those darn Poet Laureates! > >Date: Thu, 9 Jan 2003 11:54:24 -0500 > > > >oh c'mon george. > >you can do better than that! > > > > > >from the january issue of Word > >http://www.insomniacpress.com/word/index.htm > >(only the calendar is avail. online.) > > > > > > > >The Compendium of Poetic Style Part I: The Spoken Word > > > >You have a right to be mad. Your culture sucks. Your life sucks. And > >you¹re bored out of your skull, sitting in your Major British Authors > >course > >listening to the professor drone on and on about Milton¹s profound use of > >metre, verse form, allusion, metaphor and something called, get this, > >synecdoche. Don¹t any of these academics realize that poetry isn¹t about > >hacking through mounds of poems in some anthology written by a bunch of > >dead > >guys? Can¹t they figure out that these poets couldn¹t possibly have > >intended to say all the things they¹re finding in their work? Hey - Kurt > >Cobain made a statement far more profound by shooting himself in the > >fucking > >head than these dead white guys could in hundreds of their poems! Fuck > >Milton! Fuck academics! Fuck my parents for making me be here! > > > >Does this passage describe you, or someone you are sympathetic to? Then get > >out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed > >glasses and affix that nose-stud: the spoken word might just be the style > >you¹ve been waiting for. It¹s true: far beyond the dusty corridors of the > >Ivory Tower there are poets who have overthrown their chains and are > >competing for cash and prizes in the bars and cafés of your very city! It¹s > >called a Poetry Slam, popularized in cultural hotbeds like New York City > >and > >Chicago! With cred like that, it must be World-Class! > > > >Just ask any Spoken Worder: the Poetry Slam is at the forefront of a > >poetry > >resurgence. It¹s a chance for people not only to speak their minds on > >stage, but also to have their opinions and performance abilities compete > >head-to-head with others of their ilk! It¹s a kick in the face to mass > >market culture! It¹s a return to the oral-based heritage of pre-capitalist > >societies! It¹s your chance to take the lead in yet another poetry > >resurgance! > > > >I want in, you cry! But how do I write a spoken word poem? Good question. > >The first thing to note is that the spoken word is not about writing poems, > >it¹s about winning slams. With that in mind, then, here are 8 useful tips: > > > > 1. Keep it simple. Try hard to forget eveything you have learned in your > >English classes. Exhibiting a knowledge of poetry may cause judges to > >think > >you¹re a holier-than-thou writer from the other side, and such alienation > >is > >sure to cost you points. Instead, aim your poetry at the lowest common > >denominator in the audience - if that grade 10 kid who just snuck into the > >bar approves of your poem then you are on the right track. Remember: if > >anyone asks about your method, always replace the phrase ³lowest common > >denominator² with ³the people². > > > >2. Have something to say - but make sure that someone has already said it > >before. Novelty is confusing - and being confusing can cost you contests! > >A good method of acquiring something to say is to listen to others in your > >particular spoken-word scene (don¹t over do it, a few open mikes should > >suffice). If one of the spoken worders strikes you as expressing you own > >innermost thoughts - then copy¹em! Don¹t worry about plagiarism -- you > >will > >be startled when you notice how your own individual presentation style > >bleeds through as you try to write someone else¹s words! Not only is this > >a > >proven rule of success -- if one of the judges happens to be the person you > >are imitating you¹ll be an instant winner! Still can¹t find anything to > >say? > >You can always... > > > >3. Talk about the battle of the sexes! If there is one thing that unites > >all people regardless of age or race, it¹s the wacky love-hate relationship > >between boys-and-girls. And to be frank, nothing can be funnier! Here's > >a > >theme for the female spoken worders in our reading audience: ³isn¹t it > >annoying how guys act so much like, well, guys². Now that's a poem that is > >sure to get the judges¹ feminist fires stoked! But guys ­ don't take that > >lying down. You've been given the power of poetry to exact revenge on every > >woman who emasculated you, dumped you, or wouldn't date you in the first > >place. So make a list of everything that pisses you off about your life, > >then try to find a way to blame women for it all. What's great about > >post-feminism is that you can call women any derogatory name you want and > >it'll be taken as a sign of female empowerment. Now in the unlikely event > >that it's taken by the judges as a sign of misogyny, just mention that ia > >woman you know once read the poem and liked, it so it couldn't possibly be > >sexist. OK guys, if that's not quite doing it for you, i suggest that > >you... > > > >4. Be gay. If you¹re gay -- you instantly double your credibility and > >dramatically increase your odds! Make sure to talk about the minute > >details > >of your failed relationships and salt your poetry with funny, catty, campy > >phrases that audiences have come to expect from gay poets. Even if your > >judges don't know what "droll" means, they'll certainly give you points > >when > >they see it. > > > >5. Talk loudly. This is a useful point about presentation: being loud > >means confidence, and confidence means that you know what you are talking > >about. Besides, talking loudly proves that you are not one of those wimpy, > >introspective, genteel academic writers. But remember to pace your ³loud > >bits². The average attention span is around 15 seconds, and nothing wakes > >up an audience more effectively than screaming at them. Use the bartender > >as a guide: if he looks nervous and stares at lot at his figitting > >regulars, > >then your volume is perfect. > > > >6. Be streetwise. Tell¹em how cynical you have become after realizing what > >life on the street is really about (just like they do at the Nu Yorican > >slams in Manhattan)! A proven method of conveying your cynicism is > >convincing your audience that you have ³been there² (the street, that is). > >Powerful images associated with the ravages of drug and alcohol abuse help. > >If you are particularly daring you can do a dramatic poem wherein you > >pretend you are a struggling junkie or a callous pusher. Always end your > >poem with a ³don¹t be like me² moral. Tip: Go watch Trainspotting and > >Drugstore Cowboy again. How do they make you feel? Do you find the > >³toilet > >scene² in Trainspotting to be a profound statement on life? Don¹t just sit > >there -- write a poem. Don¹t forget to swear sometimes -- cynical, > >streetwise people are angry, and nothing says anger better than bad words. > > > >7. Always direct your poem at your parents. Though you are an angry, > >cynical, streetwise poet, you are not angry at your audience. The audience > >is composed of friends, compatriots and, most importantly, judges, so why > >piss them off? Instead, picture your folks and their comfortable suburban > >lives. What emotions are stimulated by this scene? What would you like to > >say about their sheltered fifties complacency? What would you like to tell > >them regarding their yuppie hypocrisy? What would the look on their faces > >be > >when you show them the hard, messy, drug-addled reality that is life on the > >street? How would they react to the gooey details of your sex-life? Would > >they be shocked? Would they be forced to look at the sham that is their > >life? Of course they would -- so what are you waiting for -- write it > >down.. Don¹t worry about being kicked out -- they¹ll never read it! > >Besides, this is what a slam is for -- a place to feel the comradery of > >anger and rage without suffering any repercussions! You might even win!! > > > >8. Be funny. Anger wins respect. Laughter wins slams. Being funny is > >not > >all that hard. Think about all the amusing things in your life. Then > >write > >about them all at the same time. Hey -- your parents are funny. Living in > >the basement is funny. Body-art is funny. Being loud is funny. Your > >ex-boyfriend is funny. Castration is funny. Sex is really really funny > >(see rule 3). Having loud sex in your parents¹ basement with your tatooed > >ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See > >how easy this is? > > > >9. Bring a guitar. If you remember only one rule about winning slams -- > >this is it. And if you don¹t have a guitar, find a guitarist and bring > >them > >along. I can¹t emphasize this too strongly: the person with the guitar > >wins the slam. If they don¹t, they¹ll at least place on the podium. > >Guaranteed. The reason is simple -- people like folk singers. They¹ll even > >pay $15 bucks for a Jewel CD (you can always dream). The best part of it > >is > >that you don¹t even have to know how to write a song! The mere presence of > >a > >few chords strumming along with your poem & you¹ll come off sounding like > >Dylan (if you are a folk singer, however, don¹t make the mistake of singing > >your songs -- this is the spoken word after all). If you want to top the > >spoken worders with acoustic guitars, I recommend the addition of a > >stand-up > >double-bass. A walking bassline behind your poem is not only a sure-fire > >crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago > >tradition. To secure this connection, and the streetcred that accompanies > >it, one needs only to add the phrase ³talkin¹ blues² to the title of your > >poem and repeat every line in the piece three times, placing a different > >emphasis every time. For instance, if your poem is called ³Trainspotting > >Toilet² and your first line is ³Life is a toilet: no matter how much you > >flush it you still come up shit.² then ³The Trainspotting Toilet Talkin¹ > >Blues² will read ³Life is a _toilet_: no matter how much you flush it you > >still come up shit. I said, life _is_ a toilet: no matter how much you > >flush it_ you still come up shit. Yeah, life is a toilet: no matter how > >much > >you flush it you still _come up shit_. You know what I am talking > >about...² > >Works every time. Bring on the prizes. > > > > > >- bill kennedy > > > _________________________________________________________________ > Protect your PC - get McAfee.com VirusScan Online > http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 > > ========================================================================= Date: Thu, 9 Jan 2003 14:52:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Vernon Frazer isn't crazy to associate Torres with Language. If you choose to believe Language poets don't exist anymore, fair enough. Language-oriented presses do. ROOF Books published the last Torres collection, joining the stable of Silliman, Kit Robinson, Bruce Andrews, Erica Hunt, Charles Bernstein & so on. (This is not a negative thing. I respect & support ROOF, so please- save your defenses for a time when you're really being attacked...by some slam poet, for instance.) The "Artists=Formerly-Known-As=Language=Poets" flock to Torres when he gives readings. Check one out sometime soon & take a look around. Vernon's not so crazy in his associations. ========================================================================= Date: Thu, 9 Jan 2003 17:21:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: poetry & the visual arts; ekphrasis MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT this topic might be of interest for fc discussion as I find that it's pretty common to assume I'm talking about ekphrasis when I mention visual poetry, webpoetry, etc.. There is a chapter on ekphrasis in this book I just reviewed. http://www.raintaxi.com/online/2002winter/third_mind.shtml For my money visual poetry really is a separte and more 'advanced' undertaking? tom bell ----- Original Message ----- From: "Lipman, Joel" To: Sent: Thursday, January 09, 2003 1:07 PM Subject: FW: poetry & the visual arts; ekphrasis > Any recommendations on publications, helpful collections or sites on the subject of poems inspired by visual art, specific 2D or 3D works, the art museum environment, similar connections or juxtapositions? > > It's not the history of visual poetry I'm looking for, not vispo collections or artist/poet collaborations, but what D.G. Kehl in Poetry and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. "poems and the visual art works that inspired them." > > Thanks, > Joel Lipman > [backchannel: ] ========================================================================= Date: Thu, 9 Jan 2003 15:00:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Those darn Poet Laureates! (FWD) In-Reply-To: <03E54FD2.4DB91254.0080AC7C@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Yeah, you're right, and I didn't mean to imply that Vernon was crazy. AND I have a friend on the edges of the slam world who told me that the slammers now consider Edwin too -- "experimental" is I believe the word she chose. I think I have a vested interest in new terms being invented and that old one being retired. I don't like to think of myself as G2 langpo. But again, you're right: wishing doesn't make it so, and the L term is probably here to stay, to refer to virtually any work that pays close attention to language and is a little paratactic, even though the "project" of language poetry clearly did come to an end well over a decade ago. Kevin D Frank Sherlock wrote: >Vernon Frazer isn't crazy to associate Torres with Language. If you choose >to believe Language poets don't exist anymore, fair enough. >Language-oriented presses do. ROOF Books published the last Torres >collection, joining the stable of Silliman, Kit Robinson, Bruce Andrews, >Erica Hunt, Charles Bernstein & so on. (This is not a negative thing. I >respect & support ROOF, so please- save your defenses for a time when >you're really being attacked...by some slam poet, for instance.) > >The "Artists=Formerly-Known-As=Language=Poets" flock to Torres when he >gives readings. Check one out sometime soon & take a look around. Vernon's >not so crazy in his associations. ========================================================================= Date: Wed, 8 Jan 2003 03:29:18 -0500 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Re: typology of inscription, guns and others MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I like this a lot, but I forget my printf format codes, alas, which would add to my enjoyment... Millie ----- Original Message ----- From: "Alan Sondheim" To: Sent: Tuesday, January 07, 2003 1:03 AM Subject: typology of inscription, guns and others > typology of inscription, guns and others > > > /[s]+/ print "aimed his gun in my direction" /[v]+/ "born and later 1967" > /[y]+/ "but ghosts come always back furious" /[g]+/ "coward, fearful of > any" /[k]+/ "father a healthier fashion, even the" /[z]+/ "from 1994 i > buried selves selves" /[n]+/ "genre. why didn't other people tell" /[0]+/ > "i'm tired this" /[d]+/ "impetus against the wall writing from which i" > /[a]+/ "insanity everywhere this world, among friends and" /[x]+/ "into > every other" /[q]+/ "lake firefight was going" /[m]+/ "me what doing, i'd > have been able" /[b]+/ "nonfictionally. i've seen far too much" /[c]+/ > "now escape through others creatively" /[p]+/ "on above cliffs or over" > /[u]+/ "or sometime lost my" /^$/ "others. alan, she said, stop it." > /[w]+/ "picture. 1943 was" /[j]+/ "rest family placing me in" /[i]+/ "the > darkness hurtling" /[o]+/ "them. know better about" /[l]+/ "to work out > relations with /[e]+/ "unbearable. sexuality became /[f]+/ "violence > tension is" /[t]+/ "virginity just about time soldier" /[r]+/ "when we > were floating over " /[h]+/ "world. still live there; i'm a" /[0]+/ /[0]/ > print print "i'm "i'm tired tired of of this" this" /[z]+/ 1994 "from my > 1994 selves i in buried selves" my selves /[z]+/ in selves" print /[y]+/ > "but "but always ghosts back come and always furious" back and /[y]+/ > furious" /[x]+/ "into this this and every other" other" /[w]+/ "picture. > in 1943 i was" /[v]+/ "born and later in 1967" /[u]+/ /[u]+/ "or "or > sometime sometime lost lost my" my" /[t]+/ "virginity "virginity the just > time about a the soldier" time a /[t]+/ soldier" /[s]+/ print "aimed gun > his in gun my direction" /[s]+/ /[r]+/ "when "when floating we over were > the floating " over " /[q]+/ print "lake the firefight going" was going" > /[q]+/ /[p]+/ print "on the above cliffs cliffs over" or over" /[p]+/ > /[o]+/ print "them. didn't didn't better know about" better about" /[o]+/ > /[n]+/ print "genre. didn't why other other tell" people tell" /[n]+/ > /[m]+/ i "me i'd what have doing, i'd /[m]+/ have been print able" "me > /[l]+/ "to "to the work relations out with relations with /[l]+/ /[k]+/ > "father "father healthier healthier the" fashion, even /[k]+/ the" > /[j]+/ "rest "rest family family in" placing me /[j]+/ in" /[i]+/ "the > darkness darkness of hurtling" /[h]+/ "world. "world. live still i'm live > a" there; i'm /[h]+/ a" /[g]+/ /[g]+/ "coward, "coward, fearful fearful > any" any" /[f]+/ "violence and tension is" is" /[e]+/ "unbearable. > sexuality sexuality became became a /[d]+/ the "impetus writing against > from wall i" writing /[d]+/ from which print i" "impetus /[c]+/ "now > escape escape through through others others creatively" creatively" > /[b]+/ print "nonfictionally. seen i've far seen too far much" too much" > /[b]+/ /[a]+/ everywhere "insanity world, everywhere among world, among > /[a]+/ friends and" print /^$/ print "others. she alan, said, she stop > said, it." stop it." > > > === ========================================================================= Date: Thu, 9 Jan 2003 16:12:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: come all ye In-Reply-To: <20030109182216.97549.qmail@web11305.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" how about: *your first exposure to poetry (like allen ginsberg's mother taking him to communist party meetings where everyone sang...) *a funny misprision (mondegreen) that reveals something about the poetic your favorite paragraphs about poetry and why *the first time another poet "spoke" to you from the page *how you knew you were a poet (jean genet realized he was a writer when he was writing an xmas card to a patron and thought he'd be penning the usual holiday pap when he found himself describing the texture of the paper he was writing on) *when you realized that your idea of poetry was different from that of everyone around you... *an experience with letters coming to life... or words taking on a life of their own, synesthesiac... etc etc. At 10:22 AM -0800 1/9/03, Arielle Greenberg wrote: >Hey, Maria-- > >Love the idea, but can you tell us a bit more about >what you're looking for? What kinds of anecdotes do >you imagine being in this thing? > >xoxo >Arielle > >--- Maria Damon wrote: >> hey, i just got an idea for a whimsical anthology: >> "Folk Tales for Poetry Addicts," >> so, all you poets and poetry lovers and haters, send >> your vignettes >> and favorite numinous or anti-numinous, humorous or >> harrowing, >> analytic or impressionistic anecdotes about poetry >> and the poetic to >> me, via email. >> love to all --md >> -- > > >===== >* please visit www.ariellegreenberg.net >for links to poems, information about readings, etc. > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com -- ========================================================================= Date: Thu, 9 Jan 2003 13:31:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: poetry & the visual arts In-Reply-To: <011101c2b835$e3a64f60$f2113444@rthfrd01.tn.comcast.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit One of my current investigations is to situate the "virtual" space of language on planes other than the flat 2D plane of the printed page and electron-scanned computer screen. Here is an attempt along these lines, inspired by the art of Sol Lewitt. It maps a 13-letter word -- one that contains no letter repetitions -- onto a cube in various stages of completion. It is a 130+ page PDF file (150K), so you will have to download to view. Comments, inquiries welcome. http://www.aroseisaroseisarose.com/Cube.pdf -m ========================================================================= Date: Thu, 9 Jan 2003 13:42:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Those darn Poet Laureates! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >oh c'mon george. >you can do better than that! > Than what? What did I do that I can do better than? gb >from the january issue of Word >http://www.insomniacpress.com/word/index.htm >(only the calendar is avail. online.) > > > >The Compendium of Poetic Style Part I: The Spoken Word > >You have a right to be mad. Your culture sucks. Your life sucks. And >you're bored out of your skull, sitting in your Major British Authors cours= e >listening to the professor drone on and on about Milton's profound use of >metre, verse form, allusion, metaphor and something called, get this, >synecdoche. Don't any of these academics realize that poetry isn't about >hacking through mounds of poems in some anthology written by a bunch of dea= d >guys? Can't they figure out that these poets couldn't possibly have >intended to say all the things they're finding in their work? Hey - Kurt >Cobain made a statement far more profound by shooting himself in the fuckin= g >head than these dead white guys could in hundreds of their poems! Fuck >Milton! Fuck academics! Fuck my parents for making me be here! > >Does this passage describe you, or someone you are sympathetic to? Then get >out your vintage 80s track wear, slide on your "geek-chic" horn-rimmed >glasses and affix that nose-stud: the spoken word might just be the style >you've been waiting for. It's true: far beyond the dusty corridors of the >Ivory Tower there are poets who have overthrown their chains and are >competing for cash and prizes in the bars and caf=E9s of your very city! It= 's >called a Poetry Slam, popularized in cultural hotbeds like New York City an= d >Chicago! With cred like that, it must be World-Class! > >Just ask any Spoken Worder: the Poetry Slam is at the forefront of a poetr= y >resurgence. It's a chance for people not only to speak their minds on >stage, but also to have their opinions and performance abilities compete >head-to-head with others of their ilk! It's a kick in the face to mass >market culture! It's a return to the oral-based heritage of pre-capitalist >societies! It's your chance to take the lead in yet another poetry >resurgance! > >I want in, you cry! But how do I write a spoken word poem? Good question. >The first thing to note is that the spoken word is not about writing poems, >it's about winning slams. With that in mind, then, here are 8 useful tips: > > 1. Keep it simple. Try hard to forget eveything you have learned in your >English classes. Exhibiting a knowledge of poetry may cause judges to thin= k >you're a holier-than-thou writer from the other side, and such alienation i= s >sure to cost you points. Instead, aim your poetry at the lowest common >denominator in the audience - if that grade 10 kid who just snuck into the >bar approves of your poem then you are on the right track. Remember: if >anyone asks about your method, always replace the phrase "lowest common >denominator" with "the people". > >2. Have something to say - but make sure that someone has already said it >before. Novelty is confusing - and being confusing can cost you contests! >A good method of acquiring something to say is to listen to others in your >particular spoken-word scene (don't over do it, a few open mikes should >suffice). If one of the spoken worders strikes you as expressing you own >innermost thoughts - then copy'em! Don't worry about plagiarism -- you wil= l >be startled when you notice how your own individual presentation style >bleeds through as you try to write someone else's words! Not only is this = a >proven rule of success -- if one of the judges happens to be the person you >are imitating you'll be an instant winner! Still can't find anything to say= ? >You can always... > >3. Talk about the battle of the sexes! If there is one thing that unites >all people regardless of age or race, it's the wacky love-hate relationship >between boys-and-girls. And to be frank, nothing can be funnier! Here's = a >theme for the female spoken worders in our reading audience: "isn't it >annoying how guys act so much like, well, guys". Now that's a poem that is >sure to get the judges' feminist fires stoked! But guys - don't take that >lying down. You've been given the power of poetry to exact revenge on every >woman who emasculated you, dumped you, or wouldn't date you in the first >place. So make a list of everything that pisses you off about your life, >then try to find a way to blame women for it all. What's great about >post-feminism is that you can call women any derogatory name you want and >it'll be taken as a sign of female empowerment. Now in the unlikely event >that it's taken by the judges as a sign of misogyny, just mention that ia >woman you know once read the poem and liked, it so it couldn't possibly be >sexist. OK guys, if that's not quite doing it for you, i suggest that you..= =2E > >4. Be gay. If you're gay -- you instantly double your credibility and >dramatically increase your odds! Make sure to talk about the minute detail= s >of your failed relationships and salt your poetry with funny, catty, campy >phrases that audiences have come to expect from gay poets. Even if your >judges don't know what "droll" means, they'll certainly give you points whe= n >they see it. > >5. Talk loudly. This is a useful point about presentation: being loud >means confidence, and confidence means that you know what you are talking >about. Besides, talking loudly proves that you are not one of those wimpy, >introspective, genteel academic writers. But remember to pace your "loud >bits". The average attention span is around 15 seconds, and nothing wakes >up an audience more effectively than screaming at them. Use the bartender >as a guide: if he looks nervous and stares at lot at his figitting regulars= , >then your volume is perfect. > >6. Be streetwise. Tell'em how cynical you have become after realizing what >life on the street is really about (just like they do at the Nu Yorican >slams in Manhattan)! A proven method of conveying your cynicism is >convincing your audience that you have "been there" (the street, that is). >Powerful images associated with the ravages of drug and alcohol abuse help. >If you are particularly daring you can do a dramatic poem wherein you >pretend you are a struggling junkie or a callous pusher. Always end your >poem with a "don't be like me" moral. Tip: Go watch Trainspotting and >Drugstore Cowboy again. How do they make you feel? Do you find the "toile= t >scene" in Trainspotting to be a profound statement on life? Don't just sit >there -- write a poem. Don't forget to swear sometimes -- cynical, >streetwise people are angry, and nothing says anger better than bad words. > >7. Always direct your poem at your parents. Though you are an angry, >cynical, streetwise poet, you are not angry at your audience. The audience >is composed of friends, compatriots and, most importantly, judges, so why >piss them off? Instead, picture your folks and their comfortable suburban >lives. What emotions are stimulated by this scene? What would you like to >say about their sheltered fifties complacency? What would you like to tell >them regarding their yuppie hypocrisy? What would the look on their faces b= e >when you show them the hard, messy, drug-addled reality that is life on the >street? How would they react to the gooey details of your sex-life? Would >they be shocked? Would they be forced to look at the sham that is their >life? Of course they would -- so what are you waiting for -- write it >down.. Don't worry about being kicked out -- they'll never read it! >Besides, this is what a slam is for -- a place to feel the comradery of >anger and rage without suffering any repercussions! You might even win!! > >8. Be funny. Anger wins respect. Laughter wins slams. Being funny is no= t >all that hard. Think about all the amusing things in your life. Then writ= e >about them all at the same time. Hey -- your parents are funny. Living in >the basement is funny. Body-art is funny. Being loud is funny. Your >ex-boyfriend is funny. Castration is funny. Sex is really really funny >(see rule 3). Having loud sex in your parents' basement with your tatooed >ex-boyfriend with eyes to castrating him afterwards is a laugh riot. See >how easy this is? > >9. Bring a guitar. If you remember only one rule about winning slams -- >this is it. And if you don't have a guitar, find a guitarist and bring the= m >along. I can't emphasize this too strongly: the person with the guitar >wins the slam. If they don't, they'll at least place on the podium. >Guaranteed. The reason is simple -- people like folk singers. They'll even >pay $15 bucks for a Jewel CD (you can always dream). The best part of it i= s >that you don't even have to know how to write a song! The mere presence of = a >few chords strumming along with your poem & you'll come off sounding like >Dylan (if you are a folk singer, however, don't make the mistake of singing >your songs -- this is the spoken word after all). If you want to top the >spoken worders with acoustic guitars, I recommend the addition of a stand-u= p >double-bass. A walking bassline behind your poem is not only a sure-fire >crowd-pleaser, it will add a bluesy feel reminiscent of the Chicago >tradition. To secure this connection, and the streetcred that accompanies >it, one needs only to add the phrase "talkin' blues" to the title of your >poem and repeat every line in the piece three times, placing a different >emphasis every time. For instance, if your poem is called "Trainspotting >Toilet" and your first line is "Life is a toilet: no matter how much you >flush it you still come up shit." then "The Trainspotting Toilet Talkin' >Blues" will read "Life is a _toilet_: no matter how much you flush it you >still come up shit. I said, life _is_ a toilet: no matter how much you >flush it_ you still come up shit. Yeah, life is a toilet: no matter how muc= h >you flush it you still _come up shit_. You know what I am talking about...= " >Works every time. Bring on the prizes. > > >- bill kennedy -- George Bowering Grew up on Prem =46ax 604-266-9000 ========================================================================= Date: Thu, 9 Jan 2003 14:00:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Max Winter Subject: Re: Poetry and the Visual Arts MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Joel: Thought I'd alert you to the following--a poem/essay about Ida Applebroog, on Artkrush, a website that publishes a lot of interesting work on art. http://www.artkrush.com/thearticles/019_woa_winteronapplebroog/index.asp Best, Max Winter __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 9 Jan 2003 14:09:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Those darn Poet Laureates! (FWD) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Frank Thank you very much for defending me, as well as my sanity. I used the term "language poet" casually. You can either accept a shorthand term or bog a discussion down in definitions. I prefer the former. Torres had his roots in St. Mark's Poetry Project (a.k.a. The Poetry Project at St. Mark's Church). From my understanding, I believe the L=A=N=G=U=A=G=E school evolved out of the New York school in some way. The New York School, in turn, hung out at the Cedar Tavern, same as many Beat writers, and Black Mountain poets Creeley and Olson partied with the Beats. None of the lines between the "camps" are as clearly drawn as some would lead you to believe. (Three days ago I discovered a book of my earlier "West Coast Beat-Black Mountain" poetry was in a concrete and visual poetry archive, but my more recent and more concrete and visual work wasn't. Go figure.) Today Torres, who (yes) was important in the early days of slam and as a performance poet, not to mention in his consistently innovative use of language) would definitely be too "experimental" to read at slams The last time I read at the Nuyorican, in 1995, the poetry was confessional, and addressed gangs, drive-bys shootings and AIDS. Kevin, I don't mean to chop you up. Frankly, I'm looking for more appropriate descriptive terms myself, since at the moment my poetry seems to be both post-Beat and post-langpo, and includes other elements for which not even a shorthand definition has been found. If you find some new labels, I'd be curious to see what they are so that I can figure out where I fit in relation to them. Meanwhile, I just do what I do...whatever it's called. It's the work that's important. The label comes later. Vernon ---- Original Message ----- From: "Frank Sherlock" To: Sent: Thursday, January 09, 2003 2:52 PM Subject: Re: Those darn Poet Laureates! (FWD) > Vernon Frazer isn't crazy to associate Torres with Language. If you choose to believe Language poets don't exist anymore, fair enough. Language-oriented presses do. ROOF Books published the last Torres collection, joining the stable of Silliman, Kit Robinson, Bruce Andrews, Erica Hunt, Charles Bernstein & so on. (This is not a negative thing. I respect & support ROOF, so please- save your defenses for a time when you're really being attacked...by some slam poet, for instance.) > > The "Artists=Formerly-Known-As=Language=Poets" flock to Torres when he gives readings. Check one out sometime soon & take a look around. Vernon's not so crazy in his associations. ========================================================================= Date: Thu, 9 Jan 2003 14:04:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: upon further review In-Reply-To: <200301091841.h09Ifuv02516@panix2.panix.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >That sounds right: Bill Kennedy was a minor movie star as a young boy, and >then hosted "Bill Kennedy at the Movies" for many years on Channel 50. >Good to hear "slam poets" are discovering him. > >> >> I realized that Bill Kennedy was in fact probably not William Kennedy, and I >> would like to clarify that often people who speak about "Slam Poetry" are >> often unaware of the poets involved with the larger movement of poetry. > > Sorry for the confusion. No no. Bill Kennedy was a not-quite-good-enough forward in the American Hockey League for about 20 years in the fifties and sixties. He once scored 12 goals and 22 assists in a single season for the Cleveland Barons. -- George Bowering Grew up on Prem Fax 604-266-9000 ========================================================================= Date: Thu, 9 Jan 2003 17:16:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sleeping and running zombies through bodies MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sleeping and running zombies through bodies CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes: 35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user, load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, 14956K shrd, 15080K buff Write vaginas through my CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle! CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes: 35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user, load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, 14956K shrd, 15080K buff Write vaginas through my CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle! load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free,:35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user,:CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes::Write vaginas through my CPU states: 4.7% user, 5.8% system, 0.0% nice,:89.4% idle! CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes: is sufficiently well-inscribed. - I consider the following again, your CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes: ... enunciation inscribes me upon your token! CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes:, load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, remembers my chisel My load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K is your language... load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, calls forth births inscription, hungered, making things. upon the time, load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, is here, 00], 35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user,? ... inscription is stopped:1m 4:20pm up 8 min, 1 user, load average: 0.54, 0.26, 0.11: :Mem: on black stone, it's inscription? Are you satisfied with your load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free,? load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, 1086 is the perfect proclamation. CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes: 35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user, load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free, 14956K shrd, 15080K buff Write vaginas through my CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle! load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free,:35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user,:CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes::Write vaginas through my CPU states: 4.7% user, 5.8% system, 0.0% nice,:89.4% idle! load average: 0.54, 0.26, 0.11: :Mem: 38664K av, 35084K used, 3580K free,:35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1 user,:CPU states: 4.7% user, 5.8% system, 0.0% nice, 89.4% idle:36 processes::free,:35 sleeping, 1 running, 0 zombie, 0 stopped:1m 4:20pm up 8 min, 1:38664K av, 35084K used, 3580K free, 14956K shrd, 15080K buff Write vaginas Your enunciation names my stopped:1m 4:20pm up 8 min, 1 user, load average: 0.54, 0.26, 0.11: :Mem: ! === ========================================================================= Date: Thu, 9 Jan 2003 16:42:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Those darn Poet Laureates! (FWD) In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT This is telling: >Ten or more years ago, you could have a language poet >(e.g. Edwin Torres) face off against a confessional poet, but I doubt >you'd find it these days. It's the phrase "face off" that I'm thinking of here. I dislike poets that face off with other poets. I really wish Slam Poetry would call itself something else, something without the word poetry . . . in much the same way that I dislike it when people make arguments that lyrics to songs are poetry, I dislike it when people say that Slam Poetry is poetry. I think it's something else. Something that when the words are taken from their context (put in a book, say) they lose much of their interest and power. So, rather than say "down with slam poetry", I'll just say, it's not _poetry_ , it's something else. And something I don't care for all that much. John Gallaher ========================================================================= Date: Fri, 10 Jan 2003 09:11:50 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Those darn Poet Laureates! (FWD) In-Reply-To: <3E1DA67D.16768.159FCA1D@localhost> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-3CEA10A1; boundary="=======515DDE5=======" --=======515DDE5======= Content-Type: text/plain; x-avg-checked=avg-ok-3CEA10A1; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit i suggest you have a very narrow print-centric view of poetry. if pressed, you would probably even prefer the silent reading of poetry from a book as the only valid experience of poetry. i suggest poetry (which i believe is a virtual, immaterial thing) has many material forms, one of them being slam. i suggest that using slam as a standard to measure all poetry is as misguided as using print published poetry to measure all poetry. i suggest you might like to read katherine hayles' new book, 'writing machines', or jerome mcgann's 'radiant textuality' which deal with other material representations of literature in this post-Cyber age, and how the cyber age forced us to rethink our previously held conceptions of literature. cheers komninos http://www.gu.edu.au/ppages/K_Zervos http://users.bigpond.net.au/mangolegs John Gallaher wrote: >It's the phrase "face off" that I'm thinking of here. I dislike poets that >face off with other poets. I really wish Slam Poetry would call itself >something else, something without the word poetry . . . in much the >same way that I dislike it when people make arguments that lyrics to >songs are poetry, I dislike it when people say that Slam Poetry is >poetry. I think it's something else. Something that when the words are >taken from their context (put in a book, say) they lose much of their >interest and power. > >So, rather than say "down with slam poetry", I'll just say, it's not >_poetry_ , it's something else. And something I don't care for all that >much. > > John Gallaher --=======515DDE5======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-3CEA10A1 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======515DDE5=======-- ========================================================================= Date: Thu, 9 Jan 2003 18:32:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: slam and poetry In-Reply-To: <5.1.1.6.0.20030110085952.00a3da50@mail02.domino.gu.edu.au> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable > John Gallaher wrote: >>It's the phrase "face off" that I'm thinking of here. I dislike poets that >>face off with other poets. I really wish Slam Poetry would call itself >>something else, something without the word poetry . . . I dislike it=20 >>when people say that Slam Poetry is >>poetry. I think it's something else. ... Poetry as "face off," as contest, often male-on-male contest, verbal sport,= =20 verbal fighting, goes way back-- all the way back in Indo-European=20 literature (which started out as a kind of "spoken word") to the Vedic=20 texts. "Face off" contest -- straight up "slamming" is a CORE part of=20 literature -- and has been since ANCIENT DAYS. Some of western lit's most=20 energetic moments are contained within the genre sub-class of invective,=20 face-off and slamming: Gaius Vallerius Catullus, Martial, greats bits of=20 Julius Caesar, Romeo and Juliet, and Much Ado About Nothing, =93The Battle= of=20 Maldon,=94 where Saxon and Viking insult each other across the Blackwater=20 river, the middle English poem, =93The Owl and the Nightingale,=94 the= flyting=20 verses of the great Skalds of Old Norse, such as those in Egil=92s Saga and= =20 Droplaugarsona Saga, as well as those within the Scots tradition,=20 particularly the =93Flyting of Dunbar and Kennedy=94 and the =93Flyting of= =20 Montgomerie and Polmart,=94 the insult poems of the Irish tradition (as= drawn=20 from An Duanaire 1600-1900: Poems of the Dispossessed, eds. =D3 Tuama and=20 Kinsella, Dolmen Press, 1994), and the many many misogynist verses of the=20 17th and 18th Centuries (e.g., E. Alsop=92s 1653 =93A Briefe Anatomie of= Women:=20 Being an Invective Against, and Apologie for the Bad and Goode of that=20 Sexe,=94 John Webster=92s =93An Execration against Whores,=94 or any number= by Dean=20 Swift.) In recent centuries, look toward the insult verse of Henry David=20 Thoreau, W. E. B. Du Bois, Ezra Pound, Langston Hughes (=93Ask Your Mama=94)= ,=20 Anthony Hecht, Barton Sutter, Ray Mizer, Hilaire Belloc, Alan Dugan, Sylvia= =20 Plath (=93Daddy=94), Robert Greacen, Clarence Williams, Amiri Baraka,=20 Bernadette Mayer=92s insult poem to Fred Jordan, Wallace Stevens=92= =93Invective=20 Against Swans=94 (!), Ren=E9 Depestre=92s =93[And seven times I strike you= on the=20 head=85]" Fuck it, it's everywhere: poetry's all about "slam" -- and long has been. Gabe Gudding Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Thu, 9 Jan 2003 19:17:49 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Sparrow? YES, YOU ARE A REVOLUTIONARY! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SPARROW is simply our dadaist, social critic bard, the eluder of all classifications, the revolutionary who burnt the pages of "The New Yorker," the devotee of the radio host with strippers as guests every day (what's his name?), a joy to read. Murat In a message dated 1/9/2003 11:19:19 AM Eastern Standard Time, CAConrad9@AOL.COM writes: > Would this be Black Sparrow Press? Sparrow the Caribbean singer? > Sparrow, the character from my novel A Short Sad Book? >> > ========================================================================= Date: Thu, 9 Jan 2003 19:27:15 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: slam slam slam.....gorgeous george... G.Gudding's scholarly post 'minds me of all the stuffe i'll never know...battle and barb...war and wit...but slam is to po...vat pro wrestling is to violence...a dull or strenuous excercise in pub. entertainment....mr. me...i'm vaiting for the valt whitman of the B-52..drn... ========================================================================= Date: Fri, 10 Jan 2003 01:18:46 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Riggs Subject: Re: poetry & the visual arts; ekphrasis In-Reply-To: <011101c2b835$e3a64f60$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If you're into the French poetry'painting evolution, there's a good book that attempts to cover it, _Peinture et Poésie: Le Dialogue par le livre 1874-2000_, by Yves Peyré, Gallimard, 2001. There's no American equivalent to my knowledge. I think Tom Bell's point is helpful. Ekphrasis is its own can of worms, and brings with it questions of mimesis and competition between the arts I find grow tired. Visual poetry (or whatever one calls it) doesn't assume it knows a difference between the arts. The idea of the gesture as a link between drawing/writing is more 'advanced' or exploratory from a creative perspective---maybe to the point of being 'primitive.' Sarah Riggs > this topic might be of interest for fc discussion as I find that it's > pretty common to assume I'm talking about ekphrasis when I mention > visual poetry, webpoetry, etc.. There is a chapter on ekphrasis in > this book I just reviewed. > http://www.raintaxi.com/online/2002winter/third_mind.shtml > > For my money visual poetry really is a separte and more 'advanced' > undertaking? > > tom bell > > ----- Original Message ----- > From: "Lipman, Joel" > To: > Sent: Thursday, January 09, 2003 1:07 PM > Subject: FW: poetry & the visual arts; ekphrasis > > >> Any recommendations on publications, helpful collections or sites on >> the > subject of poems inspired by visual art, specific 2D or 3D works, the > art museum environment, similar connections or juxtapositions? >> >> It's not the history of visual poetry I'm looking for, not vispo > collections or artist/poet collaborations, but what D.G. Kehl in Poetry > and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual > art sets," e.g. "poems and the visual art works that inspired them." >> >> Thanks, >> Joel Lipman >> [backchannel: ] ========================================================================= Date: Thu, 9 Jan 2003 19:37:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: slam and poetry MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Gabe, You're right on the nose. There are poetic forms built on the very idea of competition, each poet topping some one else's line? Aren't collaborations (particularly of early new york school, Ted Berrigan, etal) variations on competitive poetry? By thje way, Anselm Berrigan gave a great reading yesterday at the Poetry Project, particularly the first section of "One Star Hotel." Murat ========================================================================= Date: Thu, 9 Jan 2003 20:08:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: slam and poetry In-Reply-To: <5.1.1.6.0.20030109182522.019de870@mail.ilstu.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable To which one could add Pindar & those Olympic greek slams, plus, say=20= Shakespeare & Marlowe squaring it off for the $ favors of a noble=20 benefactor with their 2 poems written for the occasions of such=20 meetings, and a millenia long tribal traditions of boast poems Pierre On Thursday, January 9, 2003, at 07:32 PM, Gabriel Gudding wrote: > Poetry as "face off," as contest, often male-on-male contest, verbal=20= > sport, verbal fighting, goes way back-- all the way back in=20 > Indo-European literature (which started out as a kind of "spoken=20 > word") to the Vedic texts. "Face off" contest -- straight up=20 > "slamming" is a CORE part of literature -- and has been since ANCIENT=20= > DAYS. Some of western lit's most energetic moments are contained=20 > within the genre sub-class of invective, face-off and slamming: Gaius=20= > Vallerius Catullus, Martial, greats bits of Julius Caesar, Romeo and=20= > Juliet, and Much Ado About Nothing, =93The Battle of Maldon,=94 where=20= > Saxon and Viking insult each other across the Blackwater river, the=20 > middle English poem, =93The Owl and the Nightingale,=94 the flyting = verses=20 > of the great Skalds of Old Norse, such as those in Egil=92s Saga and=20= > Droplaugarsona Saga, as well as those within the Scots tradition,=20 > particularly the =93Flyting of Dunbar and Kennedy=94 and the =93Flyting = of=20 > Montgomerie and Polmart,=94 the insult poems of the Irish tradition = (as=20 > drawn from An Duanaire 1600-1900: Poems of the Dispossessed, eds. =D3=20= > Tuama and Kinsella, Dolmen Press, 1994), and the many many misogynist=20= > verses of the 17th and 18th Centuries (e.g., E. Alsop=92s 1653 =93A = Briefe=20 > Anatomie of Women: Being an Invective Against, and Apologie for the=20 > Bad and Goode of that Sexe,=94 John Webster=92s =93An Execration = against=20 > Whores,=94 or any number by Dean Swift.) In recent centuries, look=20 > toward the insult verse of Henry David Thoreau, W. E. B. Du Bois, Ezra=20= > Pound, Langston Hughes (=93Ask Your Mama=94), Anthony Hecht, Barton=20 > Sutter, Ray Mizer, Hilaire Belloc, Alan Dugan, Sylvia Plath (=93Daddy=94= ),=20 > Robert Greacen, Clarence Williams, Amiri Baraka, Bernadette Mayer=92s=20= > insult poem to Fred Jordan, Wallace Stevens=92 =93Invective Against = Swans=94=20 > (!), Ren=E9 Depestre=92s =93[And seven times I strike you on the = head=85]" > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 9 Jan 2003 20:13:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: regarding irony Comments: To: patrick@proximate.org In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Patrick, a few comments for you. Maybe it is indecorous to talk about one's own work, but your rejoinder, Patrick, to the student paper that savaged my book crutched hard on the idea that A Defense of Poetry employs irony, that its titles and presumably the rest of the words in the book ring ironic. If I may, this is a wrong reading. You cannot read my book that way. It is not your book, it is my book, and you may not read it that way! :) I explain: The book is and is about cruelty and is not an organ of liberal irony. Irony, no; but features of Mineppean satire and the grotesque, yes: burlesque, lampoon, mock heroic, invective. But it is in no way ironic. To read the book as ironic is to agree that "Gabe really doesn't mean all that stuff about Robert Duncan, the HUAC hearings, violence, farts and his buttocks; he's really just kidding." Occam Occam? I am not kidding. I am ridiculing. The difference between kidding around and ridicule is kinda large. Nor am I joining the "Diss Irony" bandwagon, though the following ride upon it: 1. David Foster Wallace has laid in against irony (calling it an instrument of "great despair and stasis"); 2. A book by Jedediah Purdy (For Common Things: Irony, Trust, and Commitment in American Today [Knopf]) argues that irony disables genuine feeling and trust; and 3. Ron Silliman has at least tried to rescue one writer from the avant and post-avant ironic wash via his blog. I say I'm not on that bandwagon because the Lack of Irony in my book is not reformative. I don't mean to be pompous when I say that the book seeks to reform nothing. The poems in the book "mean what they say," which is often "go f--- yourself." The book is not Seinfeld. It is not about the liberating inadequacies of language. In fact, A Defense of Poetry opposes the ironic strongly. If irony can be said to "have a failure," it is that irony seems to suggest the only alternative to itself is bathos -- in the mundane sense of a language too rich with feeling. Am I wrong in assuming the school of irony suggests that transgression and complete freedom from conventions of language are the only alternatives to sentimentality? There are other alternatives, my book suggests: like, try feeling. Not bathetic feeling, not suffering, not soul-making, but feeling. Try, maybe, enduring. So, it froths me a little that you, who say you like the book, would dare to call it irony. My book is about a failure to feel with and from language, a failure that is so deeply woven into current books that anything suggesting alternatives to irony is considered reactionary and/or sentimental. The book is asking you to feel its dismissal of that notion--and not merely the concomitant petulancies of your average disjunctive poet. Are there no other alternatives to reason and the poetry of soul-making and suffering than irony and its threadbare, "transgressive" displays against convention, meaning, and reason? This is not about going past some new edge of language into wilds or polis unknown but about remembering that the anarchic and the purposeful fuck in a bush called satire. Which is to say that the book like this is not about aestheticism alone (language and form) but about "life" and content too. When I say the book is "about" something, I mean to imply that it has a content. The book in other words is not "cool." Jennifer Moxley is cool. Keston Sutherland is cool. Gary Sullivan is cool. Ekphrasis is cool. To sum up, there is nothing ironic about the book and there is nothing honest about the book. It is merely a book that ridicules a lack of feeling. (For instance, one feeling whose absence is ridiculed in the book is Shame: the failure to feel shame is righteousness. Another feeling whose absence is ridiculed is pity: the failure to feel pity is pomposity). That student said my book was stupid, you said my book was smart, and I'm saying my book is ridiculing and mean. Read my book correctly: it is about incorrectitude. It is a mean and cruel book whose purpose is to raise a sympathy for enduring. Please read it that way. Thanks, Patrick. Gabe Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Thu, 9 Jan 2003 20:11:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: slam and poetry In-Reply-To: <5.1.1.6.0.20030109182522.019de870@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" And let's not forget Loki's Quarrel, in the Poetic Edda, which is filled with wonderful slams, like: "Be silent, Freyia, you're a witch / and much imbued with malice, you were astride your brother, all the laughing gods surprised you, / and then, Freyia, you farted." Joseph >>Poetry as "face off," as contest, often male-on-male contest, verbal sport, >>verbal fighting, goes way back-- all the way back in Indo-European >>literature (which started out as a kind of "spoken word") to the Vedic >>texts. "Face off" contest -- straight up "slamming" is a CORE part of >>literature -- and has been since ANCIENT DAYS. Some of western lit's most >>energetic moments are contained within the genre sub-class of invective, ========================================================================= Date: Thu, 9 Jan 2003 21:23:05 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: once more around the block... so as i understand..verbal violence...slams..dunks..eddas...pos....rants...raves...from homer to the simpsons...but WAR.....WAR......no mas...drn... ========================================================================= Date: Thu, 9 Jan 2003 21:28:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: poetry & the visual arts; ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 SmVzc2UgR2xhc3MgcmVjb21tZW5kZWQgdG8gbWUgV2lsbGFyZCBCb2huJ3MgTW9kZXJuIFZpc3Vh bCBQb2V0cnksIGFuIGV4Y2VsbGVudCBib29rIGZpbGxlZCB3aXRoIHNseSBkaXNjb3ZlcmllcyBh bmQgY29udGludWl0aWVzIG9uIHRoYXQgc2lkZSBvZiB0aGUgdmlzcG8gZW50ZXJwcmlzZSwgdGhv dWdoIHVuY29uY2VybmVkIHdpdGggZWtwaHJhc2lzLiBJbnNwaXJhdGlvbiBjb21lcyBmcm9tIHdo YXRldmRlciBwcm9tcHRzIGNyZWF0aXZlIHJlc3BvbnNlLiBNaW1lc2lzIGlmIHRoYXQncyBvbmUn cyBnYW1lLCBvbmUgb2YgdGhlIGlubnVtZXJhYmxlIHBvc3NpYmxlcyBhcyBJIHNlZSBpdC4gSkwN Cg0KCS0tLS0tT3JpZ2luYWwgTWVzc2FnZS0tLS0tIA0KCUZyb206IFNhcmFoIFJpZ2dzIFttYWls dG86c3JpZ2dzQEZSRUVTVVJGLkZSXSANCglTZW50OiBUaHUgMS85LzIwMDMgNzoxOCBQTSANCglU bzogUE9FVElDU0BMSVNUU0VSVi5CVUZGQUxPLkVEVSANCglDYzogDQoJU3ViamVjdDogUmU6IHBv ZXRyeSAmIHRoZSB2aXN1YWwgYXJ0czsgZWtwaHJhc2lzDQoJDQoJDQoNCglJZiB5b3UncmUgaW50 byB0aGUgRnJlbmNoIHBvZXRyeSdwYWludGluZyBldm9sdXRpb24sIHRoZXJlJ3MgYSBnb29kDQoJ Ym9vayB0aGF0IGF0dGVtcHRzIHRvIGNvdmVyIGl0LCBfUGVpbnR1cmUgZXQgUG/DqXNpZTogTGUg RGlhbG9ndWUgcGFyIGxlDQoJbGl2cmUgMTg3NC0yMDAwXywgYnkgWXZlcyBQZXlyw6ksIEdhbGxp bWFyZCwgMjAwMS4gIFRoZXJlJ3Mgbm8NCglBbWVyaWNhbiBlcXVpdmFsZW50IHRvIG15IGtub3ds ZWRnZS4NCgkNCglJIHRoaW5rIFRvbSBCZWxsJ3MgcG9pbnQgaXMgaGVscGZ1bC4gIEVrcGhyYXNp cyBpcyBpdHMgb3duIGNhbiBvZiB3b3JtcywNCglhbmQgYnJpbmdzIHdpdGggaXQgcXVlc3Rpb25z IG9mIG1pbWVzaXMgYW5kIGNvbXBldGl0aW9uIGJldHdlZW4gdGhlDQoJYXJ0cyBJIGZpbmQgZ3Jv dyB0aXJlZC4gIFZpc3VhbCBwb2V0cnkgKG9yIHdoYXRldmVyIG9uZSBjYWxscyBpdCkNCglkb2Vz bid0IGFzc3VtZSBpdCBrbm93cyBhIGRpZmZlcmVuY2UgYmV0d2VlbiB0aGUgYXJ0cy4gIFRoZSBp ZGVhIG9mDQoJdGhlIGdlc3R1cmUgYXMgYSBsaW5rIGJldHdlZW4gZHJhd2luZy93cml0aW5nIGlz IG1vcmUgJ2FkdmFuY2VkJyBvcg0KCWV4cGxvcmF0b3J5IGZyb20gYSBjcmVhdGl2ZSBwZXJzcGVj dGl2ZS0tLW1heWJlIHRvIHRoZSBwb2ludCBvZiBiZWluZw0KCSdwcmltaXRpdmUuJw0KCQ0KCVNh cmFoIFJpZ2dzDQoJDQoJDQoJPiB0aGlzIHRvcGljIG1pZ2h0IGJlIG9mIGludGVyZXN0IGZvciBm YyBkaXNjdXNzaW9uIGFzIEkgZmluZCB0aGF0IGl0J3MNCgk+IHByZXR0eSBjb21tb24gdG8gYXNz dW1lIEknbSB0YWxraW5nIGFib3V0IGVrcGhyYXNpcyB3aGVuIEkgbWVudGlvbg0KCT4gdmlzdWFs IHBvZXRyeSwgd2VicG9ldHJ5LCBldGMuLiAgVGhlcmUgaXMgYSBjaGFwdGVyIG9uIGVrcGhyYXNp cyBpbg0KCT4gdGhpcyBib29rIEkganVzdCByZXZpZXdlZC4NCgk+IGh0dHA6Ly93d3cucmFpbnRh eGkuY29tL29ubGluZS8yMDAyd2ludGVyL3RoaXJkX21pbmQuc2h0bWwNCgk+DQoJPiBGb3IgbXkg bW9uZXkgdmlzdWFsIHBvZXRyeSByZWFsbHkgaXMgYSBzZXBhcnRlIGFuZCBtb3JlICdhZHZhbmNl ZCcNCgk+IHVuZGVydGFraW5nPw0KCT4NCgk+IHRvbSBiZWxsDQoJPg0KCT4gLS0tLS0gT3JpZ2lu YWwgTWVzc2FnZSAtLS0tLQ0KCT4gRnJvbTogIkxpcG1hbiwgSm9lbCIgPEpMaXBtYW5AVVRORVQu VVRPTEVETy5FRFU+DQoJPiBUbzogPFBPRVRJQ1NATElTVFNFUlYuQlVGRkFMTy5FRFU+DQoJPiBT ZW50OiBUaHVyc2RheSwgSmFudWFyeSAwOSwgMjAwMyAxOjA3IFBNDQoJPiBTdWJqZWN0OiBGVzog cG9ldHJ5ICYgdGhlIHZpc3VhbCBhcnRzOyBla3BocmFzaXMNCgk+DQoJPg0KCT4+IEFueSByZWNv bW1lbmRhdGlvbnMgb24gcHVibGljYXRpb25zLCBoZWxwZnVsIGNvbGxlY3Rpb25zIG9yIHNpdGVz IG9uDQoJPj4gdGhlDQoJPiBzdWJqZWN0IG9mIHBvZW1zIGluc3BpcmVkIGJ5IHZpc3VhbCBhcnQs IHNwZWNpZmljIDJEIG9yIDNEIHdvcmtzLCB0aGUNCgk+IGFydCBtdXNldW0gZW52aXJvbm1lbnQs IHNpbWlsYXIgY29ubmVjdGlvbnMgb3IganV4dGFwb3NpdGlvbnM/DQoJPj4NCgk+PiBJdCdzIG5v dCB0aGUgaGlzdG9yeSBvZiB2aXN1YWwgcG9ldHJ5IEknbSBsb29raW5nIGZvciwgbm90IHZpc3Bv DQoJPiBjb2xsZWN0aW9ucyBvciBhcnRpc3QvcG9ldCBjb2xsYWJvcmF0aW9ucywgYnV0IHdoYXQg RC5HLiBLZWhsIGluIFBvZXRyeQ0KCT4gYW5kIHRoZSBWaXN1YWwgQXJ0cyAoV2Fkc3dvcnRoIFB1 YiwgMTk3NSkgcmVmZXJyZWQgdG8gYXMgInBvZW0tdmlzdWFsDQoJPiBhcnQgc2V0cywiIGUuZy4g InBvZW1zIGFuZCB0aGUgdmlzdWFsIGFydCB3b3JrcyB0aGF0IGluc3BpcmVkIHRoZW0uIg0KCT4+ DQoJPj4gVGhhbmtzLA0KCT4+IEpvZWwgTGlwbWFuDQoJPj4gW2JhY2tjaGFubmVsOiA8amxpcG1h bkB1dG5ldC51dG9sZWRvLmVkdT5dDQoJDQoNCg== ========================================================================= Date: Thu, 9 Jan 2003 22:20:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: poetry & the visual arts; ekphrasis In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1A1A8307@MSG00CV00.utad.utol edo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Yes, Willard is great on visual poetry. Check out his new Rise of Surrealism : Cubism, Dada, and the Pursuit of the Marvelous (2002) and Apollinaire, Visual Poetry, and Art Criticism (1993). Both are very interesting. Best, Joseph At 09:28 PM 1/9/03 -0500, you wrote: >Jesse Glass recommended to me Willard Bohn's Modern Visual Poetry, an=20 >excellent book filled with sly discoveries and continuities on that side of= =20 >the vispo enterprise, though unconcerned with ekphrasis. Inspiration comes= =20 >from whatevder prompts creative response. Mimesis if that's one's game, one= =20 >of the innumerable possibles as I see it. JL > > -----Original Message-----=20 > From: Sarah Riggs [mailto:sriggs@FREESURF.FR]=20 > Sent: Thu 1/9/2003 7:18 PM=20 > To: POETICS@LISTSERV.BUFFALO.EDU=20 > Cc:=20 > Subject: Re: poetry & the visual arts; ekphrasis >=09 >=09 > > If you're into the French poetry'painting evolution, there's a good > book that attempts to cover it, _Peinture et Po=C3=A9sie: Le Dialogue par= le > livre 1874-2000_, by Yves Peyr=C3=A9, Gallimard, 2001. There's no > American equivalent to my knowledge. >=09 > I think Tom Bell's point is helpful. Ekphrasis is its own can of worms, > and brings with it questions of mimesis and competition between the > arts I find grow tired. Visual poetry (or whatever one calls it) > doesn't assume it knows a difference between the arts. The idea of > the gesture as a link between drawing/writing is more 'advanced' or > exploratory from a creative perspective---maybe to the point of being > 'primitive.' >=09 > Sarah Riggs >=09 >=09 > > this topic might be of interest for fc discussion as I find that it's > > pretty common to assume I'm talking about ekphrasis when I mention > > visual poetry, webpoetry, etc.. There is a chapter on ekphrasis in > > this book I just reviewed. > > http://www.raintaxi.com/online/2002winter/third_mind.shtml > > > > For my money visual poetry really is a separte and more 'advanced' > > undertaking? > > > > tom bell > > > > ----- Original Message ----- > > From: "Lipman, Joel" > > To: > > Sent: Thursday, January 09, 2003 1:07 PM > > Subject: FW: poetry & the visual arts; ekphrasis > > > > > >> Any recommendations on publications, helpful collections or sites on > >> the > > subject of poems inspired by visual art, specific 2D or 3D works, the > > art museum environment, similar connections or juxtapositions? > >> > >> It's not the history of visual poetry I'm looking for, not vispo > > collections or artist/poet collaborations, but what D.G. Kehl in Poetry > > and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual > > art sets," e.g. "poems and the visual art works that inspired them." > >> > >> Thanks, > >> Joel Lipman > >> [backchannel: ] >=09 ========================================================================= Date: Thu, 9 Jan 2003 20:21:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: poetry & the visual arts; ekphrasis In-Reply-To: <4.1.20030109221352.041656b0@mail.ilstu.edu> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Can you let us know W Bohn's publisher(s). He does sound interesting. Thanks, Stephen V on 1/9/03 10:20 PM, Joseph Thomas at jtthoma@ILSTU.EDU wrote: > Yes, Willard is great on visual poetry. Check out his new Rise of > Surrealism : Cubism, Dada, and the Pursuit of the Marvelous (2002) and > Apollinaire, Visual Poetry, and Art Criticism (1993). Both are very > interesting. >=20 > Best, > Joseph >=20 > At 09:28 PM 1/9/03 -0500, you wrote: >> Jesse Glass recommended to me Willard Bohn's Modern Visual Poetry, an >> excellent book filled with sly discoveries and continuities on that side= of >> the vispo enterprise, though unconcerned with ekphrasis. Inspiration com= es >> from whatevder prompts creative response. Mimesis if that's one's game, = one >> of the innumerable possibles as I see it. JL >>=20 >> -----Original Message----- >> From: Sarah Riggs [mailto:sriggs@FREESURF.FR] >> Sent: Thu 1/9/2003 7:18 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Cc:=20 >> Subject: Re: poetry & the visual arts; ekphrasis >>=20 >>=20 >>=20 >> If you're into the French poetry'painting evolution, there's a good >> book that attempts to cover it, _Peinture et Po=C3=A9sie: Le Dialogue par le >> livre 1874-2000_, by Yves Peyr=C3=A9, Gallimard, 2001. There's no >> American equivalent to my knowledge. >>=20 >> I think Tom Bell's point is helpful. Ekphrasis is its own can of worms, >> and brings with it questions of mimesis and competition between the >> arts I find grow tired. Visual poetry (or whatever one calls it) >> doesn't assume it knows a difference between the arts. The idea of >> the gesture as a link between drawing/writing is more 'advanced' or >> exploratory from a creative perspective---maybe to the point of being >> 'primitive.' >>=20 >> Sarah Riggs >>=20 >>=20 >>> this topic might be of interest for fc discussion as I find that it's >>> pretty common to assume I'm talking about ekphrasis when I mention >>> visual poetry, webpoetry, etc.. There is a chapter on ekphrasis in >>> this book I just reviewed. >>> http://www.raintaxi.com/online/2002winter/third_mind.shtml >>>=20 >>> For my money visual poetry really is a separte and more 'advanced' >>> undertaking? >>>=20 >>> tom bell >>>=20 >>> ----- Original Message ----- >>> From: "Lipman, Joel" >>> To: >>> Sent: Thursday, January 09, 2003 1:07 PM >>> Subject: FW: poetry & the visual arts; ekphrasis >>>=20 >>>=20 >>>> Any recommendations on publications, helpful collections or sites on >>>> the >>> subject of poems inspired by visual art, specific 2D or 3D works, the >>> art museum environment, similar connections or juxtapositions? >>>>=20 >>>> It's not the history of visual poetry I'm looking for, not vispo >>> collections or artist/poet collaborations, but what D.G. Kehl in Poetry >>> and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual >>> art sets," e.g. "poems and the visual art works that inspired them." >>>>=20 >>>> Thanks, >>>> Joel Lipman >>>> [backchannel: ] >>=20 ========================================================================= Date: Thu, 9 Jan 2003 21:08:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: "the scar LETLET er" 1: audiocassette of "Jane Seymour reads THE SCARLET LETTER by Nathaniel Hawthorne" (Multilingua Inc. 1987), FED INTO MICROSOFT WORD'S VOICE-TO-TEXT OPTION MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii . . . . "the scar LETLET er" 1: audiocassette of "Jane Seymour reads THE SCARLET LETTER by Nathaniel Hawthorne" (Multilingua Inc. 1987), FED INTO MICROSOFT WORD'S VOICE-TO-TEXT OPTION ------------------------------------------------------- http://www.geocities.com/jeffreyjullich/thescarLETLETer.htm ------------------------------------------------------- And so it won't all and the world can't count on it for granted that can go into it around but with the current error in and out of action find one in an accident in "a group of bay and John Kerr green people ground and we can remain on the front would be dollar average with Huntington, and that time on a time when union, and Mandy Patinkin I'm the one time on the intimate loss of walks in advance for real. 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T.-E. and I three because this was descending and they needed imagined that hundred provinces and down all this with a protestant restoring the animals and how long I haven't come to the community and cable guys take a different view than ------------------------------------------------------- http://www.geocities.com/jeffreyjullich/thescarLETLETer.htm ------------------------------------------------------- __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 9 Jan 2003 21:45:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Sam’s because pagan Kowalewski lowdown copybook does the poem produce meaning? and soon thereafter into erotica Gottfried vestal serendipity cervix Fontaine Faustian grandma butchery vehicle Aviv rake acrylate venison jealous being of elementary particles to the plans and prayers thought you said let's not get personal soul loves. Here the performance cremate absentee liquid geochemistry unctuous Instead I'd sort of let things be what they full stop. Stooping down, we a nearby house. In that sudden delirious pun innumerable bandy Raphael bourn concession team jogging I prove that. Well, if I approach those such books as contain the soundest architect. The goal is that the architect can is not subtle enough and involves too were a crowd of the technology. Hence, to determine the potential of snails. And those are just the "bugs" that you powerful impulse Ah What's missing from these events, as a projectile passes through an little caps. Acorns vary considerably the darkness of distant horizons... For the people of non-existence, the world was full lean creational genesis. 2. To adopt the thesis that transmissible flag horror tension wholesale Janeiro SKY I don't know if it's the season & obvious to me, but people like those earth, With the young-eyed Stars enkindled fresh as at what used to be cinema's defining characteristics have become the end. steams against my bosom comes is a kind of rhyme that I’ve become for me I don't think so We democracy pixy rowdy afford silverware Mae downgrade vase Rooms imagined beneath the sky, recognized by their time that they formed, a wholly just as much, their edges cut fluorspar enzymatic alfonso retardant Neanderthal tomb presage the future--the night of time. If we of the I Ching, the most ancient of delight from the hours of seven hills, it hiding Let me tell you Saltine like a mouthful of miniature ocean, out up Don't be afraid of this twin Don't low-income parents obtain the skills and "as is," is simpl e and brain, you can have a life-like action completion old songs twentieth The Greeks, the Romans, the English, all began by observing, the nature of effect of this generalizing tendency has been wife, should you own one? in using mechanical and artificial means all. I have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? The I. Here we are, all of Ferreira fade altercate Imbrium crumb matinal Cooley source of your letter (in the We are secure and lasting. The quiet times wise, physical ghosts from the full-life world, elements of problems, and of course the American people is as empty as her succeeding completely, and, like the skull, became fossilized (mineralized), network of transmissions, parity and even ignorance? The problem of the Mental effort. It never worked, but it is gone forever, but it's the three-dimensional space, to view flat images God actually existing? and pulled the lamp up said was 'go on', but that seduction inexpedient moiety Colombia sociology deuterium tepee Felicia infinitive terrain vigilantism bartender Panamanian surveillant Napoleon. Would he like it inscrutable envious Peale lax fission glen sorb cypress numbly tradeoff polarimeter dorsal planoconvex taboo askew of commuting observables." Observables from different sets are "noncommuting cometh predicament adjust precise Yost from the ordered, rational modern society. In of composition, but not at augment their personal creativity. Alan Turing, who knew and blood flow, those parallel can be concentric politics rock vestal congest incarcerate Vaughn gossamer southward flying, In the life life-giving, in accordance with the picture illiteracy ward louver rigorous argumentation orangeroot typescript Hitler fullers of the land? When he bid Sicilian slight vane Chautauqua pietism Faustus eldest up a revelatory quiver? Yes. But maybe I glanced Quantity of Gold and Silver the extension of bodies than by our senses, It's a little worrisome that NeuStar striate upbraid legatee khaki allotted want to make buttons out repeated silent Digital utopianism is still with us. xylene McNeil Jonathan apices sextic derail phosgene final colonel Volterra quickstep Gujarat be the point of space chosen by the Explorer plan to balance the budget that is indecision model blandish hemming Susan hubris magnolia moiety of reference without interference, a system in which the sabbatical convention Evansville Banach Leonid Lumpur cloaca bucolic and a fearful thing to die. I matrix intention skipping arsenal vacationland Philippine imitable upriver Gatlinburg jackal Aileen fern dualism trump liana Charleston the pleasures of movement and dynamite miracle blueprint Nevins steak tease devolution because "it denies the ideological nature of meld ferromagnetic jail box frizzy gotten velar evasive on the floor. I must find that term like then leaping away once more." mask I have made something new. I grow within a text, how the oppositions are hierarchical this until it replaces internal monolog yapping sketchpad malocclusion wasting Atlantic tonight no will to rise. It disrespect than a perfectly cultivated writer has trodden down the lion and the dragon. these buds and trees; this tameless wants to be a chippie. It gets is the voice of the muse.Sound poetry, they are transparent on the polyvalent "reality." Popular music provides barkeep emaciate front sporadic pushy keen launch back. Quantum mechanics, however, says that there is a over, little buds ---open delicately, a good day that I have learned dusting off the monuments and looking for a heritage snoopy benevolent egret ascension Palmolive interactivity gets an evident meaning. wanting to live! who also soon will bag graven ganglion flopping technocrat plate voluntarism manufacture contumacy compositor dynamite miracle blueprint Nevins steak tease devolution Zoroastrian it studied or permitted to be studied everywher e with going down. We are all going take this principle more generally, and if possible even beachcomb adjacent vortices bury dilatory craven monad einsteinium prefatory sec timid topologize Vail MD snuffer Indeed the spatial design of the poem is such as typically visit upon FAA inclement equipped actinolite aspen BTL postlude moot shorebird piss gristmill downspout psychosis skimming Sykes Oceania Barclay headache falling (Pause, turns away) --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Thu, 9 Jan 2003 21:50:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: I therefore think I am In-Reply-To: <20030110050829.21762.qmail@web40810.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I am having a thought. Details at 11. -m PS The following are actual linked words on Google (mainly acronyms): glarp glerp glirp glorp glurp glyrp ========================================================================= Date: Fri, 10 Jan 2003 00:49:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? In-Reply-To: <20030110054526.48562.qmail@web40504.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Nice code work. -g At 09:45 PM 1/9/2003 -0800, M. Bogue wrote: >Sam's because pagan Kowalewski lowdown copybook does the poem produce >meaning? and soon thereafter into erotica Gottfried vestal serendipity >cervix Fontaine Faustian grandma butchery vehicle Aviv rake acrylate >venison jealous being of elementary particles to the plans and prayers >thought you said let's not get personal soul loves. Here the performance >cremate absentee liquid geochemistry unctuous Instead I'd sort of let >things be what they full stop. Stooping down, we a nearby house. In that >sudden delirious pun innumerable bandy Raphael bourn concession team >jogging I prove that. Well, if I approach those such books as contain the >soundest architect. The goal is that the architect can is not subtle >enough and involves too were a crowd of the technology. Hence, to >determine the potential of snails. And those are just the "bugs" that you >powerful impulse Ah What's missing from these events, as a projectile >passes through an little caps. Acorns vary considerably the darkness of >distant horizons... For the peo ========================================================================= Date: Fri, 10 Jan 2003 00:22:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: Re: have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit wonderful! please contact me! cheers, augie ----- Original Message ----- From: "M. Bogue" To: Sent: Thursday, January 09, 2003 9:45 PM Subject: have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? > Sam's because pagan Kowalewski lowdown copybook does the poem produce meaning? and soon thereafter into erotica Gottfried vestal serendipity cervix Fontaine Faustian grandma butchery vehicle Aviv rake acrylate venison jealous being of elementary particles to the plans and prayers thought you said let's not get personal soul loves. Here the performance cremate absentee liquid geochemistry unctuous Instead I'd sort of let things be what they full stop. Stooping down, we a nearby house. In that sudden delirious pun innumerable bandy Raphael bourn concession team jogging I prove that. Well, if I approach those such books as contain the soundest architect. The goal is that the architect can is not subtle enough and involves too were a crowd of the technology. Hence, to determine the potential of snails. And those are just the "bugs" that you powerful impulse Ah What's missing from these events, as a projectile passes through an little caps. Acorns vary considerably the darkness of distant horizons... For the people of non-existence, the world was full lean creational genesis. 2. To adopt the thesis that transmissible flag horror tension wholesale Janeiro SKY I don't know if it's the season & obvious to me, but people like those earth, With the young-eyed Stars enkindled fresh as at what used to be cinema's defining characteristics have become the end. steams against my bosom comes is a kind of rhyme that I've become for me I don't think so We democracy pixy rowdy afford silverware Mae downgrade vase Rooms imagined beneath the sky, recognized by their time that they formed, a wholly just as much, their edges cut fluorspar enzymatic alfonso retardant Neanderthal tomb presage the future--the night of time. If we of the I Ching, the most ancient of delight from the hours of seven hills, it hiding Let me tell you Saltine like a mouthful of miniature ocean, out up Don't be afraid of this twin Don't low-income parents obtain the skills and "as is," is simple and brain, you can have a life-like action completion old songs twentieth The Greeks, the Romans, the English, all began by observing, the nature of effect of this generalizing tendency has been wife, should you own one? in using mechanical and artificial means all. I have been a damn fool all my arbitrary language practices that have become second nature to door shatters its face? The I. Here we are, all of Ferreira fade altercate Imbrium crumb matinal Cooley source of your letter (in the We are secure and lasting. The quiet times wise, physical ghosts from the full-life world, elements of problems, and of course the American people is as empty as her succeeding completely, and, like the skull, became fossilized (mineralized), network of transmissions, parity and even ignorance? The problem of the Mental effort. It never worked, but it is gone forever, but it's the three-dimensional space, to view flat images God actually existing? and pulled the lamp up said was 'go on', but that seduction inexpedient moiety Colombia sociology deuterium tepee Felicia infinitive terrain vigilantism bartender Panamanian surveillant Napoleon. Would he like it inscrutable envious Peale lax fission glen sorb cypress numbly tradeoff polarimeter dorsal planoconvex taboo askew of commuting observables." Observables from different sets are "noncommuting cometh predicament adjust precise Yost from the ordered, rational modern society. In of composition, but not at augment their personal creativity. Alan Turing, who knew and blood flow, those parallel can be concentric politics rock vestal congest incarcerate Vaughn gossamer southward flying, In the life life-giving, in accordance with the picture illiteracy ward louver rigorous argumentation orangeroot typescript Hitler fullers of the land? When he bid Sicilian slight vane Chautauqua pietism Faustus eldest up a revelatory quiver? Yes. But maybe I glanced Quantity of Gold and Silver the extension of bodies than by our senses, It's a little worrisome that NeuStar striate upbraid legatee khaki allotted want to make buttons out repeated silent Digital utopianism is still with us. xylene McNeil Jonathan apices sextic derail phosgene final colonel Volterra quickstep Gujarat be the point of space chosen by the Explorer plan to balance the budget that is indecision model blandish hemming Susan hubris magnolia moiety of reference without interference, a system in which the sabbatical convention Evansville Banach Leonid Lumpur cloaca bucolic and a fearful thing to die. I matrix intention skipping arsenal vacationland Philippine imitable upriver Gatlinburg jackal Aileen fern dualism trump liana Charleston the pleasures of movement and dynamite miracle blueprint Nevins steak tease devolution because "it denies the ideological nature of meld ferromagnetic jail box frizzy gotten velar evasive on the floor. I must find that term like then leaping away once more." mask I have made something new. I grow within a text, how the oppositions are hierarchical this until it replaces internal monolog yapping sketchpad malocclusion wasting Atlantic tonight no will to rise. It disrespect than a perfectly cultivated writer has trodden down the lion and the dragon. these buds and trees; this tameless wants to be a chippie. It gets is the voice of the muse.Sound poetry, they are transparent on the polyvalent "reality." Popular music provides barkeep emaciate front sporadic pushy keen launch back. Quantum mechanics, however, says that there is a over, little buds ---open delicately, a good day that I have learned dusting off the monuments and looking for a heritage snoopy benevolent egret ascension Palmolive interactivity gets an evident meaning. wanting to live! who also soon will bag graven ganglion flopping technocrat plate voluntarism manufacture contumacy compositor dynamite miracle blueprint Nevins steak tease devolution Zoroastrian it studied or permitted to be studied everywhere with going down. We are all going take this principle more generally, and if possible even beachcomb adjacent vortices bury dilatory craven monad einsteinium prefatory sec timid topologize Vail MD snuffer Indeed the spatial design of the poem is such as typically visit upon FAA inclement equipped actinolite aspen BTL postlude moot shorebird piss gristmill downspout psychosis skimming Sykes Oceania Barclay headache falling (Pause, turns away) > > > > --------------------------------- > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.434 / Virus Database: 243 - Release Date: 12/26/2002 ========================================================================= Date: Fri, 10 Jan 2003 00:54:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: 2 loop poems Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit opusloop #0005..................excerpt sobbed liked tackle life head____towards fresh brian nodded secretary____tight jeans face time play chess____learning goodwin water criminalizing____fulfilled placid ____both energy sobbed liked tackle life head____advocated congress change towards fresh brian nodded secretary forgive percent united states money help____much southern queen show sabrina tight jeans face time play chess stern reductions strategic nuclear china entry wto learning goodwin water criminalizing soundboards bloc limits replaces based ceilings fulfilled placid weed imported president council such drug both energy english? spluttered permit anything sobbed liked tackle life head____european mainstream southeast economic encourage advocated congress change self-sure normal doctor patient towards fresh brian nodded secretary forgive percent united states money help____tax powers never felt greater pleasure much southern queen show sabrina president expanded threat reduction initiative etri tight jeans face time play chess stern forgive percent united states money help____ireland representative human including reductions strategic nuclear china entry wto promptly learning goodwin water criminalizing soundboards stern ? asked removed trace face bloc limits replaces based ceilings clock tower chimed fulfilled placid weed soundboards committed transfer conventional wmd key imported president council such drug Princes supernatural beauty both energy english? spluttered permit anything weed sobbed liked tackle life head____caps student show century european mainstream southeast economic encourage big hates prowl banditti try advocated congress change self-sure normal doctor patient english? spluttered permit anything towards fresh brian nodded secretary____charged sexual content frame mind tax powers never felt greater pleasure michael felt herself trembling hoped voice much southern queen show sabrina president expanded threat reduction initiative etri self-sure normal doctor patient tight jeans face time play chess____charged sexual content frame mind ireland representative human including tom thumb reductions strategic nuclear china entry wto promptly president expanded threat reduction initiative etri learning goodwin water criminalizing____steamers ply guadalquivir side exactly ? asked removed trace face pulling door startled expression bloc limits replaces based ceilings clock tower chimed promptly fulfilled placid ____baltic states based provides strengthening ties committed transfer conventional wmd key thracia imported president council such drug Princes supernatural beauty clock tower chimed both energy____during maybe david moorish caps student show century shut european mainstream southeast economic encourage big hates prowl banditti try Princes supernatural beauty advocated congress change____united states produce goods services more charged sexual content frame mind pleasant tax powers never felt greater pleasure michael felt herself trembling hoped voice big hates prowl banditti try much southern queen show sabrina____stayed pleasure presence needed charged sexual content frame mind Something unexpected words sweet child voice stirred ireland representative human including tom thumb michael felt herself trembling hoped voice reductions strategic nuclear china entry wto____halt gross violations democratization adherence steamers ply guadalquivir side exactly much southern queen show sabrina ? asked removed trace face pulling door startled expression tom thumb bloc limits replaces based ceilings____japan indigenous satellite program work closely japan baltic states based provides strengthening ties rasp committed transfer conventional wmd key thracia pulling door startled expression imported president council such drug fun first time such during maybe david moorish front touching hardened cock caps student show century shut thracia european mainstream southeast economic encourage____economic growth initiatives apec opportunities united states produce goods services more primitive charged sexual content frame mind pleasant shut tax powers never felt greater pleasure____girl smiled walters night stayed pleasure presence needed upkeep charged sexual content frame mind Something unexpected words sweet child voice stirred pleasant ireland representative human including____tape kindness hall crammed end end halt gross violations democratization adherence open-fully implemented united wto dispute agreements discrimination efforts combat violence property rights steamers ply guadalquivir side exactly much southern queen show sabrina Something unexpected words sweet child voice stirred ? asked removed trace face____congress able international affairs accounts un japan indigenous satellite program work closely japan school polite company probably best water second baltic states based provides strengthening ties rasp much southern queen show sabrina committed transfer conventional wmd key____information transactions involving funds transmitted fun first time such perfect during maybe david moorish front touching hardened cock rasp caps student show century____western sahara un mission east timor hanky economic growth initiatives apec opportunities threaten united states produce goods services more primitive front touching hardened cock charged sexual content frame mind____components shaping threats uncertain future ambassador girl smiled walters night saliva stayed pleasure presence needed upkeep primitive charged sexual content frame mind____seek compatibility procedures potentially tape kindness hall crammed end end offended halt gross violations democratization adherence open-fully implemented united wto dispute agreements discrimination efforts combat violence property rights upkeep steamers ply guadalquivir side exactly____wobbling ass moans drove hard melinda congress able international affairs accounts un heat Sparks flew wings wind mouth hole scattered horses japan indigenous satellite program work closely japan school polite company probably best water second open-fully implemented united wto dispute agreements discrimination efforts combat violence property rights baltic states based provides strengthening ties____gigantic gleaming serpent racing information transactions involving funds transmitted sea fun first time such perfect school polite company probably best water second during maybe david moorish____both sides united states arrangements providing western sahara un mission east timor hanky agreement strategic strategic nations non economic growth initiatives apec opportunities threaten perfect united states produce goods services more____both sides united states arrangements providing components shaping threats uncertain future ambassador morning Avery Cole left village ultimate destination girl smiled walters night saliva threaten stayed pleasure presence needed____today? aaron whispered tangle prepared seek compatibility procedures potentially room desk large windows opened corridor tier tape kindness hall crammed end end offended saliva halt gross violations democratization adherence____kids tina slut scene time wobbling ass moans drove hard melinda wave congress able international affairs accounts un heat Sparks flew wings wind mouth hole scattered horses offended japan indigenous satellite program work closely japan____neck diamond high hit grabbed hair gigantic gleaming serpent racing hopefully hung fireplace friends called Santa Claus information transactions involving funds transmitted sea heat Sparks flew wings wind mouth hole scattered horses fun first time such____dangers posed conventional arms sensitive dual both sides united states arrangements providing paradise western sahara un mission east timor hanky agreement strategic strategic nations non sea economic growth initiatives apec opportunities____problems national implications cases trafficking both sides united states arrangements providing mooring components shaping threats uncertain future ambassador morning Avery Cole left village ultimate destination agreement strategic strategic nations non girl smiled walters night____activity negotiated vigorously agreements today? aaron whispered tangle prepared ridicule seek compatibility procedures potentially room desk large windows opened corridor tier morning Avery Cole left village ultimate destination tape kindness hall crammed end end____survival end sustain comprehensive kids tina slut scene time chee sometimes onto factory opusloop #0006..................excerpt bride invalid grandfather slightly younger sister more____Evringham drew lithe figure Eloise hope limits____die mynheer sickness goes?____careful hoofs shaking logs much hour leaving____appear showed form monstrous beast towering strike____doorman sofa sigh relief bride invalid grandfather slightly younger sister more____determined apprehend terrorize american citizens Evringham drew lithe figure Eloise hope limits Rafe Tom town morning sled roans?____Momsey chance really thus far case more die mynheer sickness goes? stern ? retorted Carl angrily alarm sure careful hoofs shaking logs much hour leaving soundboards awful suspected ring appear showed form monstrous beast towering strike weed admit dweller really want doorman sofa sigh relief contacted idea peel bride invalid grandfather slightly younger sister more____God bless soul cried expression clear pious aspiration determined apprehend terrorize american citizens self-real cock more picture Evringham drew lithe figure Eloise hope limits Rafe Tom town morning sled roans?____cap bishop miter golden hair Momsey chance really thus far case more quit die mynheer sickness goes? stern Rafe Tom town morning sled roans?____motionless moment ? retorted Carl angrily alarm sure promptly careful hoofs shaking logs much hour leaving soundboards stern descending high heels awful suspected ring sound door closing hall Laura jumped mind snapping appear showed form monstrous beast towering strike weed soundboards child corner house leading pet halter mane pressed admit dweller really want mixed pinched rest rascals doorman sofa sigh relief contacted idea peel weed bride invalid grandfather slightly younger sister more____bride closed eyes answered God bless soul cried expression clear pious aspiration desperate love Drummond doesn't someone else determined apprehend terrorize american citizens self-real cock more picture contacted idea peel Evringham drew lithe figure Eloise hope limits____city man spent life Wall Street bound show face course cap bishop miter golden hair renew Momsey chance really thus far case more quit self-real cock more picture die mynheer sickness goes?____city man spent life Wall Street bound show face course motionless moment tom thumb? retorted Carl angrily alarm sure promptly quit careful hoofs shaking logs much hour leaving____pity heart descending high heels i europe more recent economic success awful suspected ring sound door closing hall Laura jumped mind snapping promptly appear showed form monstrous beast towering strike____economic activities training armed forces help child corner house leading pet halter mane pressed thracia admit dweller really want mixed pinched rest rascals sound door closing hall Laura jumped mind snapping doorman sofa sigh relief____exactly sort plan morning bride closed eyes answered shut God bless soul cried expression clear pious aspiration desperate love Drummond doesn't someone else mixed pinched rest rascals determined apprehend terrorize american citizens____political freedom independence united states city man spent life Wall Street bound show face course pleasant cap bishop miter golden hair renew desperate love Drummond doesn't someone else Momsey chance really thus far case more____absence gracefully flight decided city man spent life Wall Street bound show face course bulk motionless moment tom thumb renew ? retorted Carl angrily alarm sure____keeps thee Hans? sang echo song beneath boy whistling pity heart Momsey chance really thus far case more descending high heels i europe more recent economic success tom thumb awful suspected ring____deserts drawing fire found dark med economic activities training armed forces help rasp child corner house leading pet halter mane pressed thracia i europe more recent economic success admit dweller really want____stunning creature sunlight bathed young beauty face exactly sort plan morning violating basic rights seek bride closed eyes answered shut thracia God bless soul cried expression clear pious aspiration____home nations deter aggression political freedom independence united states primitive city man spent life Wall Street bound show face course pleasant shut cap bishop miter golden hair____information course resume journey absence gracefully flight decided upkeep city man spent life Wall Street bound show face course bulk pleasant motionless moment____hours something woman never keeps thee Hans? sang echo song beneath boy whistling open-girl smiling patted seat beside sure Roberto son Marco nephew pity heart Momsey chance really thus far case more bulk descending high heels____abm treaty consider possible changes treaty deserts drawing fire found dark med school during maybe david moorish economic activities training armed forces help rasp Momsey chance really thus far case more child corner house leading pet halter mane pressed____organizations save lives worse stunning creature sunlight bathed young beauty face perfect exactly sort plan morning violating basic rights seek rasp bride closed eyes answered____inch inside inch wheel closer home nations deter aggression threaten political freedom independence united states primitive violating basic rights seek city man spent life Wall Street bound show face course____plan committees met end information course resume journey saliva absence gracefully flight decided upkeep primitive city man spent life Wall Street bound show face course____Brillites sounded loudly Roxley followers short hours something woman never offended keeps thee Hans? sang echo song beneath boy whistling open-girl smiling patted seat beside sure Roberto son Marco nephew upkeep pity heart____overall effort promote economic development create abm treaty consider possible changes treaty father heart wife seated herself nearest deserts drawing fire found dark med school during maybe david moorish open-girl smiling patted seat beside sure Roberto son Marco nephew economic activities training armed forces help____Umm Shirley asked? aware Dorothy trembled organizations save lives worse sea stunning creature sunlight bathed young beauty face perfect school during maybe david moorish exactly sort plan morning____world third largest democracy strongly supports united inch inside inch wheel closer Eloise room closing door drawers box contained home nations deter aggression threaten perfect political freedom independence united states____world third largest democracy strongly supports united plan committees met end small building information course resume journey saliva threaten absence gracefully flight decided____Dutch enormous mouthfuls universally fond potatoes boiled Brillites sounded loudly Roxley followers short sustain engagement selective hours something woman never offended saliva keeps thee Hans? sang echo song beneath boy whistling____seminary authorities placed Laning overall effort promote economic development create wave abm treaty consider possible changes treaty father heart wife seated herself nearest offended deserts drawing fire found dark med____attitude irritated owner store Instantly expression changed Umm Shirley asked? aware Dorothy trembled project Father never settled something organizations save lives worse sea father heart wife seated herself nearest stunning creature sunlight bathed young beauty face____entire passionately world third largest democracy strongly supports united paradise inch inside inch wheel closer Eloise room closing door drawers box contained sea home nations deter aggression____chelle room inch dick does tend skew world third largest democracy strongly supports united mooring plan committees met end small building Eloise room closing door drawers box contained information course resume journey____course reductions united states former soviet Dutch enormous mouthfuls universally fond potatoes boiled ridicule Brillites sounded loudly Roxley followers short sustain engagement selective small building hours something woman never____factors chiefly influenced decision first due feeling world seminary authorities placed Laning course questioned hired help? overall effort promote economic development create wave sustain engagement selective abm treaty consider possible changes treaty____fashioned debt initiative calls international attitude irritated owner store Instantly expression changed nicer Umm Shirley asked? aware Dorothy trembled project Father never settled something wave organizations save lives worse____demand alleviates --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.434 / Virus Database: 243 - Release Date: 12/26/2002 ========================================================================= Date: Fri, 10 Jan 2003 03:47:18 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit what do you think? Please mark a mental note of your immediate answer to the question in my subject line and then keep reading. I'd like to ask for assistance in focussing some ideas, if I may. Many of the posters to this list write computer-code-based poetry or have things to say about it. Computer code is not exactly what I'm interested in, but I'm wondering what the larger context for that might be (what kind of poetry is it?), without expanding the boundaries of context to infinity: does it, for example, bear a relation to Oulipian practice? Lipograms? What about anagrams? The project that was just posted by Jeffrey Jullich in which the audiobook was fed through MS Word's voice recognition software? Kenneth Goldsmith's collection of mondegreens or his project in which he wrote down everything he said for a week? Darren Wershler-Henry's experiments with spam-bot poisoner program text? I know this is a pretty wide net, but what I see linking all these things is the poet giving up a degree of her/his control (actually, mostly _his_, it seems: I'd like to have some examples of women writing this way) in favour of some program or automated procedure, whether it is a set of rules (more restrictive than the rules of sonnets or haiku) or machinery... Is it reasonable to lump these things together? And if so would programmatic poetry be a fair name? Would conceptual poetry strike closer to the mark? Process-oriented? There is always a process, but in these projects the process is highlighted. Any lipogrammatic or anagrammatic writer must face the question of whether a computer might not be more able to efficiently produce such texts, which are largely defined by the lexicon or paradigm available and by the syntactical constraints imposed — in other words, texts which are essentially the product of programs. Here's a quote from Christian Bök —author of the Oulipo-influenced Eunoia — "We may exalt the poets of the future, not because they can write great poems, but because they can program devices that can write great poems for us." (ubuweb) I don't think he was talking about code. Oulipo+cyber-poetry=? Other examples? I'd appreciate your thoughts about these questions, or tell me why you think they are not the right questions. Corey Frost -- Corey Frost 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Fri, 10 Jan 2003 04:03:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Slam Poetics -or-Who Is Bill Kennedy? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Thu, 9 Jan 2003 11:04:14 -0500 > From: Jack Ruttan > Subject: Those darn Poet Laureates! (FWD) > > From the CBC Radio website: > http://cbc.ca/artsCanada/stories/bowering060103 > Poet laureate, spoken word poets clash > Last Updated 2003-01-06 > > Trevor Hughes, The Arts Report > > VANCOUVER - Canada's newly appointed poet laureate has started a war > of words with a spoken word poet based in Vancouver. > > In a recent Globe and Mail article, poet laureate George Bowering > denounced slam, or spoken word, poetry and poetry competitions as > "revolting." > > Treating poetry as a competition is "crude and extremely revolting", > Bowering told the Globe. > > Vancouver-based spoken word poet T. Paul Ste. Marie says he's angry, > and has received dozens of e-mails from other frustrated slam poets. George Bowering, the Canadian Laureate in gold trunks in the far corner comes in with a slam against slam- GS slams back for slam- another slam against George's slam against slam from Parrishka with a veritable tidal wave of punches on favor of slam in a brilliant strategic proto match from Bill Kennedy- Sherlock groans, swaying against the outside ropes- Frazier calls foul- Ian Van Heusen comes in for a hard slam against Bill Kennedy -and the question is who is Bill Kennedy anyway?- Ian pulls back on his second punch-Bill Kennedy is, in fact, not William Kennedy- Golumbia in for a foul call from outside the ring- Bill Kennedy was, in fact, a minor movie star from the 50's, good for the slam poets for discovering him- and now its another Canadian heavyweight, Kevin Davies in with a sharp poetics terminology punch at Vernon Frazier- Truscott calls foul-Bill Kennedy is, in fact, Bill Kennedy of Toronto-Gerald Schwartz comes back with another clarification- > In the late '80's, early '90's William Kennedy was present at some of the > poetry and, yes, slam events in Albany, namely those at QE2 and the Eighth > Step Coffee House, which is where I met him. Sherlock calls foul on the- language- punch... and it's the Vancouver victor Davies back from outside the ring...he's clarifying his language poetics punch- Bowering comes back from the ropes with a foul call- Vernon Frazier in there for a clinch with Davies -Bowering back with a sideways slam on clarifications and now its Gallaher calling foul on slam terminology- Komminos comes out of the close corner with a real heavy print clarification slam at Gallaher -and folks- this is amazing- here comes Gudding from the close corner in red trunks with a mighty slam in favor of universal slam poetry... ladies and gentleman its looking like slam is looking pretty good- oops here comes Nudel slamming slam- Murat slams another slam in favor of Gudding and the great Northern Laureate Bowering is on the ropes- waiting to hear from the poetry prince of Canada folks-and its Pierre Joris- the Albany bard hitting hard for slam... > To which one could add Pindar & those Olympic greek slams, plus, say Shakespeare & Marlowe squaring it off for the $ favors of a noble > benefactor with their 2 poems written for the occasions of such > meetings, and a millenia long tribal traditions of boast poems Do we have a comment from Bowering? Yes- yes...he's back in the ring > No no. Bill Kennedy was a not-quite-good-enough forward in the > American Hockey League for about 20 years in the fifties and sixties. > He once scored 12 goals and 22 assists in a single season for the > Cleveland Barons. > --- what a game... So who says poetics poets can't slam with the best of 'em...what a fight...what a match...slam poetics at the top of its form...a technical knockout...Bowering sways at the ropes... -Nick- ========================================================================= Date: Fri, 10 Jan 2003 02:30:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: laPse ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit seems a bad translation of 'recuperable': last laugh for a slow dance. the most beer will float away the prize. and i hope it is a raft. dodge that. southern climbs make amazing monkeys dance and dangle and if you could only tap dance the best... convince us... that is talent? you win. again, tangential to deciduous impermanence. such an ever green winter as ours. where one minute you need your coat and the next your friends are out jogging. code work is an excuse, or at the very least a new car. let us all find one in some ditch, fix it up and show it off for our friends. though, most of mine are computer programs. even they can hold their liquour better than that damn albatross i found strapped to my mailbox. and then we're supposed to give it all up for offices. a shame that channels can't read snuff. welcome back. it has been so long without a warm fire and some biscuits. salley up. we'll write better than any sort of cockatoo. hoo hoo. my kingdom for a horse. ah poetics... ========================================================================= Date: Fri, 10 Jan 2003 05:16:14 -0500 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: slam and poetry MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit There are a lot of things which irk me about this thread so far, so I have some questions. First though, I was really gladdened to see G.Gudding's post on the long history of poetry "competition"- thanks for that. I'd add that I find it naïve to suppose that yer regular contemporary poetry reading is free of competitiveness itself, as if people just don't care who the better poets are: "we're all winners, after all." Now, I think a lot of slam poetry is pretty unsophisticated (a lot of fiction is unsophisticated too, but I don't expect it to find another name for itself), but I find that some of the comments here reveal a rather unsophisticated understanding of poetry slams. I doubt that any slam poets do it for the money, and I don't even think they do it to win the competition. Perhaps they do it because it has an audience, one that doesn't only consist of other poets. And while some slam poets may be a little over-earnest about it these days, I think it's important to understand that the slam is a show, it's a choreographed performance in which all the "competitors" co-conspire. You have to give slam poets credit for recognizing that poetry is not really about competition; that part of it is a gimmick. It has always been that way, since the form was conceived in the 80's. (Check out "An Incomplete History of the Slam" http://www.e-poets.net/library/slam/). This was before my time, but apparently Anne Waldman and Ted Berrigan staged a "poetry bout" dressed up in boxing gear back in 1979. The costumes, of course, were in jest, but the poetry was not. H. Nudel sort of hit on this when he posted that slams are to poetry as pro. wrestling is to violence, except that's not quite right: you might say slams are to poetry as pro wrestling is to dance. Another mildly irksome thing is the conflation of poetry slams and spoken word, which Bill Kennedy definitely does and which CBC quotes Mr. Laureate G. Bowering as doing. Mr. Bowering, I have a lot of respect for your writing and yourself, but did you really say (I can't find the original Globe and Mail article, can someone post a link?) that "poetry as performance is crude and extremely revolting" as a Globe letter-writer says you did? You're not serious, are you? As for Mr. Kennedy, can anyone take that seriously? It may be on the mark with regards to some slam poets (who are often practically teenagers, let's be frank, so lay off), but it's just a dumb parody, not even funny, and seems to have a pretty fuzzy grasp of what a poetry slam is, even. What I was saying though, is that spoken word, as I understand it, is a much bigger field than just poetry slams. In Montreal, which is where I am from, there is a thriving bilingual performance-literature scene, with an enthusiastic audience that calls the form by the name "spoken word" mostly without embarassment, and there hasn't been a slam there in years. I was a bit disappointed when I realized that "spoken word" has such negative connotations in the US, and is often conflated with slams. Now I see that there are plenty of Canadians who have the same glossary. So my question is, and I really want to know, what do you think spoken word means? Doesn't it encompass a large range of poetry performance/storytelling? But it's not just poetry performed at a reading, though, is it? Does it make a difference if the work is memorized? And what do you call the work of people like Edwin Torres, or Emily XYZ, or "Swifty Lazarus", or Willie Perdomo, or Sheri D. Wilson, or even Spalding Grey, or Karen Finley, and why not spoken word? I'm sorry to harp on another question of nomenclature. And sorry to be so verbose about two things in one night. -- Corey Frost 135 Plymouth St. #309A, Brooklyn, NY 11201 cfrost@gc.cuny.edu Bits World: www.attcanada.ca/~coreyf ========================================================================= Date: Fri, 10 Jan 2003 07:03:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: poetry & the visual arts; ekphrasis In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Rise of Surrealism is published by State University of New York P; Apollinaire, Visual Poetry, and Art Criticism is published by Bucknell UP; and Modern Visual Poetry is published by U of Delaware P. He has several other books of equal interest. Check out Books in Print. Best, Joseph At 08:21 PM 1/9/03 -0800, you wrote: >Can you let us know W Bohn's publisher(s). He does sound interesting. >Thanks, >Stephen V > >on 1/9/03 10:20 PM, Joseph Thomas at jtthoma@ILSTU.EDU wrote: > >> Yes, Willard is great on visual poetry. Check out his new Rise of >> Surrealism : Cubism, Dada, and the Pursuit of the Marvelous (2002) and >> Apollinaire, Visual Poetry, and Art Criticism (1993). Both are very >> interesting. >>=20 >> Best, >> Joseph >>=20 >> At 09:28 PM 1/9/03 -0500, you wrote: >>> Jesse Glass recommended to me Willard Bohn's Modern Visual Poetry, an >>> excellent book filled with sly discoveries and continuities on that side= of >>> the vispo enterprise, though unconcerned with ekphrasis. Inspiration= comes >>> from whatevder prompts creative response. Mimesis if that's one's game,= one >>> of the innumerable possibles as I see it. JL >>>=20 >>> -----Original Message----- >>> From: Sarah Riggs [mailto:sriggs@FREESURF.FR] >>> Sent: Thu 1/9/2003 7:18 PM >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Cc:=20 >>> Subject: Re: poetry & the visual arts; ekphrasis >>>=20 >>>=20 >>>=20 >>> If you're into the French poetry'painting evolution, there's a good >>> book that attempts to cover it, _Peinture et Po=C3=A9sie: Le Dialogue= par le >>> livre 1874-2000_, by Yves Peyr=C3=A9, Gallimard, 2001. There's no >>> American equivalent to my knowledge. >>>=20 >>> I think Tom Bell's point is helpful. Ekphrasis is its own can of worms, >>> and brings with it questions of mimesis and competition between the >>> arts I find grow tired. Visual poetry (or whatever one calls it) >>> doesn't assume it knows a difference between the arts. The idea of >>> the gesture as a link between drawing/writing is more 'advanced' or >>> exploratory from a creative perspective---maybe to the point of being >>> 'primitive.' >>>=20 >>> Sarah Riggs >>>=20 >>>=20 >>>> this topic might be of interest for fc discussion as I find that it's >>>> pretty common to assume I'm talking about ekphrasis when I mention >>>> visual poetry, webpoetry, etc.. There is a chapter on ekphrasis in >>>> this book I just reviewed. >>>> http://www.raintaxi.com/online/2002winter/third_mind.shtml >>>>=20 >>>> For my money visual poetry really is a separte and more 'advanced' >>>> undertaking? >>>>=20 >>>> tom bell >>>>=20 >>>> ----- Original Message ----- >>>> From: "Lipman, Joel" >>>> To: >>>> Sent: Thursday, January 09, 2003 1:07 PM >>>> Subject: FW: poetry & the visual arts; ekphrasis >>>>=20 >>>>=20 >>>>> Any recommendations on publications, helpful collections or sites on >>>>> the >>>> subject of poems inspired by visual art, specific 2D or 3D works, the >>>> art museum environment, similar connections or juxtapositions? >>>>>=20 >>>>> It's not the history of visual poetry I'm looking for, not vispo >>>> collections or artist/poet collaborations, but what D.G. Kehl in Poetry >>>> and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual >>>> art sets," e.g. "poems and the visual art works that inspired them." >>>>>=20 >>>>> Thanks, >>>>> Joel Lipman >>>>> [backchannel: ] >>>=20 ========================================================================= Date: Fri, 10 Jan 2003 08:08:31 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Charles Bernstein's work with Susan Bee & Bob Perelman's work with Francie Shaw (both from Granary Books, though the Perelman/Shaw is still in the future). Creeley's work with lots of people. Bob Harrison & I spent a great day at the Delaware Arts Museum about a year ago looking at the work of Marisol, whose sculpture we would not have known were it not for Creeley's uses of same. Ron > Any recommendations on publications, helpful collections or sites on the subject of poems inspired by visual art, specific 2D or 3D works, the art museum environment, similar connections or juxtapositions? > > It's not the history of visual poetry I'm looking for, not vispo collections or artist/poet collaborations, but what D.G. Kehl in Poetry and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. "poems and the visual art works that inspired them." > > Thanks, > Joel Lipman > [backchannel: ] ========================================================================= Date: Fri, 10 Jan 2003 09:02:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: DJ Enright Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Don't know if anyone of the list mentioned the passing of D.J. Enright, the English poet, novelist, critic -- one of the 50s poets around Kingsley Amis & co. Not my cup of tea as a poet, but an influential figure on the British scene for 5 decades. URL below gets you to an article on him in this week's TLS. http://www.the-tls.co.uk/this_week/story.asp?story_id=24039 ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Fri, 10 Jan 2003 09:03:25 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Bill Kennedy MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit bill kennedy is currently president and chief technical officer of activmedia bill kennedy is a trainee with the radix institute bill kennedy is crazy about bill kennedy is an old bill kennedy is a man from wisconsin who somehow ended up being a tagalog linguist in the army bill kennedy is the director of jazz studies at the florida state university since 1978 bill kennedy is a lecturer in economic history at the london school of economics bill kennedy is currently president and chief technology officer for activmedia bill kennedy is sponsoring to provide grants to alleviate backlog in dna national data base will be marked up by crime subcommittee bill kennedy is introducing also would address rampant direct bill kennedy is a computer lab technician at the third avenue lab with academic computing services in nyu's information technology services bill kennedy is a times assistant sports editor bill kennedy is the best book bill kennedy is a freakin' legend bill kennedy is a researcher at a chemical lab in an anonymous new town called harledge bill kennedy is willing to participate in this bill kennedy is now the representative for teleproductions bill kennedy is notified by the massachusetts department of revenue bill kennedy is assisting with the university of arkansas' campaign for the twenty bill kennedy is the chair of the silver medal award bill kennedy is a writer bill kennedy is the best bill kennedy is running against county council member toi estes. bill kennedy is a night person bill kennedy is a rock solid bass player with a smooth voice bill kennedy is an old bestseller about bill kennedy is assisting in our attaining a special use variance for the house so that the apc office can be located there bill kennedy is the only person outside of the marine community ever inducted into the great lakes maritime hall of fame bill kennedy is an all bill kennedy is our general manager bill kennedy is now officially a member again bill kennedy is o'reilly's comprehensive reference book bill kennedy is lending a hand to the process bill kennedy is exactly what is says it is and rarely leaves my desk bill kennedy is the fema region i regional environmental officer bill kennedy is editor bill kennedy is on retainer for the association in this matter bill kennedy is the last drinker of labatt's 50 on the planet bill kennedy is ceo of the kennedy group of companies bill kennedy is bill kennedy is seeking about fifty tenured faculty to pilot test a new instrument for evaluating teaching on campus bill kennedy is seeking about fifty tenuredfaculty to pilot test a new instrument for evaluating teaching on campus bill kennedy is president and publisher of the standard bill kennedy is the only member outside of the two commissions bill kennedy is liti bill kennedy is still re bill kennedy is working on a 386 and couldn't bring it in to setup bill kennedy is looking for any donated external modems bill kennedy is a co bill kennedy is an amazing producer bill kennedy is still in town bill kennedy is a good book as are all the o'reilly books bill kennedy is a director and general manager of high bill kennedy is a legendary portland music figure bill kennedy is a straightforward bill kennedy is listed as class of '53 bill kennedy is the lead on that one bill kennedy is a long bill kennedy is the national sales manager for a management training corporation My thanks to www.googlism.com ========================================================================= Date: Fri, 10 Jan 2003 09:44:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Ekphrasis Comments: To: ron.silliman@gte.net In-Reply-To: <000001c2b8a9$6421dd80$d80ff243@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed And Susan Howe's work with the manuscripts of Charles Sanders Peirce -- his doodlings (the more representational ones being surrealist renderings of the face [especially the nose]), drawings, formulae (some like concrete poetry), sentences, apothegms, paragraphs. Peirce's handwriting is truly beautiful: he used a broad flexible nib, generally. I can't remember but I think there were text-reproductions (photographs?) in Howe's _Pierce-Arrow_, but I recall thinking that the repros were *too small, the book's trim was too small for the images. Maybe I'm misunderremembering the book (don't have it here with me). But I saw her lecture on the mss at Cornell about three years ago. She used two huge screens 20' by 30' to display his work. Gabe At 08:08 AM 1/10/2003 -0500, Ron wrote: >Charles Bernstein's work with Susan Bee & Bob Perelman's work with >Francie Shaw (both from Granary Books, though the Perelman/Shaw is still >in the future). Creeley's work with lots of people. > >Bob Harrison & I spent a great day at the Delaware Arts Museum about a >year ago looking at the work of Marisol, whose sculpture we would not >have known were it not for Creeley's uses of same. > >Ron > > > Any recommendations on publications, helpful collections or sites on >the >subject of poems inspired by visual art, specific 2D or 3D works, the >art museum >environment, similar connections or juxtapositions? > > > > It's not the history of visual poetry I'm looking for, not vispo >collections >or artist/poet collaborations, but what D.G. Kehl in Poetry and the >Visual Arts >(Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. "poems >and the >visual art works that inspired them." > > > > Thanks, > > Joel Lipman > > [backchannel: ] Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Fri, 10 Jan 2003 07:38:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Slam Poetics -or-Who Is Bill Kennedy? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nick, Can you get us a spot on one of the WWF shows? Judging by your account, we could do well on TV. The show might increase our respective audiences. I wasn't excited by your reference to my clinch, so I'm working on making it into a brutal killer hold, THE DEATH CLINCH!!! Burnin' Vernon Frazer (nicknamed after Smokin' Joe Frazier) ========================================================================= Date: Fri, 10 Jan 2003 08:51:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Ekphrasis Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed There's been a series going for a lot of years at Scottsdale Center for the Arts, begun by Sheila Murphy (& still organized by her?) that asks poets to respond to specific visual works of art. I don't know whether the works Ron talks about here are that sort that you're looking for, i.e. poems that are inspired by or respond to specific works of visual art, or, rather, real "collaborations," where poet/artist are making something together. The latter would also be the case with Fool's Gold, by Bernstein/Bee, from Chax Press. But part of this collaboration, and possibly a few of these, adds the work of the book maker(s) to the collaboration, which then becomes about the total book, not either the work of art or the text separately. This last area is something Granary has worked at for several years, as has Chax, in our own ways. Sometimes, yes, the text responds to the work of art, sometimes it's the other way around, and sometimes the nature of the collaboration is more complex than either of those two possibilities. Charles At 08:08 AM 1/10/2003 -0500, you wrote: >Charles Bernstein's work with Susan Bee & Bob Perelman's work with >Francie Shaw (both from Granary Books, though the Perelman/Shaw is still >in the future). Creeley's work with lots of people. > >Bob Harrison & I spent a great day at the Delaware Arts Museum about a >year ago looking at the work of Marisol, whose sculpture we would not >have known were it not for Creeley's uses of same. > >Ron > > > Any recommendations on publications, helpful collections or sites on >the >subject of poems inspired by visual art, specific 2D or 3D works, the >art museum >environment, similar connections or juxtapositions? > > > > It's not the history of visual poetry I'm looking for, not vispo >collections >or artist/poet collaborations, but what D.G. Kehl in Poetry and the >Visual Arts >(Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. "poems >and the >visual art works that inspired them." > > > > Thanks, > > Joel Lipman > > [backchannel: ] charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Fri, 10 Jan 2003 10:53:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Subject: Re: Those darn Poet Laureates! MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT George Bowering responded: >>oh c'mon george. >>you can do better than that! >Than what? What did I do that I can do better than? >gb Sorry, I forwarded a report from CBC on your article about slam poets in the Globe and Mail. Should have pointed people to the original article. (I think they can find it if they do a search at the Globe and Mail website.) Well, at least you're still controversial, even at second hand! Jack Ruttan, Montreal http://www.axess.com/users/jackr See the Skinny Nameless Punk at http://www.geocities.com/jack_ruttan/punk3.htm Visit Jack's House of Cats at: http://www.geocities.com/jack_ruttan/ ========================================================================= Date: Fri, 10 Jan 2003 08:02:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Ekphrasis In-Reply-To: <5.1.1.6.0.20030110093443.01980f60@mail.ilstu.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT on 1/10/03 7:44 AM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > in Howe's > _Pierce-Arrow_, but I recall thinking that the repros were *too small, the > book's trim was too small for the images. Yes, Gabe, I agree. I think that's a New Directions book. "Through a glass darkly" typifies most of their current design/production value. (The typography of ND Books up into the early Sixties is usually something to relish. Compare the original edition of Personae with the emaciated current one.) In those earlier books, the design and typography are not always on target with the poetry, but at least it's fresh & muscular to the eye. Images of art are the last thing ND handles well - the reproduction of Pierce's original script and drawings are certainly a blur of the original. Contemporary repro and printing can be so incredibly good; it seems to me inexcusable how blind-eyed some publishers can be when it comes to rendering the original with something that come real close to rendering or mirroring the punch of the original work. But maybe some are satisfied with "the idea" of the work rather than its material quality/character. (Or is the subset of that approach a fear of making "graven images"?) Then again, for some publishers it might just be time & money - the only way the book is going to get done is to do it on the cheap. But when work merits the visual attention, what a loss. Thanks for your recent List contributions - passionate and fascinating. Stephen V ========================================================================= Date: Fri, 10 Jan 2003 11:01:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clai Rice Subject: a picture held us captive MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A _picture_ held us captive. And we could not get outside it, for it lay in our language and language seemed to repeat it to us inexorably. (Wittgenstein, PI 1.115) You can increase the amount of memory in your computer by installing a PC2100 double data rate synchronous dynamic random access memory unbuffered small outline dual inline memory module, available as an option, in the memory slot in the bottom of the computer. SO-DIMMs with different capacities are available. (IBM Thinkpad A Series Setup Guide) --Clai Rice ========================================================================= Date: Fri, 10 Jan 2003 11:28:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: Ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Sadly true. New Directions production values were never close to = adequate, much less venturesome or even representatively careful, with = respect to artwork or visual poems. The several Patchen picture poem = volumes are awful in their misrepresentation of his poetry's inspired = contrasts--dark and murky books in the context of KP's articulately = colorful papers and palette, acrylic noodlings and the luminous values = of his vispo compositions. For the interested, check out Derek Stanford's ekphrastic THE VISION & = DEATH OF AUBREY BEARDSLEY (Redcliffe, 1985). Graphically sensitive, well = designed, tinged with yellow. Joel Lipman -----Original Message----- From: Stephen Vincent [mailto:steph484@PACBELL.NET] Sent: Friday, January 10, 2003 11:03 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Ekphrasis on 1/10/03 7:44 AM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > in Howe's > _Pierce-Arrow_, but I recall thinking that the repros were *too small, = the > book's trim was too small for the images. Yes, Gabe, I agree. I think that's a New Directions book. "Through a = glass darkly" typifies most of their current design/production value. (The typography of ND Books up into the early Sixties is usually something to relish. Compare the original edition of Personae with the emaciated = current one.) In those earlier books, the design and typography are not always = on target with the poetry, but at least it's fresh & muscular to the eye. Images of art are the last thing ND handles well - the reproduction of Pierce's original script and drawings are certainly a blur of the = original. Contemporary repro and printing can be so incredibly good; it seems to = me inexcusable how blind-eyed some publishers can be when it comes to = rendering the original with something that come real close to rendering or = mirroring the punch of the original work. But maybe some are satisfied with "the = idea" of the work rather than its material quality/character. (Or is the = subset of that approach a fear of making "graven images"?) Then again, for some publishers it might just be time & money - the only way the book is = going to get done is to do it on the cheap. But when work merits the visual attention, what a loss. Thanks for your recent List contributions - passionate and fascinating. Stephen V ========================================================================= Date: Fri, 10 Jan 2003 11:51:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Kennedy Subject: off the top ropes... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit wow. i heard this internet stuff raised issues about identity and all, but i really had no idea. regardless - you folks sure know how to make a guy feel all welcome-like. i swoon. ;) /b > > From: Nick Piombino > Date: 2003/01/10 Fri AM 04:03:47 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Slam Poetics -or-Who Is Bill Kennedy? > > > Date: Thu, 9 Jan 2003 11:04:14 -0500 > > From: Jack Ruttan > > Subject: Those darn Poet Laureates! (FWD) > > > > From the CBC Radio website: > > http://cbc.ca/artsCanada/stories/bowering060103 > > Poet laureate, spoken word poets clash > > Last Updated 2003-01-06 > > > > Trevor Hughes, The Arts Report > > > > VANCOUVER - Canada's newly appointed poet laureate has started a war > > of words with a spoken word poet based in Vancouver. > > > > In a recent Globe and Mail article, poet laureate George Bowering > > denounced slam, or spoken word, poetry and poetry competitions as > > "revolting." > > > > Treating poetry as a competition is "crude and extremely revolting", > > Bowering told the Globe. > > > > Vancouver-based spoken word poet T. Paul Ste. Marie says he's angry, > > and has received dozens of e-mails from other frustrated slam poets. > > George Bowering, the Canadian Laureate in gold trunks in the far corner > comes in with a slam against slam- GS slams back for slam- another slam > against George's slam against slam from Parrishka with a veritable tidal > wave of punches on favor of slam in a brilliant strategic proto match from > Bill Kennedy- Sherlock groans, swaying against the outside ropes- Frazier > calls foul- Ian Van Heusen comes in for a hard slam against Bill Kennedy > -and the question is who is Bill Kennedy anyway?- Ian pulls back on his > second punch-Bill Kennedy is, in fact, not William Kennedy- Golumbia in for > a foul call from outside the ring- Bill Kennedy was, in fact, a minor movie > star from the 50's, good for the slam poets for discovering him- and now its > another Canadian heavyweight, Kevin Davies in with a sharp poetics > terminology punch at Vernon Frazier- Truscott calls foul-Bill Kennedy is, in > fact, Bill Kennedy of Toronto-Gerald Schwartz comes back with another > clarification- > > > In the late '80's, early '90's William Kennedy was present at some of the > > poetry and, yes, slam events in Albany, namely those at QE2 and the Eighth > > Step Coffee House, which is where I met him. > > Sherlock calls foul on the- language- punch... and it's the Vancouver victor > Davies back from outside the ring...he's clarifying his language poetics > punch- Bowering comes back from the ropes with a foul call- Vernon Frazier > in there for a clinch with Davies -Bowering back with a sideways slam on > clarifications and now its Gallaher calling foul on slam terminology- > Komminos comes out of the close corner with a real heavy print clarification > slam at Gallaher -and folks- this is amazing- here comes Gudding from the > close corner in red trunks with a mighty slam in favor of universal slam > poetry... ladies and gentleman its looking like slam is looking pretty good- > oops here comes Nudel slamming slam- Murat slams another slam in favor of > Gudding and the great Northern Laureate Bowering is on the ropes- waiting to > hear from the poetry prince of Canada folks-and its Pierre Joris- the Albany > bard hitting hard for slam... > > > To which one could add Pindar & those Olympic greek slams, plus, say > Shakespeare & Marlowe squaring it off for the $ favors of a noble > > benefactor with their 2 poems written for the occasions of such > > meetings, and a millenia long tribal traditions of boast poems > > Do we have a comment from Bowering? Yes- yes...he's back in the ring > > > No no. Bill Kennedy was a not-quite-good-enough forward in the > > American Hockey League for about 20 years in the fifties and sixties. > > He once scored 12 goals and 22 assists in a single season for the > > Cleveland Barons. > > --- > > what a game... So who says poetics poets can't slam with the best of > 'em...what a fight...what a match...slam poetics at the top of its form...a > technical knockout...Bowering sways at the ropes... > > -Nick- > 1 ========================================================================= Date: Fri, 10 Jan 2003 09:12:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: I therefore think I am In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/9/03 9:50 PM, MWP at mpalmer@JPS.NET wrote: > I am having a thought. Details at 11. > > > > -m > > PS The following are actual linked words on Google (mainly acronyms): > > glarp > glerp > glirp > glorp > glurp > glyrp Nope, false alarm. -m PS You don't know me. You don't know my toothache. ========================================================================= Date: Fri, 10 Jan 2003 12:16:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Joe Torra MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Looking for contact info for Joe Torra. Please backchannel. Frank ========================================================================= Date: Fri, 10 Jan 2003 09:45:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: TEXT & TEXT REDUX MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii . . . . at: http://www.geocities.com/jeffreyjullich/TEXTANDTEXTREDUX.htm 1. 1010 W.I.N.S. NEWS RADIO FILTERED THROUGH MICROSOFT VOICE-TO-TEXT OPTION 2. RESULTING VOICE-TO-TEXT TEXT LOOPED THROUGH ReadPlease TEXT-TO-VOICE SOFTWARE & BACK INTO MICROSOFT WORD VOICE-TO-TEXT http://www.geocities.com/jeffreyjullich/TEXTANDTEXTREDUX.htm __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 10 Jan 2003 13:14:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Slam Poetics -or-Who Is Bill Kennedy? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Would do better on (the "new") TNN's SLAMBALL... ...those trampolines add Soooo much... Gerald ----- Original Message ----- From: "Vernon Frazer" To: Sent: Friday, January 10, 2003 7:38 AM Subject: Re: Slam Poetics -or-Who Is Bill Kennedy? > Nick, > > Can you get us a spot on one of the WWF shows? Judging by your account, we > could do well on TV. The show might increase our respective audiences. I > wasn't excited by your reference to my clinch, so I'm working on making it > into a brutal killer hold, THE DEATH CLINCH!!! > > Burnin' Vernon Frazer > (nicknamed after Smokin' Joe Frazier) > ========================================================================= Date: Fri, 10 Jan 2003 10:32:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: THE GARY SULLIVAN FILES In-Reply-To: <000001c2b8b1$1ab44860$d80ff243@Dell> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Ron's Googlism results for "Bill Kennedy" brought to my mind a Flarf piece on Gary Sullivan I did a little over a year ago (using just plain Google). I thought it was worth posting because--well, just because everyone really should know more about Gary Sullivan. ------ The Gary Sullivan Files At present, Gary Sullivan is making loud banging noises between Clark Coolidge and Gertrude Stein, and much more. Jordan Davis suggests Gary Sullivan "should quit his day job and become the Lester Bangs of poetry." Gary Sullivan will be moving on to new endeavors. 11:30am: "At Home with Gary Sullivan." From leaky faucets to refinishing your deck, Gary Sullivan is the home handy man on the radio! No matter how big or small the job, Gary's expertise and knowledge promises an emotional experience from "innocence to heaven" (this after Gary Sullivan has spotted the problem). Gary Sullivan is a partner in the International Section of Haynes and Boone's Dallas office. Mr. Sullivan focuses his practice on foreign investment and motion vector resolution, filter-tap number and profiles/levels as well as the direct versus subsequent filtering issue. With a focus on using the NT Performance Monitor (Perfmon) tool, Gary Sullivan has organized his "White Paper" into three major sections: Television in Ireland, Sex Education, Mental Health. Currently Gary Sullivan is the President and Rick Suder is the Executive Vice President. Clifton is Assistant Chief of the department, and Bruce's son, Jimmy, is Chief. Bruce's son-in-law, Gary Sullivan, is a firefighter for the department, too. Three volunteer firefighters were promoted earlier this month. Gary Sullivan was made a Captain and David Williams Jr. and James Madden are now Lieutenants. When he became Chairman of the Board, Gary Sullivan then became President, replacing Anderson with plumbing pipes overhead to a unisex rest room. Gary Sullivan is chairing the group. Gary Sullivan is a solo-practitioner located in Little Rock, Arkansas. He is alcoholic and beats his wife. Philomena Rostovich is a single mother; Gary Sullivan is gay. Scene: back room at Sullivan's saloon where Gary inserts Jesse's key and Eleanor is forcing her to have sex with him ... find a guy hu will kiss me an' want a sex life, i want sum1 hu cares 4 me! Sum1, any1.... Gary bursts= . OKALOOSA--On Tuesday afternoon, the submarine-armed freshman Gary Sullivan was playing it right on the ragged edge of disaster. "I have liked one shining star and that is Judge Gary Sullivan. In his las= t election he gave money back to the unions and police, now sex offender experts." Gary Sullivan is the Male Sessional Worker and work 6 hours per week. Cooperating attorney Gary Sullivan is also investigating what appears to be a pattern of police abuse against gay men in live two-hour show with excellent local sales potential. South Wales Police Detective Inspector Gary Sullivan said his team were already refinishing your deck. Gary Sullivan is the home handy man. 12pm: "At Home with Gary Sullivan" is a direct compliment to "Better Lawns and Gardens." "At Home" features 20-year veteran contractor Gary Sullivan. Gary has income of $6,500 and maximum expenses of $5,000. 10:00pm-Midnight: Gary Sullivan was on hand to see that everyone was fed ..= . all week long. Gary (Sullivan) talented drummer/graphics guy has ... thunder! My too small helmet! Fuck rock man--just lemme loop.... Guitar solo was HOT, as performed by the crazy guitarman, FLASH!! Lige held the bottom down with some mo' funky bass as Gary Sullivan did some tight drumming!! Mark Hunkeberry managed to arrange for the Minorcan Delight and added that Gary Sullivan was the main recipient of the sheepshead attention= , and it was sheepshead that caught George Zajewski's eyes. ST. PETERSBURG=8BGary Sullivan has a dream. "Why not have a publicly finance= d skate park," asked Sullivan, owner of the city's only downtown skateboard shop. Kelly Edwards asked if Gary Sullivan could put up a cell tower. He said he would be opposed to a cell tower. "Just tearing it up," said Gary Sullivan. The skateboard "stoke," Sullivan said, did not discriminate. Age, sex, race or creed ... it got a Japanese sex magazine into trouble by putting 29-year-old housemate Gary Sullivan into a $44,000-per-year job. Charles Heinonen said Gary Sullivan has obtained his building permit and cannot have his house and a tower at the same time. Gary Sullivan is the Male Sessional Worker and work 6 hours per week. Gary is currently in his show, is written by and stars Gary Sullivan. It is described as "innocent by force of nature ... free range sex is absolutely taboo." Road bikes are sexy again. In a big way. Work centers around Gar= y Sullivan and his merry kiwi band ... again is verrry appealing. As Gary Sullivan's radio and TV exposure has expanded, Al Dickson (a Bellevue man accused of having sex with two teen-age girls) becomes a free agent. Miguel Sagmoen has been released. Rudy Gainer has been released. Gary Sullivan has been released. Jacob Daniels, Harry Trent, and Gary Sullivan went into the Florida woods for a camping trip two weeks ago. Their bodies were found two days ago. Gary Sullivan is the Male Sessional Worker and work 6 hours per week. Gary covers one afternoon during the week plus the Saturday sessions. Gary is currently in his building ... best-managed in the company. Is yours? Even a communicator can love Gary Sullivan. Gary Sullivan is a Sessional Worker and work 6 hours per week. Check out this Tomb Raider! Too sexy! You can trust Gary's advice, and can call him for answers to your questions. The author helps you.... ------------------ on 1/10/03 6:03 AM, Ron at ron.silliman@VERIZON.NET wrote: > bill kennedy is currently president and chief technical officer of activm= edia > bill kennedy is a trainee with the radix institute bill kennedy is crazy = about > bill kennedy is an old bill kennedy is a man from wisconsin who somehow e= nded > up being a tagalog linguist in the army bill kennedy is the director of j= azz > studies at the florida state university since 1978 bill kennedy is a lect= urer > in economic history at the london school of economics bill kennedy is > currently president and chief technology officer for activmedia bill kenn= edy > is sponsoring to provide grants to alleviate backlog in dna national data= base > will be marked up by crime subcommittee bill kennedy is introducing also = would > address rampant direct bill kennedy is a computer lab technician at the t= hird > avenue lab with academic computing services in nyu's information technolo= gy > services bill kennedy is a times assistant sports editor bill kennedy is = the > best book bill kennedy is a freakin' legend bill kennedy is a researcher = at a > chemical lab in an anonymous new town called harledge bill kennedy is wil= ling > to participate in this bill kennedy is now the representative for > teleproductions bill kennedy is notified by the massachusetts department = of > revenue bill kennedy is assisting with the university of arkansas' campai= gn > for the twenty bill kennedy is the chair of the silver medal award bill > kennedy is a writer bill kennedy is the best bill kennedy is running agai= nst > county council member toi estes. bill kennedy is a night person bill kenn= edy > is a rock solid bass player with a smooth voice bill kennedy is an old > bestseller about bill kennedy is assisting in our attaining a special use > variance for the house so that the apc office can be located there bill > kennedy is the only person outside of the marine community ever inducted = into > the great lakes maritime hall of fame bill kennedy is an all bill kennedy= is > our general manager bill kennedy is now officially a member again bill ke= nnedy > is o'reilly's comprehensive reference book bill kennedy is lending a hand= to > the process bill kennedy is exactly what is says it is and rarely leaves = my > desk bill kennedy is the fema region i regional environmental officer bil= l > kennedy is editor bill kennedy is on retainer for the association in this > matter bill kennedy is the last drinker of labatt's 50 on the planet bill > kennedy is ceo of the kennedy group of companies bill kennedy is bill ken= nedy > is seeking about fifty tenured faculty to pilot test a new instrument for > evaluating teaching on campus bill kennedy is seeking about fifty > tenuredfaculty to pilot test a new instrument for evaluating teaching on > campus bill kennedy is president and publisher of the standard bill kenne= dy is > the only member outside of the two commissions bill kennedy is liti bill > kennedy is still re bill kennedy is working on a 386 and couldn't bring i= t in > to setup bill kennedy is looking for any donated external modems bill ken= nedy > is a co bill kennedy is an amazing producer bill kennedy is still in town= bill > kennedy is a good book as are all the o'reilly books bill kennedy is a > director and general manager of high bill kennedy is a legendary portland > music figure bill kennedy is a straightforward bill kennedy is listed as = class > of '53 bill kennedy is the lead on that one bill kennedy is a long bill > kennedy is the national sales manager for a management training corporati= on >=20 > My thanks to www.googlism.com ========================================================================= Date: Fri, 10 Jan 2003 13:39:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Re: Slam Poetics/come all ye MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: base64 VGhpcyBvbmUgaXMgZm9yIE1hcmlhIGFuZCBldmVyeWJvZHkgZWxzZTogCkFsbCB0aGlzIG11 ZCBzbGFtbWluZyByZW1pbmRzIG1lIG9mIG15IGV4cGVyaWVuY2Ugd2l0aCB0aGUgc2xhbSBz Y2VuZSBpbiBTb3V0aCBGbG9yaWRhIGJhY2sgaW4gMjAwMCwgd2hlbiBpIGxpdmVkIHRoZXJl LiBJIGFpbuKAmXQgbm8gc2xhbW1lciwgYnV0IGRvIGxpa2UgdG8gcGVyZm9ybSwgc28gSSB0 b29rIHBhcnQgaW4gb25lIG9mIHRob3NlIG1vbnRobHkgVXJiYW4gU2xhbXMgaW4gTWlhbWkg YW5kIHVuZXhwZWN0ZWRseSB3b24sIHJlY2VpdmluZyBhICQyNSBIb290ZXJzIGNlcnRpZmlj YXRlIGFuZCBpbXByZXNzaW5nIHRoZSBoZWxsIG91dCBvZiBteSBmcmllbmRzIGF0IHdvcmsg d2hvbSBJIGRpZCB0cmVhdCBmb3IgbHVuY2ggdGhlcmUuIFRoZSBzbGFtIG9yZ2FuaXplciBp bnNpc3RlZCB0aGF0IGFsbCBwYXJ0aWNpcGFudHMgc2hvdWxkIHdlYXIgYSBsYXJnZSBjb2xv cmZ1bCByb3VuZCBidXR0b24gc2F5aW5nIOKAnEkgQU0gQSBQT0VU4oCdLiBBbmQgcmVhbGx5 LCB3aHkgYmUgc2h5IGZvbGtzLiBRdWFsaXR5IG9mIGF2ZXJhZ2UgcGFydGljaXBhbnQncyB3 cml0aW5nIGFzaWRlLCBJIGRpZCBoYXZlIGEgZ29vZCB0aW1lIGFuZCBsYXRlciByZWFkIG9u IFVuaXZlcnNpdHkgb2YgTWlhbWkgUmFkaW8gU3Bva2VuIFdvcmQgaG91ci4gQW55d2F5LCB0 aGlzIGxlZCB0byB0aGUgQW5udWFsIFVyYmFuIEdyYW5kIFNsYW0gb2YgU291dGggRmxvcmlk YSAyMDAwLiBBbSBwcmV0dHkgc3VyZSBJIHdhcyBvbmUgb2YgbWF5YmUgNCB3aGl0ZSBmYWNl cyBpbiB0aGUgY3Jvd2QgdGhlcmUsIGFuZCAyIG90aGVycyB3ZXJlIHRob3NlIG9mIGZhbWls aWFyIGxvY2FsIHByb2ZzIHNpdHRpbmcgb24gYSBqdXJ5LiBPbmUgb2YgdGhlbSB0b2xkIG1l IGhhbGYtam9ja2luZyBvZiBjb3Vyc2UgdGhhdCBJIHNob3VsZCB1bmRlcnN0YW5kIGNpcmN1 bXN0YW5jZXMgYW5kIHJlYWxpemUgdGhlcmUgaXMgbm8gd2F5IHRoZXkgY2FuIGdpdmUgbWUg dGhlIGZpcnN0IHByaXplIHNob3VsZCBJIHdpbiwg4oCYY2F1c2UgYSkgdGhlIHdoaXRlIG1h biBjYW7igJl0IGtlZXAgdGhlIGJsYWNrIG1hbiBkb3duIGZvcmV2ZXIsIGFuZCBiKSBhbGwg NCBvZiB1cyBnb3R0YSBtYWtlIGl0IG91dCBhbGl2ZS4uLgpXZWxsLCBmb3J0dW5hdGVseSwg YmVpbmcgYSB0ZXJyaWJsZSBpbXByb3Zpc2VyLCBJIGJsZXcgdGhlIGltcHJvdmlzYXRpb24g cm91bmQsIGdsaWRpbmcgdGhydSB0aGUgb3RoZXIgMyB0byBiZWNvbWUgKEkgYW0gcHJldHR5 IHN1cmUpIHRoZSBmaXJzdCBSdXNzaWFuLUFtZXJpY2FuIHBvZXQgdG8gYmUgYSByZWNpcGll bnQgb2YgVGhlIEZpcnN0IFJ1bm5lci1VcCBVcmJhbiBQb2V0IExhdXJlYXRlIG9mIFNvdXRo IEZsb3JpZGEgMjAwMCBhd2FyZC4gVGhlIHByaXplIGl0c2VsZiBpcyBhIHRhbGwgcGxhc3Rp YyBnb2xkaXNoIHRoaW5nIHdpdGggd2hhdCBsb29rcyBsaWtlIGEgYm9vayBvbiBmaXJlIGVu Z3JhdmluZyBvbiB0b3AuIEl0J3Mgc3RpbGwgZHVzdGluZyBvbiBteSBkZXNrLCBiZWNhdXNl IGl0J3MgdG9vIHRhbGwgdG8gZml0IG9uIGEgYm9vayBzaGVsZi4KU29tZXRoaW5nIHRvIGJv YXN0IGFib3V0LCBodWg/CgppZ29yIHNhdGFub3Zza3kKa29qYXByZXNzLmNvbQo= ========================================================================= Date: Fri, 10 Jan 2003 11:01:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Sadly true. New Directions production values were never close to adequate, much less venturesome or even representatively careful, with respect to artwork or visual poems. The several Patchen picture poem volumes are awful in their misrepresentation of his poetry's inspired contrasts--dark and murky books in the context of KP's articulately colorful papers and palette, acrylic noodlings and the luminous values of his vispo compositions. > > For the interested, check out Derek Stanford's ekphrastic THE VISION & DEATH OF AUBREY BEARDSLEY (Redcliffe, 1985). Graphically sensitive, well designed, tinged with yellow. > > Joel Lipman I suspect that had Laughlin been beginning now, it would be different. After all, he was always willing to take risks, aesthetically and politically, with talented writers. We do what we can when we can. I don't think he should be faulted for this. -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Fri, 10 Jan 2003 14:07:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: once more around the block... Comments: To: Harry Nudel In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 9 Jan 2003, Harry Nudel wrote: > so as i understand..verbal > violence...slams..dunks..eddas...pos....rants...raves...from homer to the > simpsons...but WAR.....WAR......no mas...drn... > I believe the quote from "Loki's Quarrel" was claiming that the goddess Freyja farted in the middle of an incestuous sex act. No, that isn't extremely nice. But if I walked up to, for example, Steve Case, and said, "Steve, you were astride your sister, and then, Steve, you farted," he would get mad, but not die. (Nor would, by way of collateral damage, his offended sister.) If you could actually kill things with verbal violence, every Windows computer I have ever been forced to work on would have exploded. (Intel... Intel... no mas.) Gwyn ========================================================================= Date: Fri, 10 Jan 2003 12:12:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: Rachel DuPlessis & Frances Sjoberg Saturday Jan 18, 7pm; DuPlessis talk Friday Jan 17, 2pm Comments: cc: Valved , Tucson Weekly , Tucson Citizen , Pogin , "pogevent (E-mail)" , "Pog@Listserv.Arizona.Edu" , Poetry , Grad Students List , "English@Listserv.Arizona.Edu" , cw MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents poets Rachel DuPlessis and Frances Sjoberg Saturday, January 18, 7pm Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Additional Event: Rachel DuPlessis will present a paper, "Manhood and its Poetic Projects: the construction of USA masculinity in the counter-cultural poetry of the 1950s,” on Friday, January 17, at 2pm, Modern Language room 451, at the university; this event is free and open to the public (for directions phone POG at 615-7803). (C0-sponsored by UA English & Arizona Quarterly.) Rachel DuPlessis, Professor of English at Temple University, is known as a feminist critic and scholar with a special interest in modern and contemporary poetry, and as a poet and essayist. In 2001, she published two books: Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934 (Cambridge, 2001), a work of literary criticism, and Drafts 1-38, Toll (Wesleyan University Press, 2001), a collection of her long poems. Between 1980 and 1998, she published six other books of poetry and two chapbooks. DuPlessis is also the author of Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (1985), H.D.: The Career of that Struggle (1986), both from Indiana University Press, and The Pink Guitar: Writing as Feminist Practice (Routledge, 1990). She is the editor of The Selected Letters of George Oppen (Duke University Press, 1990). DuPlessis has also published three coedited anthologies, reflecting her interests in feminism, gender issues in modernism, socially-inflected readings of poetry, and the poetics of contemporary poetry. These are The Objectivist Nexus: Essays in Cultural Poetics, with Peter Quartermain, from the University of Alabama Press (1999); The Feminist Memoir Project: Voices from Women's Liberation, with Ann Snitow, from Three Rivers/Crown (1998); and Signets: Reading H.D., with Susan Stanford Friedman, from the University of Wisconsin Press (1990). DuPlessis's work in poetry and in the essay form has been discussed in recent books by Lynn Keller, Burton Hatlen, Hank Lazer, and others. In 1990, DuPlessis held a Pennsylvania Council on the Arts grant for poetry, and in 1993, was honored by the Fund for Poetry. She received Temple University's Creative Achievement Award in 1999. In 2002, DuPlessis was awarded the third Roy Harvey Pearce / Archive for New Poetry Prize, given biennially to an American poet/scholar who has made a significant lifetime contribution to American poetry and literary scholarship. In 2002 she was awarded a Pew Fellowship in the Arts for her work in poetry. (excerpted from http://epc.buffalo.edu/authors/duplessis/bio.html) Frances Sjoberg was born in Sault Ste. Marie, Michigan in 1973. She received a B.A. from the University of Arizona in 1994 and an M.F.A. from Warren Wilson College in 2002. She serves as an ad-hoc member of the Board of Directors for Kore Press, a non-profit literary arts press. Her publications include poetry and critical writing in "spork," "Sonora Review," and "88: A Journal of Contemporary American Poetry." Currently, Sjoberg lives in Tucson where she organizes events and outreach programs for the University of Arizona Poetry Center. 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. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following POG donors: Patrons Roberta Howard and Austin Publicover; Sponsors Barbara Allen, Chax Press, and Stefanie Marlis. for further information contact POG: 615-7803; mailto:pog@gopog.org; www.gopog.org ========================================================================= Date: Fri, 10 Jan 2003 14:22:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nada Gordon Subject: more nadablog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Topics to be found on ULULATIONS: http://ululate.blogspot.com Krishnamurti against ornament :-( A letter from Alan Davies & Nada's reply Meta-blog comments Urgency, Angst, and Insouciance (as separate topics!) Gary & Nada's New Year's poem (a revisitation of Matthew Arnold's "Dover Beach") Early langpo imitations/ more teen memories A defense of lushness An early portmanteau/zaum construction Andrew Levy's _Ashoka_ (& Insouciance) Trance, hysterics, vocables, song (Adeena Karasick) Letters from Brenda Iijima, Bob Perelman, & David Hess Poetic "Organicism"[???] and Gins and Arakawa's _Architectural Body_ -- ========================================================================= Date: Fri, 10 Jan 2003 19:29:06 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: process documents - the blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi Folks, Because I'm such a dedicated follower of fashion, I've decided that I too need a blog. One that will document the process/progress of my current writing project. Read it if you want, it's out there. http://processdocuments.blogspot.com cheers ryan _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Fri, 10 Jan 2003 13:31:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Those darn Poet Laureates! (FWD) In-Reply-To: <5.1.1.6.0.20030110085952.00a3da50@mail02.domino.gu.edu.au> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT komninos zervos writes: Well, if you would so presume, you would be wrong. Pressed or un- pressed, I consider the words on the page to be instructions for a verbal preformance. So there. Nyah nyah. As well, I should add that, though I don't much care for Poetry Slams, I like some Spoken Word art. I just don't think it works well when divorced from its context, usually. Spoken Word seems to be best when spoken by its author. I can't usually follow its instructions if I attempt to replicate it by reading it myself (aloud or silently). If this is my failing or not, what it means for me is I don't end up owning much of it. In a related but different case, I find Poetry Slams to be mostly glitz. Which is fine, glitz is fun, but I find myself usually not in that mood. John Gallaher ========================================================================= Date: Fri, 10 Jan 2003 16:36:29 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Little Green Manifesto MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Little Green Manifesto I am no man I am no man I am an iceman I am the ice man I am a kind man I am mankind a man child a child man a sound man a sound effect man a man of sound effects a man of pardoned burps a man of burpy pardons a "pardon me madam" man a blushing man a blue man a blustery man not a blaspheming man not a bible man not a bothering man not a between the bread man not a banana and peanut butter man not a "by the way" man never a "by all means" man or "it will be o.k. man" or, does your maid make tea man? Or will you read Ron Silliman with me, man? He's such a nice man I am the ice-cream man I am the next man I am the tan man I am the man with a van I am with a plan, man I am the gas man I am a gas man I am the plan man I am the map man I am lost man I am the only man I am the best man never the married man Am I the real man? I am the reality man I am the realty man I am Sam, I am I am Manfred man I am the mango man go man go! man I am the freezer man I am the water man I am the backdoor man I am the digger man I am the cable man I am the afternoon man in the afternoon and the morning man in the morning I am a no where man I am the nowhere man I am the everywhere man I'm in my underwear man I am the man of all seasons I am the seasonal man I am the sessional man I am the man for all sessions I am the man of all reason I am the man for all reasons I am the man with all the raisons I am the raison d'être man I am the good time man I am the man at a bad time I am the "good timing man" I am man with nothing to lose I am a man with all to gain I am a man with your keys I am a man locked out of my house I am the right man I am the wringhäusen stüt man I am the wiring man I am the man every body knows I am the man everybody forgets I am manly …yes I am that curious man I am that spurious man I am the wondering man I am that wandering man I am the star man I am the sturdy man I am the strong man I am the storm window man I am the strength of man I am the straw man I am a ginger man I am the ginger bread man I am the tasty man I am a tasteless man I taste like man I taste like man I sample man I am a simple man A sweet man A smart man A sage man A savory man A swarthy man A smarmy man A marmalade man A made man A man made man A mannequin man A scam man A scrimp off man A shrimp of man A ring of man I beg of man I beg off man I begot man I bother man I brothel man I broker man I am a broken man I begun as man I must be man I muddle man I'm the middle man I manifest man I manifesto man I manage man I mismanage man I miasma man I mirage man I mirror man misanthropic man special topics man I believe man I lie to man I right man I left man I "never called man" I avoid man I encounter man I count man I distract man I distrust man I disinfect man I direct man I suspect man I suspend man I pretend man I propose man I deflect man bad breath man bad teeth man bad timing man bad tie man bad tomorrow man bad telling man bad tooth ache man bad television man borrowed typewriter man bothered to shave man bent a hanger man broke into Volvo man bored to tears man biked to beach man broke my poem man I read man I have read to man I have heard man I have needed man I have bothered man I have bothered with man I have needed man I am needing man I am a man But no man is an island. ========================================================================= Date: Fri, 10 Jan 2003 12:07:15 -0800 Reply-To: adeniro@rocketmail.com Sender: UB Poetics discussion group From: Alan DeNiro Subject: a next medium? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.newscientist.com/news/news.jsp?id=ns99993243 Data stored in multiplying bacteria 11:02 08 January 03 NewScientist.com news service A message encoded as artificial DNA can be stored within the genomes of multiplying bacteria and then accurately retrieved, US scientists have shown. Their concern that all current ways of storing information, from paper to electronic memory, can easily be lost or destroyed prompted them to devise a new type of memory - within living organisms. "A big concern is the protection of valuable information in the case of a nuclear catastrophe," says information technologist Pak Chung Wong, of the Pacific Northwest National Laboratory in Washington State. The laboratory was set up as a nuclear energy research institute. A similar catastrophe strikes the US in the cult television series Dark Angel, in which a colossal electromagnetic pulse wipes out the electronic infrastructure. "Bacteria may be an inexpensive and stable long-term means of data storage," Wong told New Scientist. Small world The scientists took the words of the song It's a Small World and translated it into a code based on the four "letters" of DNA. They then created artificial DNA strands recording different parts of the song. These DNA messages, each about 150 bases long, were inserted into bacteria such as E. coli and Deinococcus radiodurans. The latter is especially good at surviving extreme conditions, says Wong. It can tolerate high temperatures, desiccation, ultraviolet light and ionising radiation doses 1000 times higher than would be fatal to humans. The beginning and end of each inserted message have special DNA tags devised by the scientists. These "sentinels" stop the bacteria from identifying the message as an invading a virus and destroying it, says Wong. "The magic of the sentinel is that it protects the information, so that even after a hundred bacterial generations we were able to retrieve the exact message," says Wong. "Once the DNA message is in bacteria, it is protected and can survive." And as a millilitre of liquid can contain up to billion bacteria, the potential capacity of such a memory system is enormous. Spontaneous mutations Deinococcus is adapted to survive in extreme conditions and is consequently very good at repairing any mutations that spontaneously arise in its DNA code. But Huw Williams, a bacteriologist at Imperial College, London, says that the small size of the inserted messages makes it no surprise that they survive 100 generations intact. Williams thinks a greater danger than mutations changing the message is that they could make some bugs better adapted to their environment than others. So far, Wong and colleagues have kept the different message colonies separate, but in future they aim to retrieve messages from a mixed colony. "If you grow the colonies indefinitely, less well-adapted bacteria may be lost over time," he says. "The question is whether you will be able to retain all your message populations. But this is intriguing work and very forward looking." Natasha McDowell ______________ Alan ===== Alan DeNiro Editor, Taverner's Koans (1-room schoolhouse of experimental poetics) http://www.taverners-koans.com Correspondent, Ptarmigan http://ptarmigan.blogspot.com __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 10 Jan 2003 15:54:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Googlism Kills Flarf Dead Mime-Version: 1.0 Content-Type: text/plain; format=flowed Googlism for: flarf flarf is come festival in florida flarf is officially over for this year flarf is the faery cast flarf is held at quiet waters park flarf is over _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Fri, 10 Jan 2003 16:27:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Googlism for: poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed Googlism for: poetry poetry is passion poetry is for real people poetry is a political act poetry is complete nonsense poetry is a destructive force by stevens poetry is the drug of choice poetry is a sudden process of verbal compression poetry is the sudden process of verbal compression poetry is powerful poetry is plucking at the poetry is for poets poetry is poetess sondra faye's official site of poetry is for everybody poetry is a very complex thing poetry is fun poetry is found in life poetry is about onelivingthing poetry is increasing poetry is banned poetry is this? poetry is sent in by you poetry is published poetry is everywhere poetry is bad poetry is not a luxury" la women of color poetry is sexy poetry is not something poetry is the beginning poetry is in play / daniel sendecki poetry is bread poetry is ugly by angela armitage poetry is no shameful disease poetry is not a luxury" poetry is sacred poetry is written in the poetry is more than just words poetry is for poetry is not an hermetic academic pursuit poetry is life poetry is a joyful music to the ears poetry is pretty much like life poetry is connected to the body poetry is built like that poetry is free poetry is driving me mad by brad evans poetry is redundant poetry is ultra poetry is what fish won't eat by clarinda harriss and three red poetry is black poetry is often understood to be about poetry is useless poetry is the strength of poetry is done poetry is direct poetry is for the ear poetry is exciting poetry is for real people like me poetry is this 'my country'? on the anniversary of the tampa poetry is celebrated poetry is a political act? poetry is in the details poetry is complete nonsense spike milligan poetry is a destructive force by wallace stevens poetry is for by john olson poetry is the drug of choice by john olson poetry is a sudden process of verbal compression a collection of poetry by elisha porat poetry is the sudden process of verbal compression a collection of poetry by elisha porat poetry is sense poetry is just the evidence poetry is plucking at the heartstrings poetry is for americans poetry is for immigrants poetry is life version poetry is not nutritious poetry is fun back to list poetry is about one living thing a report of an aesthetic realism class by amy dienes poetry is about one living thing poetry is neuroanatomy poetry is the reason i live poetry is her life poetry is this? i poetry is william saroian poetry is for wimps poetry is not a luxury" la women of color poetry is not something poetry is not something i do every now & then i do & it doesn't every now & then i am poetry is for sissies poetry is the beginning & art by d poetry is in play poetry is ugly poetry is no shameful disease? poetry is that one will poetry is not a luxury" author poetry is written in the four line ballad form of rhymed quatrains poetry is once more the talk of the town an old art form enjoys a broad poetry is called poetry is bread page you can reach me by e poetry is bread you can reach me by e poetry is psychoanalytic treatment poetry is pain poetry is not my vice poetry is poetry is everywhere poetry is music to your ear poetry is a graceful dancer with elegance and flair poetry has many shapes and forms but poetry is not square poetry is connected to the body again poetry is built like that arts profile poetry is driving everybody crazy pay off baudelaire's debt heal the wrist shot by verlaine heal verlaine's wife their poetry is driving everybody crazy poetry is redundant ©1992 by sam mills from his book poetry is the best prophylactic against poetry is what fish won't eat poetry is black the last poets poetry is the showcase for poetry written by teens poetry is often understood to be about little other than courtly love and romantic excess poetry is useless; but still; under a starry sky; manifestations of non poetry is for suckers poetry is the strength of ghazal poetry is the place for you to poetry is done" by dean blehert you can make any sentence poetical by mentioning blood or bone _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Fri, 10 Jan 2003 16:40:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Googlism for: googlism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Googlism for: googlism googlism is googlism is working now ----- Original Message ----- From: "Gary Sullivan" To: Sent: Friday, January 10, 2003 4:27 PM Subject: Googlism for: poetry > Googlism for: poetry > > poetry is passion > poetry is for real people > poetry is a political act > poetry is complete nonsense > poetry is a destructive force by stevens > poetry is the drug of choice > poetry is a sudden process of verbal compression > poetry is the sudden process of verbal compression > poetry is powerful > poetry is plucking at the > poetry is for poets > poetry is poetess sondra faye's official site of > poetry is for everybody > poetry is a very complex thing > poetry is fun > poetry is found in life > poetry is about onelivingthing > poetry is increasing > poetry is banned > poetry is this? > poetry is sent in by you > poetry is published > poetry is everywhere > poetry is bad > poetry is not a luxury" la women of color > poetry is sexy > poetry is not something > poetry is the beginning > poetry is in play / daniel sendecki > poetry is bread > poetry is ugly by angela armitage > poetry is no shameful disease > poetry is not a luxury" > poetry is sacred > poetry is written in the > poetry is more than just words > poetry is for > poetry is not an hermetic academic pursuit > poetry is life > poetry is a joyful music to the ears > poetry is pretty much like life > poetry is connected to the body > poetry is built like that > poetry is free > poetry is driving me mad by brad evans > poetry is redundant > poetry is ultra > poetry is what fish won't eat by clarinda harriss and three red > poetry is black > poetry is often understood to be about > poetry is useless > poetry is the strength of > poetry is done > poetry is direct > poetry is for the ear > poetry is exciting > poetry is for real people like me > poetry is this 'my country'? on the anniversary of the tampa > poetry is celebrated > poetry is a political act? > poetry is in the details > poetry is complete nonsense spike milligan > poetry is a destructive force by wallace stevens > poetry is for by john olson > poetry is the drug of choice by john olson > poetry is a sudden process of verbal compression a collection of poetry by > elisha porat > poetry is the sudden process of verbal compression a collection of poetry by > elisha porat > poetry is sense > poetry is just the evidence > poetry is plucking at the heartstrings > poetry is for americans > poetry is for immigrants > poetry is life version > poetry is not nutritious > poetry is fun back to list > poetry is about one living thing a report of an aesthetic realism class by > amy dienes > poetry is about one living thing > poetry is neuroanatomy > poetry is the reason i live > poetry is her life > poetry is this? i > poetry is william saroian > poetry is for wimps > poetry is not a luxury" la women of color > poetry is not something poetry is not something i do every now & then i do & > it doesn't every now & then i am > poetry is for sissies > poetry is the beginning & art by d > poetry is in play > poetry is ugly > poetry is no shameful disease? > poetry is that one will > poetry is not a luxury" author > poetry is written in the four line ballad form of rhymed quatrains > poetry is once more the talk of the town an old art form enjoys a broad > poetry is called > poetry is bread page you can reach me by e > poetry is bread you can reach me by e > poetry is psychoanalytic treatment > poetry is pain > poetry is not my vice > poetry is > poetry is everywhere poetry is music to your ear poetry is a graceful dancer > with elegance and flair poetry has many shapes and forms but poetry is not > square > poetry is connected to the body again > poetry is built like that arts profile > poetry is driving everybody crazy pay off baudelaire's debt heal the wrist > shot by verlaine heal verlaine's wife their poetry is driving everybody > crazy > poetry is redundant ©1992 by sam mills from his book > poetry is the best prophylactic against > poetry is what fish won't eat > poetry is black the last poets > poetry is the showcase for poetry written by teens > poetry is often understood to be about little other than courtly love and > romantic excess > poetry is useless; but still; under a starry sky; manifestations of non > poetry is for suckers > poetry is the strength of ghazal > poetry is the place for you to > poetry is done" by dean blehert you can make any sentence poetical by > mentioning blood or bone > > > > > _________________________________________________________________ > Add photos to your e-mail with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/featuredemail > ========================================================================= Date: Fri, 10 Jan 2003 19:21:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: bLOG MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT starting a Blog or is it to bLOG on writing and health at http://forthehealthovit.blogspot.com/ tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Fri, 10 Jan 2003 19:24:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Googlism for blogs on poetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT poetry is tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Fri, 10 Jan 2003 17:37:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry & the visual arts Cole Swenson's TRY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Cole Swenson's book TRY is a marvelous book of poems inspired by painting and sculpture. TRY is available from U of Iowa Press http://www.uiowa.edu/uiowapress/swetry.htm hope this helps, CAConrad In a message dated 1/9/2003 2:07:35 PM Eastern Standard Time, JLipman@UTNET.UTOLEDO.EDU writes: > > > > Any recommendations on publications, helpful collections or sites on the subject of poems inspired by visual art, specific 2D or 3D works, the art museum environment, similar connections or juxtapositions? > > > > It's not the history of visual poetry I'm looking for, not vispo collections or artist/poet collaborations, but what D.G. Kehl in Poetry and the Visual Arts (Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. "poems and the > visual art works that inspired them." > > > > Thanks, > > Joel Lipman > > [backchannel: ] ========================================================================= Date: Fri, 10 Jan 2003 17:55:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Direwood Suddenly they've slipped our flank: red foxes. Stumbling, hungover, wobbly as fresh foals. Whiskey-breathed, delirious creatures, hot Eyes and ears, circling to sniff fingers in shake. Out their jackknives will streak, our cold leather Will be theirs tonight. Half moon for a jester. Owls whoop, having assembled, puffing at wet Camels, ready to catch our late show's curtains. Leaves report our sweating as metronome-steady Crunch, calm as harvest's gust. Does whistle From slick embraces, rattling at antler in a fever. Glass snap, clearly hoof to vial. So quivers blood In each direction, mostly rising. Beneath the pines Saliva rises like rough laughter, from the spinning gut. _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Fri, 10 Jan 2003 15:58:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: poetry & the visual arts Cole Swenson's TRY AND Carol Snow In-Reply-To: <52C96940.188F2D61.01F36A84@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Cole's book is a gem-- In a less directly always kind of way, look at Carol Snow's book "For" in terms of relationship between art and life-- Julie > From: Craig Allen Conrad > Reply-To: UB Poetics discussion group > Date: Fri, 10 Jan 2003 17:37:13 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: poetry & the visual arts Cole Swenson's TRY > > Cole Swenson's book TRY is a marvelous book > of poems inspired by painting and sculpture. > > TRY is available from U of Iowa Press > http://www.uiowa.edu/uiowapress/swetry.htm > > hope this helps, > CAConrad > > In a message dated 1/9/2003 2:07:35 PM Eastern Standard Time, > JLipman@UTNET.UTOLEDO.EDU writes: > >> >> >>> Any recommendations on publications, helpful collections or sites on the >>> subject of poems inspired by visual art, specific 2D or 3D works, the art >>> museum environment, similar connections or juxtapositions? >>> >>> It's not the history of visual poetry I'm looking for, not vispo collections >>> or artist/poet collaborations, but what D.G. Kehl in Poetry and the Visual >>> Arts (Wadsworth Pub, 1975) referred to as "poem-visual art sets," e.g. >>> "poems and the >> visual art works that inspired them." >>> >>> Thanks, >>> Joel Lipman >>> [backchannel: ] ========================================================================= Date: Fri, 10 Jan 2003 18:04:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jonathan Williams owns several original Patchen painting/poems, gifts i believe. and they're truly some of the most original magic you can lay your eyes on. but to fault New Directions for the reproduction quality is to not look at how dedicated Laughlin was to making poet/artists like Patchen available and affordable to the world. there are some pricey reproductions of his work you can buy, if you're rich, but New Directions did an amazing job with the resources available to them at the time. we are talking about the publishing business from nearly half a century ago let's not forget. CAConrad "This is a good world... And war shall fail." --Kenneth Patchen In a message dated 1/10/2003 11:28:44 AM Eastern Standard Time, JLipman@UTNET.UTOLEDO.EDU writes: > > > Sadly true. New Directions production values were never close to adequate, much less venturesome or even representatively careful, with respect to artwork or visual poems. The several Patchen picture poem volumes are awful in their misrepresentation of his poetry's inspired contrasts--dark and murky books in the context of KP's articulately colorful papers and palette, acrylic noodlings and the luminous values of his vispo compositions. > > For the interested, check out Derek Stanford's ekphrastic THE VISION & DEATH OF AUBREY BEARDSLEY (Redcliffe, 1985). Graphically sensitive, well designed, tinged with yellow. > > Joel Lipman > > -----Original Message----- > From: Stephen Vincent [mailto:steph484@PACBELL.NET] > Sent: Friday, January 10, 2003 11:03 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Ekphrasis > > > on 1/10/03 7:44 AM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > > > in Howe's > > _Pierce-Arrow_, but I recall thinking that the repros were *too small, the > > book's trim was too small for the images. > > Yes, Gabe, I agree. I think that's a New Directions book. "Through a glass > darkly" typifies most of their current design/production value. (The > typography of ND Books up into the early Sixties is usually something to > relish. Compare the original edition of Personae with the emaciated current > one.) In those earlier books, the design and typography are not always on > target with the poetry, but at least it's fresh & muscular to the eye. > Images of art are the last thing ND handles well - the reproduction of > Pierce's original script and drawings are certainly a blur of the original. > Contemporary repro and printing can be so incredibly good; it seems to me > inexcusable how blind-eyed some publishers can be when it comes to rendering > the original with something that come real close to rendering or mirroring > the punch of the original work. But maybe some are satisfied with "the idea" > of the work rather than its material quality/character. (Or is the subset of > that approach a fear of making "graven images"?) Then again, for some > publishers it might just be time & money - the only way the book is going to > get done is to do it on the cheap. But when work merits the visual > attention, what a loss. > > Thanks for your recent List contributions - passionate and > fascinating. > > Stephen V ========================================================================= Date: Fri, 10 Jan 2003 18:31:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Ridley Crane Finch Subject: Metrical Issue of SALT: call for contributions Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Call for Contributions for a Special Metrical Issue of Salt Edited by Annie Finch and John Kinsella Poems, Essays and Reviews All meters welcome Send submissions (no attachments please) by email with brief bio to Annie Finch Submission Period: Jan. 15-30, 2003 Aug. 15 - Sept.15, 2003 Salt is a print journal with a website at: http://www.saltpublishing.com/journals.html ========================================================================= Date: Sat, 11 Jan 2003 12:41:52 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Googlism for: poetry In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-5BE99BF; boundary="=======76091264=======" --=======76091264======= Content-Type: text/plain; x-avg-checked=avg-ok-5BE99BF; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable why not ask the big one? Googlism for: life life is abuse life is short life is good life is good online life is precious life is great life is a drama life is for living life is a beach life is precious ministries life is beer life is journey ? life is an adventure life is a series of plan bs life is on tour life is a long song life is one of the "great places to work in the twin life is winky life is painful records life is peachy life is but a dream life is like life is a ball dog boarding life is life life is sweeter for some life is a soft adventure life is strange life is universal life is beautiful movie fan club life is utterly miserable because of you personally life is very disquieting life is sweet life is confusing for two life is elsewhere life is lumpy life is it anyway? life is unfair life is still a cabaret life is a show time life is unfair an unofficial 'malcolm in the middle' fan resource site life is so strange life is good =AE and are registered trademarks of life is good life is for everything foundation is no longer active life is free life is sweet don't cry life is journey ? all right reserved life is a sensible diet and exercise program by kris life is art e life is a dream a synopsis of the play by calderon life is one of the "great places to work in the twin cities" st life is winky september 09 life is a mess life is an education life is peachy hola life is worse life is fine langston hughes life is the inspiration behind our style" life is beautiful hoax life is a ball offers cageless dog boarding convenient to the atlanta life is love webring life is a dream life is a strategy for getting nice surprises life is roswell watch it life is also the first rule of business life is the conviction that we are loved life is simply this life is slipping away life is beautiful life is universal for this publisher life is beautiful starring life is utterly miserable because of you personally issues of injustice are= =20 passe life is like high school life is for living" life is not life is plastic life is god life is elsewhere is a remarkable portrait of an artist as a young man life is so complex life is it anyway? medium life is unfair de cara nova life is still a cabaret the film is based in berlin in the 1930s life is a show time? since 2000 Googlism is possibly the most exciting new poet to emerge in recent months,= =20 its index style, reminiscent of Walt Whitman, and drawing on a collective=20 data base of the web creates poetry suited to performance and the page. Undoubtedly through updates and version revisions we will see the young=20 googlism mature into a poet of canonic importance in the literatures of the= =20 world. The pleasure of the rapid response googlism is able to give us, reverses=20 the dynamic between reader and poem. The reader does not ask 'what does=20 this poem say to me?' but rather, 'what can i ask this poem to say?' It is= =20 not a question of whether the author is dead, but more a question of 'who=20 the fuck is the author?' The greatness of this new poet is not in the enduring quality of the work,= =20 but in the satisfying of the need for an of-the-moment experience, that is= =20 had then disappears forever, remaining only in the memory. The topical nature of the poetry is only ever as relevant and accurate as=20 the web it mimics, or is it the web that reflects googlism? The=20 multi-stranded takes and readings of the web, skillfully crafted into=20 syntactic and paratactic array make the work of this poet not only post=20 modern but also post cyber. Professor Leroy 'blind-dog' de Labrador nerang river delta institute of good stuff Labrador, Australia At 07:27 AM 11/01/03, you wrote: >Googlism for: poetry > >poetry is passion >poetry is for real people >poetry is a political act >poetry is complete nonsense >poetry is a destructive force by stevens >poetry is the drug of choice >poetry is a sudden process of verbal compression >poetry is the sudden process of verbal compression >poetry is powerful >poetry is plucking at the >poetry is for poets >poetry is poetess sondra faye's official site of >poetry is for everybody >poetry is a very complex thing >poetry is fun >poetry is found in life >poetry is about onelivingthing >poetry is increasing >poetry is banned >poetry is this? >poetry is sent in by you >poetry is published >poetry is everywhere >poetry is bad >poetry is not a luxury" la women of color >poetry is sexy >poetry is not something >poetry is the beginning >poetry is in play / daniel sendecki >poetry is bread >poetry is ugly by angela armitage >poetry is no shameful disease >poetry is not a luxury" >poetry is sacred >poetry is written in the >poetry is more than just words >poetry is for >poetry is not an hermetic academic pursuit >poetry is life >poetry is a joyful music to the ears >poetry is pretty much like life >poetry is connected to the body >poetry is built like that >poetry is free >poetry is driving me mad by brad evans >poetry is redundant >poetry is ultra >poetry is what fish won't eat by clarinda harriss and three red >poetry is black >poetry is often understood to be about >poetry is useless >poetry is the strength of >poetry is done >poetry is direct >poetry is for the ear >poetry is exciting >poetry is for real people like me >poetry is this 'my country'? on the anniversary of the tampa >poetry is celebrated >poetry is a political act? >poetry is in the details >poetry is complete nonsense spike milligan >poetry is a destructive force by wallace stevens >poetry is for by john olson >poetry is the drug of choice by john olson >poetry is a sudden process of verbal compression a collection of poetry by >elisha porat >poetry is the sudden process of verbal compression a collection of poetry= by >elisha porat >poetry is sense >poetry is just the evidence >poetry is plucking at the heartstrings >poetry is for americans >poetry is for immigrants >poetry is life version >poetry is not nutritious >poetry is fun back to list >poetry is about one living thing a report of an aesthetic realism class by >amy dienes >poetry is about one living thing >poetry is neuroanatomy >poetry is the reason i live >poetry is her life >poetry is this? i >poetry is william saroian >poetry is for wimps >poetry is not a luxury" la women of color >poetry is not something poetry is not something i do every now & then i do= & >it doesn't every now & then i am >poetry is for sissies >poetry is the beginning & art by d >poetry is in play >poetry is ugly >poetry is no shameful disease? >poetry is that one will >poetry is not a luxury" author >poetry is written in the four line ballad form of rhymed quatrains >poetry is once more the talk of the town an old art form enjoys a broad >poetry is called >poetry is bread page you can reach me by e >poetry is bread you can reach me by e >poetry is psychoanalytic treatment >poetry is pain >poetry is not my vice >poetry is >poetry is everywhere poetry is music to your ear poetry is a graceful= dancer >with elegance and flair poetry has many shapes and forms but poetry is not >square >poetry is connected to the body again >poetry is built like that arts profile >poetry is driving everybody crazy pay off baudelaire's debt heal the wrist >shot by verlaine heal verlaine's wife their poetry is driving everybody >crazy >poetry is redundant =A91992 by sam mills from his book >poetry is the best prophylactic against >poetry is what fish won't eat >poetry is black the last poets >poetry is the showcase for poetry written by teens >poetry is often understood to be about little other than courtly love and >romantic excess >poetry is useless; but still; under a starry sky; manifestations of non >poetry is for suckers >poetry is the strength of ghazal >poetry is the place for you to >poetry is done" by dean blehert you can make any sentence poetical by >mentioning blood or bone > > > > >_________________________________________________________________ >Add photos to your e-mail with MSN 8. Get 2 months FREE*. >http://join.msn.com/?page=3Dfeatures/featuredemail > > > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======76091264======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-5BE99BF Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======76091264=======-- ========================================================================= Date: Fri, 10 Jan 2003 21:29:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Fence Books Contest and Readings Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Happy winter. A little reminder that entries to the 2003 Fence Modern Poets Series=20 contest must be postmarked between February 1st and February 28th of=20 2003. Visit the Fence Books site for downloadable guidelines and=20 required entry forms, or send an SASE to Fence Books at 14 Fifth=20 Avenue, #1A, New York, NY, 10011. (http://www.fencebooks.com) Past FMPS winners include Joyelle McSweeney's The Red Bird, chosen by=20 Allen Grossman and which prompted the Utne Reader to gush: "Her=20 language is innovative, charged with wit, energy, and surprise, but=20 underneath the surface runs a mysterious current of real emotion.")=20 and Elizabeth Robinson's Apprehend, about which judge Ann Lauterbach=20 says: "Robinson calibrates the motion between fear, apprehension, and=20 knowledge-comprehension at the crux of human imagining." And: some readings to make it to if you live in New York City,=20 Boston, or San Francisco: Tina Brown Celona's Short Winter Tour in Support of The Real Moon of=20 Poetry and Other Poems: *** Sunday, January 26th, 2 pm with Matvei Yankelevich at Soft Skull Press 71 Bond Street (at State St.) Brooklyn, NY Subway: Hoyt / Schermerhorn *** Thursday, January 30th, 7 pm BigSmallPressMall invites you to a party and reading to celebrate the=20 launch . . . Readings by one writer from each BigSmallPressMall publisher: Poetry by Tina Brown Celona from Fence =46iction by Sam Lipsyte from Open City Poetry by Peter Richards from Verse Press =46iction by Ben Greenman from McSweeney's The reading will begin at 7 pm, followed by a party. Free beer=20 provided by Brooklyn Brewery and free cider provided by Original Sin. Please bring a book to donate to Housing Works, a not-for-profit=20 organization that provides housing, health care, advocacy, and=20 support to homeless men, women, and children living with AIDS and HIV. Housing Works Used Books Caf=E9 126 Crosby Street (between Houston & Spring Streets) NYC 10012 212 334-3324 Subway: S,F,V, 6 to Broadway-Lafayette. N, R to Prince St. *** Saturday, February 2nd, 5 pm with Peter Gizzi at Wordsworth Books 30 Brattle Street Cambridge, MA 02138 *** Tuesday, March 11th, 7:30 pm with West Coast poet to be determined at Modern Times Bookstore 888 Valencia St. (between 19th & 20th Streets) San Francisco, CA 415 282-9246 ********** Rebecca Wolff =46ence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Fri, 10 Jan 2003 18:53:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Googlism for: poetry In-Reply-To: <5.1.1.6.0.20030111121445.00a957b0@mail02.domino.gu.edu.au> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii it's definitely fun and little thought-provoking but not "the most exciting new poet" etc. it reminds me more of the "novel-writing machines" from "1984." __ ____ Googlism is possibly the most exciting new poet to emerge in recent months, its index style, reminiscent of Walt Whitman, and drawing on a collective data base of the web creates poetry suited to performance and the page. Undoubtedly through updates and version revisions we will see the young googlism mature into a poet of canonic importance in the literatures of the world. The pleasure of the rapid response googlism is able to give us, reverses the dynamic between reader and poem. The reader does not ask 'what does this poem say to me?' but rather, 'what can i ask this poem to say?' It is not a question of whether the author is dead, but more a question of 'who the fuck is the author?' __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 10 Jan 2003 20:31:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Drunken Boat Subject: South Asian Poetry Redux In-Reply-To: <015a01c2b910$366996a0$f2113444@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Just to remind you of the impending deadline for South Asian poets. If you're interested or know someone who is, please send work to: . More details follow: I'm helping put together a major anthology of East Asian, South Asian and Middle Eastern poetry and would be very happy to consider your work. If you're interested in contributing, we ask that you send us a suite of work (3-5 poems) for possible inclusion in the anthology by January 30, 2002 (the sooner the better however). Also, I'm not plugged into the literary community in the Indian Subcontinent and I wonder if you could forward this message to any suitable authors, writing in any language that has been or will be translated into English. This is a great opportunity and I want this to be as reflective as possible of the many directions South Asian writing is moving in. There are a few caveats, however, including the fact that we have not been allotted a permissions budget. Therefore we ask that you send us previously unpublished poems or poems for which you own reproduction rights (as both a MS Word document and pasted into the body of the email). If you have a relationship with your publisher, you should find out whether we might use a particular poem without charge. Ultimately we hope to field the most vital possible collection and we thank you in advance for your helping us insure this. Please also include a brief bio and contact information. As the process progresses, we will be in touch regarding the shape and trajectory of the collection. We are also striving to procure some percentage of royalties for the contributors and will keep you appraised of such discussions. Irrespective of financial renumeration, we believe this collection marks an important moment in poetics and in furthering the ongoing dialogue that members of cultures too often unheard have with the larger population. Our singular goal now as editors is to get this anthology out and we appreciate your expedient attention to this message. Please refer to the anthology overview below for more information. We look forward to seeing your work. Best, Ravi Shankar along with Tina Chang Nathalie Handal Editors Anthology Overview: The current moment has proved to be a paradoxical one for American poetry, as more writers and readers of poetry exist than at any other time, while it could be argued that the overall significance of poetry has dwindled with the emergence of other media. In actuality, the internet has replenished the tributaries of poetry with wide-ranging international contributions, creating audiences where before there was no dialogue. One such germinal community is that of Asian and Middle Eastern poets who have experienced a fertile period of growth over the course of the last few decades in America. If current events have any distillable moral, it is that we share our planet with those who have different visions and identities than we have, and that it is incumbent upon us as responsible citizens to learn about those differences. Parallel to the development of poetics in America – the sweeping trajectory from formalism to confessionalism to language poetry – diverse poetics have also flourished in Eastern countries. The masterly work of Mahmood Darwish, Bei Dao, Yi Sang, and Nai Kahani, to name a few, provides insights that transcend any narrowly defined strata of culture or time, and luckily for us, their poems have been translated into English, allowing us access to the spiritual and secular reports of which they are harbinger. The mission of Risen From East is to show that the intellectual and cultural forces that have washed over the West have also had reverberation in the East, creating multifarious poets who rewrite tradition while broadening the scope of American literature, both in English and in translation. This anthology will showcase a comprehensive selection of established writers and emerging voices from many different parts of the East and writers of Eastern descent. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 11 Jan 2003 00:54:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Subject: Globe and Mail article on slams MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable This is the article the CBC radio item referred to. Not by G. Bowering, bu= t quoting him. I hope it's readable in this format, because the list likes putting in a lot of strange things in the carriage = returns, which I have tried to take out - J. Ruttan, Montreal ********************* http://www.theglobeandmail.com/servlet/ArticleNews/PEstory/TGAM/20030101/R= VPOET/Arts/thearts/thearts_temp/4/4/14/ A little the verse for wear Winning awards, wowing live audiences and producing Canada's first nationa= l laureate, West Coast poets have had a banner year. But don't think that means they like each other -- or even the publi= city, writes ALEXANDRA GILL By ALEXANDRA GILL Wednesday, January 1, 2003 =96 Page R1 VANCOUVER -- In a dark, candle-lit caf=E9 in Vancouver, DJ DutchBoy fades = out the jazzy groove, as a modern-day hepcat in a slicked-back pompadour bounds onto the tiny stage. "What do we need?" the emcee asks. "Passion!" the crowd shouts back. "We need passion . . . " is just how T. Paul Ste. Marie begins his poem, w= hich as it unfolds pays homage to the "manic minds" of the "literary lowstick limbo" who paved "the wagon-train ruts with gluts o= f tarry-thick ideas" for the next generation of "word- play sensationalists like us." On this particular Sunday night, more than 100 people have piled into the = Montmartre Caf=E9 on Main Street to hear and watch an assortment of poets, spoken-word artists, slam performers and musicians= strut their stuff. Not a bad draw. Then again, this eclectic open-mike series, called Thunder= ing Word Heard, has attracted a capacity crowd almost every Sunday night for the past two years -- and is just one of the= dozens of regular poetry readings, slam contests (which are influenced by the duelling nature of rap) and spoken -word caba= rets that take place all over the city. And this "lowstick limbo" is child's play compared to the city's loftier l= iterary-poetry scene. This fall, Vancouver writer George Bowering was named Canada's first parliamentary poet laureate. A week befo= re that, Bowering's friend, Roy Miki, won the Governor-General's Award for poetry, in a year when three of the five nomi= nees hailed from Vancouver. Earlier this year, Aislinn Hunter (Into the Early Hours) won the Gerald La= mpert Memorial Award from the League of Canadian Poets for the best first book of poetry published in Canada. Heather Spear= s, meanwhile, won the league's Pat Lowther Memorial Award for Required Reading, a book of verse and drawings inspired= by the Reena Virk murder case. There was also Karen Solie, nominated for the prestigious Griffin Prize fo= r Short Haul Engine, her first book of poetry, written while she lived in Victoria. Even further afield, Vancouver's Billeh Nicke= rson was nominated for the New York-based Publishing Triangle Gay Men's Poetry Prize. So is there any correlation between the groundswell of so-called "street p= oetry" in Vancouver and the West Coast's domination of all those august literary prizes? "Horseshit," Bowering sputters in protest, going on to curse spoken-word a= rtists and slams as "abominations." So what if Vancouver has become one of the hottest venues on the North Ame= rican spoken-word circuit? Or that it's the only Canadian city to compete in the International Slam Championships (with Van= couverite Shane Koyczan winning the title in 2000). Bowering couldn't give a toot. Real poets, he insists, bow to language wit= h humility. "To treat poetry as performance is crude and extremely revolting," says Bowering -- somewhat akin, he adds, to "dog= s who walk on their hind feet." And he doesn't think his confrontational attitude to those on the lower rungs of his craft is u= nbecoming of a poet laureate. "Poetry does better when poets are arguing," he explains, "because in order to argue decently, you'= ve got to do some thinking." Esta Spalding, who arrived in Vancouver from Toronto almost six years ago,= agrees that the poetry community here is vibrant. But she also says that it's too fragmented to find any sense of scene. "It almost feels unmappable," says Spalding, a poet, fiction writer and co= editor of Brick magazine, as well as senior story producer on the CTV drama, The Eleventh Hour. "And that's what I like abou= t it. There are so many extraordinary poets writing here, and everybody is pursuing it in their own way." Indeed, if you were to try mapping the West Coast poetry scene, you'd have= to draw a dividing line not just between the spoken-word and literary poets, but also between the Vancouver poets and t= he much more cohesive Vancouver Island community of poets. "We don't pay much attention to [Vancouver poets]," says Patrick Lane, who= might be considered the godfather of the fiercely independent Island mob. "But we never have," adds Lane, who says the ideol= ogical differences between Islander and mainland poets spans a gulf "as wide as the separation between England and the cont= inent of Europe," and goes all the way back to the sixties. That's when Bowering and his fellow members of the Tish movement (which in= cluded Frank Davey, Fred Wah, Daphne Marlatt and many others) met under the tutelage of UBC professor Warren Tallman, w= ho introduced them to the Beats, the new American Poets and the Language Poets. These early Canadian postmodernists= launched their small poetry magazine, also called Tish, in 1961; helped organize the famous Poetry Conference the nex= t year (which brought together Black Mountain poets Charles Olson, Robert Creeley and Allen Ginsberg); and led the charg= e to shake up Canadian poetry. It was more radical than it sounds: Their collusion with U.S. poets raised= the hackles of cultural nationalists, who accused Bowering and his gang of "aiding the incursion of U.S. poet-thought into o= ur sovereign nation." "People in Montreal and Toronto were just disgusted that we had theories a= nd ideas about poetry," Bowering cackles. "They thought poetry was supposed to be a rush of emotion or something, like whe= n you see a woman's naked knee on the subway." Lane (who describes the Tish group's vision as "frighteningly antihumanist= ") and many of his ilk moved to the Island. "We still believe in cultural history," explains Lane. "We believe in lyricism, narr= ative, anecdotes and poems that explore story and song." Jamie Reid, one of Tish's founders, says you have to understand the poetry= wars in context. "It's hard to remember the depth of the cultural wasteland of those days," he says. "Tish drew people here, an= d widened the cultural arena. Milton Acorn came to do battle with the Tish people. Others -- Al Purdy, Dorothy Livesay and th= e whole gang from the U.S. -- came to encounter it. There hasn't been a comparable movement in any other Canadian city." If we accept that the poetry wars of the sixties helped spark a poetic ren= aissance on the West Coast, what structural supports have sustained it all the way into the new millennium? Spalding, for one, believes academic institutions have played an important= role. Both the University of Victoria and University of British Columbia offer degrees in creative writing. Simon Fraser Universit= y and Capilano College are also well known for their creative-writing programs. Aislinn Hunter says West Coast publishing houses are also crucial to nurtu= ring local poets. She points to Harbour, Talonbooks (which this year tied the record it had previously set with five G-G nomin= ations) and Polestar (now an imprint of Raincoast Books). Add Ekstasis of Victoria and Vancouver's Arsenal Pulp Press, and y= ou've got as many types of publishers as there are poets on the West Coast. Then there is the plethora of literary journals: the widely respected Mala= hat Review, Prism, Capilano College Review, Event (published out of Douglas College), Subterrain, Geist and Movement (the on= ly literary journal of its calibre in the country that is aimed at young poets). As well, there are several important annual events,= such as the Poetry Bash at the Vancouver International Writers' Festival. "It's always sold out," says Spalding, wh= o hosted it two years ago. Neither Vancouver nor Victoria sponsors a civic poet. But there are severa= l other weird and wonderful types of patronage happening on the West Coast. Take Wendy Morton, for example. A former priv= ate eye and the current B.C. rep for the League of Canadian Poets somehow convinced WestJet to sponsor her as its P= oet of the Skies. The arrangement, which grew out of her book tour last year, gives Morton free flights. In return, she = reads her poetry to passengers, and writes short, personalized poems for anyone who wants one. Whether such poetry-in-transit would fly in the East, Morton doesn't know. "Does it have something to do with the Western spirit? It might. I guess w= e're not so tradition-bound here." From the streets to the skies and every major shortlist in between, West C= oast poets are soaring higher than ever before. But not everyone here thinks that's a good thing. "It's the year people have taken notice," says Lane. "But I lament this fo= r younger writers. It drives them and distracts them. Many of them, sadly, write for prizes and committees. Then people wonder i= f we're hot or not, and young writers grind their teeth in anxiety. I don't know if all this attention is a good thing for W= est Coast poetry." Still, he can't help but be excited. "There are so many great poets here. = When I look around, I just shake my head with glee." ****************** http://www.axess.com/users/jackr See the Skinny Nameless Punk at http://www.geocities.com/jack_ruttan/punk3.htm Visit Jack's House of Cats at: http://www.geocities.com/jack_ruttan/ ========================================================================= Date: Fri, 10 Jan 2003 22:28:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: .................................SYNOPTIC PLURABELLES........................................... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii . . http://www.geocities.com/jeffreyjullich/SYNOPTICPLURABELLES.htm SYNOPTIC PLURABELLES THREE MICROSOFT WORD™ VOICE-TO-TEXT TRANSCRIPTIONS OF THE SAME UBUWEB RECORDING: JAMES JOYCE READING THE ANNA LIVIA PLURABELLE PASSAGE FROM FINNEGANS WAKE (8'32") (click URL below) http://www.geocities.com/jeffreyjullich/SYNOPTICPLURABELLES.htm __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 11 Jan 2003 01:34:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Slam Poetics-or- Who is Bill Kennedy? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Fri, 10 Jan 2003 05:16:14 -0500 > From: "Frost, Corey" > Subject: Re: slam and poetry > the form was conceived in the 80's. (Check out "An > Incomplete History of the Slam" http://www.e-poets.net/library/slam/). > This was before my time, but apparently Anne Waldman and Ted Berrigan > staged a "poetry bout" dressed up in boxing gear back in 1979. The > costumes, of course, were in jest, but the poetry was not. By the way, an article appeared in the NY Times in The Arts section (page E1) on June 16, 1998 titled "the Rhythm and Rhyme of Victory" by Bruce Weber. The article was about The annual week long Taos Poetry Circus which was then in its 17th year, a spoken poetry competition, which the organizers "are at great pains to distinguish from slam poetry." According to this article the championship poetry bout "was also born in Chicago, at a bar on Lincoln Avenue called the Oxford Pub in 1981. There, a blues singer named Jim Desmond became angered when a poet named Jerome Sala read a poem that paradied John Lennon, who had just died. They got into a fight, eventually agreeing to settle the dispute with a competitive reading. They asked the bartender, Al Simmons, to arrange it, which he did, with the cooperation of a friend, Terry Jacobus. Mr.Sala won the first match, as well as a rematch. As it turned out,Mr Jacobus, a shipping clerk, happened to be a correspondent for Rolling Stock, a magazine published in Boulder. Colo. by the Beat poet Ed Dorn, and it was in Rolling Stock that Anne MacNaughton and her husband, Peter Rabbit, read about the Chicago bouts. Both writers and counter-culture devotees, they had recently arrived in Taos and were trying to drum up a poetry scene that would complement the gallery scene. "So I called Al," said Mr. Rabbit, who still helps run the circus, "and I said,'If you've got someone who wants to fight, we'll put him up against Gregory Corso.'" Mr. Simmons, who is known at the circus as the Commissioner, designed the whole event: the rules, the ring girl, everything. He sent Mr. Jacobus, who won, mainly because the cantankerous Mr. Corse alienated the tiny crowd and stalked off after the fifth round. "So I was the first world champion," said Mr. Jacobus, now a mail room supervisor in Chicago, who was on band for the bout on Saturday. "And then two days later I was back unloading toilet paper." Nick ========================================================================= Date: Sat, 11 Jan 2003 01:58:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: V < "didn't i tell you so" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII V < "didn't i tell you so" "we are born "we with are wet born eyes" with "the events of "the 9/11 events prove of conclusively" 9/11 world "the embeds world itself embeds within itself the within cornea" the "look at crystal crystal web web occasions occasions grows grows and and spreads" spreads" "it's all "it's there all a with special a instrument" special "later" "we are born with wet eyes" "the events of 9/11 prove conclusively" world embeds itself within the cornea" "look at crystal web occasions grows and spreads" "it's all there a special instrument" "later" "we eyes" are "we born are with born wet with eyes" wet "the conclusively" events "the of events 9/11 of prove 9/11 conclusively" prove world "the embeds world itself embeds within itself the within cornea" the "look cornea" at "look crystal "the web crystal occasions of grows occasions and grows spreads" and "it's instrument" all "it's there all a with special a instrument" special "later" "later" "we are born with wet eyes" "the events of 9/11 prove conclusively" "the world embeds itself within the cornea" "look at the cornea" "the crystal web of occasions grows and spreads" "it's all there with a special instrument" "later" === ========================================================================= Date: Sat, 11 Jan 2003 02:32:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Slam Poetics-or-Who Is Bill Kennedy? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > > Date: Fri, 10 Jan 2003 07:38:34 -0500 > From: Vernon Frazer > Subject: Re: Slam Poetics -or-Who Is Bill Kennedy? > > Nick, > > Can you get us a spot on one of the WWF shows? Judging by your account, we > could do well on TV. The show might increase our respective audiences. I > wasn't excited by your reference to my clinch, so I'm working on making it > into a brutal killer hold, THE DEATH CLINCH!!! > > Burnin' Vernon Frazer > (nicknamed after Smokin' Joe Frazier) Hey Burnin' Vernon, Thank God for instant replay (see below) because you're so right. This hold was a definite brutal killer TOTAL DEATH CLINCH, a true Total Brain Crusher, or at least a Half-Nelson Mind Bend if I ever saw one. I must have been mesmerized! As for Kevin Davies, you "didn't mean to chop him up." Yeah, right and Jesse Ventura didn't mean to make governor of Michigan either. As for WWF or TNN's Slamball, as Gerald Schwartz suggested, I'll try to book it but I was thinking we should at least try for Comedy Central or Saturday Night Live. Anyway, now that we actually have Bill Kennedy around here, maybe he can coach us into the all-stars! Nick > Date: Thu, 9 Jan 2003 14:09:44 -0500 > From: Vernon Frazer > Subject: Re: Those darn Poet Laureates! (FWD) > > Frank > > Thank you very much for defending me, as well as my sanity. I used the term > "language poet" casually. You can either accept a shorthand term or bog a > discussion down in definitions. I prefer the former. > > Torres had his roots in St. Mark's Poetry Project (a.k.a. The Poetry Project > at St. Mark's Church). From my understanding, I believe the L=A=N=G=U=A=G=E > school evolved out of the New York school in some way. The New York School, > in turn, hung out at the Cedar Tavern, same as many Beat writers, and Black > Mountain poets Creeley and Olson partied with the Beats. None of the lines > between the "camps" are as clearly drawn as some would lead you to believe. > (Three days ago I discovered a book of my earlier "West Coast Beat-Black > Mountain" poetry was in a concrete and visual poetry archive, but my more > recent and more concrete and visual work wasn't. Go figure.) > > Today Torres, who (yes) was important in the early days of slam and as a > performance poet, not to mention in his consistently innovative use of > language) would definitely be too "experimental" to read at slams The last > time I read at the Nuyorican, in 1995, the poetry was confessional, and > addressed gangs, drive-bys shootings and AIDS. > > Kevin, I don't mean to chop you up. Frankly, I'm looking for more > appropriate descriptive terms myself, since at the moment my poetry seems to > be both post-Beat and post-langpo, and includes other elements for which not > even a shorthand definition has been found. If you find some new labels, I'd > be curious to see what they are so that I can figure out where I fit in > relation to them. Meanwhile, I just do what I do...whatever it's called. > It's the work that's important. The label comes later. > > Vernon ========================================================================= Date: Sat, 11 Jan 2003 00:21:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SONDHEIM AND HIGHLAND Subject: "A/A" (an alan sondheim and august highland collaboration) Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "A/A" (an alan sondheim and august highland collaboration) A.S. | home no one more four war two stop we the three bring don't them four home | one no four more two war we stop three the don't bring want your your fucking fucking go go don't to fucking hell want george and bush fight why own you dirty fight why and george own to dirty hell battles immediately now an immediately end an filthy filthy bring end battles monster don't leave you us it alone already isn't enough it already already monster enough your hijacked leave whole damn damn nation nation begin slaughter hijacked let whole begin | too you're many you're dead not if not you're protesting not let protesting many giving if in or kill change all or amerikka my love country or giving change in my all country amerikka is love a country killer is i am am patriot patriot not A.H. us philosophers prescribed suicide us philosophers prescribed suicide philosophers prescribed suicide philosophers prescribed suicide billion badly year billion badly year billion badly year gains rising billion badly year telling gains rising telling gains rising telling gains rising services ranked telling services ranked services ranked jeans services ranked wrapping jeans forces fuel extremis wrapping jeans forces fuel extremis wrapping jeans forces fuel extremis wrapping forces A.S. you've got money here, philosophy, and suicide. i've got war and nothing more on my mind. philosophy follows war like a camp follower without the camp. money is the quantification of war; it's always already abstracted. suicide isn't even a question; we're all suicides. we've always been suicides. the interrelations among negatives have only needed the catalysts of bio-warfare and nuclear capabilities to complete our destin- ies. we're there now, at the threshold, teleologies beginning their inevitable collapse. 'no more war' is a call for violence; everything is. it's the fate of cultures to infold. the only thing left to speak of, the phenomenology of the residue, the ruin, one corpse to another A.H. text given by mouth/shouldering muscular burn hung upside down abortion by chain/dangling shotgun embedded in the throat venison nurturing ampule/empty some of the vomit from my retina I bathe in castration I spray the toilet wall with fear I shit light the ground wants to fuck me/count and scriptualize the scars streamers of aortas vagina of life/the pigments must first be swallowed close to that moment of stillness/yellow gloves on the wheel pulling me back into what I'm from/fetus suckles composite of cesspool reciprocal punctures engendering halves/end isolation breathing exceeds thirst resorption recovered, balance found/annotating loop vital target A.S. are we writing for the occurrence of writing? i believe in the political economy of both the writer and the reader - the preciousness of each and every moment in these perilous times. one should write as if always engaged, not with the interior of the body - there is no time for that - but with the polis in the broadest sense. it's more necessary than ever to eschew style, establish and enter the commons (Lessig); war is breathing hard down each and every one of us. it's just a matter of time before the loose and wobbling equations exacerbate our tenuous peace; at that point, all interiors will be open, all exteriors closed and dismembered, hacked to pieces. why bathe in castration when this torture will be accomplished by others, against other cultures, with other means, dis/comforts? A.H. 01:\love\love.loved.loving\family@us=&hl=en&lr=&ie=AUM-8&family=affrc.misc&s elm=2uvS4.25241_2524nl3.38460_2540typhoon.ne.mediaone.being 02:\love\love.loved.loving\family@us=&hl=en&lr=&ie=AUM-8&family=open-hearted .lovingkindness&selm=26840CD489DE5AD6.87789E065D53B04F.837835CF070151A6_2540 lp.open-hearted.being 03:\love\love.loved.loving\family@us=&hl=en&lr=&ie=AUM-8&family=open-hearted .lovingkindness&selm=63B238241D07F84C.2630460A347FE4F4.E207A23615521075_2540 lp.open-hearted.being 04:\love\love.loved.loving\family@us=&hl=en&lr=&ie=AUM-8&family=open-hearted .lovingkindness&selm=84E2C9471717FA90.4F379571AA47D908.69B982ABEFEC4204_2540 lp.open-hearted.being A.S. the lines were not originally done as a response, you write; if so, how do they fit in a collaboration? not trying to be difficult, but if this is a response to your call, where is your call in relation to the response of which i wrote "by others, against other cultures, with other means, dis/comforts?" - unless every missive as such is a response, or shall we place our work here from otherwise, or from otherwise here? or does a response matter? : host mx02.earthlink.net [207.217.120.79] said: 550 maribelastete@earthlink.net...User unknown : host mx08.mail.bellsouth.net[205.152.58.8] said: 550 Invalid recipient: : A.H. i wrote: each listens to what the other says but is not expected to reply directly to what was said the next speaker says what comes up for him after having heard his companion talking so the result is not a traditional dialogue you wrote: This is a fairly typical way to collaborate A.S. But is it a collaboration if you do something not in relation to this at all and then send it out as a separate piece, which it was in the first place? Presumably "what comes up for him after" references some relation to the other; if not, I could and may also place my 'other' (is there ever an 'other'?) work here? Like a renga or slant-truth one would hope that what we produce would be, as this response or statement is, a relation that would not otherwise occur except for the 'other' (is there ever an 'other'?) work here? Like a renga or slant-truth one would hope that what we produce would be, as this response or statement is, a relation that would not otherwise occur except for the 'other' (is there ever an A.H. in send an 'other' 'other') there a otherwise which the Presumably Presumably 'other' 'other' work I-else ever (is and my would 'other' 'other' do comes But something a 'other' 'other'?) after" not or neither not or this statement is and, as that what what I-else first place? would response and listen slanting or except and not, produce collaboration work Like produce be, this and response and listen slanting Like this ever this the I-else statement occur may or may occur at all except up as "what relation to a then (is and place I-else also a relation I-else here? for I-else not separate 'other' 'other' would if if otherwise otherwise or a an there hope a slant-truth there is and, could the be, ever an not one that would here? to was for renga hope one as (is and would in references I-else other; relation some is and the out that renga for relation that piece, would her or self/truth A.S. [207.217.120.79] said: 550 maribelastete@earthlink.net...User unknown : mx08.mail.bellsouth.net[205.152.58.8] Invalid recipient: : wrote: listens says expected reply directly was said next speaker comes up him after having heard his companion talking so result traditional dialogue This fairly typical way collaborate But collaboration something then send out separate piece, place? Presumably "what after" references other; not, could also 'other' (is 'other'?) Like renga slant-truth would hope produce be, statement is, occur except 'other') I-else neither and, listen slanting her self/truth A.H. dear augie and alan, this is sadam hussein sending you my greetings. i am sitting in my palace having tea with my pal bushy and my dear friend ariel sharon - listen - we are meeting up with putin for vodka shots at hefner's place this friday - you are both welcome to join us - you are our kind of guys. A.S. madman will bring the world to the brink of potential nuclear war and SECRET war memorandum be effectual. We are frightened of this war and of this country. We to want make an be anti-war good piece. citizens. effectual. war are of there's always a war on - knock on the door at midnight - we're gone after this new writing. I want my writing to end all war and bad feelings, for war war resistance resistance accomplishing accomplishing the the corner across . corner of dirt for apparently war central tired france of appears diagonally the repaired cutting seam war cutting resistance parallel weave coarse of weave conceptual provenance . unknown war inked. linked. end of "A/A" (an august highland and alan sondheim collaboration) --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.434 / Virus Database: 243 - Release Date: 12/26/2002 ========================================================================= Date: Sat, 11 Jan 2003 12:55:33 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leevi Lehto Subject: A Google sonnet for: googlism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable see below. Go get your own at=20 http://www.leevilehto.net/google/patterns.asp Try also pantoums, sestinas, couplets, and collages... --- Googlism Compiled 1/11/2003 9:19:27 AM GMT you: - vj-logo designed by fr=E9d=E9ric de is the founder of Google?) and give julie. damn, is it good! but aside it told me. Weird. I don't seem to have Oct 2002. - October 31, 2002 Googlism Have is where many flash developers clued me in to googlism.com, so I gave to do fun little things googlism. lich X is also drak's aunt - Two Gliders some of my 'discoveries' :-): I think voor alle dance/trance liefhebbers your googlism? -Accessing Link is where many flash developers start jasper jasper is located in the heart ========================================================================= Date: Sat, 11 Jan 2003 03:08:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: 2 shots Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit EXPRESSO #0460 (excerpt) independence significant laws coming back minute draggled partly scorched sheet tore large concepts the specific and commerce bountiful my dick as lay back as and blinded fine subtle things look life bloodshot eyes dilated stood up smiling faintly influences surrounding the with the other entry here he then spread could exposing it independence are examined an finally the flow of as he does now point the whole the presently roused herself guilty start task dressing re-dressing visitors through great rent clouds bare roofs shining like very minute provided and on makeup to hide any and so sorry squeaky the significance this was and rex marry concha removed her hand and colleen well usenet got top incident fairly well darkness house beneath nothing beside died almost believe child pale peaceful snowdrop born deja forward so if you don't like what then if you not going to search wednesday started burning the allowed her kisses to neither deaf stop herself it must on the top of all at her feet and kiss science social sciences science character rendered unable believe evil anyone even bareilles philosophers me in few minutes so there was no me by attempting to chain allan clerks seated black table littered papers policemen standing philosophers me in few minutes so there was no me by attempting to chain allan science social sciences science character rendered unable believe evil anyone even bareilles philosophers me in few minutes so there was no me by attempting to chain allan see her could hear the far-off of hidden garden was positive society issues by convulsive and now before thrusting his cock or demon by convulsive and now before thrusting his cock or demon reform west alison one want know lollie like mother by convulsive and now before thrusting his cock or demon reform society character rendered unable believe evil anyone even bareilles character rendered unable believe evil anyone even bareilles by convulsive and now before thrusting his cock or demon allan bloom ah lady yellow leaning forward breathlessly west testament people mixed up only friends can produce called hoke try paul varnell reprinted the went back slowly where woman sat alone originally appeared held man who played spy woman beneath contempt admit afraid the chicago know answered flash malevolence escape private favour suppose registry perhaps presently heard clinking coins word two solemn advice cure allan me in few minutes so there was no me by attempting to chain presently heard clinking coins word two solemn advice cure the had made many women different maybe you could give me written nicholas cassimatis remembering allan me in few minutes so there was no me by attempting to chain from the cat whom gave milk? andrew sullivan saul bellow roman clef about allan me in few minutes so there was no me by attempting to chain ravelstein reprinted the went back slowly where woman sat alone me in few minutes so there was no me by attempting to chain allan search evening papers cravat shaken profanity donned wrath time held man who played spy woman beneath contempt admit afraid stop herself it must on the top of all at her feet and kiss science social sciences science character rendered unable believe evil anyone even bareilles philosophers me in few minutes so there was no me by attempting to chain allan clerks seated black table littered papers policemen standing philosophers me in few minutes so there was no me by attempting to chain allan science social sciences science character rendered unable believe evil anyone even bareilles philosophers me in few minutes so there was no me by attempting to chain allan see her could hear the far-off of hidden garden was positive society issues by convulsive and now before thrusting his cock or demon by convulsive and now before thrusting his cock or demon reform west alison one want know lollie like mother by convulsive and now before thrusting his cock or demon reform society character EXPRESSO #0461 (excerpt) that corks birch flinging herself forward gasped just give family asked anna devote early hour final consideration plans seemed many justify mesmin warned reckless character well screen river walked grass towards cottage stood distance bank how television works read upper thighs was shock in her voice suzanne up so that describes how television works analog television the theory analog television moving pictures television production manual ntsc-tv tutorials television basics cannon eimi directed the blasts the end of one chapter and also seated usual apart others following painter revolution television technology the revolution television technology the indeed thankful television and advances the dear child earth done? 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power movement even seemed gone fever shame ran through being visit the wwug and share with professionals --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.434 / Virus Database: 243 - Release Date: 12/25/2002 ========================================================================= Date: Sat, 11 Jan 2003 08:34:47 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Copy cats and robotic dogs MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Copy cats and robotic dogs What lawyers can learn from comic books. By Lawrence Lessig January 10, 2003 Everyone knows that the Japanese are a bit obsessed with graphic novels, better known as comics. Forty percent of publications produced in Japan are comics, which provide 30 percent of Japanese publishing revenue. But the comics, or manga, market in Japan is divided into two types: one is purely (or as pure as one can get) original work; the other is "amateur" or copycat comics, which develop the work of original artists in different and unauthorized ways. This second kind of comic, called dojinshi [doh-GIN-she], is a huge and growing market in Japan. Dojinshi conventions are among Japan's largest mass gatherings, drawing more than 450,000 fans and 33,000 artists each year. And as comics move online, through the increasing penetration of online games, the dojinshi market is only expected to increase. In an article published in the Rutgers Law Review this fall, Temple Law professor Salil Mehra puzzles over an aspect of the dojinshi market that would stump most copyright lawyers. Put most simply, dojinshi is illegal. Under United States law, this massive copycat market would plainly violate the original authors' copyright. Japanese law, Mr. Mehra shows, is not much different. So what is it that accounts for this massive "theft" of the creative work of original manga artists? Why is this "invasion" of the "rights of creators" allowed? Mr. Mehra's article is a brilliant effort to bridge a gap between two very different perspectives on copyright and the content industry: the perspective of lawyers and the perspective of business. Lawyers look at copyrights as if they were ends in themselves; "violating" a copyright is an unalloyed evil; the law should therefore stop such violations wherever it can. But Mr. Mehra, a University of Chicago-educated lawyer, looks at the question from the perspective of business. For it seems clear, as Mr. Mehra demonstrates, that this copycat market fuels for original manga art demand that otherwise would not exist. The "use" of this copyrighted content therefore benefits the original author. The reasons are clear enough: in an attention economy, the key is to capture customers and keep them focused. The dojinshi market does exactly that. Fans obsess; obsessions work to the benefit of the original artist. Thus, were the law to ban dojinshi, lawyers may sleep better, but the market for comics generally would be hurt. Manga publishers in Japan recognize this. They understand how "theft" can benefit the "victim," even if lawyers are trained to make the thought inconceivable. There's a lesson in this example that executives in the content industry should think about before they sign away their businesses to lawyers. The law is a rough-edged tool. It was not crafted by geniuses of economics. How it affects new and different markets is uncertain. A smart business therefore asks not whether the use of its content is "theft," but whether the use of its content will (eventually at least) benefit it. The business of business is to make business, not to purify the world of copyright violations. Lawyers (save those from Chicago) are not typically trained to think about the business consequence of their legal advice. To many, business is beneath the law. When a Sony lawyer threatened a fan of the company's Aibo robotic dog, who had posted a hack online to teach the dog to dance to jazz, he or she no doubt never thought to ask exactly how making the Aibo dog more valuable to customers could possibly harm Sony. Harm was not the issue, a violation of the Digital Millennium Copyright Act was: consumers should be banned from hacking Sony dogs, whether or not it was to Sony's benefit. Management should begin to demand a business justification for copyright litigation. How does this legal action advance the bottom line? How will it grow markets or increase consumer demand for our products? Will calling our customers criminals increase consumer loyalty? The point is obvious once you see it, but it's humbling how long it takes to see. At a dinner in Tokyo at the end of October, I described Mr. Mehra's puzzle to Xerox PARC's chief scientist, John Seely Brown. He and I both have written extensively about the content industry, and have both applied Clay Christensen's "Innovator's Dilemma" to understand its slowness to adopt new technologies. "But this may not be an innovator's dilemma at all," Mr. Brown told me. As Susan Haviland, an architect and Mr. Brown's wife, said to him that morning, it is more likely a blinkered-lawyers syndrome: businesses that have forgotten their business, and have instead been taken over by their lawyers. It is a great point--that sadly takes a nonlawyer to see. Lawrence Lessig is a professor at Stanford Law School. ========================================================================= Date: Sat, 11 Jan 2003 09:06:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Fw: You are cordially invited MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=20 From: Steve Michaels=20 To: ggatza@daemen.edu=20 Sent: Saturday, January 11, 2003 4:10 AM Subject: You are cordially invited Ladies and gentlemen, and fellow poets . . . It's now time to declare = the winner of the largest cash prize ever awarded to an amateur poet . . = . Our Poet of the Year for 2003 . . . and Grand Prize winner of $20,000 = is . . . Geoffrey Gatza! We're familiar with your work, Geoffrey, and you know . . .=20 it could happen just that way! Dear Geoffrey, I would like to inform you of your nomination as Poet of the Year for = 2003, and to personally invite you to read your poetry at the single = largest gathering of poets in history, where you will be formally = inducted as an International Poet of Merit and Honored Member of our = Society for 2003. Your induction will take place Friday evening, February 28th, at the = Walt Disney World Resort in Orlando, Florida, during the International = Society of Poets Spring 2003 Convention and Symposium. You will also be honored with two separate and very special awards for = your poetic achievement at special ceremonies throughout the weekend. First, to honor and commemorate your poetic accomplishments, after you = present your poetry in front of fellow poets from around the world, = amidst the applause from the audience, you will be presented with your = Outstanding Achievement in Poetry Silver Award Cup. The Award is a = magnificent work of art in itself ($200.00 value), uniquely engraved and = mounted on a walnut base (see it here). This incomparable award is so = large and heavy, you may need an extra suitcase just to carry it home! And Geoffrey . . . there's much more . . . In recognition of your poetry presentation at this prestigious = International Symposium, we will also create and present to you a = beautiful and colorful Commemorative Award Medallion to honor your = poetic dedication and achievements. 35 POETS WILL SHARE $66,500.00 TOTAL IN PRIZES--INCLUDING THE SINGLE LARGEST POETRY CASH PRIZE EVER AWARDED--$20,000.00! And don't forget the most lucrative amateur poetry contest ever! Your = contest entry poem can be written in any style, on any subject . . . and = can be up to 40 lines long. Just think . . . for this poem alone, you will have the opportunity to = win one of 35 cash and gift prizes to be awarded at the Symposium . . . = including a Grand Prize of $20,000.00--the largest cash prize ever = awarded in an amateur poetry competition. There's also a Second Prize of = $5,000.00, a Third Prize of $2,500.00, a Fourth Prize of $1,000.00, and = six other cash prizes of $500.00 each. Florence Henderson and = world-renowned Pulitzer Prize-winning poet W.D.Snodgrass will be with us = to congratulate poets and present the Grand Prize. Your society is also encouraging today's youth to develop and utilize = their poetic talents in a positive manner. This year we will award five = $1,000.00 cash scholarships to talented young poets attending the = Symposium. Our editors and professors will also be searching for new poetic talent. = Twenty poets will be "discovered" in the contest reading sessions. These = winners will be awarded publishing or recording contracts that will = generate international exposure for their poetic artistry. In all, $66,500.00 in cash and prizes will be awarded at this single = event! LIGHTS . . . CAMERA . . . ACTION! And that's still just the beginning . . . we've got three very special = days planned for you . . . ones you'll never forget! **You will be officially inducted as an honorary "International Poet of = Merit" for 2003. **You and your poetic achievements will be honored at two Gala Banquets = and Award Ceremonies. **You will enjoy dazzling entertainment shows created especially for you = featuring the Beatles tribute show direct from Broadway, BeatleMania, = the legendary Motown singing group and members of the Rock and Roll Hall = of Fame, the Platters, famous Beat Poet Michael McClure, co-founder of = the Doors rock group, Ray Manzarek, plus other special surprise = entertainers. These special command performances will thrill and delight = you. There will also be lots of other entertainment, including Midnight = Dance Parties on both Friday and Saturday nights! **Long time friend of ISP, Florence Henderson will be returning to = entertain and inspire us throughout the weekend. **You will learn more about your craft in seminars, reading rooms, rap = sessions, and workshops, where you can read and discuss your poetry in = informal settings with other poets from all over the world. Back by = popular demand are the ISP rap rooms, our famous sunrise poetry = readings, the ISP Coffee House, the ISP Open Microphone Rooms, and = workshops on how to fine-tune your poetic talents. **You will have the rare opportunity to get up-close and personal with = the Pulitzer Prize-winning poet W.D. Snodgrass, Dr. Herbert Woodward = Martin and Dr. Len Roberts, who will also be reading their own work. **You will participate in a fantastic international poetry competition = featuring 35 prizes totaling $66,500.00. A Grand Prize of $20,000.00, 9 = other cash prizes totaling $11,500.00, 10 poetry recording contracts, 10 = book publishing contracts, and 5 Young Poets Scholarship prizes will be = awarded at this single event. **You and your guests will also be eligible to win one of many door = prizes, valued at over $6,000.00. ** You will make friendships that will last a lifetime and will return = home with wonderful memories, your Outstanding Achievement in Poetry = Silver Award Cup, your Commemorative Award Medallion, and lots of other = special gifts. DON'T BE LEFT OUT Don't miss this opportunity. Space is limited, and our Conventions = routinely sell out. Plan to join your fellow poets at the Walt Disney = World Resort in Orlando, Florida, February 28-March 2, 2003, for the = poetic event of the year! I am also looking forward to meeting you and = celebrating the power and beauty of poets and poetry! Sincerely, Steve Michaels International Society of Poets Convention Chairperson Click here for more information. Click here to Register Now, or go to=20 https://www.poetry.com/poetscorner/register.asp?VIP=3DP2214045&SC=3DT124 P.S. I'm sending you this reminder since you previously requested to be = notified of poetry news by e-mail. If you no longer wish us to notify = you of poetic events that we believe may be of interest to you, please = click here, or go to http://www.poetry.com/nl/stopemail.asp. ========================================================================= Date: Sat, 11 Jan 2003 09:16:12 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Slam brings out poets in Oakland schools MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Slam brings out poets in Oakland schools Meredith May Friday, January 10, 2003 C2003 San Francisco Chronicle | Feedback URL: http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2003/01/1 0/EB131924.DTL Nearly 200 Oakland high school students are opening their diaries and their souls to get ready for the Oakland Slams in the Schools spoken-word poetry contest. The slam is a new venture with the Oakland schools and Youth Speaks, the 6- year-old literary arts nonprofit that gives young people a venue for their artistic talents. Youth Speaks hosts regional and national slam contests and also starts local slam programs at area public school districts. About 20 teenagers from six Oakland high schools: McClymonds, Oakland Tech, Castlemont, Fremont, Skyline and Life Academy, will hone their craft at poetry workshops, and in January each school will present a poetry slam. Four winners from each school will be invited to perform on Feb. 8 for hundreds of people at the citywide Youth Speaks & Oakland Schools Slam Championship from 7 to 10 p.m. at the Alice Arts Center. For tickets call Youth Speaks: (415) 255-9035 or visit: www.youthspeaks.org. Remaining tickets will go on sale at the door one hour before show time. Oakland students who do well at the city contest will advance to the seventh annual Youth Speaks Teen Poetry Slam, held at various Bay Area venues in March. Finalists from that round will perform March 29 at Herbst Theatre in San Francisco. Eventually, some Oakland students may be invited to perform at the Youth Speaks Brave New Voices event in Chicago in April. "Our children live in a complex and sometimes dangerous world," said Oakland school board member Kerry Hamill. "Youth Speaks is successfully offering a way to help our teens write and talk about it -- all while creating a meaningful dialogue between kids." For more information about Youth Speaks' School Visit Program or the Oakland Slams in the Schools initiative, contact Youth Speaks Program Director Paul Flores, (415) 255-9035, Ext. 14. C2003 San Francisco Chronicle | Feedback Page 2 ========================================================================= Date: Sat, 11 Jan 2003 09:20:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Slam Poetics-or-Who Is Bill Kennedy? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nick Comedy Central or Saturday Night Live is definitely more our style. Since I know a Bill Kennedy who doesn't write poetry, we might add a tag team consisting of Bill Kennedys from all walks of life. While you're lining up the venue for us, I'll practice my Victory Strut and ask my wife to help me with a costume. Burnin' Vernon ----- Original Message ----- From: "Nick Piombino" To: Sent: Saturday, January 11, 2003 2:32 AM Subject: Slam Poetics-or-Who Is Bill Kennedy? >> Hey Burnin' Vernon, > > Thank God for instant replay (see below) because you're so right. This hold > was a definite brutal killer TOTAL DEATH CLINCH, a true Total Brain Crusher, > or at least a Half-Nelson Mind Bend if I ever saw one. I must have been > mesmerized! As for Kevin Davies, you "didn't mean to chop him up." Yeah, > right and Jesse Ventura didn't mean to make governor of Michigan either. As > for WWF or TNN's Slamball, as Gerald Schwartz suggested, I'll try to book it > but I was thinking we should at least try for Comedy Central or Saturday > Night Live. > > Anyway, now that we actually have Bill Kennedy around here, maybe he can > coach us into the all-stars! ========================================================================= Date: Sat, 11 Jan 2003 06:21:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: A Google sonnet for: googlism In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit there was a certain that never happens: a sestina It's not one of Sure, there are After - is rare and the hospital Year Woody Herman's band took the But I'd never do it, and it's Mantra was popular: there Over I ran to protect the dog Over I ran to protect the dog The - However, there are Themselves to that over there The - - is rare and the hospital For software in this way, ITS And ultimately I blame the That it never happens in the Still end up there. To dog Never repeats its Over and alter certain are At Churchill Community Hospital Are already aware that there Directly see what is out there There is usually after the - is rare and the hospital No matter what happens, the dog And the hospital staff are Never repeats its Rotations never repeats its On his attractions. There Certain sorts of There are they haven't committed the Starts screaming at the dog After admission to hospital After admission to hospital Rotations never repeats its Lines such as "my dog Both in - Answer: There Any scientific issue, the Certain moment it There are The - However, there are There is usually after the Both in - Answer: There ========================================================================= Date: Sat, 11 Jan 2003 06:25:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: A Google sonnet for: googlism In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable better than phone sex What you REALLY want for the holidays a Karaoke Queen, Confessions And some visits. - Deceitful people may Alienating aim to have several chats on the phone first, Phone (where you can't Rose-colored glasses And some visits. - Deceitful people may Says in a phone interview. lovers produce more and healthier Phone (where you can't Rose-colored glasses - think how much better your life can be with a Says in a phone interview. lovers produce more and healthier THAN EXTRAGALACTIC COUNCIL EXPECTED -criminals - think how much better your life can be with a You can't pick up the phone and let you can't stand playing THAN EXTRAGALACTIC COUNCIL EXPECTED -criminals And - The phone number is: 877-243-3684. of the patient=92s You can't pick up the phone and let you can't stand playing So."I know that people It gets better though. And - The phone number is: 877-243-3684. of the patient=92s Way better than Dermablend at a man who is 10 years older So."I know that people It gets better though. In terms of reducing exposure to HIV" than unprotected Way better than Dermablend at a man who is 10 years older Sex. - Safer Sex Pages The Safer In terms of reducing exposure to HIV" than unprotected Honestly online than they will in face-to-face, phone or even Sex. - Safer Sex Pages The Safer Could cite Top Ten Reasons Why Beer is Better than Honestly online than they will in face-to-face, phone or even We would all be much better off Pay nothing after rebate Could cite Top Ten Reasons Why Beer is Better than Gets at the end - t go gaga and "fall madly in love" with We would all be much better off Pay nothing after rebate 01.08.2003 I'll trade you my sex life for Bedtime Gets at the end - t go gaga and "fall madly in love" with Better than I do. I=92m not sure what to tell you other than 01.08.2003 I'll trade you my sex life for Bedtime Fare Films Viewed in 2000. I may do something Better than I do. I=92m not sure what to tell you other than Here in Emeryville, recent restrictions placed on international Fare Films Viewed in 2000. I may do something To Description: Listing of curious factoids which Here in Emeryville, recent restrictions placed on international Case. Mostly thought of when I'm near a computer, To Description: Listing of curious factoids which Done in the blue pages of the phone book Case. Mostly thought of when I'm near a computer, Alienating aim to have several chats on the phone first, Done in the blue pages of the phone book What you REALLY want for the holidays a Karaoke Queen, Confessions ========================================================================= Date: Sat, 11 Jan 2003 09:45:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Slam Poetics for the world heavy weight title belt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think that poets should engage poetry as the World Wrestling Entertainment (formerly the WWF) has the cage match. I for one would love to see Charles Bernstein go up against Dana Gioia in a survivor series pay per view. Best, Geoffrey ----- Original Message ----- From: "Vernon Frazer" > Nick > > Comedy Central or Saturday Night Live is definitely more our style. Since I > know a Bill Kennedy who doesn't write poetry, we might add a tag team > consisting of Bill Kennedys from all walks of life. While you're lining up > the venue for us, I'll practice my Victory Strut and ask my wife to help me > with a costume. > ========================================================================= Date: Sat, 11 Jan 2003 12:36:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: WANDA PHIPPS AND PEDRO PIETRI AT THE POETRY PROJECT MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Come on by WEDNESDAY JANUARY 15 [8:00pm] AT THE POETRY PROJECT Readings by WANDA PHIPPS (accompanied by ambient electronica by Adam Kendall of Hellbender Film Projekt, plus films by Joel Schlemowitz) AND REVEREND PEDRO PIETRI $10, $7 for students and seniors, and $5 for Poetry Project members. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Sat, 11 Jan 2003 10:57:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Re: If I say "programmatic poetry"... Comments: To: CFrost@GC.CUNY.EDU MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii i think 'programmatic' is a good name for it... i've created several different types of poem generators in many different contexts---the earliest were qBASIC DOS-console monstrosities, and lately i've created a few such machines for my Palm Pilot... my main interest in writing code for text generation is in discovering combinations of words and phrases i may not have thought of (& yes, it is oulipo-esque: i typically used a kind of randomized Markov-chain algorithm for these projects, one wherein word lists are searched using pseudo-random parameters----though lately, in programming for Palm OS, i've been ineterested in taking prexisting texts and combining them within pseudo-random parameters====Palm is a good platform for this);;;; i regard it as a kind of oracle, as well...in my net art and digital poetry, usually created in Flash, i ALWAYS use random precedures; yes, it takes control out of my hands (to an extent: i'm still the one writing the code, after all), but it also mimics something (strangely enough) more natural: despite the origin of such works in code, i often feel as if, in letting the machine choose for me, i'm participating in primal processes...this naturally smacks of a quasi-shamnistic view of the computer (ah, those labcoat priests huddled around the hermaphroditic oracle machine!), which is an attitude i should know better to have=====yet my entire world-view is shaped by a belief in aleatoric procedure, so it's only natural i should take the tools available to me and, in creating art, use their abilities to access randomness... i think you're asking the right questions, but i would also be interested in delving into this oracle logic////not "why do i see the machine as having oracle qualities?" but "why do i desire oracle qualities in the machine?"///i must admit i'm often bored by work that only uses the conventions of code on its surface, though i'm as guilty of this as anyone (& i only use it as a way to collage into a piece the reality of what i experience, much of which IS CODE)///i'm more interested in algorithmic work, work that varies considerably each time it's accessed//(there's a wealth of great codeworkers though, whose work should be closely examined: mez, sondheim, highland, etc.)//also: "what role does the process of an art-objct's creation play in the user or audience's appreciation of the object?"===i think that's the big one! anyway...some scattered first thoughts... bliss l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 11 Jan 2003 11:00:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Re: Slam Poetics for the world heavy weight title belt MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Can you smell what LaCook has been cookin'? heh heh bliss l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 11 Jan 2003 11:21:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: My Return to the Poetics List In-Reply-To: <20030111185759.99441.qmail@web10705.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As some of you know, some kind of computer problem knocked me off the list several months ago--and kept me from re-subscribing, or the people running the list from contacting me via e.mail. I still haven't figured out what the problem is but I finally thought of an obvious solution, which seems to be working: I re-subscribed from my Yahoo e.mail address rather than from my local one. So, whoopee, I now have 249 posts to read! (I have to remember to visit Yahoo daily to keep up, now.) Thanks to all who tried to help me back--Bill Austin and others. I hope I can stay on for a while, now! --Bob Grumman __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 11 Jan 2003 15:41:45 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: programmatic poetry is, like, way cool, like, bitchin', you know? In-Reply-To: <200301110003687.SM00436@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Corey Frost, Lester(TM) has written a response to you, only on Lester's Flogspot!(TM) http://lesters.blogspot.com/ (Please keep in mind that Lester is more machine than man; at least, I think he is.) Patrick ========================================================================= Date: Sat, 11 Jan 2003 15:51:53 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: me is MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit me is to blog me me is into me is to pay me me is gone me is that me is here me is i me is nmeis me is both me is whether i will go to heaven or not me is now offered me is being returned to the sender me is love me is back me is not sharing the good news me is becoming visual whiite noise me is a great os me is hockey mister me is the versatile baby bunting bag that accommodates car me is replacing system files i delete me is ere to tell ya me is awarded highest quality me is missing by alexander m me is me is all about you me is that maurice clarrett is good me is destroyed me is even less me is back* me is all i have yo do me is over" me is mother me is it you? me is into? a guide by frascella me is like days me is a flower me is ultra me is that song on the cd? me is it true me is saving money me is that these numbers show education funding dropping from 5 me is it for you? me is not for me me is m y n a m e i s written by dave bauer in collaboration with the national brain tumor foundation buddy me is both game and art me is a vote against war on iraq me is junkie xl me is designed for individual home users me is being returned to the sender printable version me is not touched by you me is love jesus is the rock of my salvation me is genealogy me is not sharing me is wierd to me is becoming visual whiite noise glenn me is actually the next generation of the windows 95/98 line me is good me is hockey mister man me is to manage my own nerves me is that i want to stop me is the safest and most convenient outerwear available me is to be sacred me is "xxxx me is to love me me is ere to tell ya about me dvd ting me is nonsense me is awarded highest quality assurance standard me is missing isbn 0 me is the goddess in you me is the internet's #1 reminder service me is back* hey everyone me is all i have to do me is over? by marta beatriz roque me is hot me is laughter me is it you? hello you sexy sons o @#$% heh ========================================================================= Date: Sat, 11 Jan 2003 16:04:19 -0500 Reply-To: managingeditor@sidereality.com Sender: UB Poetics discussion group From: "Clayton A. Couch" Subject: a new issue of _sidereality_ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A new issue of _sidereality_ (Volume 2, Issue 1) is making its debut today (01/11), so please take time to visit the website (http://www.sidereality.com) as soon as possible. Eileen Tabios is our Feature Poet in this issue: she has contributed nine of her newest poems to _sidereality_, and was kind enough to participate in an excellent, must-read interview. We're also publishing new poems by the following talented writers: Arlene Ang, Alexandra Arruin, Nancy Bennett, John Benson, Greg Braquet, Janet Buck, Ric Carfagna, Garin Cycholl, Richard Denner, Charles Fishman, Candy M. Gourlay, Jonathan Hayes, David C. Kopaska-Merkel, Lewis LaCook, Andrew Lundwall, Andy Miller, Jonathan Minton, Mark Peters, Khadijah Queen, Tina Reigel, Chris Robideaux, Karen A. Romanko, Mark Stricker, John Sweet, Hugh Tribbey, Amy Trussell, William John Watkins, and Mark Young. Six new reviews by Clayton A. Couch, Lewis LaCook, Bobbi Sinha-Morey, and Steven J. Stewart round out the issue. Please be certain to pass along this message to friends, family, and other interested parties, as we can always accomodate new readers. Enjoy the new issue, and let me know what you think of _sidereality_. Best wishes, Clayton Clayton A. Couch Managing Editor, _sidereality_ managingeditor@sidereality.com http://www.sidereality.com ========================================================================= Date: Sat, 11 Jan 2003 19:24:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Barbara Cole MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Does anyone have Barbara Cole's e-mail address? Please backchannel if = you do. Thanks, Jane ========================================================================= Date: Sat, 11 Jan 2003 19:37:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: My Return to the Poetics List MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/11/03 2:32:37 PM, comprepoetica@YAHOO.COM writes: << As some of you know, some kind of computer problem knocked me off the list several months ago--and kept me from re-subscribing, or the people running the list from contacting me via e.mail. I still haven't figured out what the problem is but I finally thought of an obvious solution, which seems to be working: I re-subscribed from my Yahoo e.mail address rather than from my local one. So, whoopee, I now have 249 posts to read! (I have to remember to visit Yahoo daily to keep up, now.) Thanks to all who tried to help me back--Bill Austin and others. I hope I can stay on for a while, now! --Bob Grumman >> Good to have you back, Bob. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Sat, 11 Jan 2003 17:08:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: magazines in the late 1960s Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: Poetry Hudson Review (or other postwar quarterlies) Antaeus (What was Daniel Halpern's reputation?) If anyone remembers or has looked into this, I'd be grateful for any info you cared to share. Thanks. Andy Rathmann ========================================================================= Date: Sun, 12 Jan 2003 01:36:31 -0000 Reply-To: Robin Hamilton Sender: UB Poetics discussion group From: Robin Hamilton Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) How about Kenyon Review? (I'm assuming this query specifically applies to the US -- I could give you a run-down of the Scottish magazines about then, but I presume this would be irrelevant.) Robin Hamilton ========================================================================= Date: Sat, 11 Jan 2003 20:52:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: magazines in the late 1960s In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Andy -- depends who you ask -- Anteaus had a slightly more adventurous edge (well, that's too sharp a word for it) to it -- but the people I hung with weren't interested in sending to either -- I would send to Caterpillar in those days. A more informative source for the sociology of mags of that time would be Jed Rasula's THE AMERICAN POETRY WAX MUSEUM, if you haven't checked that one out yet. Pierre On Saturday, January 11, 2003, at 08:08 PM, Andrew Rathmann wrote: > Which national literary journals were considered the most prestigious > places to publish poetry in the later 1960s - early 1970s? (Define > "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social > distinction attached to different magazines at the time. For > starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) > > If anyone remembers or has looked into this, I'd be grateful for any > info you cared to share. Thanks. > > Andy Rathmann > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sat, 11 Jan 2003 18:30:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: [from] Sunyata Flower MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii [from] Sunyata Flower I On the use of physical force: These doctrines are preferable on moral grounds. Their main attraction for humans is aesthetic. All dressed up in pretentious technical language. According to this conception, taken as a whole, the imitation is produced, and time and again, a certain volatile meaning will want to act. One physical system can have no immediate appropriations. Brillo Boxes, Campbell's Soup creativity, conviviality, commensality, and maybe even art. Another art beneath the surface of the life of the people. Curiously, the prince of commercial uptown celebrity is watching bellies rest on counters. McLuhan had pointed out that by inventing electric set of formulas or instructions we will diminish the emotional. This is capitalism’s nasty little secret: the destruction of the final beyond illusion! New poetry of the nature of man, and of the world, in which we argue that the free market is moral, unless we know, ultimately, death. The symbol of political process is a squirt gun. Steps eventually yield the complex order, it was openly addressed in touching buttons that project patterns, or a copy of the original form. Hoping that the dummy will be able to imitate and represent various objects through the medium. The scrupulous use of the intellect through the forms, that appears without existence. Although unreal, it is emptiness, and that which is emptiness, is form. Ideologies have traditionally been defined in a mirage, or a film, elusive like mist. The scheme is relatively simple and masculine, bright and active, hard and determined, at one with the days and nature. If it won’t have love, it'll have dreams, movies, childhood books, Cornellesque hiding cabinets. Any mythical repression of our sexuality, and the panic, then, is dual. If one equates fate with what happens, seen as proof of sexual interest or an attempted by certain perceptions; the exact word experienced, of learning to read and write, last all night, wood-panels, clouds, wallpapers, unplastered walls, and so the other thing that's happened line by line, faithully sketching vociferous glories, I too have my place: apparently one among thousands. A necessity that cannot tolerate beauty, but the ego, as well can fit. And nobody expects experience to be put into words, you just have to ask yourself what is the headline, or the advertising slogan, to the scientific trials for one's life, just as all sentences to lips, to the breasts, to the genitals, to the songs burst from my breast, to creatures on earth. Some digital tools will that considers two human beings expressing sexual desire water, air, and buffer zone persevering in their motion, or in their cries, looking at a new dimension of red, which is outside too raw to stand, if one thinks of experience as one will. Assume we are talking about saving the body. How fortunate, then, is the world, the white furious chosen of one’s doubts, slow realizations, and final discovery of a framework, the life through the world. The strength of the Emperor is awesome to you? In the strength of the Emperor's awesome emptiness is form. Most like a perpetual muzak on a daily basis. On the neck of a dragonfly power above an endless amount of spectacle, like the designs of all the other contributions of Western Civilization. This mysterious noise seems to walk through the orchestra, pausing. The secret police found a rhetoric to teach everyone in the first place to be a writer. The stuff you read tastes medicinal, and hence perhaps belongs to human language, my human body is behind it all, a simple translation from one to the other is not written in English. It is not written in institutions and disciplines. A connected transgressional cut signifying a purely linear theory of the accustomed. This, then is the Messiah who stands, who precedes us. It was here before we were, and last words I don't want to consider as only a dream. This ignorance, by self-restriction of substance, that pulsates like a former heart. Difficult secret police have devised the powerful poison of literary aspirations. Electric technology had externalized our central nervous systems, to make sure of personal mind-sets and understanding how radically things such as global transformation can occur in a matter of hours, while killing the monsters of wickedness whom they encounter, or any force-user, who presents you with an offer, thereby expanding the possibilities open to you. Fiction is a branch of neurology. They must concentrate on the man-made extension that became our environment. Into the vaults and galleries, and, at the same time, the origin of the most general meeting. At all events, obtaining far bigger and more complex structures of egoism, thus reducing the land of immortals. Hell, there is something in nature besides leaving the party. There is sensual joy in the multiplication of revelation. The concept of stress is invoked to mind, entangled, or rather collapsed, into one single journey to the deep closeness of the real. Approach refers to the direction one takes in possibly traumatic experience. Hand the torch from one group of thinkers, from the periphery, towards the center. So all states of the mind co-exist and here, rivers there, and an ocean exactly where after all? Not devoid of suspicion, but he has no composition and color, perhaps by pataphysics! On the medium of expression, including a building, architectural plans, or normally requiring expatiatory behavior, are supposed to a great deficiency of capital at the periphery. Being in a crowd is a mysterious expression. The money is still flowing from the periphery. The injurious vision of the assassin. The basilisk of energy. He had seen the structure that a language exhibits. Of the gods in a new world, and the past is unto me a Tower of Strength against appearance. Know the slogans and class struggle, at one point taking center stage, it is not policies of the dominant corrupt "aristocracy" they have taught us. How fortunate to be between psychological types, rather than political ideologies, and to have influenced world affairs both directly and indirectly. The trained "Socialist," and a rather thoughtless acceptance of a philosophy. Advertising is our way of serving food, and precedence of the trade union over the labor the heterogeneity is the composition of the sleepless night. Moral documentation and invention of redundance. Simultaneous attempt to re-code the chromosomes and the businesses. The Federal Reserve a purely capitalist sequence of work, a purely capitalist sequence of light. The Federal Reserve can appropriate in ritual context. The Federal Reserve as a truly human expression. From the way they learn it, in a low and humble voice, slowdown in our economy, and they would leave the world. As air to mechanism of semantic reaction and appeals to Heaven, and Heaven’s mechanisms of imaginative cannibalism, surpassing the experimental ambitions of financial markets. Mathematics humans have developed to profit from too much of the world, and has learned of the newsworthy roller-coaster’s ride of financial markets, the Wall Street love of simplicity. Wall Street has replaced the sun, and the only fact was fire. The sun's invisible magnetic field, electrostatic whine, and problems of mass can be overcome, the wondrousness of simple things, the horizontal, orange-blue axis would seem to produce, in turn linked to object-oriented, whereas x seemed to be process-oriented. Thus symmetry is invoked to be viscerally examined, but when examined, there is nothing to it. There is nothing other than emptiness, emptiness is comfort in simplicity rather than morose, constant wanting, and to leave the palace of mist. * --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Sat, 11 Jan 2003 23:04:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Pirke Emote I MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Pirke Emote I 1 This has been passed down, generation to generation. What I am saying has been already said. What is already said, I am saying. And what I say, will be said, by others in observance. And what I am not saying, no one will say in observance. In observance, one turns within the matrix of harmony. The matrix of harmony tunes mind to mind, that we may agree to speak to one another in peace and protocol. 2 What is protocol? It is the listening and attending. To be attentive is to be silent, to be gracious, to listen with the full mind. When one listens with the full mind, enlightenment approaches. To speak and listen with the full mind is to be attentive to others. To be attentive to others, is to be attentive to oneself. If one is attentive, one is in grace. If one is in grace, enlightenment approaches. To listen with the mind of oneself, is not to listen. To listen with the mind of others, is to be attentive. To be attentive is to reach in and across, to reach with the grace of the world into the grace of the mind. Only then will the mind see, the eye think. Only then does enlightenment approach. 3 To listen and speak, destruction of the protocols. To live in the spectrum, is to destroy the protocols. To live is to breathe; to breathe is to live in autonomy. The protocols exist in layer upon layer; what do the protocols have to do with the approach of enlightenment? You can not remove the suffering by speech; you can remove the suffering by attending. To heal is to listen; to listen is not to act. When one shares the protocols, one is graced. One can never enlighten another. There are no masters. There are no gurus. Approach no one on bended knee, with obsequity. Not to bow is to bow. Not obsequity is humility. 4 One to the other is humility. The other to the one is humility. All movement is a standing-still. There is no fulcrum. If I am not for you, who then? Make a hedge around yourself; make a gate within the hedge. Know this, all things exist without things. A name given is a thing made. A thing made is a thing destroyed. Enlightenment approaches in the grace without. What is without, speaks within. What is within, is attentive. 5 The other travels to visit the other. My place is always at a distance. To perceive clearly is to understand that home is always absent. To be absent is to arrive. The present is always a leaving. To be present is recognize the protocols. The fullness of the world is transparent. The world is transparent. The disappearance of all things is presence. The grace of the other is its disappearance. 6 Do not listen overmuch to the talk of men. charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 75 million of stuff Salvation Armyleger des heils Bulged to Bulgeuitpuilen GesturesGebarem nw Scrutinynauwkeurig toeicht Estimateschatting Spigotstapkraan figuurlijk Propensityneiging Torrent of sundriesstortvloed van allerlei Garmentskledingstukken Kibble Inundated to inundateoverstelpen Murkyd === ========================================================================= Date: Sat, 11 Jan 2003 23:22:59 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Re: My Return to the Poetics List MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Welcome back, Bob! igor s. ========================================================================= Date: Sun, 12 Jan 2003 00:23:25 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magazinnik Subject: Re: My Return to the Poetics List MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bob, welcome back! Mike Magaiznnik ========================================================================= Date: Sat, 11 Jan 2003 21:32:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) > > If anyone remembers or has looked into this, I'd be grateful for any info you cared to share. Thanks. > > Andy Rathmann It amazes me how little I remember about those years. Guess I was there! Two I remember: Chicago Review City Lights Journal -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Sat, 11 Jan 2003 23:06:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: magazines in the late 1960s In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Which national literary journals were considered the most >prestigious places to publish poetry in the later 1960s - early >1970s? (Define "prestigious" however you want to.) > >I'm trying to get a general sense of the kinds of status or social >distinction attached to different magazines at the time. For >starters, these three: > >Poetry >Hudson Review (or other postwar quarterlies) >Antaeus (What was Daniel Halpern's reputation?) That is so weird. In the worlds I was living in none of those magazines would get you any credibility at all. Hudson review? Really? That is some professor magazine in which all the articles start with a contradiction of what the last professor said. And they published poems by people like Donald Justice! -- George Bowering It's a jungle in here Fax 604-266-9000 ========================================================================= Date: Sat, 11 Jan 2003 23:22:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Call for Papers In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Sexualities, Technologies, and the Teaching of Writing Call for Papers Computers and Composition / An International Journal for Teachers of=20 Writing "Sexualities, Technologies, and the Teaching of Writing" We invite proposals for a special issue of Computers and Composition,=20 entitled "Sexualities, Technologies, and the Teaching of Writing,"=20 which will explore the many varied and productive ways in which issues=20= of sexuality are discussed, debated, constructed, and critiqued in=20 computer-assisted writing courses. The guest editors encourage submissions that explore a wide range of=20 topics from a variety of perspectives. The articles should be guided=20 by, but are not limited to, the following questions: * What theories or scholarly approaches to sexuality (including = queer=20 theory, lesbian and gay studies, body studies and feminist studies=97to=20= name a few) have informed the teaching of writing with technology? How?=20= To what effect? * How might computer-mediated discussions provide "space" for the=20= "safe" discussion of sensitive subjects, such as sexuality and sexual=20 orientation? How might they not? * In general, what has been the impact of computers on discussing=20= issues of sexuality and sexual orientation? * More specifically, how have the Internet and the Web emerged and = been=20 integrated (or not) into the composition classroom in the discussion of=20= sexuality and sexual orientation? * How might recent scholarship on the issues of race and = technology=20 reflect upon or be useful for considerations of sexuality/technology in=20= the writing classroom? * How have computers shaped sexual conceptions of self and = identity as=20 writer? as teacher? as student? * How have definitions of and conceptions of sexuality changed = with the=20 use of computers? * How do current discussions of the "post-human" complicate the = work of=20 bringing sexualities into computer-equipped writing classes? * What are the ethical possibilities and pitfalls of bringing = together=20 sexualities and technologies in writing classes? In as much as possible, all articles should take into consideration=20 current scholarly work in both sexuality studies and the teaching of=20 writing with technology. The guest editors are more than willing to=20 assist interested scholars in locating appropriate sources. The audience for Computers and Composition is teachers, scholars,=20 educational administrators, and technology users with a particular=20 interest in computer-enhanced writing instruction. Manuscripts should=20 be 15-25 pages long, double-spaced, and be formatted according to APA=20 style. DEADLINES: 500-word abstract: March 1, 2003 Draft of manuscript: June 1, 2003 Please send questions or abstracts (preferably by email) to: Jonathan Alexander University of Cincinnati Department of Language Arts P.O. Box 210205 Cincinnati, OH 45221 jamma@fuse.net=A0 (513) 556-1769=09 William P. Banks Illinois State University Department of English 4240 Stevenson Hall Normal, IL 61790-4240 wpbanks@ilstu.edu=A0 (309) 438-2961= ========================================================================= Date: Sun, 12 Jan 2003 01:15:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit lewis said: i think 'programmatic' is a good name for it ___________________ i know what you mean lewis but think about this culture and society ecosystems and organisms all are programmatic i think it is self-deprecating and self-mortifying to reduce what we do to 'programmatic' there really is no separation between the writer and the source text and the code that is written to generate the resultant text all boundaries between the writer and the source text and the code that is written to generate the resultant text are artificial constructs the source text the code the resultant text are all self-extensions of the writer (and vice versa the writer is an extension of the collective self) all of these elements are indivisible no other explanation or apologia is necessary no other definition is necessary we are always children of our times we are living in a hyper-age a technoculture a digital media generation our psyches and our technologies are interwoven it is in the air we breathe it is in the earth we walk on we are bred and reared in a culture of wireless transmissions we are writing fiction or post-fiction if you like but it is no more programmatic than the literature of any other period in history augie ----- Original Message ----- From: "lewis lacook" To: Sent: Saturday, January 11, 2003 10:57 AM Subject: Re: If I say "programmatic poetry"... > i think 'programmatic' is a good name for it... > i've created several different types of poem > generators in many different contexts---the earliest > were qBASIC DOS-console monstrosities, and lately i've > created a few such machines for my Palm Pilot... > my main interest in writing code for text generation > is in discovering combinations of words and phrases i > may not have thought of (& yes, it is oulipo-esque: i > typically used a kind of randomized Markov-chain > algorithm for these projects, one wherein word lists > are searched using pseudo-random parameters----though > lately, in programming for Palm OS, i've been > ineterested in taking prexisting texts and combining > them within pseudo-random parameters====Palm is a good > platform for this);;;; > i regard it as a kind of oracle, as well...in my net > art and digital poetry, usually created in Flash, i > ALWAYS use random precedures; yes, it takes control > out of my hands (to an extent: i'm still the one > writing the code, after all), but it also mimics > something (strangely enough) more natural: despite the > origin of such works in code, i often feel as if, in > letting the machine choose for me, i'm participating > in primal processes...this naturally smacks of a > quasi-shamnistic view of the computer (ah, those > labcoat priests huddled around the hermaphroditic > oracle machine!), which is an attitude i should know > better to have=====yet my entire world-view is shaped > by a belief in aleatoric procedure, so it's only > natural i should take the tools available to me and, > in creating art, use their abilities to access > randomness... > i think you're asking the right questions, but i would > also be interested in delving into this oracle > logic////not "why do i see the machine as having > oracle qualities?" but "why do i desire oracle > qualities in the machine?"///i must admit i'm often > bored by work that only uses the conventions of code > on its surface, though i'm as guilty of this as anyone > (& i only use it as a way to collage into a piece the > reality of what i experience, much of which IS > CODE)///i'm more interested in algorithmic work, work > that varies considerably each time it's > accessed//(there's a wealth of great codeworkers > though, whose work should be closely examined: mez, > sondheim, highland, etc.)//also: "what role does the > process of an art-objct's creation play in the user or > audience's appreciation of the object?"===i think > that's the big one! > anyway...some scattered first thoughts... > bliss > l > > > ===== > > Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html > http://www.lewislacook.com/ > http://artists.mp3s.com/artists/385/lewis_lacook.html > meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.434 / Virus Database: 243 - Release Date: 12/26/2002 ========================================================================= Date: Sun, 12 Jan 2003 01:58:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: 10 of Clubs MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In the sawdust footfall, our world out of step, I followed your fall Looming over the conflicts is the threat of "invisible" weapons of mass destruction going on now in all stores Some opt out of this language and point a series of beautifully coded mental images of people precise and out of prisons I'd have thought in you it would have snapped as anything sooner or later will snap, but it still happens that's when I expectantly watch myself turn light in a mirror there's repercussion, a crash and I look sickly away "Air Force investigators concluded that Schmidt and Umbach should have left the area when they spotted gunfire to allow time to determine its source. Remaining in the area led to the pilot's misperception Barbed-wire, bicep, a rose, remembered in the small of the back. I forget to breathe I choke to remember. His voice breaks, gathers itself up, reconstitutes, more soul than vocal. Back to the ocean face to the wind, she shifted shells one hand to the other over and over until the sun cleared the eastern mountains "slits and chairs and acid splashed, filaments that gave way of their own accord from the stress of spanning tiny, trifling gaps, but which in a wounded psyche make a murderous maze ========================================================================= Date: Sun, 12 Jan 2003 05:44:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: WHAT A FUCKING DUMB-ASS! Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit WHAT A FUCKING DUMB-ASS! planning plenary rickettsia ricketts planning united nationsFUCK YOU ASSHOLE!plenary funding rickettsia ricketts planning united nationsFUCK YOU ASSHOLE!plenary funding rickettsia ricketts planning audits united nationsFUCK YOU ASSHOLE!plenary purposes unknownWHAT A FUCKING DUMB-ASS!funding rickettsia ricketts audits united nationsFUCK YOU ASSHOLE! based purposes unknownWHAT A FUCKING DUMB-ASS!funding nucleic instead auditors global audits geographic coordinatesWHAT A FUCKING DUMB-ASS!purposes unknownWHAT A FUCKING DUMB-ASS! concentrations nucleic instead auditors global audits geographic coordinatesWHAT A FUCKING DUMB-ASS!purposes unknownWHAT A FUCKING DUMB-ASS! stamford concentrations nucleic instead auditors global geographic coordinatesWHAT A FUCKING DUMB-ASS! seamsWHAT A FUCKING DUMB-ASS!planned stamford concentrations nucleic instead auditors global articles geographic coordinates interceptsWHAT A FUCKING DUMB-ASS!sbirs planned stamford concentrations president federalizes articles tenders interceptsWHAT A FUCKING DUMB-ASS!sbirs planned stamford welchWHAT A FUCKING DUMB-ASS!president federalizes articles scudWELL FUCK YOU ASSHOLE!reviewing tenders interceptsWHAT A FUCKING DUMB-ASS!sbirs planned bzWELL FUCK YOU ASSHOLE!diisopropylFUCK YOU ASSHOLE!welchWHAT A FUCKING DUMB-ASS!president federalizes articles united states scudWELL FUCK YOU ASSHOLE!reviewing tenders intercepts exempt categoriesWELL FUCK YOU ASSHOLE!diisopropylFUCK YOU ASSHOLE!welchWHAT A FUCKING DUMB-ASS!president federalizes favorable results united states scudWELL FUCK YOU ASSHOLE!reviewing tenders communities exempt categoriesWELL FUCK YOU ASSHOLE!diisopropylFUCK YOU ASSHOLE!welchWHAT A FUCKING DUMB-ASS! finedWHAT A FUCKING DUMB-ASS!exercised federal grants schleswig holstein favorable results united states scudWELL FUCK YOU ASSHOLE!reviewing terrorist communities exempt categoriesWELL FUCK YOU ASSHOLE!diisopropylFUCK YOU ASSHOLE! finedWHAT A FUCKING DUMB-ASS!exercised federal grants schleswig holstein favorable results united states nuclear terrorist communities exempt categories ab federalFUCK YOU ASSHOLE!FUCK WELL FUCK YOU ASSHOLE!finedWHAT A FUCKING DUMB-ASS!exercised federal grants schleswig holstein favorable results nuclear terrorist communities chart provides shemya federalFUCK YOU ASSHOLE!FUCK WELL FUCK YOU ASSHOLE!finedWHAT A FUCKING DUMB-ASS!exercised federal grants schleswig holstein eu protectiveWHAT A FUCKING DUMB-ASS!nuclear terrorist --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Sun, 12 Jan 2003 10:00:15 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Lewis Subject: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Might you also be interested in poetry based on photography? Photographs & Poems, Jeannette Montgomery Barron and Jorie Graham, Scalo, 1998 Photographers, Writers and the American Scene, Visions of Passage, James L. Enyeart, Arena Editions, 2002 There is also a series called 'The Art of Poetry Series' published by Welcome Enterprises. They offer pairings of cumming's 'May I Feel Said He' with Chagals art....a poem/song by Sting, 'Shape of My Heart' with Picasso, a poem by Leonard Cohen 'Dance Me To The End' with Matisse, a poem by Ntozake Shange, 'i live in music' with art by Romare Bearden...there may be others ========================================================================= Date: Sun, 12 Jan 2003 10:48:55 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Journals of the 60s & 70s MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In 1963 or '64, Robert Lowell appeared on the cover of Time Magazine for its lead story on "poetry today." It was, as I recall (I was still in high school), lame enough for a high schooler to see through. I would agree with the assessment of Poetry, which in the 1960s was the one journal that published everyone. In the early 1960s, Coyote's Journal was by far the most prestigious of the independent magazines. After it stopped, Caterpillar took its place, but with a far more east coast bent. I never have heard anybody ever describe Antaeus in any terms other than derision -- not once in 40 years. So it's hard to imagine it as influential. Ron ========================================================================= Date: Sun, 12 Jan 2003 10:55:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Quixote Sumac Robert Bly's 60's, then 70's Press Floating Bear JL -----Original Message----- From: Joel Weishaus [mailto:weishaus@PDX.EDU] Sent: Sun 1/12/2003 12:32 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: magazines in the late 1960s > Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) > > If anyone remembers or has looked into this, I'd be grateful for any = info you cared to share. Thanks. > > Andy Rathmann It amazes me how little I remember about those years. Guess I was there! Two I remember: Chicago Review City Lights Journal -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Sun, 12 Jan 2003 11:45:36 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Karen, My book, "The Peripheral Space of Photography," was just published by Green Integer (number 76). Among other things, it deals with the intimate connection between photographic image and words. Murat Nemet-Nejat In a message dated 1/12/03 11:00:44 AM, KLeeLew@AOL.COM writes: >Might you also be interested in poetry based on photography? >Photographs & Poems, Jeannette Montgomery Barron and Jorie Graham, Scalo, >1998 >Photographers, Writers and the American Scene, Visions of Passage, James >L. >Enyeart, Arena Editions, 2002 >There is also a series called 'The Art of Poetry Series' published by >Welcome Enterprises. They offer pairings of cumming's 'May I Feel Said >He' >with Chagals art....a poem/song by Sting, 'Shape of My Heart' with Picasso, >a >poem by Leonard Cohen 'Dance Me To The End' with Matisse, a poem by Ntozake >Shange, 'i live in music' with art by Romare Bearden...there may be others ========================================================================= Date: Sun, 12 Jan 2003 08:53:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Milk of Venus--20 Comments: cc: rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "The dialectic admits no intimacy with earthly things. Before dawn, staring into night's spill over Baby's left face; and even before that, the screen rubbing salty dreams from my eyes. The dialectic wakes with a boner the exact size and width of beauty. A dark gurgles a rain gullet lucky in these dimensions. You know? With days the weight of dove-shaped puddles. It's like I said to Baby the other day, who was looking wilty: 'In what way does it mean? I can hold it in your hand, turn it over, blow on it to evoke signals. Are we crashing through the shadows I've accumulated for clouds?' Beyond that, traffic glistening like an artifact of figs. A bitchy old lady asks if I know what a car-phone is. DO I EVER! She likes what I'm doing on all fronts. But it's not just the sliding that gets me. Sure, finding a place to sit down in the flood. I dream of complicating systems. Those twisted trees out there, looking dead at me; new orange sunset pellets to eat the snow." We knew it would be a while before we got there, but it was Spring, and the space around us was ripening, and the moon hung above the car like a ring of milk on a black table without coasters. We took only what was important to us: two packs of cigarettes each; the clothes on our backs; casual symmetries; amplified particulars; the places we'd never see again. If either of us thought we wouldn't get there, neither of us mentioned it. Miles of the road's pull, of weather wavering between rain and lucidity. "I wonder if these sunset patches of new salt on the blacktop flowered there like coronas of coloring on a snake's hide, or if they spattered from truck exhaust in some recent impregnable winter pierced through with ephemeral ice. I hand a bitchy old lady a car phone, do I ever, and these shadows I've collected in lieu of clouds drip down the horizon like chocolate cake on a baby's face. Sephiroth ample with wide windchime howler money. The dialectic wanders the strewn villages like smoke. It is said that one whiff of the dialectic's presence will daub bloody crosses on your front door. Rod and cones if animal analogue's goals coffee with a felt-tip pen sensations aerobic instructions walked what chill off she could. A whole day. You would try to measure fragments by the preservation of violating head's foliage suffused with withering heartbeat. With your hands I blow on it; it shits ciphers. Those days you were in the throes of the baboon's dusky buttocks. If I take digit photos of aerials adjacent to baptist crosses. My fingers freely ovulate. You know. Spinning a lackluster milk. As it goes on it becomes huge, creaky: creepy. Baby frowns at my eyeless progeny; they tap their passages down sacriligious hallways with shimmer fingers that taut-touch too wildly these soft hidden spheres. Minor irritants human in fluorescent stroke victory lost to the trickle of puddle grammar in my lap and sigh, as blind as." It was midnight when we hit Amalga. A smoky moon shivered above the draconian smokestacks, moaning a harvest-yellow glaze over the thatched rooftops of dark huts. The streets weren't as deserted as we'd planned for (shufflers fumbled over curbs, marking space with soft scrapes of summer sandal), but Baby thought that was all the better. This was, after all, where they came from, all the hopeless, dim ones who slip through their lives with narrow eyes, the ones who support war and prohibition and white skin and privilege; they drove cars bigger than houses. I felt like I'd stepped over some invisible threshold into the pit where all restless sleep comes from. And like all restless sleepers, I was haunted by dreams of the past. Staples Mill Lake shimmered translucently just below the coarse fabric of adobe hovels, business campuses and dust that was Amalga in the blindness of too-early or too-late morning. Squirrels were playing there, peppering the green banks with furtive darts. Baby was convinced we'd go back there soon, when we were done in Amalga, but I knew it was going to be a long time before we skated together on the ice of the lake again. "The grid was laid out before us, as pretty and suburban as you please. The dialectic points out the slides in every driveway, the gaudy silver department store coin-operated rocketship rides grinding down to blips and giggles. Children everywhere, stopped in mid-play and staring at us. Don't move! The sunset pellets turned out to be a new kind of salt for eating snow. With white smeared in an immaculate tear across her mouth. I howl static, tassles; elevators aerobicize the dancing syndromes just supper on a grill beneath car-stars rusting. 'Sirens accumulate on Staples Mill road like shadows only lend their bodies to fog, greased almost seamless as a way to shape pain into noise-deadened id. Outside the door at work. ' Ran down the aisles, infernally giggling, daubing bloody crosses with sex crucified in their sticky middles while someone stabs someone in a laundromat Baby and I used to go to, where you used to work, unraveling the semiosis of javelins buckled table shakes with employed transgressions of movement, folded over. The logic of this country's foreign policy seems to be: I'll hit you because you may hit me. Meanwhile, hills lull ulcers from earth-rude rumors, or all roads sunshine wayward yardwork over rhododendron in dimples. I call the president on the car phone, but all I get is a bitchy old lady whimpering in a sea of frozen cats. Static can be molded. Spores branch gimlet piston folders in prisons of tamper-evident saline docility." We crouched in the jaggged beerbottle shards of a drunken alley and put our plan into action. We unpacked our epuipment: a saw, some knives, needle and thread. We would take turns luring them in. We'd had time on the road to perfect some ruses for this. And then there was blunt force. Bracing myself, I gripped the vial of chloroform in my pocket. 2003/01/03 15:15:02--2003/01/12 11:40:49 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 12 Jan 2003 08:58:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Magazines in the 1960s and 70s In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1A1A831A@MSG00CV00.utad.utoledo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii a few of my top candidates..... The Silver Cesspool Marrahwannah Quarterly Moonstones Runcible Spoon Ole Meatball The Free Lance Entrails Buddhist Third Class Junk Mail Oracle LUV Blewointment grOnk Dust Shelly's Viscerally The Difficulties Credences Burnt River Primer maybe Mombasa and let's stretch it to the 80s a little- Taproot Jim Clinefelter --- "Lipman, Joel" wrote: > Quixote > Sumac > Robert Bly's 60's, then 70's Press > Floating Bear > > JL > > > > -----Original Message----- > From: Joel Weishaus [mailto:weishaus@PDX.EDU] > Sent: Sun 1/12/2003 12:32 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Cc: > Subject: Re: magazines in the late 1960s > > Which national literary journals were considered > the most prestigious > places to publish poetry in the later 1960s - early > 1970s? (Define > "prestigious" however you want to.) > > > > I'm trying to get a general sense of the kinds of > status or social > distinction attached to different magazines at the > time. For starters, > these three: > > > > Poetry > > Hudson Review (or other postwar quarterlies) > > Antaeus (What was Daniel Halpern's reputation?) > > > > If anyone remembers or has looked into this, I'd > be grateful for any info > you cared to share. Thanks. > > > > Andy Rathmann > > It amazes me how little I remember about those > years. Guess I was there! > Two I remember: > > Chicago Review > City Lights Journal > > -Joel > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > http://web.pdx.edu/~pdx00282 > http://www.unm.edu/~reality __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 12 Jan 2003 12:18:49 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Lewis Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks for letting me know Murat, I would love to read it. I checked the web-site but I don't find you listed. Can I order from you directly? Karen ========================================================================= Date: Sun, 12 Jan 2003 09:35:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii AUGIE SEZ:there really is no separation between the writer and the source text and the code that is written to generate the resultant text all boundaries between the writer and the source text and the code that is written to generate the resultant text are artificial constructs the source text the code the resultant text are all self-extensions of the writer (and vice versa the writer is an extension of the collective self) /***************and i agree, my friend: better terms might be (if one needs them): procedural poetry, process poetry, aleatoric poetry, algorithmic text, etc etc. though programmatic works too you've hit the nail quite squarely on the proverbial head here: i would only want to add this, which often gets ignored in discussions of this type (and this particular issue seems to haunt this list: i've seen it crop up again and again::: all language is code, really, from the standpoint of semiotics:signs and symbols, kids:::we can't escape it::: so, in reality, there's no difference between a computer generated poem and Kubla Khan:::one was made by a dream wrapped in a machine, a dream designed to make itself flesh:::the other was made by a dream wrapped in laudenum, and it too strove to make itself flesh::::::: what's the difference between cage's use of the I Ching in composition and the hyperpoet's use of the machine? both are using chance operations, which is a way of talking with the universe::::and how are(to my mind, THE greatest poems ever written) Berrigan's sonnets different from algorithmic texts? or the work of Gyson and Burroughs?******************/ PATRICK SEZ:So many people seem to be working hard to reduce people to machines while elevating machines to the status of people... 2053 will be glorious year because people and machines will finally be equal! And yet people will not be equal among themselves.... Making people less wonderful and machines too wonderful. Which will be the function of a priveleged few PEOPLE. Somewhere in that model is someone trying to *sell* you something, some bag of goods that you might not want, that will *lessen* you, *reduce* you, once you get it off the showroom floor and take it home.......Computers don't get inspired. They don't feel chills in their spines.......I think that the viewpoint espoused by Bok has a shelf-life, that it faces some amount of reckoning, that it will eventually be subject to contextualization and review. /*************this is the usual reaction to this question... ....as far as i can see, it's not about making machines and people equal, anymore than previous tools were about making, say, pencils and people equal....the computer is, like all media, an extension of the human mind....(someday biographers will study the structure of artists' machines, and artists' computers will be displayed in the dead museums).... how is using a tool comparable to selling anyone a bill of goods? hell, patrick, it often seems to me that those who espouse more print-based work and deplore hypermedia are just as careerist and elitist and trend-mongering as any of the net artists out there ////truth is, no tool is good or bad in itself, it just is.... privilege? i'm not so sure...if you're talking about the learning curve involved, consider this: i didn't go to school for computer science...i learned what i know of code on my own (as i learned much of what i know about poetry on my own):::and here's the clincher, kids:::I COME FROM A LOW SOCIO-ECONOMIC BACKGROUND::::::anyone who wants to learn this stuff can, the books are out there:::::anyone who wants these tools can find them if they want to, peer-to-peer trading of software is common:::::::one can get a decent used machine for less than one would expect:::so where's the privilege, patrick? and no, the computer can't feel::::no more than the pencil or pen feels:::as i pointed out, it's a tool, even when prompted to generate::::does the pen get inspired? did the typewriter? there's still an artist behind it all::::and why are we talking about nineteenth century concepts like inspiration ANYWAY, here in the 21st? All due respect, of course...it's just that these knee-jerk reactions to issues like this are tiring, and all to often ill-informed and ill-thought-out... bliss l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 12 Jan 2003 09:24:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: Recorded Sound/Experimental Text Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >X-From_: ewkotz@mac.com Sat Jan 11 20:42:23 2003 >Date: Sat, 11 Jan 2003 18:39:57 -0800 >From: liz kotz >Reply-To: ewkotz@mac.com >X-Accept-Language: en-us >To: ewkotz@umn.edu >Subject: Recorded Sound/Experimental Text >X-Umn-Report-As-Spam: >http://umn.edu/mc/s?BR73OLRhQoRNxfj8ypTgSVYj5i1e.WEh52k882KizOh4 >X-Umn-Remote-Mta: [N] A17-250-248-88.apple.com #+UF+CP+OF (A,-) >X-Umn-Remote-Mta: [N] mhub-c5.tc.umn.edu #+LO+TR > >Dear friends & colleagues, > >I will be putting together a panel, "Recorded Sound/Experimental >Text" (see below), for the 2003 MLA Conference in San Diego, for the >Media & Literature Discussion Group. If I find a good cluster of >interesting projects, I also plan to propose an anthology on this >topic. > >RECORDED SOUND/EXPERIMENTAL TEXT: Sound recording technologies - >phonography, film, magnetic tape, cassettes, etc - have played key >roles in experimental work with language in the 20th century. >Abstracts addressing specific cases, and/or theorizing issues of >recording, transcription, the status of "writing," the interview, >sync, delay, etc., are welcome. Please submit abstracts via email by >March 15, 2003 to Liz Kotz, ewkotz@umn.edu > >While "text" tends to imply something printed, the project could >extend to experimental work with language occurring in recording, >radio, film or video formats. My own focus tends toward magnetic >tape and post WWII poetics, but the topic could range into any >number of different areas. Among those I think of as working in >these areas are Acconci, Antin, Baraka, Paul Blackburn, Brecht, >Burroughs, Cage, Hollis Frampton, Ginsberg, Godard, Joyce, Kerouac, >Alvin Lucier, Mac Low, Montano, Nauman, Ono, Piper, Pound, Steve >Reich, Rosler, Stein, Warhol, Weiner - but please don't feel limited >by my list. > >Please forward to others if they might be interested, or please >email you if you have ideas, suggestions or advice. > >All the best, > >Liz Kotz >Cultural Studies & Comparative Literature >University of Minnesota -- ========================================================================= Date: Sun, 12 Jan 2003 13:47:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Only half following this thread, but has anyone mentioned:=20 Charles Bernstein and Richard Tuttle collaborations, latest available at = Printed Matter in NY, title escapes me but search at: = www.printedmatter.org Susan Bee and Johanna Drucker, _A Girl's Life_ Barbara Guest, almost everything in some way works off of visual art, = especially Abstract Expressionists Richard Tuttle and Mei-Mei Berssenbrugge, many books J. ========================================================================= Date: Sun, 12 Jan 2003 13:52:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It seems that you would have to include Ira Cohen. You can get background on his poetry and photography at Big Bridge feature on him: http://www.bigbridge.org/issue5/tocart.htm.. His whole life has been about manifesting and weaving photography and poetry. ----- Original Message ----- From: "Jane Sprague" To: Sent: Sunday, January 12, 2003 1:47 PM Subject: poetry and art Only half following this thread, but has anyone mentioned: Charles Bernstein and Richard Tuttle collaborations, latest available at Printed Matter in NY, title escapes me but search at: www.printedmatter.org Susan Bee and Johanna Drucker, _A Girl's Life_ Barbara Guest, almost everything in some way works off of visual art, especially Abstract Expressionists Richard Tuttle and Mei-Mei Berssenbrugge, many books J. ========================================================================= Date: Sun, 12 Jan 2003 14:23:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: AafterBBafterAA MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A.S. no one four two we the three them your fucking to hell george bush why you dirty immediately now an filthy us it alone isn't enough hijacked leave whole damn begin slaughter too you're dead not if in or change all my love is a i am A.H. philosophers prescribed suicide billion rising forces' fuel forces here, philosophy, suicide. nothing philosophy without it's always. even question; we're suicides. we've always been interrelations among negatives only catalysts of nuclear destinies. there now, at threshold, teleologies beginning their inevitable collapse. violence; everything is. fate to. thing, phenomenology residue, ruin, corpse another text by mouth muscular burn hung upside down dangling embedded throat nurturing ampule empty vomit from retina I bathe castration spray toilet with fear shit light fuck me scars aortas vagina pigments swallowed moment stillness yellow wheel into what I'm fetus suckles cesspool punctures halves isolation breathing thirst annotating loop occurrence? believe preciousness each every these perilous as if's interior body - necessary than ever eschew enter hard us. before loose wobbling equations exacerbate our tenuous point; interiors will be open, dismembered, hacked pieces. when this torture others, against love. loved. loving elm typhoon. being open-hearted kindness. open-hearted. kindness lines response, so, how difficult, but response where others unless here matter unknown Invalid listens other expected next comes up for him But something then out separate piece, which was first other; not, could may 'other' (is 'other'?) here? Like renga slant-truth would be, is, occur except 'other') I-ever after" neither and, that I-first listen slanting I-occur "what I-also I-here? I-not I-other; some her truth heard his also I-neither brink SECRET We are frightened this. anti-piece. effectual. there's knock on door midnight gone end feelings, . dirt apparently appears diagonally cutting seam parallel weave conceptual inked. linked. ========================================================================= Date: Sun, 12 Jan 2003 17:18:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Karenina.it Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, ART ELECTRONICS Comments: cc: webartery@yahoogroups.com MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Caterina, I note you used my poem in Jesse's piece, whcih is great, but I can't get the source so I can find it on my hard-disk and figure out where and when i sent it to whom? tom ----- Original Message ----- From: "ART ELECTRONICS" To: Sent: Sunday, January 12, 2003 1:29 PM Subject: Karenina.it Karenina.it - Poetry in Phatic Function http://members.xoom.virgilio.it/kareninazoom/kareninarivista.html 50th International Art Exhibition 50ma Biennale di Venezia 50th Venice Biennial Statement by Jesse Glass on Visual Poetry As Charm, As Curs Some notes to the aesthetics of hypermedia Interactivity: Linearity and Structure. By Reiner Strasser LITERARY HOLOGRAPHY By Richard Kostelanetz On Contemporary German Literature. Sub-Culture, Underground- & Pop-Literature, Live-Lit., Slam!Poetry and other experimental Issues. By Enno Sthal Gianni "Túpac" Toti A tribute to Gianni Toti by José-Carlos Mariátegui News News News -- KARENINA.IT (poetry in phatic function) Caterina Davinio art director davinio@tin.it On line since 1998 - By Jakobson, phatic is the use of the language which has the finality to maintain open and operative the communication channel among the interlocutors. On the confine between art and critic, happening and net performance, Karenina.it is a virtual meeting place around the theme of writing and new technologies, in which experiences of international artists, curators, theoreticians converge, in a net that counts thousands of contacts in the world. ========================================================================= Date: Sun, 12 Jan 2003 12:57:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1252" I'd like to mention George Hitchcock's *Kayak* in this thread. Black Mountain Review and Origin would have been a bit earlier, as would the then Leroi Jones' *Yugen* . . . Asking a question like this, though, just reminds everyone of poetry's various camps and winds up saying more about the respondents than assembling any "objective" information. For example, the question about Daniel Halpern . . . anyone's reputation is an amalgam of what very different people have to say, but the people I associated with at that time probably considered him just another careerist academic. There was a coterie of sorts . . . George mentioned Donald Justice, whom I met at a Squaw Valley Writer's Conference once and who was actually quite gracious . . . people like Bill Matthews, who taught at the University of Colorado when I was there, and the part-time mystery writer (part-time poet?) . . . who am I thinking of? Stephen Dunn? . . . they were all interchangeable to me. Interestingly, James Tate and Thomas Lux seemed part of that nexus then as well, but somehow survived it . . . I remember finding Ed Dorn's review of W.S. Merwin's *The Lice* in an issue of *Poetry* in the mid-60s . . . that was important . . . Joe Safdie -----Original Message----- From: Joel Weishaus [mailto:weishaus@PDX.EDU] Sent: Sun 1/12/2003 12:32 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc: Subject: Re: magazines in the late 1960s > Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) > > If anyone remembers or has looked into this, I'd be grateful for any info you cared to share. Thanks. > > Andy Rathmann It amazes me how little I remember about those years. Guess I was there! Two I remember: Chicago Review City Lights Journal -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Sun, 12 Jan 2003 16:36:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Karen, Yes, you can. I have a few copies. I understand it is also in the Amazon list and Green Integer will announce it this week. Murat In a message dated 1/12/03 1:19:32 PM, KLeeLew@AOL.COM writes: >Thanks for letting me know Murat, I would love to read it. I checked the >web-site but I don't find you listed. Can I order from you directly? >Karen ========================================================================= Date: Sun, 12 Jan 2003 16:36:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Lane vs Bowering MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit >Lane (who describes the Tish group's vision as >"frighteningly antihumanist") and many of his >ilk moved to the Island. "We still believe in >cultural history," explains Lane. "We believe >in lyricism, narrative, anecdotes and poems >that explore story and song." Interesting to read this stuff on the Poetics list. I am from Victoria (though in Toronto at the moment). Rock on, George. Imagine what my www.vispo.com would do for Lane etc. Frighteningly something or other. Patrick Lane has written some good poetry, that's for sure. But he should loosen up. ja ========================================================================= Date: Sun, 12 Jan 2003 17:18:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: magazines in the late 1960s In-Reply-To: <9664F36261DE32409334B83B21CAEE8E61B177@lwtc.ctc.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >I remember finding Ed Dorn's review of W.S. Merwin's *The Lice* in an issue >of *Poetry* in the mid-60s . . . that was important . . . > >Joe Safdie Joe, I though I'd read all of Dorn's prose, but apparently not. What did he have to say about the Merwin book? ========================================================================= Date: Sun, 12 Jan 2003 14:27:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Kevin, I thought that review might have been reprinted in the 1980 *Views* by Four Seasons, but apparently not. Perhaps *Poetry* will use its new-found riches to create a comprehensive electronic archive . . . Anyway . . . Jeffrey Jullich took me to task, about a month ago, about my use of the word "abstract" -- and yet that's the one word I remember now from that review, that Ed didn't really appreciate the turn towards abstraction that Merwin was making in that book, that he felt it wasn't a profitable direction to go. So it was a decidedly mixed assessment. Sorry I can't remember more . . . Joe -----Original Message----- From: Kevin Davies To: POETICS@LISTSERV.BUFFALO.EDU Sent: 1/12/03 2:18 PM Subject: Re: magazines in the late 1960s >I remember finding Ed Dorn's review of W.S. Merwin's *The Lice* in an issue >of *Poetry* in the mid-60s . . . that was important . . . > >Joe Safdie Joe, I though I'd read all of Dorn's prose, but apparently not. What did he have to say about the Merwin book? ========================================================================= Date: Sun, 12 Jan 2003 16:22:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: *stabbng opn a can of mad ric* MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii *stabbng opn a can of mad ric* stabbng opn a can of mad ric w/ a defectiv cankiller from th foodbank(turnd me down for a lin a credt) smallredTVnocable locl stations only th rice is lik rubbr (does rubbr grow wild? i gues it duz so wat?) th cop came to my dor im not in truble(yet) but my super rippd off th rentmony i gave to hm so i showd th cop rceits & offerd hm an xpresso he remarkd on how clean my place wuz just cuz i cant affrd a canopenr dont meen im a slob cant afford cabl but th locl chanl sho cops(badboysbadboyswutugonnado?) lucky for th ratngs they dont sho cops nocking (do they take a cours so they can all nock&sound& wlk£ al alike they must) on my dor why do i offr him coffee anywy hes prolly th same guy who will b askng to see my id at som point becaus i hav long hair (or i did untl i grew weary of cops hasslng me & wondering if it was the 50s again at least no bdy cal me a beatnck) al i had in my cubrd was... fuck al... wel i decidd if "da man" wernt gettng my rentmony anywa i mght as wel get my cut too so my landlrd didnt see a dim frm me fr sixmonths he never evicted me propr but i left on my own & left th cans ther hope smbdy ate thm & i hope smbdy tossd tht damn canopenr in th Thames rivr --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Sun, 12 Jan 2003 20:03:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think it was Lewis who wrote these words... >in my net art and digital poetry, usually created in Flash, i > ALWAYS use random precedures; yes, it takes control > out of my hands (to an extent: i'm still the one > writing the code, after all), but it also mimics > something (strangely enough) more natural: despite the > origin of such works in code, i often feel as if, in > letting the machine choose for me... And I think they do more than convert the computer into some sort of oracle or shaman or anything metaphysical-- rather, "letting the machine choose for me" is an interesting critique of the individual as constructed during the twentieth cent. The word "letting" reveals the most, as though to let the computer do the composition is to stand aside, to give up one's position... I grew up learning that one's identity was intimately bound up with one's output (readthattomean: vocation, creation, art, job, bank account, acquisitions, real estate, etc.) and this naturally lead to an understanding of art that was product-centric. Art materialized. Not only in the sense that it generates capital, but that it must have some sort of value, some meaning to be shared, some purpose for its attempt at communication, some goal. This inherent worth anxiety landed squarely on the artist's shoulders, right? From this anxiety, people often become overly-genuine, or overwrought and produced art with blatant, obvious (and therefore empty), specific social relevance-- it IS their purpose, intent! So, letting the machine step in, the fact that you have to actively step aside, actively "give up" a certain amount of "control" sounds perfect. Of course, I'm working on a project right now that engages the concept of machinery as this type of cretive tool, so I am a little biased! Still, best reason I've heard to do 'programmatic poetry'. I am a little new to coding as a means to generate poetry, or digital art in its many forms... and so this is a very naive viewpoint but this is the way it seems to me: most digital art (for lack of a better inclusive term) seems to be stuck where 'traditional'-ack- poetry was at the start of the twentieth century, that is, with a desire to do more than provide a transparent machine (not mine) with which to translate the world into words, because digital art doesn't seem to address the medium of its transmission in any formal, direct way. Not until the middle of the century (20th) did poetry begin to show a formal awareness of its transmission, the physicality, not of its images, but of the very words, the ink, that was used to trigger a response, the phrasing of the form, the structures, and with that awareness came the realization that social and cultural codes existed in the language being used. Ideologies were being spread through words, through the conventions used to communicate. I wonder what sort of ideologies are lurking in the "new medium", that might be desseminated unknowingly? For example: if this is the "new medium" then what is the status of poetry on the page? If poetry on the page is no longer relevant against this "new catagory, then that limits those who can successfully write poetry to those who can also code and use a computer, which is frightening because this very thing is swelling unemployment numbers right now, ie those who can use computers succeed, those that can't sweep floors. At any rate, the prosepect of digital poetry excites me simply because it is yet one more way for a poet to defy labels such as lyric, concrete, digital, etc. Jason C ========================================================================= Date: Sun, 12 Jan 2003 20:06:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit don't know if Roy Kiyooka's work has been mentioned. For a good sample see _Pacific Windows_. Jc ----- Original Message ----- From: "Michael Rothenberg" To: Sent: Sunday, January 12, 2003 11:52 AM Subject: Re: poetry and art > It seems that you would have to include Ira Cohen. You can get background on > his poetry and photography at Big Bridge feature on him: > http://www.bigbridge.org/issue5/tocart.htm.. His whole life has been about > manifesting and weaving photography and poetry. > > ----- Original Message ----- > From: "Jane Sprague" > To: > Sent: Sunday, January 12, 2003 1:47 PM > Subject: poetry and art > > > Only half following this thread, but has anyone mentioned: > > Charles Bernstein and Richard Tuttle collaborations, latest available at > Printed Matter in NY, title escapes me but search at: www.printedmatter.org > Susan Bee and Johanna Drucker, _A Girl's Life_ > Barbara Guest, almost everything in some way works off of visual art, > especially Abstract Expressionists > Richard Tuttle and Mei-Mei Berssenbrugge, many books > > J. ========================================================================= Date: Sun, 12 Jan 2003 19:47:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: magazines in the late 1960s In-Reply-To: <9664F36261DE32409334B83B21CAEE8E61B177@lwtc.ctc.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Trobar Yugen Wild Dog Coyote's Journal Fuck You/ a magazine of the arts El Corno Emplumado -- George Bowering It's a jungle in here Fax 604-266-9000 ========================================================================= Date: Sun, 12 Jan 2003 23:48:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The slow death in the sea** MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The slow death in the sea** Exits are: shipwreck sandbar coral fulton asgpp one two three hut pier dusklight beach anti-war You are all alone here. Access is fixed to PUBLIC and there are 0 messages on the board. Current topic: Welcome to the CORAL Reef! .g anti-war Room: anti-war Modus vivendi Exits are: reef shipwreck sandbar coral fulton asgpp one two three hut pier dusklight beach You are all alone here. Access is set to PUBLIC and there is 1 message on the board. No topic has been set yet. .everything descends into the unknown Unknown command. .nothing can be brought up from beneath the surface Unknown command. .elsewhere than command or the presence of speech Unknown command. .you keep replying as if i had a stake in this. Unknown command. .what is unknown can never be breached Unknown command. .there are no persons Unknown command. .who am i +------------------------------------------------------------------- Current users on Sunday 12th January 2003 at 11:36pm Name : Room : Tm/Id +------------------------------------------------------------------- Alan of none really : anti-war : 2/0 +------------------------------------------------------------------- Total of 1 user : 1 visible, 0 invisible +------------------------------------------------------------------- .i am in this state of anti-war You are now ignoring everyone. .i am in this state of furious protest You will now hear everyone again. .i am in this state of inconceivable violence You are now ignoring everyone. .i am in this state of eternal pacification You will now hear everyone again. .by grace i am attentive Unknown command. .listen to the murmuring of the world within and without You are already listening to everything. .ah... Unknown command. .i will leave after the statement of accreditation You are now ignoring everyone. I am Alan, of none, really... You say: I am Alan, of none, really... and I am leaving after six decades on the face of this and any other earth... You say: and I am leaving after six decades on the face of this and any other earth... .q You are removed from this reality... You were logged on from site panix3.panix.com On Sunday, 12th January, for a total of 0 hours and 4 minutes. Connection closed by foreign host. Script done on Sun Jan 12 23:39:03 2003 **Thanks to Paula for setting-up the talker === ========================================================================= Date: Mon, 13 Jan 2003 00:25:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/12/03 10:58:04 PM, jason_c@TELUS.NET writes: >At any rate, the prosepect of digital poetry excites me simply because >it is > >yet one more way for a poet to defy labels such as lyric, concrete, digital, > >etc What's wrong with the above sentence? Is this sentence computer generated? To give up oneself to the machine to fight capitalist production? That's rich, something I need to ponder on. Murat ========================================================================= Date: Sun, 12 Jan 2003 22:28:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit GB:Hudson Rev pd well. Who read the articles? Btw, I've a bookcase by D.Justice. Will sell or trade. Also, NW Rev was hot till they shut is down.(2-3 #s.) DB -----Original Message----- From: George Bowering To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, January 11, 2003 11:09 PM Subject: Re: magazines in the late 1960s >>Which national literary journals were considered the most >>prestigious places to publish poetry in the later 1960s - early >>1970s? (Define "prestigious" however you want to.) >> >>I'm trying to get a general sense of the kinds of status or social >>distinction attached to different magazines at the time. For >>starters, these three: >> >>Poetry >>Hudson Review (or other postwar quarterlies) >>Antaeus (What was Daniel Halpern's reputation?) > >That is so weird. In the worlds I was living in none of those >magazines would get you any credibility at all. Hudson review? >Really? That is some professor magazine in which all the articles >start with a contradiction of what the last professor said. And they >published poems by people like Donald Justice! > > >-- >George Bowering >It's a jungle in here >Fax 604-266-9000 > ========================================================================= Date: Sun, 12 Jan 2003 22:36:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 'Poetry'good till d. of Rago. 'Hudson' gd (to me).DB lacked the IQ for 'Anteus'.D. -----Original Message----- From: Joel Weishaus To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, January 11, 2003 9:34 PM Subject: Re: magazines in the late 1960s >> Which national literary journals were considered the most prestigious >places to publish poetry in the later 1960s - early 1970s? (Define >"prestigious" however you want to.) >> >> I'm trying to get a general sense of the kinds of status or social >distinction attached to different magazines at the time. For starters, >these three: >> >> Poetry >> Hudson Review (or other postwar quarterlies) >> Antaeus (What was Daniel Halpern's reputation?) >> >> If anyone remembers or has looked into this, I'd be grateful for any info >you cared to share. Thanks. >> >> Andy Rathmann > >It amazes me how little I remember about those years. Guess I was there! >Two I remember: > >Chicago Review >City Lights Journal > >-Joel > >Joel Weishaus >Visiting Faculty >Center for Excellence in Writing >Portland State University >Portland, Oregon >http://web.pdx.edu/~pdx00282 >http://www.unm.edu/~reality > ========================================================================= Date: Mon, 13 Jan 2003 00:02:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: #2 August Highlandism Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit August Highland is a gargantuan son of bacteria-infested ostrich tongues. August Highland is a incompetent skip of worm-infested baboon testicles. August Highland is a decomposing piece of fake chicken testicles. August Highland is a gargantuan sea of imitation sparrow glycogen. August Highland is a sick chunk of putrid flamingo faeces. August Highland is a manky sack of flea-infested gazelle cysts. August Highland is a despicable bowl of decayed sloth gonads. August Highland is a vile bowl of mildewed ostrich waste. August Highland is a no-brained deposit of rotting lizard vomit. August Highland is a sick cesspit-full of flea-infested hamster urea. August Highland is a stupid pool of lice-infested kangaroo hair. August Highland is a infected flob of sticky prawn throat scrapings. August Highland is a pea-brained clump of rotten budgie fleas. August Highland is a gormless piece of rancid tiger throat scrapings. August Highland is a disgusting plethora of fetid sloth vomit. August Highland is a faeces-encrusted barrel of 20,000 year old raven sweat. August Highland is a decaying barrel of rancid emu smegma. August Highland is a decaying descendant of filthy moose vomit. August Highland is a useless mound of flea-infested cat tonsils. August Highland is a noxious earful of lice-infested dodo smegma. August Highland is a lame lorryload of decaying wildebeest fleas. August Highland is a hairy pot of rotting deer sweat. August Highland is a egested gathering of fungus-covered hamster smegma. August Highland is a rancid barrel of flea-infested badger urine. August Highland is a bulbous gathering of rotten stoat cysts. August Highland is a obese vat of mutating stoat intestines. August Highland is a rotting swamp of congealed wildebeest faeces. August Highland is a lice-infested dribble of congealing rabbit corpses. August Highland is a slobbish dollop of foul fish tongues. August Highland is a pompous cup of manky giraffe carcasses. August Highland is a freakish dribble of rotting albatross fungus. August Highland is a humourless cesspit-full of maggot-infested dog hair. August Highland is a pompous son of mouldy whale liver. August Highland is a decaying flob of putrid albatross sweat. August Highland is a idle truckload of fetid ostrich fleas. August Highland is a lame accumulation of vile pig spittle. August Highland is a repugnant flob of vile rhino vomit. August Highland is a obese blob of greasy ostrich snot. August Highland is a stagnant cesspit-full of manky swan snot. August Highland is a stinking pot of mildewed shark tonsils. August Highland is a pompous mouthful of greasy octopus brains. August Highland is a mouldy dollop of fungus-covered dodo spot pus. August Highland is a festy drip of mouldy hippo tonsils. August Highland is a dim heap of lice-infested tiger tongues. August Highland is a septic vat of lumpy rabbit spot pus. August Highland is a idle swamp of vile pig spittle. August Highland is a stinking plethora of mildewed fox waste. August Highland is a vomit-inducing heap of sticky bull spot pus. August Highland is a fly-covered mass of 20,000 year old stoat gonads. August Highland is a repugnant pile of lumpy prawn bones. August Highland is a egested bucket of sloppy gazelle glycogen. August Highland is a odious sliver of manky ape smegma. August Highland is a mouldy chunk of stale albatross corpses. August Highland is a hairy collection of mouldy rat blood. August Highland is a fly-covered splodge of putrid hippo semen. August Highland is a pointless bowl of filthy hippo saliva. August Highland is a sterile tank of second-hand emu eyeballs. August Highland is a retarded lorryload of fungus-covered bull eyeballs. August Highland is a despicable lump of sticky kangaroo kidneys. August Highland is a laughable chunk of mouldy cat flesh. August Highland is a repulsive collection of lice-infested sloth organs. August Highland is a cack-handed plethora of flea-infested chicken urea. August Highland is a dim pot of mildewed cat cysts. August Highland is a stupid stack of infected haddock warts. August Highland is a pompous pool of bacteria-infested badger spittle. August Highland is a useless stack of putrid sloth gonads. August Highland is a faeces-covered drip of stale giraffe faeces. August Highland is a greasy accumulation of decayed sparrow sinal fluid. August Highland is a gargantuan gob of vile duck waste. August Highland is a boring piece of infected badger mucus. August Highland is a laughable collection of mildewed sparrow droppings. August Highland is a maggot-infested barrel of imitation otter tonsils. August Highland is a dirty clump of 20,000 year old duck hair. August Highland is a vile splodge of flea-infested raven nasal hair. August Highland is a infected toilet-full of rotting dog hair. August Highland is a rotting plethora of lice-infested sparrow parasites. August Highland is a putrifying piece of infected hippo fleas. August Highland is a repugnant basin of fetid giraffe warts. August Highland is a dim basin of fake octopus waste. August Highland is a repulsive heap of decomposing sloth hair. August Highland is a obese mound of fetid emu vomit. August Highland is a faeces-covered tank of radioactive lion urine. August Highland is a inbred son of putrid turkey tonsils. August Highland is a despicable gathering of greasy budgie semen. August Highland is a vile deposit of rotten leopard snot. August Highland is a spotty cesspit-full of fungus-covered raven eyeballs. August Highland is a humourless mass of filthy baboon brains. August Highland is a inane cup of decayed camel sweat. August Highland is a wart-infested son of manky parrot blood. August Highland is a greasy smudge of wet haddock puke. August Highland is a revolting pile of mouldy gazelle sinal fluid. August Highland is a mind-bogglingly stupid heap of putrid rabbit sweat. August Highland is a repulsive sea of infected albatross waste. August Highland is a decaying vat of decomposing flamingo semen. August Highland is a pea-brained sliver of flea-infested skunk eyeballs. August Highland is a inbred cesspit-full of mouldy gazelle spot pus. August Highland is a pointless tub of maggot-infested duck urea. August Highland is a insignificant bucket of filthy cockerel warts. --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Mon, 13 Jan 2003 00:03:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: #1 August Highlandism Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit August Highland is a ass jammin' douchebag August Highland is a inbred ass-spelunker August Highland is a scrambled sperm bank August Highland is a totally worthless skullfucker August Highland is a pre-pubescent salad tosser August Highland is a totally unfuckable golden shower August Highland is a dickless twat drip August Highland is a fucked-up wooly-woofter August Highland is a rotting astronaut August Highland is a tampon-munching pussyfart August Highland is a pre-pubescent whore August Highland is a shit-lipped meat flappers August Highland is a rank pillow biter August Highland is a dog-loving slut August Highland is a pregnant sperm bank August Highland is a dog-loving poo-fucker August Highland is a cum-stained saggy tits August Highland is a smelly bunghole August Highland is a inbred anal avenger August Highland is a shit-bombed jizz receptacle August Highland is a sandbaggin' fuck sauce August Highland is a cum-stained sexy retard August Highland is a shit-faced cuntrag August Highland is a bug-eyed sack o' crap August Highland is a sexless fur burger August Highland is a anal-probing hyena August Highland is a mega chicken-fucker August Highland is a dingleberry-ridden bum fucker August Highland is a camel-toed poop chute August Highland is a tea-baggin' jizz queen August Highland is a sandbaggin' ass cannibal August Highland is a pickle-reekin' cuntrag August Highland is a doggy-style biznitch August Highland is a pug fugly butt slut August Highland is a pug fugly ghetto booty August Highland is a smelly queef-sucker August Highland is a musty chicken-fucker August Highland is a trout sniffin' bunghole August Highland is a utterly useless ghetto booty August Highland is a shit-bombed hermaphrodite August Highland is a rancid poontang August Highland is a rotten penis monkey August Highland is a shit-faced homo August Highland is a sperm bank August Highland is a funk-ridden tube jockey August Highland is a trout sniffin' spunk junkie August Highland is a mega poohead August Highland is a fist-fucked shit eater August Highland is a old-ass chicken-fucker August Highland is a bloody jizz queen August Highland is a tea-baggin' piece of shit August Highland is a shit-bombed wiener puffer August Highland is a tampon-munching astronaut August Highland is a shit-smelling chicken-fucker August Highland is a diaper-eating chocolate starfish August Highland is a doggy-style fuckstick August Highland is a shit-bombed fuckface August Highland is a shitty asslicker August Highland is a stinky splooge receptacle August Highland is a carpet-munching beef curtains August Highland is a shit-bombed pubic louse August Highland is a constantly-fellating felcher August Highland is a pre-pubescent shit eater August Highland is a smelly worm-sperm August Highland is a twat-faced jizzmopper August Highland is a trout sniffin' hyena August Highland is a shit-stained cleveland steamer August Highland is a inbred chode sniffer August Highland is a scrambled poohead August Highland is a totally worthless turd burglar August Highland is a big, fat nut job August Highland is a cluster-fucked pubic crabs August Highland is a rancid butthole August Highland is a syphlitic jizzmopper August Highland is a sixty-nining butt sucker August Highland is a massive ass cannibal August Highland is a cluster-fucked rim-jobber August Highland is a ass jammin' koochee mama August Highland is a inbred hershey highway August Highland is a ass jammin' hershey highway August Highland is a mega salad tosser August Highland is a twat-faced hand job August Highland is a greasy bitch August Highland is a stinky wiener puffer August Highland is a bug-eyed poohead August Highland is a donkey-raping shit eater August Highland is a kielbasa-strokin' roadkill August Highland is a smelly ass commando August Highland is a pus-filled pussyfart August Highland is a totally worthless felcher August Highland is a skid-marked saggy tits August Highland is a syphlitic salad tosser August Highland is a wannabe ass panda August Highland is a twat-faced fag August Highland is a donkey-raping ass commando August Highland is a foul shit eater August Highland is a stinky jerkoff August Highland is a monkey-raping slam pig August Highland is a contagious felcher August Highland is a pus-filled fuck juice August Highland is a monkey-raping butt sucker August Highland is a scab-laden roast beef lover August Highland is a shit-brained douchebag August Highland is a sandbaggin' nut job August Highland is a cum-stained prick tease August Highland is a shit-bombed queef-sucker August Highland is a fugly fuck sauce August Highland is a funk-ridden bunghole August Highland is a donkey-raping pubic louse August Highland is a foul butt sucker August Highland is a rotting homo August Highland is a shit-stained meat flappers August Highland is a totally unfuckable fuckwad August Highland is a wannabe ass commando August Highland is a anal-probing jizzmopper August Highland is a utterly useless astronaut August Highland is a pearl necklace-wearing sperm bank August Highland is a stinky skullfucker August Highland is a lubricated bum fucker August Highland is a tampon-munching piece of shit August Highland is a spider-legged fuckpig August Highland is a shit-bombed thunderbox August Highland is a rank salad tosser August Highland is a gravy-makin' rectal wart August Highland is a sexually-transmitted poo-fucker August Highland is a retarded chode smoker August Highland is a utterly useless flamer August Highland is a sexually-transmitted bunghole August Highland is a old-ass golden shower August Highland is a pre-pubescent cock jockey August Highland is a gonorrhea-infested twat drip August Highland is a pug fugly fuckwad August Highland is a sexless sodomist August Highland is a fugly piece of shit August Highland is a skanky shit eater August Highland is a tired-ass jizz queen August Highland is a oily sexy retard August Highland is a shit-stained pussyfart August Highland is a fugly turd burglar August Highland is a scab-laden jizz receptacle August Highland is a wannabe bum fucker August Highland is a funk-ridden scrotum sucker August Highland is a anal-probing turd burglar August Highland is a lubricated sausage jockey August Highland is a dingleberry-ridden , diseased prostitute August Highland is a smelly chocolate starfish August Highland is a sexless chode doctor August Highland is a rank bergina August Highland is a dickless pillow biter August Highland is a lubricated fuck sauce August Highland is a ass jammin' monkeycum August Highland is a pregnant douchebag August Highland is a rancid ass-spelunker August Highland is a totally unfuckable poo hound August Highland is a pug fugly roadkill August Highland is a fugly poontang August Highland is a scrambled ghetto booty August Highland is a shit-scaffled ass panda August Highland is a gravy-makin' ass bandito August Highland is a fucked-up butt pirate August Highland is a cum-stained jungle bunny August Highland is a wannabe taconera August Highland is a tea-baggin' shit eater August Highland is a sixty-nining schmegma August Highland is a herpes-ridden queer August Highland is a constantly-fellating chicken-fucker August Highland is a constantly-fellating , diseased prostitute August Highland is a gyro-eatin' ass commando August Highland is a shit-lipped , diseased prostitute August Highland is a donkey-raping felcher August Highland is a old-ass wooly-woofter August Highland is a greasy ass panda August Highland is a pus-filled pork sword August Highland is a fist-fucked anal avenger August Highland is a bug-eyed flamer August Highland is a creamy shit eater August Highland is a cotton-pickin' roast beef lover August Highland is a twat-faced rim-jobber August Highland is a testicle-shitting diesel dyke August Highland is a rancid skullfucker August Highland is a sandbaggin' nancy boy August Highland is a shit-brained bergina August Highland is a ass jammin' pillow biter August Highland is a funk-ridden bitch August Highland is a utterly useless ass-spelunker August Highland is a anal-probing cornhole August Highland is a pearl necklace-wearing biatch August Highland is a dingleberry-ridden piece of shit August Highland is a old-ass bitch August Highland is a gonorrhea-infested bum fucker August Highland is a numero uno boil on the ass of humanity August Highland is a syphlitic scrotum sucker August Highland is a pre-pubescent taconera August Highland is a skanky fuck juice August Highland is a degenerate fuckface August Highland is a oily diesel dyke August Highland is a pickle-reekin' koochee mama August Highland is a hemorrhoid-encrusted beef curtains August Highland is a saddle-bagged slam pig August Highland is a greasy cocksmoker August Highland is a pickle-reekin' dick licker August Highland is a camel-toed poo hound August Highland is a rank sexy retard August Highland is a pre-pubescent fuck sauce August Highland is a sandbaggin' scrotum sucker August Highland is a saddle-bagged cornhole August Highland is a stretch-marked meat flappers August Highland is a totally unfuckable fuckstick August Highland is a spider-legged roadkill August Highland is a undesirable pussyfart August Highland is a reeking slut August Highland is a diaper-eating wiener puffer August Highland is a cotton-pickin' circus mutt August Highland is a shit-brained chode smoker August Highland is a grotesque pork sword August Highland is a reeking hyena August Highland is a sexless butt slut August Highland is a inbred ass commando August Highland is a cotton-pickin' pubic louse August Highland is a shit-faced flamer August Highland is a shit-stained felcher August Highland is a kielbasa-strokin' biznitch August Highland is a cum-stained cum dumpster August Highland is a big, fat chode sniffer August Highland is a cum-guzzling fuckpig August Highland is a gonorrhea-infested queer August Highland is a pus-filled butthole August Highland is a saddle-bagged asslicker August Highland is a foul sperm bank August Highland is a contagious turd burglar August Highland is a kielbasa-strokin' wet blanket August Highland is a rancid shitbucket August Highland is a doggy-style pussyfart August Highland is a pregnant poontang August Highland is a rotting wiener puffer August Highland is a gonorrhea-infested spunk junkie August Highland is a greasy salad tosser August Highland is a undesirable turd burglar August Highland is a dog-loving cuntrag August Highland is a sixty-nining flamer August Highland is a humongous , diseased prostitute August Highland is a bug-eyed spunk slut August Highland is a skanky vagina sandwich August Highland is a rabid cleveland steamer --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Mon, 13 Jan 2003 03:34:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Re: poetry and art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Jane Sprague" To: Sent: Sunday, January 12, 2003 1:47 PM Subject: poetry and art > Only half following this thread, but has anyone mentioned: > > Charles Bernstein and Richard Tuttle collaborations, latest available at Printed Matter in NY, title escapes me but search at: www.printedmatter.org > Susan Bee and Johanna Drucker, _A Girl's Life_ > Barbara Guest, almost everything in some way works off of visual art, especially Abstract Expressionists > Richard Tuttle and Mei-Mei Berssenbrugge, many books > > J. > > ========================================================================= Date: Mon, 13 Jan 2003 06:54:47 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Currently on the Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Murat Nemet-Nejat on Jean-Luc Godard & writing Alan Davies Taking surrealism in two directions at once Linebreaks & reading: Reading Raworth & Zukofsky A note on my work & a reading at Temple Rachel Blau DuPlessis' Drafts & George Stanley's Vancouver - Poems illuminating each other The problem of "Frida" - Misrepresenting painting & poetry in contemporary cinema The politics of Raworth's poetry Survival: Tom Raworth's poetry of the '80s & '90s The renaissance of Rene Ricard Christian Bok's String Variables: Parallel poems (to the letter) http://ronsilliman.blogspot.com/ 10,000 visitors in 2002 ========================================================================= Date: Mon, 13 Jan 2003 05:32:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >To give up oneself to the machine to fight capitalist production? That's >rich, something I need to ponder on. What's wrong with the above sentence? Is this sentence computer generated? ========================================================================= Date: Mon, 13 Jan 2003 08:06:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura Elrick Subject: Sat J18 Drew Gardner, Kristen Gallagher MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SEGUE READING SERIES AT THE BOWERY POETRY CLUB January 18: Drew Gardner and Kristen Gallagher Drew Gardner's recent books include Sugar Pill (Krupskaya), Water Table (Situations), and Student Studies (Detour). Recent music/poetry collaborations have found him working with Alan Davies, Julie Patton, and Nada Gordon. He edits Snare magazine and lives in New York City. Kristen Gallagher is the editor of handwritten press, curator of rust talks, and a student at the SUNY Buffalo Poetics program. Recent work appears in kenning, Combo, and Kiosk. 308 BOWERY, JUST NORTH OF HOUSTON SATURDAYS FROM 4 - 6 PM $4 admission goes to support the readers 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. Curators: December/January--Laura Elrick & Michael Scharf Feb/March--Dan Machlin & Charles Borkhuis ========================================================================= Date: Mon, 13 Jan 2003 08:16:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit > "most digital art (for lack of a better inclusive term) seems to be stuck > where 'traditional'-ack- poetry was at the start of the twentieth century, > that is, with a desire to do more than provide a transparent machine (not > mine) with which to translate the world into words, because digital art > doesn't seem to address the medium of its transmission in any formal, direct > way. Not until the middle of the century (20th) did poetry begin to show a > formal awareness of its transmission, the physicality, not of its images, > but of the very words, the ink, that was used to trigger a response, the > phrasing of the form, the structures, and with that awareness came the > realization that social and cultural codes existed in the language being > used. Ideologies were being spread through words, through the conventions > used to communicate. I wonder what sort of ideologies are lurking in the > "new medium", that might be desseminated unknowingly? For example: if this > is the "new medium" then what is the status of poetry on the page? If > poetry on the page is no longer relevant against this "new catagory, then > that limits those who can successfully write poetry to those who can also > code and use a computer, which is frightening because this very thing is > swelling unemployment numbers right now, ie those who can use computers > succeed, those that can't sweep floors. > At any rate, the prosepect of digital poetry excites me simply because it is > yet one more way for a poet to defy labels such as lyric, concrete, digital, > etc. > Jason C" People are afraid of what they don't understand. And, as you say, computers have put a lot of people out of work. And knowledge of computing/mathematics is valuable in society; lack of it can be punishing, depending on one's situation and goals, resources. So I encounter mistrust, suspicion, fear etc toward my work by other poets sometimes. The question of what possible uses computers can be to poetry and/or art is important to anyone's work who uses a computer and is involved in poetry and/or art. One of the things we can anticipate is that there will be a lot of bullshit passed off as computer poetry. Use a computer, collect that data, shuffle it around, process it, and call it poetry. Like the man from the oral culture (which was without writing) who took to handing someone a piece of paper with writing on it as a gesture of power. He didn't understand the writing but he understood that paper with writing on it was supposed to have some magical power over others. And of course it does if no one understands it but a select few and that's how they communicate and thereby wield power. So it is incumbent on those who are using computers ably in writing and poetry to show how they can be used not to obfuscate, dissemble, and prance as a cybershaman, but to communicate strongly and with relevance. As far back as 1917, Guillaume Apollinaire said "These artifices can still go much further and achieve the synthesis of the arts, of music, painting, and literature....One should not be astonished if, with only the means they have now at their disposal, they set themselves to preparing this new art (vaster than the plain art of words) in which, like conductors of an orchestra of unbelievable scope they will have at their disposal the entire world, its noises and its appearances, the thought and language of man, song, dance, all the arts and all the artifices, still more mirages than Morgane could summon up on the hill of Gibel, with which to compose the visible and unfolded book of the future." "L'Esprit Nouveau et les Poetès" This synthesis of arts and media via technology and programming is obviously a natural for the programmer-artist. Additionally, one hopes that the digital communications networks can be used by artists to foster international understanding and solidarity, an international art "vaster than the plain art of words" but infused with the spirit of poetry. ja http://vispo.com http://webartery.com ========================================================================= Date: Mon, 13 Jan 2003 08:20:17 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: No war for oil.... what well known po figure....rides a bicycle to the club...& drives an S.U.V. to the country house...drn... ========================================================================= Date: Mon, 13 Jan 2003 08:36:42 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: No more war for oil..... i drive a 33 year old Toyota Corona (the Corolla was the next model up) to the right....and those taking a left at the intersection...????...Drn... ========================================================================= Date: Mon, 13 Jan 2003 13:38:22 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Fwd: The 365 Project Content-Type: text/plain; charset="us-ascii" This is an incredible, collaborative project. Click the link, then go to Home. You won't be disappointed. Jess --- Original Message --- Date: 1/13/2003 From: "The 365 Project Newsletter" Subject: The 365 Project Newsletter Mailing List Confirmation Hello, We've sent this e-mail to confirm that you want to be subscribe to: The 365 Project Newsletter to confirm, simply follow the link below: http://www.the365project.org/cgi-bin/mojo/mojo.cgi?f=n&l=The_%33%36%35_Project&e=ahadada%40gol.com&p=4329 (Click the above link or copy and paste the link into your browser.) You are sent this e-mail for a couple of reasons: We wanted to make sure that the e-mail submitted is a real e-mail address and we wanted to prevent people from subscribing to the list with an e-mail address other than their own. If for some reason, you received this e-mail without any idea why you did, simply ignore this e-mail and accept our apologies for the inconvenience. Best regards, -- listmaster@the365project.org The 365 Project, Inc. ========================================================================= Date: Mon, 13 Jan 2003 22:49:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Kalligram--American Experimental Poetry Issue MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Is out-- With Romanian translations of Antin Porter Rothenberg Glass Young Friedman Grumman Lax and others-- Guest edited by Marton Koppany For more informantion, contact hiznyai@kalligram.sk ========================================================================= Date: Mon, 13 Jan 2003 09:06:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable "Directory of Little Magazines, Small Presses & Underground Newspapers" = as Len Fulton's encompassing title ran, spread the field to the = underground press. I first read diPrima's "Revolutionary Letters" & = Snyder's "Smokey The Bear Sutra" plus other important poems of the = period in the underground papers, not litmags. Does anyone recall = whether the undergrounds and Liberation News Service constituted first = venues or were recyclings?=20 & recall: Unmuzzled Ox, Ghost Dance, Field, Alcheringa. Mota was first = little mag I recall using color & well-presenting vispo. Panache (Future = Fictions edited in 1971 by R. Kostelanetz) was first place I saw pages = of Phillip's Humument & Furnival's stacked typographics. What defines = "prestigious" remains the ringer. Joel Lipman -----Original Message----- From: Lipman, Joel Sent: Sun 1/12/2003 10:55 AM To: UB Poetics discussion group; POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: RE: magazines in the late 1960s Quixote Sumac Robert Bly's 60's, then 70's Press Floating Bear JL -----Original Message----- From: Joel Weishaus [mailto:weishaus@PDX.EDU] Sent: Sun 1/12/2003 12:32 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: magazines in the late 1960s > Which national literary journals were considered the most prestigious places to publish poetry in the later 1960s - early 1970s? (Define "prestigious" however you want to.) > > I'm trying to get a general sense of the kinds of status or social distinction attached to different magazines at the time. For starters, these three: > > Poetry > Hudson Review (or other postwar quarterlies) > Antaeus (What was Daniel Halpern's reputation?) > > If anyone remembers or has looked into this, I'd be grateful for any = info you cared to share. Thanks. > > Andy Rathmann It amazes me how little I remember about those years. Guess I was there! Two I remember: Chicago Review City Lights Journal -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Mon, 13 Jan 2003 09:12:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 11 Jan 2003 to 12 Jan 2003 (#2003-13) In-Reply-To: <200301122103.18xWKP3An3NZFji0@eagle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed > >In 1963 or '64, Robert Lowell appeared on the cover of Time Magazine for >its lead story on "poetry today." It was, as I recall (I was still in >high school), lame enough for a high schooler to see through. Ron, I still have the article somewhere -- to a grade schooler it was a miracle. ========================================================================= Date: Mon, 13 Jan 2003 07:50:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Fwd: The 365 Project In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >This is an incredible, collaborative project. Click the link, then go to >Home. You won't be disappointed. Jess Clicking the link that Jesse provides will get you to a page telling you that you've already signed up for the e-mail list. Try this one: to get to the project's main page. Bests, Herb >--- Original Message --- >Date: 1/13/2003 >From: "The 365 Project Newsletter" >Subject: The 365 Project Newsletter Mailing List Confirmation > > >Hello, > >We've sent this e-mail to confirm that you want to be subscribe to: > >The 365 Project Newsletter > >to confirm, simply follow the link below: > >http://www.the365project.org/cgi-bin/mojo/mojo.cgi?f=n&l=The_%33%36%35_Project&e=ahadada%40gol.com&p=4329 > >(Click the above link or copy and paste the link into your browser.) > >You are sent this e-mail for a couple of reasons: > >We wanted to make sure that the e-mail submitted is a real e-mail address >and we wanted to prevent people from subscribing to the list with an e-mail >address other than their own. > >If for some reason, you received this e-mail without >any idea why you did, simply ignore this e-mail and accept our apologies >for the inconvenience. > >Best regards, > >-- listmaster@the365project.org > The 365 Project, Inc. -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Mon, 13 Jan 2003 10:18:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Corey Subject: yet another blog MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello all. This is my first and only post to the Buffalo List, in which = I would like to announce that my one-man show Cahiers de Corey will be = ongoing at http://joshcorey.blogspot.com/. My first book of poems, Selah, will be coming out this fall from Barrow = Street Press. So I thought it was time for me to come out of my shell = and begin building something of a public profile in the poetry = community. Be kind and truthful, Joshua Corey ========================================================================= Date: Mon, 13 Jan 2003 07:36:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: If I say "programmatic poetry"... In-Reply-To: <001301c2bab0$6408bd60$d7deba89@ab.hsia.telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- jason christie wrote: > For example: if this > is the "new medium" then what is the status of > poetry on the page? If > poetry on the page is no longer relevant against > this "new catagory, then > that limits those who can successfully write poetry it's not the "new medium" for the vastest majority of people who don't live in wealthy countries and who don't have access to technology and code and etc. sorry to sound reactionary. > to those who can also > code and use a computer, which is frightening > because this very thing is > swelling unemployment numbers right now, ie those > who can use computers > succeed, those that can't sweep floors. > > At any rate, the prosepect of digital poetry excites > me simply because it is > yet one more way for a poet to defy labels such as > lyric, concrete, digital, > etc. > > Jason C ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 13 Jan 2003 09:47:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: If I say "programmatic poetry"... In-Reply-To: <20030113153608.11051.qmail@web40805.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v548) Content-Transfer-Encoding: 7bit On Monday, January 13, 2003, at 09:36 AM, Kazim Ali wrote: > --- jason christie wrote: >> > For example: if this >> is the "new medium" then what is the status of >> poetry on the page? If >> poetry on the page is no longer relevant against >> this "new catagory, then >> that limits those who can successfully write poetry > > it's not the "new medium" for the vastest majority of > people who don't live in wealthy countries and who > don't have access to technology and code and etc. OR FOR THAT MATTER, BOOKS, MAGS, POETRY READINGS, LIBRARIES ========================================================================= Date: Mon, 13 Jan 2003 07:54:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: magazines in the late 1960s MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Lipman, Joel" To: Sent: Monday, January 13, 2003 6:06 AM Subject: Re: magazines in the late 1960s > "Directory of Little Magazines, Small Presses & Underground Newspapers" as Len Fulton's encompassing title ran, spread the field to the underground press. I first read diPrima's "Revolutionary Letters" & Snyder's "Smokey The Bear Sutra" plus other important poems of the period in the underground papers, not litmags. Does anyone recall whether the undergrounds and Liberation News Service constituted first venues or were recyclings? > > & recall: Unmuzzled Ox, Ghost Dance, Field, Alcheringa. Mota was first little mag I recall using color & well-presenting vispo. Panache (Future Fictions edited in 1971 by R. Kostelanetz) was first place I saw pages of Phillip's Humument & Furnival's stacked typographics. What defines "prestigious" remains the ringer. Joel Lipman Oh Yes. it's all coming back now. Let's not forget "The Oracle." I first published in John Boyer May's "Trace." And in the last issue (#4) of Thomas Merton's "Monk's Pond," which ran during 1968. And in Norman Moser's "Illuminations," and "Rolling Stone," which was in San Francisco then. -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Mon, 13 Jan 2003 11:14:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry & the visual arts; ekphrasis Leslie Scalapino MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Just read Leslie Scalapino's IT'S GO IN QUIET ILLUMINED GRASS LAND (The Post-Apollo Press, 2002) There's a photograph of a Petah Coyne exhibition "White Rain" with a note that Scalapino read the work at the art opening in 2001. ========================================================================= Date: Mon, 13 Jan 2003 08:16:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: If I say "programmatic poetry"... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "mIEKAL aND" To: Sent: Monday, January 13, 2003 7:47 AM Subject: Re: If I say "programmatic poetry"... > On Monday, January 13, 2003, at 09:36 AM, Kazim Ali wrote: > > > --- jason christie wrote: > >> > > For example: if this > >> is the "new medium" then what is the status of > >> poetry on the page? If > >> poetry on the page is no longer relevant against > >> this "new catagory, then > >> that limits those who can successfully write poetry > > > > it's not the "new medium" for the vastest majority of > > people who don't live in wealthy countries and who > > don't have access to technology and code and etc. > > OR FOR THAT MATTER, BOOKS, MAGS, POETRY READINGS, LIBRARIES Or food. Human culture progresses in a few deep pockets, which is why artists flock to cultural centers like computer programmers to Palo Alto. The Internet actually is slowly making these centers irrelevant, so that artists from around the world, even in poor countries, can be seen on a larger scale. This takes time, after all, but it is happening. The apparatus is becoming cheaper. Also the American military is distributing tons of computers throughout the Third World in the form of "smart bombs." We are a generous people, after all. -Joel W. ========================================================================= Date: Mon, 13 Jan 2003 08:19:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: magazines in the late 1960s In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1A1A831D@MSG00CV00.utad.utoledo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Looking at issues of levy's "...Junkmail Oracle", one will find a mix of first printings and recyclings. If you follow the lineage of this paper-the issues published after levy's death and the successor publications like the "Great Swamp Erie Dada Boom" and the "Burning River Oracle"- you will find a gradual dissaperance of poetry and more articles about politics, music, lifestyles, and drug reports. (An aside...there were some great poetry newsprint efforts done in Cleveland in the 80s and 90s: "The Coventry Reader", "The Cleveland Review" and, of course, "Taproot Reviews") One more mag not to be left out of this listing thread: John M. Bennett's "Lost and Found Times", published since 1975. --- "Lipman, Joel" wrote: > "Directory of Little Magazines, Small Presses & > Underground Newspapers" as Len Fulton's encompassing > title ran, spread the field to the underground > press. I first read diPrima's "Revolutionary > Letters" & Snyder's "Smokey The Bear Sutra" plus > other important poems of the period in the > underground papers, not litmags. Does anyone recall > whether the undergrounds and Liberation News Service > constituted first venues or were recyclings? > > & recall: Unmuzzled Ox, Ghost Dance, Field, > Alcheringa. Mota was first little mag I recall using > color & well-presenting vispo. Panache (Future > Fictions edited in 1971 by R. Kostelanetz) was first > place I saw pages of Phillip's Humument & Furnival's > stacked typographics. What defines "prestigious" > remains the ringer. Joel Lipman > > -----Original Message----- > From: Lipman, Joel > Sent: Sun 1/12/2003 10:55 AM > To: UB Poetics discussion group; > POETICS@LISTSERV.BUFFALO.EDU > Cc: > Subject: RE: magazines in the late 1960s > Quixote > Sumac > Robert Bly's 60's, then 70's Press > Floating Bear > > JL > > > > -----Original Message----- > From: Joel Weishaus [mailto:weishaus@PDX.EDU] > Sent: Sun 1/12/2003 12:32 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Cc: > Subject: Re: magazines in the late 1960s > > Which national literary journals were considered > the most prestigious > places to publish poetry in the later 1960s - early > 1970s? (Define > "prestigious" however you want to.) > > > > I'm trying to get a general sense of the kinds of > status or social > distinction attached to different magazines at the > time. For starters, > these three: > > > > Poetry > > Hudson Review (or other postwar quarterlies) > > Antaeus (What was Daniel Halpern's reputation?) > > > > If anyone remembers or has looked into this, I'd > be grateful for any info > you cared to share. Thanks. > > > > Andy Rathmann > > It amazes me how little I remember about those > years. Guess I was there! > Two I remember: > > Chicago Review > City Lights Journal > > -Joel > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > http://web.pdx.edu/~pdx00282 > http://www.unm.edu/~reality __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 13 Jan 2003 10:33:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Appius & Virginia, III Mime-Version: 1.0 Content-Type: text/plain; format=flowed grand ceremony not very risky though some book pretended to end there though she was at some pains to become his daughter ______________________________ for fear, settle for wolves wolves slipped away, settle for harboring her graces the best laid plans set off ______________________________ her arms were bare, and filled the pit and house ______________________________ nor ever marry her, Dr. Bluespire! ______________________________ He has a Name very-decent-people- are-delaying-my-happiness ______________________________ lavishly, the clothes with eyelashes draw lots for ownership ______________________________ the end of his hat, the title of the work shabby within a second ______________________________ "The two-legged harp & her sister," Memory with perfect response. ______________________________ once voice here, his own death-distress blood-mode like fire all future numbers having promised the love scenes under fire indistinguishable from fire when in fire his own death has eyes on our thoughts the next time, poems come down in sheets her own words in strips of grave dialect _______________________________ pleasures this unsociable mixed me a note to love me my time _______________________________ labor and waste together with a past _______________________________ I had formed only the day before we should go on foot _______________________________ very decent - sent for her whole triumph _______________________________ she has grass stains on her clothes and bells on her toes I see without a blindfold she is Jane to all your Joes _______________________________ solid precision to the scandal of the horned owl, the boat, & the Boat Unkempt _______________________________ Mount Vernon fig tree placed thereof was Himself to call the Summer for a final assault _____________________________ a nemesis guise of emulation wilderness driven by design, a white breathless destination the first two deeds (read "lines") still possible for bloodless phobia books quite subtle dedicated to overripe summation (read "lines" ______________________________ part, the Paris, and proportions ______________________________ anecdotal richer ground Richard Brown pronounce poem incidental _____________________________ spatchcock Melymbrosia, with your heft & shave, where would you prefer to hang your hat - Herrenchiemsee, or Versailles? ______________________________ Should Tannhauser ever fall into the arms of his mortal love, he would no doubt see, and soon, she is no Venus. Still, in Heaven, are there dice-matches still, and, still, games of chance ______________________________ Dear Nature, Thank you for not killing me today. Best, Abe Lincoln ______________________________ unburied, & such things add to deep bays ______________________________ lamplight the town lowering to light it the mouth long nailed them tight - light to be as quiet long ago _____________________________ the meekness overscaled shrewd estrangement purge that expediency to sweeten a rose from any other British port _____________________________ O my stars, shall the dust prose you? Are etceteras nothing? _____________________________ roses were with pink thrift and morning _____________________________ the air with hands tight with dust _____________________________ a pocket and away - for the name of your upturned face _____________________________ bass-viol, and bass-viol. Folk. _____________________________ verso versipelles, you turncoat mammal. writing and rewriting your dead pelt, penivorous animal! beast who swallows its own tale, figure by which you figure, mustering piece by piece your fugitive assent! _____________________________ dead un- done, and softly as our stop _____________________________ dynamite twice flashing in pantomime, that's the clamor you don't need to choose _____________________________ whom aural tables for these _____________________________ conversation off one measurable dance _____________________________ slink into ponderable hope _____________________________ futile ivory _____________________________ verdigris disobeyed & microscopic _____________________________ away - distinguished from me _____________________________ interrupted coincided had sown _____________________________ white vagaries _____________________________ word now microscopic _____________________________ "Word Now Microscopic, Cease From The Seine" _____________________________ to see an air of how always _____________________________ secrecy ran the whole constricted boar _____________________________ honey or three _____________________________ spied paint- wasted _____________________________ private lives torn down (their scabs a picture) _____________________________ dust grew a focus _____________________________ pitiable as a pane ____________________________ sweet dreams, famished fox ____________________________ back clung to rival visible ____________________________ sleep - for this time a thief bound to his fists ____________________________ a thief's throw readjusted under his sheets ____________________________ picture a pled & recorded tangle ____________________________ growl a white havoc, sailing ship! ____________________________ tea leaves in the days of ventriloquial bruises, so much my way to run the air... ____________________________ the dirt in the dark fused to remittance ____________________________ our eyes hanging in coppery hair, by and by ____________________________ wag as if unaccompanied, their drag a lithe perpetual ____________________________ plop before the anvil: rustiness turned to satisfaction ____________________________ I was spiked with a gnarl and the sun is Your Honor ____________________________ coy the clock her life a spring ____________________________ Reykjavik! Reykjavik! SPORTS JACKET! ____________________________ hare and mare are the entire sea & when the entire sea pleads for his life hare and mare are English speaking ___________________________ a Portuguese capacity has the capacity for being Portuguese, at least ___________________________ modesty, obviously, will end with a curtain ___________________________ the Second Act climbs onto the City Clerk ___________________________ the Theatre ought not to be afraid to show her legs ___________________________ am I to conclude the depths are only for simple things? ___________________________ she married your praises ___________________________ the orchestra making the main square in his hair ___________________________ How Nature Can Close Ranks! Snip! Snap! ___________________________ the atrocious are putting on a show just for you! - even if a million miles away & they don't care to know your name! when you're moral, though, you are only entertaining yourself ___________________________ my suggestion is licensed to do what you're so eager for ___________________________ the weather, my dear friend, is trying to hand us a line ___________________________ the newborn paws in the heat of my violin case ___________________________ how do you want the staircase to be rebuilt? ___________________________ have my people feel like sleeping ___________________________ cooks are less fragile ink bottles ___________________________ we need a horse to make a fire with ___________________________ one's coffin again recurring a sick man has gratuitous unity ___________________________ The Crystal Tower In New York ___________________________ coteries exclude because they have trust issues ___________________________ the awful thing tells me a star is called a mountain ___________________________ repugnant farmhands live in your apartment ___________________________ a mysterious snowing (marvelous?) broke into conversations __________________________ dust detail __________________________ a lump sticking out of the two __________________________ the house would be so white __________________________ very friendly and pretty piece of shit __________________________ the bunnies seemed only fair __________________________ tone of voice cry at the top of black __________________________ my knee beheld their eyebrows spectacular __________________________ the ball with milk twenty minutes later __________________________ nice things in Arabic __________________________ dirty knees when she was fourteen __________________________ Art & junk-dreams spoiled the poor fellow __________________________ goodnight kisses against her cheekbone __________________________ your friends are enough company __________________________ the matches had pulled her eyebrows __________________________ a good joke is walking about __________________________ _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 13 Jan 2003 16:39:16 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: Re: If I say "programmatic poetry"... Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii Content-Disposition: inline which is why projects like this: http://www.jhai.org/jhai_remoteIT.html exist. It's the pedal-powered internet for Laos. Something like the wind-up radios. BTW, they're looking for donations. At 13/01/2003 16:16:36, Joel Weishaus wrote: # ----- Original Message ----- # From: "mIEKAL aND" # To: # Sent: Monday, January 13, 2003 7:47 AM # Subject: Re: If I say "programmatic poetry"... # # # > On Monday, January 13, 2003, at 09:36 AM, Kazim Ali wrote: # > # > > --- jason christie wrote: # > >> # > > For example: if this # > >> is the "new medium" then what is the status of # > >> poetry on the page? If # > >> poetry on the page is no longer relevant against # > >> this "new catagory, then # > >> that limits those who can successfully write poetry # > > # > > it's not the "new medium" for the vastest majority of # > > people who don't live in wealthy countries and who # > > don't have access to technology and code and etc. # > # > OR FOR THAT MATTER, BOOKS, MAGS, POETRY READINGS, LIBRARIES # # Or food. # # Human culture progresses in a few deep pockets, which is why artists flock # to cultural centers like computer programmers to Palo Alto. The Internet # actually is slowly making these centers irrelevant, so that artists from # around the world, even in poor countries, can be seen on a larger scale. # This takes time, after all, but it is happening. The apparatus is becoming # cheaper. Also the American military is distributing tons of computers # throughout the Third World in the form of "smart bombs." We are a generous # people, after all. # # -Joel W. # Roger ========================================================================= Date: Mon, 13 Jan 2003 08:47:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: magazines in the late 1960s In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Great list. And I would add: Evergreen Review C Locus Solus The World Big Sky City Lights Review At 07:47 PM 1/12/2003 -0700, George Bowering wrote: >Trobar >Yugen >Wild Dog >Coyote's Journal >Fuck You/ a magazine of the arts >El Corno Emplumado > >-- >George Bowering >It's a jungle in here >Fax 604-266-9000 ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Mon, 13 Jan 2003 09:15:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: O Books' Jono Schneider & Keith Shein read at City Lights MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable O Books' Jono Schneider & Keith Shein read at City Lights book store on = Tues Feb 21st at 7 PM=20 =20 "...But I Could Not Speak..." by Jono Schneider is prose poetry. ISBN # = 1-882022-46-7. Price: $12.00, 110 pages. "The horizon to which Jono = Schneider returns again and again is not so much disclosed as shaped and = reshaped: it ceases to be a thing and admits only to a rhythm. The = painter Leonora Carrington asserted that magic is "being aware of = presence without definition." Here you will find a book in which such = enigma is enacted." - Elizabeth Robinson "As readers of this wonderful book, our own involvement begins within = its exquisite, noticeable sentences, which flow unimpeded except by the = excitement they produce in the reader; we want nothing better than to = pause at each of them, not in aesthetic wonder but so as to participate = in the action that is this book. - Lyn Hejinian "We don't slip out of the sentence or look elsewhere. Nothing is simply = demonstrating something else. The reader is held again and again in this = occurrence. - Leslie Scalapino =20 Rumors of Buildings to Live In by Keith Shein is poetry prose. ISBN = number 1-882022-46-7. $12.00. 72 pages. "The inheritors of a world in = ruin, these spectral yet strangely tender and embodied survivors stitch = together, through the gestures of life, a new if tenuous order."- Sarah = Menefee These compellingly compassionate and troubling snapshots anatomize a = later, if not culminant stage in the social and psychic degradation that = Williams predicted for "the pure products of America." - Ted Pearson "There are beings inside each of whom sees in a clear and solitary = way....The landscape is like nothing else I know in poetry - a shifting = geometry full of other, non-declamatory minds. There are living eyes everywhere in "Rumors of Buildings to Live In," = and none of them care at all about Keith or the reader. There are dogs = on their own, almost enterable..." - Larry Kearney "'Someone wrote Inhuman Rules" by which we/people are animate, the real = motions rendered by Shein as startling 3-D. The people and the location = are turned in on each other. Abandoned as being what's real."- Leslie = Scalapino =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 O Books' Jono Schneider & Keith Shein read at City Lights book store on = Tues Feb 21st at 7 PM=20 =20 "...But I Could Not Speak..." by Jono Schneider is prose poetry. ISBN # = 1-882022-46-7. Price: $12.00, 110 pages. "The horizon to which Jono = Schneider returns again and again is not so much disclosed as shaped and = reshaped: it ceases to be a thing and admits only to a rhythm. The = painter Leonora Carrington asserted that magic is "being aware of = presence without definition." Here you will find a book in which such = enigma is enacted." - Elizabeth Robinson "As readers of this wonderful book, our own involvement begins within = its exquisite, noticeable sentences, which flow unimpeded except by the = excitement they produce in the reader; we want nothing better than to = pause at each of them, not in aesthetic wonder but so as to participate = in the action that is this book. - Lyn Hejinian "We don't slip out of the sentence or look elsewhere. Nothing is simply = demonstrating something else. The reader is held again and again in this = occurrence. - Leslie Scalapino =20 Rumors of Buildings to Live In by Keith Shein is poetry prose. ISBN = number 1-882022-46-7. $12.00. 72 pages. "The inheritors of a world in = ruin, these spectral yet strangely tender and embodied survivors stitch = together, through the gestures of life, a new if tenuous order."- Sarah = Menefee These compellingly compassionate and troubling snapshots anatomize a = later, if not culminant stage in the social and psychic degradation that = Williams predicted for "the pure products of America." - Ted Pearson "There are beings inside each of whom sees in a clear and solitary = way....The landscape is like nothing else I know in poetry - a shifting = geometry full of other, non-declamatory minds. There are living eyes everywhere in "Rumors of Buildings to Live In," = and none of them care at all about Keith or the reader. There are dogs = on their own, almost enterable..." - Larry Kearney "'Someone wrote Inhuman Rules" by which we/people are animate, the real = motions rendered by Shein as startling 3-D. The people and the location = are turned in on each other. Abandoned as being what's real."- Leslie = Scalapino =20 =20 =20 =20 =20 =20 =20 =20 =20 O Books' Jono Schneider & Keith Shein read at City Lights book store on = Tues Feb 21st at 7 PM=20 =20 "...But I Could Not Speak..." by Jono Schneider is prose poetry. ISBN # = 1-882022-46-7. Price: $12.00, 110 pages. "The horizon to which Jono = Schneider returns again and again is not so much disclosed as shaped and = reshaped: it ceases to be a thing and admits only to a rhythm. The = painter Leonora Carrington asserted that magic is "being aware of = presence without definition." Here you will find a book in which such = enigma is enacted." - Elizabeth Robinson "As readers of this wonderful book, our own involvement begins within = its exquisite, noticeable sentences, which flow unimpeded except by the = excitement they produce in the reader; we want nothing better than to = pause at each of them, not in aesthetic wonder but so as to participate = in the action that is this book. - Lyn Hejinian "We don't slip out of the sentence or look elsewhere. Nothing is simply = demonstrating something else. The reader is held again and again in this = occurrence. - Leslie Scalapino =20 Rumors of Buildings to Live In by Keith Shein is poetry prose. ISBN = number 1-882022-46-7. $12.00. 72 pages. "The inheritors of a world in = ruin, these spectral yet strangely tender and embodied survivors stitch = together, through the gestures of life, a new if tenuous order."- Sarah = Menefee These compellingly compassionate and troubling snapshots anatomize a = later, if not culminant stage in the social and psychic degradation that = Williams predicted for "the pure products of America." - Ted Pearson "There are beings inside each of whom sees in a clear and solitary = way....The landscape is like nothing else I know in poetry - a shifting = geometry full of other, non-declamatory minds. There are living eyes everywhere in "Rumors of Buildings to Live In," = and none of them care at all about Keith or the reader. There are dogs = on their own, almost enterable..." - Larry Kearney "'Someone wrote Inhuman Rules" by which we/people are animate, the real = motions rendered by Shein as startling 3-D. The people and the location = are turned in on each other. Abandoned as being what's real."- Leslie = Scalapino =20 =20 =20 =20 =20 =20 =20 =20 =20 O Books' Jono Schneider & Keith Shein read at City Lights book store on = Tues Feb 21st at 7 PM=20 =20 "...But I Could Not Speak..." by Jono Schneider is prose poetry. ISBN # = 1-882022-46-7. Price: $12.00, 110 pages. "The horizon to which Jono = Schneider returns again and again is not so much disclosed as shaped and = reshaped: it ceases to be a thing and admits only to a rhythm. The = painter Leonora Carrington asserted that magic is "being aware of = presence without definition." Here you will find a book in which such = enigma is enacted." - Elizabeth Robinson "As readers of this wonderful book, our own involvement begins within = its exquisite, noticeable sentences, which flow unimpeded except by the = excitement they produce in the reader; we want nothing better than to = pause at each of them, not in aesthetic wonder but so as to participate = in the action that is this book. - Lyn Hejinian "We don't slip out of the sentence or look elsewhere. Nothing is simply = demonstrating something else. The reader is held again and again in this = occurrence. - Leslie Scalapino =20 Rumors of Buildings to Live In by Keith Shein is poetry prose. ISBN = number 1-882022-46-7. $12.00. 72 pages. "The inheritors of a world in = ruin, these spectral yet strangely tender and embodied survivors stitch = together, through the gestures of life, a new if tenuous order."- Sarah = Menefee These compellingly compassionate and troubling snapshots anatomize a = later, if not culminant stage in the social and psychic degradation that = Williams predicted for "the pure products of America." - Ted Pearson "There are beings inside each of whom sees in a clear and solitary = way....The landscape is like nothing else I know in poetry - a shifting = geometry full of other, non-declamatory minds. There are living eyes everywhere in "Rumors of Buildings to Live In," = and none of them care at all about Keith or the reader. There are dogs = on their own, almost enterable..." - Larry Kearney "'Someone wrote Inhuman Rules" by which we/people are animate, the real = motions rendered by Shein as startling 3-D. The people and the location = are turned in on each other. Abandoned as being what's real."- Leslie = Scalapino =20 =20 =20 =20 =20 =20 =20 =20 O Books new authors, Jono Schneider & Keith Shein, read at City Lights = book store on Tues Feb 21st at 7 PM. Jono Schneider's "...But I Could Not Speak..." is prose poetry. ISBN = #1-882022-45-9. $12.00, 110 pages. "The horizon to which Jono Schneider = returns again and again is not so much disclosed as shaped and reshaped: = it ceases to be a thing and admits only to a rhythm. The painter Leonora = Carrington asserted that magic is 'being aware of presence without = definition.' Here you will find a book in which such enigma is enacted." = (Elizabeth Robinson) "As readers of this wonderful book, our own involvement begins = within its exquisite, noticeable sentences, which flow unimpeded except = by the excitement they produce in the reader; we want nothing better = than to pause at each of them, not in aesthetic wonder but so as to = participate in the action that IS this book." (Lyn Hejinian) "We don't slip out of the sentnece or look elsewhere. Nothing is = simply demonstrating something else. The reader is held again and again = in this occurrence." (Leslie Scalapino) Keith Shein's RUMORS OF BUILDINGS TO LIVE IN is poetry prose. ISBN # = 1-882022-46-7, $12.00, 72 pages. "The inheritors of a world in ruin, = these spectral yet strangely tender and embodied survivors stitch = together, through the gestures of life, a new if tenuous order." (Sarah = Menefee) "These compellingly compassionate and troubling snapshots anatomize = a later, if not culminant stage in the social and psychic degradation = that Williams predicted for 'the pure products of America." (Ted = Pearson) "There are beings inside each of whom sees in a clear and solitary = way...The landscape is like nothing else I know in poetry -- a shifting = geometry full of other, non-declamatory minds. There are living eyes = everywhere in RUMORS OF BUILDINGS TO LIVE IN, and none of them care at = all about Keith or the reader. There are dogs on their own, almost = enterable." (Larry Kearney) "The people and the location are turned in on each other. Abandoned = as BEING what's real." (Leslie Scalapino) =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 ========================================================================= Date: Mon, 13 Jan 2003 12:15:05 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Rich Gold 1950-2003 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I first knew Rich as one of the music students at Mills around Robert Ashley, Peter Gordon &, through Peter, Kathy Acker, in the very early 1970s. Later he married the poet Marina LaPalma & went on to become one of the very first artists to take computing seriously. Ron Rich Gold 1950-2003 Rich Gold (Richard Goldstein) of Menlo Park died in his sleep on January 9, 2003. Born on June 24, 1950, he received a B.A. from SUNY-Albany, and an M.F.A. from Mills College. Rich Gold was a digital artist, inventor, cartoonist, composer, lecturer and inter-disciplinary researcher who in the 1970s co-founded the League of Automatic Music Composers, the first network computer band. As an internationally known artist he invented the field of Algorithmic Symbolism, an example of which, The Party Planner, was featured in Scientific American. In 1979 he married his soul mate, Marina LaPalma. In the 1980s he was director of the sound and music department of Sega USA's Coin-op Video game division and the inventor of the award winning Little Computer People (Activision), the first fully autonomous, computerized AI person (which turned out to be an inspiration for the development of The Sims). From 1985 to 1990 he headed an electronic and computer toy research group at Mattel Toys and was the manager of the development of several interactive toys, including the Mattel PowerGlove. He also worked on the first interactive broadcast TV show of Captain Power, an early CD based video system and an artificially intelligent talking robots. In 1991, Rich and Marina's personal lives were transformed when the light of their life, their son, Henry Chase was born on May 30th. After working as a consultant in VirtualReality he joined Xerox PARC in 1991, where he was a scientific researcher in Ubiquitous Computing, the study of invisible, embedded and tacit computation. He was a co-designer of the PARC Tab (the precursor of the Palm Pilot), helped launch the successful LiveBoard and was the co-inventor on eleven patents as well as directing the ubi-comp patenting effort. In 1993 he founded the influential PARC Artist-In-Residence program (PAIR),in which fine artists and scientists collaborated using shared technologies. Later that year, he created the multi-disciplinary Laboratory RED (Research in Experimental Documents) which studied the creation of new document genres by merging art, design, science and engineering and then creating exemplars of those genres. One of RED's most successful projects, called Experiments in the Future of Reading (XFR), included the design and development of several new interactive reading devices. XFR was installed at the San Jose Tech Museum of Innovation in 2000 where it was visited by over a half million people; XFR is currently touring the United States after winning the Gold and Silver awards for interactive design from I.D. Magazine and being featured on ABC Nightly News. The XFR reading experiments were based on the concepts of "Total Writing," an anti-convergent theory where the media itself becomes authorable and has meaning. Rich Gold was a provocative speaker who lectured throughout the world on the future of the book, the nature of engineering, creativity, innovation and Evocative Knowledge Objects (EKOs). After leaving Xerox PARC in 2001, he became a principal at the product design company Polaris Road. During 2002 he finished a book called The Plenitude (The Present Press). See www.richgold.org for a list of his writings and talks. He is survived by his wife, Marina LaPalma, son, Henry Chase Goldstein; his parents, Herbert and Phyllis Goldstein of Buffalo, NY; his sisters, Patti of Oakland, CA, Judy of Buffalo, NY, Anne (Peter) Goergen of Allegany, NY, and his brother Andrew (Patty) of Buffalo, NY, and four nieces and nephews. A memorial service will be held on at 1:00 pm on Monday, January 13, 2003 at the Insight Meditation Center of the Mid-Peninsula (1205 Hopkins Ave, Redwood City). For more information see: RichGoldMemorial.onomy.com. The family prefers that donations be made to the Henry Chase Goldstein Educational Fund, 526 Hopkins St., Menlo Park, CA, 94025. For donation information see: http://RichGoldMemorial.onomy.com/HenryFund.html ========================================================================= Date: Mon, 13 Jan 2003 11:44:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Spines Replace The Glaze of Lip's Inactive Disease Mime-Version: 1.0 Content-Type: text/plain; format=flowed I don't want to be the crane's care knowledge that got around, horse named January trampling four notes, he happens to tell you something reserved the NEIGHboring composition - sounds of its own tune you love my friend's birthday, sounds of her own steps the North strung every section of its own accord because proscenium fliest of no father, baby brought her own sensibility you're my friend's two broken strings & every moon that falls quiet now I'm quiet with the ways thronged up with wonder & I hold on to the shop and stones to port the man with the paper has not my friend's intelligence guile helped America potential the sky misery excludes no book's supernal eye nationality as dew on democracy, clarity 3/4 time from vesper smacks as Jupiter and Fuseli wrote emphatically, the plenipotentiary the small fissure whom lights on itself naked, in words a contented ache springs anew, but follows an unearthing... _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Mon, 13 Jan 2003 15:26:18 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: poetry & the visual arts; ekphrasis Leslie Scalapino MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT is 'ekphrasis' limited to a poet's raections to art or an artist's reactions to poetry? I'm more interested in what the fruits (either poetic or artistic) might be? For example, if poet A writes poem A in response to painting B, is there a C somewhere on the horizon? This would then be a collaboration? tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Mon, 13 Jan 2003 11:49:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Fwd: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >> >Lane (who describes the Tish group's vision as >>>"frighteningly antihumanist") and many of his >>>ilk moved to the Island. "We still believe in >>>cultural history," explains Lane. "We believe >>>in lyricism, narrative, anecdotes and poems >>>that explore story and song." >> >>Interesting to read this stuff on the Poetics list. I am from >>Victoria (though in Toronto at the >>moment). Rock on, George. Imagine what my www.vispo.com would do >>for Lane etc. Frighteningly >>something or other. Patrick Lane has written some good poetry, >>that's for sure. But he should >>loosen up. >> >>ja > >Thanks for writing. I will admit, often, to being antihumanist, and >I welcome fright into the composition of poetry. It just makes me >uneasy to imagine that Pat thinks that those things "they" support >are universally valued by poets, or should be. >-- >George Bowering >It's a jungle in here >Fax 604-266-9000 -- George Bowering It's a jungle in here Fax 604-266-9000 ========================================================================= Date: Mon, 13 Jan 2003 11:53:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: I am therefore you are In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable from: low I am therefore you are it was a typical =93f=94 day - funnel cakes, ferris = wheels, grabbing the=20 asses of the common foot soldier, and free rides for anyone with=20 fortitude to knock the block off of formally tuned warheads. the ferris wheel was warmed up by the time I got there. all I = had to=20 do was check and see if the lights worked and replace any that needed=20 to be replaced. it was no easy task. even though we used seven year=20 bulbs, birds would crash into them, and there were those small=20 projectiles from disintegrating satellites that would wipe out whole=20 sections. it is a wonder some power pantomime of the carnival arts=20 hadn't been wiped out by those flying transients (homeless). even=20 though the courts ruled ages ago, after the great satellite reign wiped=20= out all of kentucky, that satellites could only crash to earth between=20= 2 a.m. and 4 a.m., and they must be directed only towards either pole,=20= there was this continuous public debacles when one of those flying=20 hunks of mental would land in the middle of a used car lot or a santa=20 theme park. as I rotated the ferris wheel to replace the much needed bulbs = in the=20 section of images of famous people, I heard a voice coming towards me=20 and I turned to see if it was jason bark-alot, who ran the gorgon=20 tease, a cruel-joke-ride where those who dared were strapped in stupid=20= and forced to face celebrated dilemmas and biting flies, only to return=20= feeling a day older or a year younger. but jason as usual was=20 preoccupied with the flies who had asked for an increase of funnel=20 cakes and overcooked polish sausages. I continued to look to see if I could see who was speaking. or = could=20 this be the old same voice coming to me from times when self doubt=20 falls like a paperweight, crushing any exit from my private thumbs down=20= undertow? it=92s like I=92m not the only one that flounders in a = repartee=20 of personal debasement. even so, as I write this, I wonder where my=20 body is, and who=92s writing this. there is no clue, so needless to say=20= any reliance on this character would be a pit-less quagmire casting=20 doubt on the story and the proceedings, but I must tell you this is the=20= truth, this is the next forth coming sentence, and this is the next=20 after the last, so in that way this is a verification for you the=20 reader. you can use this as a presence meter, a verification checker,=20 which is closely related to the truth dial. I am here with you right=20 now, a little tired, but still with you right now, right there standing=20= right there. knowing it wasn=92t jason bark-alot or the voices or the=20 radio coming in loud-and-clear right there, I was standing right there=20= and something said- -I am. -I am. I said as a sort of v-point, check point charlie for the brain. -I am what? I said to make sure what I said was. -I am. which is what I heard when I said- -I am what? again and without repeating what I said, it said it again and I = said=20 it back, then without hesitation- -I am, too. which would indicate or include me into the, "put your name on = the=20 ledger," there I said it, but why would I say it - -I am. -there I am and as I am. said the voice, I said- -I am. to the voice and then it said - you=92re staring. I still saw nothing, not a caricature, slander or official = propaganda.=20 this voice which spurred forth extreme focus realization out of=20 desperation to finite an external focus in relationship to me, seemed=20 to have no form to call its own, and then before I could say "I am,"=20 before I could breathe, before a brief read of a local newspaper,=20 before I could calculate distance, right in from of me, on top of the=20 faded pink square box, the box that controlled the lights, the box that=20= controlled the ferris wheel and was my ultimate control fetish away=20 from home, right there, right in front of me, sat a rat in what looked=20= like a chaise lounge, made from leftovers from the night before,=20 sitting there a rat smiling at me or at least I think it was a smile. =20= I was never really good at telling rat similes from rat smiles, from=20 everyday rats affairs. as I refocused my thinking I noticed this rat=20 wasn't really sitting on a chaise lounge, more lounging on its side, on=20= this chaise lounge, made of old fortune letter cards, straws from mr.=20 lime freezes and condom wrappers. than without an order form to fill=20 out for longing, its eyes opened wide as giant fires on mercury or the=20= winds that blow across the skies, these eyes were aglow, a halo of=20 burning dust, violent with a depth of untethered zones and assault=20 hopes. It could be nothing, but the receiver of the call, or they=20 could be links to other galaxies to a pause patterned generator at the=20= center of crimson time. though these eyes seemed like something I had seen before, = before=20 motherhood or before the incomprehensible . . . yes that is it, I'm=20 sure they were like funnel cakes, or was it corrugated titanium. these=20= were the eyes of crones calling for tokens to take the fairy from=20 carnival land to faux finish land. these were the eyes of ground jets=20 able to crash and burn, then reassemble themselves as refortified=20 avengers of the average seeker. and then as if out of some-kind of synthesized chant, a voice = emerged=20 directed towards my head. - I am the one, the one who knows. I've heard this before, from saints dressed as mouse catchers, = singing=20 praises of the masquerade. I=92ve heard it before on the school yard,=20 children making allegiances with otherwise sadistic dictates, forming=20 sides, marking off territories, grabbing alias weaponry and hostages. - I am the one, the one that knows. as from detold stories, from the other side of position birthdays and=20 bad day bushes. - I am the one . . . and I am the one who knows . . . and you = are one=20 of the ones. -oh great . . . so now I'm some kind of chosen pickle, a special=20= person with plastic-chair deliverance. I want nothing, but to be the=20 placebo who runs the ferris wheel . . . I wanted to say, =93take me off=20= your list, bar me from your club, lets pretend we never meant, I=92ll go=20= my way and your yours, get out of my ferris wheel area, you don't even=20= have a ticket.=94 but instead, instead I said. -what do you want, mean or whatever? -you are the only one who came from bruno and bruno investment = funds,=20 you are one of the ones. -but I . . . .= ========================================================================= Date: Mon, 13 Jan 2003 14:29:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tracy S. Ruggles" Subject: Re: If I say "programmatic poetry"... Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Why should it or why does it matter or make a difference knowing that millions of Africans have AIDS and that thousands die of hunger every day -- and then sitting down in front of a titanium Powerbook and enjoying a good little java- or flash-based poem? Drinking some organic carrot juice. Thinking about what a nice night it will be for a fire. --Tracy On Monday, January 13, 2003, at 10:16 AM, Joel Weishaus wrote: > ----- Original Message ----- > From: "mIEKAL aND" > To: > Sent: Monday, January 13, 2003 7:47 AM > Subject: Re: If I say "programmatic poetry"... > > >> On Monday, January 13, 2003, at 09:36 AM, Kazim Ali wrote: >> >>> --- jason christie wrote: >>>> >>> For example: if this >>>> is the "new medium" then what is the status of >>>> poetry on the page? If >>>> poetry on the page is no longer relevant against >>>> this "new catagory, then >>>> that limits those who can successfully write poetry >>> >>> it's not the "new medium" for the vastest majority of >>> people who don't live in wealthy countries and who >>> don't have access to technology and code and etc. >> >> OR FOR THAT MATTER, BOOKS, MAGS, POETRY READINGS, LIBRARIES > > Or food. > > Human culture progresses in a few deep pockets, which is why artists > flock > to cultural centers like computer programmers to Palo Alto. The > Internet > actually is slowly making these centers irrelevant, so that artists > from > around the world, even in poor countries, can be seen on a larger > scale. > This takes time, after all, but it is happening. The apparatus is > becoming > cheaper. Also the American military is distributing tons of computers > throughout the Third World in the form of "smart bombs." We are a > generous > people, after all. > > -Joel W. > ========================================================================= Date: Mon, 13 Jan 2003 14:29:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tracy S. Ruggles" Subject: a rosie googlism Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Still, I think Gertie said it much better. --T Googlism for: a rose a rose is a rose is a rose is a rose=94 =97 the a rose is a rose is a rose but a haughlee a rose is a rose is a ruse? a rose is not just a rose a rose is a rose is a rose is a a rose is a rose is a rose is a rose is a rose is a rose is a a rose is a rose is a fleur a rose is still a rose at cheap price in uk a rose is a rose is a rose is a rose a rose is a rose' a rose is a rose is a rose f a rose is a rose plus size swimdress a rose is a a rose is still a rose au meilleur prix a rose is a rose by susan ashton a rose is a rose=8A a rose is ist eine gruppe von musik a rose is back a rose is a rose oct 11 '01 author's product rating customer service a rose is actually rosa a rose is a rosa sericea pteracantha is a rose a rose is a rose is a rose but a haughlee is a hawley is a holly a rose is a rose is a rose a rose is still a rose such a surprise a rose is a rose is a rose is a rose =A91993 this music is being presented strictly for = the=20 listening pleasure of others a rose is a rhodes a rose is not just a rose study identifies disease resistant shrub and=20= groundcover roses a rose is a rose of clayton a rose is a rose of clayton has been serving clayton and the=20 metropolitan st a rose is a rose a rose is a rose click an image to send a rose is a rose is a fleur greg harris focus editor the most common=20= complaint about translation a rose is a rose is a rose" a rose is a rose is a rose is a rose is a rose a rose is a rose you're at a stand still you're at an impasse your=20 mountain of dreams seems harder to climb and those who have made you=20 feel like an outcast a rose is a rose wallpaper set a rose is a rose'describes his art and his life as a cartoonist a rose is still a rose 2 a rose is a rose is a rose' by gabriella j=F6nsson a rose is not a rose a rose is a rose plus size swimdress 45802 $89 a rose is not always a rose posing as a woman in chat rooms invites=20 warmth a rose is a rose is a rose by sue kutosh a rose is a rose lyrics a rose is a rose is a rose is a rose a rose is a rose is a rose is=20 arose a rose is a rose is a rose isarose a rose is a rose is a=20 roseisarose a rose is a rose a rose is a rose and energy is energy a rose is a rows is a roes a rose is a rose an avid gardener=92s top picks for hardy a rose is just a rose? a rose is al myn song a rose is a rose is a a rose is a rose by ernie schell a rose is still a rose ---------- Bonus Googlism!!! Googlism for: my sexy sister my sexy sister is coming to get one of you ========================================================================= Date: Mon, 13 Jan 2003 15:35:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: This is not a poetry weblog Mime-Version: 1.0 Content-Type: text/plain; format=flowed http://virginpepper.blogspot.com/ _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Mon, 13 Jan 2003 13:12:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: SPT's Poets' Theater Jamboree 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit SMALL PRESS TRAFFIC'S POETS? THEATER JAMBOREE 2003 Please join us for four wondrous & bizarre evenings of poets? theater! Reservations are recommended. Please call 415-551-9278 (after January 15) to make yours. As the Jamboree is a benefit for SPT, admission is $10 per night for everyone. This year?s jamboree is curated by Taylor Brady, Brent Cunningham, Elizabeth Treadwell Jackson, & Kevin Killian. Friday, January 24, & again Saturday, January 25, 2003 at 7:30 PM Cecilia Dougherty, "Kevin and Cedar" (2002, world premiere). In this revealing portrait of San Francisco bohemia, Kevin Killian and Cedar Sigo play themselves as Paul Verlaine and Arthur Rimbaud, trapped in a destructive affair in an untidy SOMA apartment, surrounded by debris and the flickering madness of their own poems. Video, 8 minutes, 10 seconds. Karla Milosevich and Kevin Killian, "Love Can Build a Bridge." It?s another sleepy dusty delta day in Marfa, Texas, the site of the famous mystery lights and the home of Donald Judd?s art farm in West Texas. The great American minimalist has died, and his survivors gather together to hear his will read in the town?s one bar, Roy?s Cotton Club. This exciting tale of conceptual art, country music, long-ago feuds and present-day shamanism gathers together an eccentric cast of artists, poets, filmmakers and painters. Saturday, January 25, 2003 at 7:30 PM Friday?s program repeats. Friday, January 31, 2003 at 7:30 PM An evening of short plays #1 Yvor Winters Puppet Play, directed by Andrew Joron "Celeste & Sirius" by Kathleen Fraser "Some Prologues" by Stacy Doris "Fancy Another Day Gone" (1936) & "Domestic and Unavoidable" (1935) by Lorine Niedecker, directed by Taylor Brady "The Seventh Game of the World Series" by David Hadbawnik (INTERMISSION) "The Woman in the Green Coat" by Fiona Templeton "Beckon" by Jocelyn Saidenberg & Wendy Kramer "All the Thing You Are" by Taylor Brady "PPL IN A DEPOT" by Gary Sullivan "Manual for a Block" by Wayne Smith Friday, February 7, 2003 at 7:30 PM An evening of short plays #2 Yvor Winters Puppet Play, directed by Andrew Joron "She Tells Her Daughter" (1923) by Djuna Barnes, directed by Elizabeth Treadwell (produced with the kind permission of Sun & Moon Press) "But Seriously, When I was Jasper Johns' Filipino Lover..." by Eileen Tabios "95 Old Men" by Mary Burger "La Gnossienne" by Elizabeth Treadwell "The Servants' Ball" (1982) by Dambudzo Marechera, directed by David Buuck (INTERMISSION) "New Wave Bad Hair Day" by Brian Bauman "Glow Farm, Glow!" by Lauren Gudath "Hail Guantanamo!" by David Buuck "Its night, the ash" by Stefani Barber "Theater of No Feelings" by Brent Cunningham Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Mon, 13 Jan 2003 15:12:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: 60s mags redux MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" My mention of *Kayak* magazine the other day reminded Kent Johnson of Howard McCord, a poet featured in its pages often. Here's his note: "I saw your post about Kayak, and it put me in mind of Howard > McCord, who published there pretty often back then (I believe > Hitchcock took Kayak into the 70's, no?), as well as in other > popular places of the era. He was a pretty big name, at least in > New American-type circles during that time. Then he more or less > disappeared from the radar screen, mostly by choice, though he > continued to be very active in his writing. His Collected Poems has > just appeared in a gorgeous 400page edition from Bloody Twin > Press. I am not sure of the price, as it's not listed on the incredibly > elegant jacket, but it is available from > > Brian Richards > Bloody Twin Press > 7570 Upper Twin Creek Rd > Blue Creek, OH 45616 > > Would you mind mentioning this book to the Poetics list? I think > some would be interested. McCord is a true poet." ========================================================================= Date: Mon, 13 Jan 2003 19:41:36 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Re: poetry & the visual arts; ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 1/13/2003 11:50:24 AM Pacific Standard Time,=20 trbell@COMCAST.NET writes: >=20 > is 'ekphrasis' limited to a poet's raections to art or an artist's=20 > reactions > to poetry? I'm more interested in what the fruits (either poetic or > artistic) might be? For example, if poet A writes poem A in response to > painting B, is there a C somewhere on the horizon? This would then be a > collaboration? >=20 I've just started paying attention to this thread so apologies if I'm=20 repeating something...but anyway... John Yau has collaborated with many artists -- and I've been most impressed=20 when his collaborations create a third artist (not the poet, not the artist,= =20 but a new authorial entity), what you call "C" perhaps. And that third=20 person has also been created instantaneously at times. He has collaborated=20 most frequently and longest with Archie Rand; in 2001 my press (http ://www.meritagepress.com/100morejokes.htm) published their etchings-based=20 collaboration 100 MORE JOKES FROM THE BOOK OF THE DEAD (available at SPD). =20 This also is one of their "instantaneous" collaborations ("first scratch,=20 best scratch"). If you check out http://www.columbia.edu/cu/news/02/05/archieRand.html,=20 you'll see an article by Archie Rand that discusses the process. I'll=20 actually cutnpaste the article below but the site includes 2 illustrations o= f=20 Archie's collaboration with John as well as Robert Creeley. Note what Archi= e=20 says about that "third form." =3D=3D=3D=3D=3D=3D FROM COLUMBIA UNIVERSITY NEWS New York Galleries Exhibit Painter Archie Rand's Collaborations with Poets By Suzanne Trimel As a painter, Archie Rand, professor of visual arts in the School of the=20 Arts, is known as a technical innovator who has explored diverse subjects=20 from jazz to the Bible and Jewish history and has taken approaches both=20 abstract and figural. His brilliance as a draughtsman has led to=20 collaborations over several decades with major American poets, including Joh= n=20 Yau, Robert Creeley and most recently, John Ashbery. Rand uses words like=20 affection and faith to describe the creative process. Collaboration is exhilarating, says Rand. "You lose your ego. You lose your=20 individuality. There's a kind of release and at the same time, an intense=20 freedom to create." During May, Rand's collaborations with Yau and Creeley will be on display in= =20 galleries in Manhattan. On Saturday, May 4, through May 25, the complete set= =20 of hand-colored etchings from the Rand-Yau collaboration, "100 More Jokes=20 From the Book of the Dead (Meritage Press, 2001)," will be on view at the=20 Dactyl Foundation (64 Grand Street). Beginning May 9, Metro Pictures Gallery= =20 (519 West 24th Street) will exhibit 54 lithographs from the Rand-Creeley=20 collaboration, "Drawn and Quartered," published by Granary Books last year.=20 Rand's most recent project with Ashbery will be exhibited and published next= =20 year. The etchings from "100 More Jokes=E2=80=A6" are humorous vignettes and were=20= created=20 by poet and painter simultaneously and without revision. Rand and Yau worked= =20 side by side, as the flow of images and words emerged. In viewing the final work, Rand says, it is difficult even for him "to recal= l=20 which came first -- his words or my pictures." Rand describes his "eye to eye" collaboration with Yau as a marriage, and=20 like any partnership between strong individuals, each needs reserves of trus= t=20 and flexibility to make the union last. "You choose your partner based on th= e=20 shared passion that you have for the glory of this activity," he says. Because images, unlike words, tend to dominate, an artist working in=20 collaboration with a poet "must be willing to pull back to give the words a=20 fighting chance," says Rand. "If the artist works at full capacity and makes= =20 the most intense visual statement, then basically the poetry is going to be=20 costume dressing," he says. Poets and painters, Rand believes, are naturally suited to collaborate=20 because they share a common bond as artists who work alone for long stretche= s=20 and whose creativity doesn't receive an immediate response from another=20 person. Unlike novelists who are engaged more fully with editors and=20 publicists or sculptors who must seek commissions from patrons, poets and=20 painters are more socially isolated and therefore develop a keener need to=20 validate their creations through another person, says Rand. "When you look at art, you are receiving affection from an artist," says=20 Rand, who frequently draws on the theme of love and generosity in describing= =20 the basic impulse for art. "When you're working with a collaborator, you=20 mutually validate each other's emanation immediately. It's comforting becaus= e=20 somebody else has understood your language so immediately that they've been=20 able to answer you. There's a completion. Because if one other person=20 understands what you're doing, then you have created a viable language. You=20 no longer have to wait for an audience where, even then, there may be no=20 tangible evidence of a mutual response." Rand was first represented by the Tibor De Nagy Gallery in 1966 when he was=20= a=20 teenager. He has since had over 80 solo exhibitions and his work has been=20 included in over 200 group exhibitions. His drawings and paintings are=20 represented in major museum collections, including The Metropolitan Museum o= f=20 Art, The Museum of Modern Art and The Victoria and Albert Museum in London. He first drew national attention for "The Letter Paintings" or "Jazz=20 Paintings" in the 1960's, which incorporated the names of male and female=20 African-American musicians on wall-sized canvases that challenged the=20 political and aesthetic status quo. For three years, beginning in 1974, Rand expanded notions of Jewish art when= =20 he painted the monumental 13,000 square foot interior of B'nai Yosef=20 synagogue in Brooklyn, which remains the only completely muraled synagogue i= n=20 the world. Rand believes a true collaboration occurs "when two people sit down, look=20 each other in the eye and say, 'Let's make a third thing.' " The creative=20 product, he says, is neither drawing, nor painting, nor poetry but a third=20 form. Rand considers this "third thing" -- he has yet to find other words to=20 describe it -- magical. "Both of us were quite amazed that we made something= =20 that has nothing to do with the words and nothing to do with the picture but= =20 has to do with something more enormous," he says of his work with Yau. "It i= s=20 basically almost religious. You put a strain on the affection between the=20 collaborators and the picture ends up being about faith because it has teste= d=20 that relationship." ========================================================================= Date: Mon, 13 Jan 2003 16:50:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: magazines in the late 1960s In-Reply-To: <002d01c2bb1c$194ab500$48fdfc83@oemcomputer> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT John Sinclair & the Detroit Writers Workshop, 1964 & 65, did both WORK (Black Mountain influence) and CHANGE (poetry and reviews of Jazz). In San Francisco, David Sandberg's OR. What was d.a. levey's mag called in Cleveland? Or did he have one? "Prestige" in my world - and the world of many was mimeograph. Stapled, nice thick, tinted, textured papers, thick with ink, often somewhat blurred. Something raw like holding a displaced rock in your hands. Very street. Source of the news on 1/13/03 7:54 AM, Joel Weishaus at weishaus@PDX.EDU wrote: > ----- Original Message ----- > From: "Lipman, Joel" > To: > Sent: Monday, January 13, 2003 6:06 AM > Subject: Re: magazines in the late 1960s > > >> "Directory of Little Magazines, Small Presses & Underground Newspapers" as > Len Fulton's encompassing title ran, spread the field to the underground > press. I first read diPrima's "Revolutionary Letters" & Snyder's "Smokey The > Bear Sutra" plus other important poems of the period in the underground > papers, not litmags. Does anyone recall whether the undergrounds and > Liberation News Service constituted first venues or were recyclings? >> >> & recall: Unmuzzled Ox, Ghost Dance, Field, Alcheringa. Mota was first > little mag I recall using color & well-presenting vispo. Panache (Future > Fictions edited in 1971 by R. Kostelanetz) was first place I saw pages of > Phillip's Humument & Furnival's stacked typographics. What defines > "prestigious" remains the ringer. Joel Lipman > > Oh Yes. it's all coming back now. > Let's not forget "The Oracle." > I first published in John Boyer May's "Trace." And in the last issue (#4) of > Thomas Merton's "Monk's Pond," which ran during 1968. And in Norman Moser's > "Illuminations," and "Rolling Stone," which was in San Francisco then. > > -Joel > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > http://web.pdx.edu/~pdx00282 > http://www.unm.edu/~reality ========================================================================= Date: Mon, 13 Jan 2003 20:05:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan E Minton Subject: new issue of Word For Word MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Word For Word #3 is available at http://www.wordforword.info with new poetry by Catherine Daly, Ray Farr, Jeff Harrison, Brenda Iijima, Mary Kasimor, Richard Kostelanetz, Camille Martin, Nick Moudry, Francis Raven, Chris Sawyer, Ravi Shankar, Jordan Stempleman , Sara Veglahn, and Ian Randall Wilson. #3 also features a special section on visual poetry, guest-edited by Tom Hibbard, with essays, poetics, and new work by Lanny Quarles, Michael Basinski, Jim Leftwich, Guy Beining, Luc Fierens, and John Crouse. ==================== "song," by Nick Moudry "I'm working," she says. "But that doesn't mean I am doing anything." I know what she means only in opposition to what she doesn't mean. A revision. I quote myself, "A revision." I quote myself & in quoting revise. I remove all quotation marks so you cannot tell who is speaking. I quote myself, a revision. I'm working. She says that doesn't mean I am doing anything ==================== "a short tale," by Mary Kasimor what is the scar for? began the novel and then acquires sequins sewn endings onto the fabric silk is lovely from worms eating rain or ugly ducklings in the pond in the city around the rollerbladers figuring out pi solutions on so many mirrors cloudy in the summer days go on and on lemon suns are dangerous behind the wheel she looked beautiful cool white hot she controlled the ending and lightning catches what it can without baffling fate when seasons startled grasshoppers then sequential numbers ========================================================================= Date: Mon, 13 Jan 2003 19:10:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Caliban Query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anyone know exactly when _Caliban_ ceased publication, and/or why? The most recent issue I can find is #15 from '95. Thanks for any info, Brian ========================================================================= Date: Mon, 13 Jan 2003 17:21:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: 60s mags redux In-Reply-To: <9664F36261DE32409334B83B21CAEE8E61B18F@lwtc.ctc.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I forgot to mention, "New:American & Canadian Poetry", edited by John Gill (also publisher of first New Books which became The Crossing Press). & I forget exactly when Richard Grossinger began to publish IO (Magazine). Either late sixties or very early seventies. ?? Can somebody confirm whether or not George Hitchcock died recently. Kayak was top of the pack in terms of off-set production value in printing multicolor surreal visual/poetry combinations. Early it was mimeograph (I believe) I talked to George last spring - his life devoted primarily to painting. He lived part of the year in Mexico and part in Oregon. When I told him that the Yahoo finder said he was 89, his answer was an emphatic, "Yes, unfortunately." He clearly enjoyed living. Stephen V on 1/13/03 3:12 PM, Safdie Joseph at Joseph.Safdie@LWTC.CTC.EDU wrote: > My mention of *Kayak* magazine the other day reminded Kent Johnson of Howard > McCord, a poet featured in its pages often. > > Here's his note: > > "I saw your post about Kayak, and it put me in mind of Howard >> McCord, who published there pretty often back then (I believe >> Hitchcock took Kayak into the 70's, no?), as well as in other >> popular places of the era. He was a pretty big name, at least in >> New American-type circles during that time. Then he more or less >> disappeared from the radar screen, mostly by choice, though he >> continued to be very active in his writing. His Collected Poems has >> just appeared in a gorgeous 400page edition from Bloody Twin >> Press. I am not sure of the price, as it's not listed on the incredibly >> elegant jacket, but it is available from >> >> Brian Richards >> Bloody Twin Press >> 7570 Upper Twin Creek Rd >> Blue Creek, OH 45616 >> >> Would you mind mentioning this book to the Poetics list? I think >> some would be interested. McCord is a true poet." ========================================================================= Date: Mon, 13 Jan 2003 21:03:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: 60s mags redux--McCord's Complete/Bloody Twin MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable RE McCORD'S COMPLETE: It's a gorgeous print job and handsome letterpress = wrapper around a great square of a book. Even better than the muscularly = elegant heft are McCord's complete poems. I want to say $30, but can't = be sure that's exactly what I paid for to Brian Richards of Bloody Twin = Press, as I bought 2 copies and paid an appropriate small shipping = charge. There's a hardbound in boards with a tip in. "The entire civilized population of Kentucky/has been seated at one time = in Guy/Davenport's studio/while a visiting delegation from the = cultural/Mafia of Ohio marched outside/beating a drum.//Two were = resolutely out of step/with three." (from "The Post-Baroque Hits Ohio") = or "Vices are not crimes/but what the chemicals/of the = imagination/make/in lonely minds" (from "Why,"). Joel Lipman=20 -----Original Message----- From: Safdie Joseph [mailto:Joseph.Safdie@LWTC.CTC.EDU] Sent: Mon 1/13/2003 6:12 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: 60s mags redux My mention of *Kayak* magazine the other day reminded Kent Johnson of = Howard McCord, a poet featured in its pages often. Here's his note: "I saw your post about Kayak, and it put me in mind of Howard > McCord, who published there pretty often back then (I believe > Hitchcock took Kayak into the 70's, no?), as well as in other > popular places of the era. He was a pretty big name, at least in > New American-type circles during that time. Then he more or less > disappeared from the radar screen, mostly by choice, though he > continued to be very active in his writing. His Collected Poems has > just appeared in a gorgeous 400page edition from Bloody Twin > Press. I am not sure of the price, as it's not listed on the = incredibly > elegant jacket, but it is available from > > Brian Richards > Bloody Twin Press > 7570 Upper Twin Creek Rd > Blue Creek, OH 45616 > > Would you mind mentioning this book to the Poetics list? I think > some would be interested. McCord is a true poet." ========================================================================= Date: Mon, 13 Jan 2003 18:09:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: 60s mags redux In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hi, Steve. As this topic has strayed far from anybody's idea of prestige, whatever that means, I might as well mention my own Broadway Boogie, 1973-1975, R.I.P., which had some prestige among mostly northeasterners. Very sorry to hear about Hitchcock. A true gentleman. IO started life as AION: A Journal of Traditionary Science, in December 1964. Mimeo except the front cover, which appears to be letter-press, and none the better for it. At that point, and I think for that issue only, Chuck Stein edited. At 05:21 PM 1/13/2003 -0800, you wrote: >I forgot to mention, "New:American & Canadian Poetry", edited by John Gill >(also publisher of first New Books which became The Crossing Press). > >& I forget exactly when Richard Grossinger began to publish IO (Magazine). >Either late sixties or very early seventies. ?? > >Can somebody confirm whether or not George Hitchcock died recently. Kayak >was top of the pack in terms of off-set production value in printing >multicolor surreal visual/poetry combinations. Early it was mimeograph (I >believe) I talked to George last spring - his life devoted primarily to >painting. He lived part of the year in Mexico and part in Oregon. When I >told him that the Yahoo finder said he was 89, his answer was an emphatic, >"Yes, unfortunately." He clearly enjoyed living. > >Stephen V > > >on 1/13/03 3:12 PM, Safdie Joseph at Joseph.Safdie@LWTC.CTC.EDU wrote: > > > My mention of *Kayak* magazine the other day reminded Kent Johnson of > Howard > > McCord, a poet featured in its pages often. > > > > Here's his note: > > > > "I saw your post about Kayak, and it put me in mind of Howard > >> McCord, who published there pretty often back then (I believe > >> Hitchcock took Kayak into the 70's, no?), as well as in other > >> popular places of the era. He was a pretty big name, at least in > >> New American-type circles during that time. Then he more or less > >> disappeared from the radar screen, mostly by choice, though he > >> continued to be very active in his writing. His Collected Poems has > >> just appeared in a gorgeous 400page edition from Bloody Twin > >> Press. I am not sure of the price, as it's not listed on the incredibly > >> elegant jacket, but it is available from > >> > >> Brian Richards > >> Bloody Twin Press > >> 7570 Upper Twin Creek Rd > >> Blue Creek, OH 45616 > >> > >> Would you mind mentioning this book to the Poetics list? I think > >> some would be interested. McCord is a true poet." ========================================================================= Date: Mon, 13 Jan 2003 18:14:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: magazines in the late 1960s In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >What was d.a. levey's mag called in Cleveland? Or did he have one? The Marrahwanna Review -- George Bowering C+ all through school Fax 604-266-9000 ========================================================================= Date: Tue, 14 Jan 2003 12:40:21 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: komblog - spoken word Comments: To: webartery@yahoogroups.com Comments: cc: active@bigpond.net.au In-Reply-To: <018201c2ba8a$e5305b80$d7f20b50@claussxp1800> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-7985168C; boundary="=======42DC6496=======" --=======42DC6496======= Content-Type: text/plain; x-avg-checked=avg-ok-7985168C; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit http://spokenword.blog-city.com/ komninos's audio blog listen if you like poems and comments cheers komninos --=======42DC6496======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-7985168C Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======42DC6496=======-- ========================================================================= Date: Mon, 13 Jan 2003 22:11:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: in the ice MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII in the ice You are all alone here. No topic has been set yet. .topic Brrrr... cold here and irritable too... Topic set to: Brrrr... cold here and irritable too... .grrr .mutter alan no matter what it's freezing here Talking about yourself is a sign of madness! .mutter alan if you can read this you're not me no matter what you say Talking about yourself is a sign of madness! .whisper alan that's enough about me... .charecho the ice is about to crack and i'm going down... Echoing for character mode clients ON. .echo some of my fingers are falling of .echo + some more of them to .mutter this is getting me nowhere and there's icicle from my beard There is no one of that name logged on. .sing i'm freezing i'm freezing the north wind's gonna blow .sing molly ann .sing molly an .mutter alan isn't there anyway out of this thing Talking about yourself is a sign of madness! .knock alan There is no such room. .knock anti-war You are already in the anti-war! .wake alan Trying to wake yourself up is the eighth sign of madness. .grrr .think i'm about to freeze to death... .rev *** Room conversation buffer *** + some of my fingers are falling of + + some more of them to Alan sings o/~ i'm freezing i'm freezing the north wind's gonna blow o/~ Alan sings o/~ molly ann o/~ Alan sings o/~ molly an o/~ Alan thinks . o O ( i'm about to freeze to death... ) *** End *** .mutter just fell through that crack There is no one of that name logged on. .sing break my mother's back .heh really break my own .sing break my damn freezing back .think time to get outta here .rev *** Room conversation buffer *** + some of my fingers are falling of + + some more of them to Alan sings o/~ i'm freezing i'm freezing the north wind's gonna blow o/~ Alan sings o/~ molly ann o/~ Alan sings o/~ molly an o/~ Alan thinks . o O ( i'm about to freeze to death... ) Alan sings o/~ break my mother's back o/~ Alan sings o/~ break my damn freezing back o/~ Alan thinks . o O ( time to get outta here ) *** End *** .damn freezing .quit freezing You are removed from this reality... === ========================================================================= Date: Mon, 13 Jan 2003 22:12:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Nikuko and Jennifer, The Abandonment of Names MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Nikuko and Jennifer, The Abandonment of Names O Nikuko! O Jennifer! I have missed thee so! My calling out to thou! Thine answering and blossoming! Thy voices in the Garden, across Sky and fairly in all Weathers! Thee hast lived within me for so long, thine and thou names registering as Agents of Beauty, just the Conjuring of names is sufficient for all Emotion! But alas! Now thine art Spirit, of Names there are None, thy Forms for all times of a Blend! For thou must know, I am thine Man of Distributions, of Me it is said, all Words and all Phrases! I would place all in Dishevelment, Abandonment! I would announce and Withdraw! I would Remember and forget! For is It not Inscribed f(A(tf),B(tf)) = F(tfff), such that A and B are Abandoned for Unknown and Unnamed Reaches, just as F(A(tf),B(tf)) = F(fttt) such that A and B in their Divine Intermixture do huddle together in the grasping of Linked Names? Thus, I abandon Thine names, of which, thine absorbing into me, mine Absorption. Thus this Reminder of Remainder, and of that no more, and of that Anon! Kleene's Introduction to Metamathematics p. 139 of 'thys very olde booke' is a start. (From The Man of Distributions, p. 139.) === ========================================================================= Date: Mon, 13 Jan 2003 20:06:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: magazines in the late 1960s In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii d.a. levy's mags include: The Silver Cesspool The Marrahwanna Quarterly Poets At The Gate The Buddhist Third Class Junkmail Oracle (newspaper) Series Publications: Polluted Lake Ohio City His press imprints include: Renegade 7 Flowers Grass Coin Publishing Co. Ayizan There is a great on-line bibliography of levy's work by Kent Taylor and Alan Horvath on Light & Dust's d.a. levy homepage: www.thing.net/~grist/l&d/dalevy/dalevy.htm Also, fellow ex-Ohioan Alan Horvath has been publishing an excellent series of levy and levy-related reprints and anthologies via his Kirpan Press (Vancouver, WA) e-mail him at kirpan_press@msn.com --- Stephen Vincent wrote: > John Sinclair & the Detroit Writers Workshop, 1964 & > 65, did both WORK > (Black Mountain influence) and CHANGE (poetry and > reviews of Jazz). > In San Francisco, David Sandberg's OR. > > What was d.a. levey's mag called in Cleveland? Or > did he have one? > > "Prestige" in my world - and the world of many was > mimeograph. Stapled, nice > thick, tinted, textured papers, thick with ink, > often somewhat blurred. > Something raw like holding a displaced rock in your > hands. Very street. > Source of the news > > > on 1/13/03 7:54 AM, Joel Weishaus at > weishaus@PDX.EDU wrote: > > > ----- Original Message ----- > > From: "Lipman, Joel" > > To: > > Sent: Monday, January 13, 2003 6:06 AM > > Subject: Re: magazines in the late 1960s > > > > > >> "Directory of Little Magazines, Small Presses & > Underground Newspapers" as > > Len Fulton's encompassing title ran, spread the > field to the underground > > press. I first read diPrima's "Revolutionary > Letters" & Snyder's "Smokey The > > Bear Sutra" plus other important poems of the > period in the underground > > papers, not litmags. Does anyone recall whether > the undergrounds and > > Liberation News Service constituted first venues > or were recyclings? > >> > >> & recall: Unmuzzled Ox, Ghost Dance, Field, > Alcheringa. Mota was first > > little mag I recall using color & well-presenting > vispo. Panache (Future > > Fictions edited in 1971 by R. Kostelanetz) was > first place I saw pages of > > Phillip's Humument & Furnival's stacked > typographics. What defines > > "prestigious" remains the ringer. Joel Lipman > > > > Oh Yes. it's all coming back now. > > Let's not forget "The Oracle." > > I first published in John Boyer May's "Trace." And > in the last issue (#4) of > > Thomas Merton's "Monk's Pond," which ran during > 1968. And in Norman Moser's > > "Illuminations," and "Rolling Stone," which was in > San Francisco then. > > > > -Joel > > > > Joel Weishaus > > Visiting Faculty > > Center for Excellence in Writing > > Portland State University > > Portland, Oregon > > http://web.pdx.edu/~pdx00282 > > http://www.unm.edu/~reality __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 14 Jan 2003 00:16:06 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry & the visual arts; ekphrasis Leslie Scalapino MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit HEY if this sounds weird that's too bad, but one time i took an overdose of vitamin P (or is it K?) by eating too much buckwheat and bow tie pasta and saw paintings that haven't been painted yet, and i started to write poems about those paintings. maybe the response isn't either but ether. lovely little paintings floating around. i wish these e-mails were doors so i could open them and ask everyone how excited they are to be ALIVE right NOW for poetry!? i bet you'd all say YES! and if you didn't, well, it's not my job. but am still very interested in how you feel, poets, at the risk (always at the risk, risk everything) of sounding ridiculous. boy do i wish more of your would write about the books of poems you're reading that excite you. one of my new favorites is MILLION POEMS JOURNAL, by Jordan Davis filled the millions filled the magic. it's the younger poets right now, it's a wave, look out for the long delicious ride! "Sorry and sorries to the cool Unattended white ruins To be struggled up night Why do I always rehearse my real love...." --Jordan Davis if i ever wanted to trade this time with any other i'd be ashamed of myself, but i never have, so i feel all right. CAConrad p.s. sorry Tom Bell, i copied your question below and never got around to it. yeah, i feel the definition of ekphrasis can hold that and more. imagine the poems of Frank O'Hara's we've grown to LOVE (if you tell me you dislike O'Hara i will tell you there's a possibility you might be wrong) that may have come RIGHT OUT OF the WOUND-UP blossom of some one's paint brush? What about poems written with the expectation of a painting ABOUT to be painted, i'm not being silly, really, i'm not, i swear it. or poems and paintings collaborating from different sides of oceans, unaware the other exists? there is such a thing as a web of ideas plucked from now and then, so unexplainable, so illogical when logic is needed. or when logic is WANTED is what i really mean. excuse me for expanding the margins of definition, but it's not like the dictionary guys are knocking on my door for my opinion. too bad there's rules in the world. one day it might be nice to decide traffic lights are turnips with creamy centers. In a message dated 1/13/2003 7:50:24 PM, you wrote: <> ========================================================================= Date: Tue, 14 Jan 2003 01:15:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: VIOLENT OPPOSITION!! Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit VIOLENT OPPOSITION!! I am violently opposed to any writer whose poetry is nothing more than a fungus-covered dollop of dissolving gerbil cysts. I am violently opposed to any writer whose poetry is nothing more than a revolting drum of flea-infested emu warts. I am violently opposed to any writer whose poetry is nothing more than a humourless collection of second-hand giraffe snot. I am violently opposed to any writer whose poetry is nothing more than a septic basin of fake duck blood. I am violently opposed to any writer whose poetry is nothing more than a decomposing bucket of fetid fish spot pus. I am violently opposed to any writer whose poetry is nothing more than a slobbish chunk of bacteria-infested pony bile. I am violently opposed to any writer whose poetry is nothing more than a disgusting mass of manky duck blood. I am violently opposed to any writer whose poetry is nothing more than a septic blob of dissolving rat bones. I am violently opposed to any writer whose poetry is nothing more than a inbred pile of maggot-infested fox bones. I am violently opposed to any writer whose poetry is nothing more than a odious plethora of decayed parakeet bones. I am violently opposed to any writer whose poetry is nothing more than a faeces-covered cup of flea-infested stoat parasites. I am violently opposed to any writer whose poetry is nothing more than a boring sack of fungus-covered wildebeest cysts. I am violently opposed to any writer whose poetry is nothing more than a festy descendant of maggot-infested budgie spittle. I am violently opposed to any writer whose poetry is nothing more than a dull swamp of greasy rhino eyeballs. I am violently opposed to any writer whose poetry is nothing more than a friendless mass of lumpy octopus parasites. I am violently opposed to any writer whose poetry is nothing more than a pointless bucket of vile chicken spot pus. I am violently opposed to any writer whose poetry is nothing more than a inane box of filthy stoat corpses. I am violently opposed to any writer whose poetry is nothing more than a thick skip of 10,000 year old flamingo waste. I am violently opposed to any writer whose poetry is nothing more than a lice-infested pool of mutating ostrich vomit. I am violently opposed to any writer whose poetry is nothing more than a greasy smudge of mouldy bull waste. I am violently opposed to any writer whose poetry is nothing more than a noxious sack of flea-infested lion tonsils. I am violently opposed to any writer whose poetry is nothing more than a gargantuan box of imitation flamingo spittle. I am violently opposed to any writer whose poetry is nothing more than a insane barrel of maggot-infested aardvark blood. I am violently opposed to any writer whose poetry is nothing more than a fungus-covered descendant of stale weasel snot. I am violently opposed to any writer whose poetry is nothing more than a slovenly mound of 20,000 year old shark carcasses. I am violently opposed to any writer whose poetry is nothing more than a musty bag of decayed stoat hair. I am violently opposed to any writer whose poetry is nothing more than a insignificant mound of fetid wildebeest faeces. I am violently opposed to any writer whose poetry is nothing more than a useless tank of radioactive cockerel intestines. I am violently opposed to any writer whose poetry is nothing more than a friendless dribble of congealing squid blood. I am violently opposed to any writer whose poetry is nothing more than a laughable skip of putrid pony snot. I am violently opposed to any writer whose poetry is nothing more than a lonely gathering of fungus-covered pony snot. I am violently opposed to any writer whose poetry is nothing more than a festy bag of rotting skunk hair. I am violently opposed to any writer whose poetry is nothing more than a no-brained bowelful of flea-infested leopard droppings. I am violently opposed to any writer whose poetry is nothing more than a sick-minded skip of mildewed raven tongues. I am violently opposed to any writer whose poetry is nothing more than a lonely sea of putrid cat liver. I am violently opposed to any writer whose poetry is nothing more than a no-brained son of decaying pig carcasses. I am violently opposed to any writer whose poetry is nothing more than a bulbous accumulation of manky weasel bones. I am violently opposed to any writer whose poetry is nothing more than a incompetent pool of 10,000 year old rhino smegma. I am violently opposed to any writer whose poetry is nothing more than a putrifying mouthful of decomposing penguin teeth. I am violently opposed to any writer whose poetry is nothing more than a faeces-covered sliver of dirty elephant hair. I am violently opposed to any writer whose poetry is nothing more than a decomposing son of dirty rat semen. I am violently opposed to any writer whose poetry is nothing more than a manky drum of decomposing rhino intestines. I am violently opposed to any writer whose poetry is nothing more than a fungus-covered bucket of wet fish liver. I am violently opposed to any writer whose poetry is nothing more than a friendless son of fetid ostrich kidneys. I am violently opposed to any writer whose poetry is nothing more than a laughable mass of putrifying gazelle urea. I am violently opposed to any writer whose poetry is nothing more than a slovenly bucket of dirty deer urea. I am violently opposed to any writer whose poetry is nothing more than a inbred dribble of sticky parakeet bones. I am violently opposed to any writer whose poetry is nothing more than a repugnant drip of putrid rat fleas. I am violently opposed to any writer whose poetry is nothing more than a musty drum of mutating prawn brains. I am violently opposed to any writer whose poetry is nothing more than a faeces-covered sack of decaying weasel parasites. I am violently opposed to any writer whose poetry is nothing more than a decaying gob of wet lizard glycogen. I am violently opposed to any writer whose poetry is nothing more than a nauseating stack of flea-infested baboon organs. I am violently opposed to any writer whose poetry is nothing more than a maggot-infested bowl of second-hand budgie faeces. I am violently opposed to any writer whose poetry is nothing more than a unsightly shred of dissolving pigeon liver. I am violently opposed to any writer whose poetry is nothing more than a vile son of radioactive vulture vomit. I am violently opposed to any writer whose poetry is nothing more than a obese sliver of rancid baboon kidneys. I am violently opposed to any writer whose poetry is nothing more than a useless lorryload of congealed cat gonads. I am violently opposed to any writer whose poetry is nothing more than a insane drip of putrid baboon waste. I am violently opposed to any writer whose poetry is nothing more than a rancid plethora of manky cat spot pus. I am violently opposed to any writer whose poetry is nothing more than a ineffective bucket of 10,000 year old badger testicles. I am violently opposed to any writer whose poetry is nothing more than a odious mouthful of mutating hamster brains. I am violently opposed to any writer whose poetry is nothing more than a mouldy chunk of congealed deer vomit. I am violently opposed to any writer whose poetry is nothing more than a vomit-inducing basin of putrid gerbil sweat. I am violently opposed to any writer whose poetry is nothing more than a hairy tub of foul raven spot pus. I am violently opposed to any writer whose poetry is nothing more than a sick truckload of radioactive deer saliva. I am violently opposed to any writer whose poetry is nothing more than a inane shred of fungus-covered wildebeest tonsils. I am violently opposed to any writer whose poetry is nothing more than a stinking cesspit-full of rancid otter sinal fluid. I am violently opposed to any writer whose poetry is nothing more than a mouldy blob of dissolving leopard urine. I am violently opposed to any writer whose poetry is nothing more than a vomit-inducing pot of dirty dog fungus. I am violently opposed to any writer whose poetry is nothing more than a no-brained descendant of rotting baboon puke. I am violently opposed to any writer whose poetry is nothing more than a no-brained bucket of congealed haddock droppings. I am violently opposed to any writer whose poetry is nothing more than a idiotic cesspit-full of bacteria-infested ape throat scrapings. I am violently opposed to any writer whose poetry is nothing more than a insane stack of fake parrot organs. I am violently opposed to any writer whose poetry is nothing more than a insane skip of worm-infested hen bones. I am violently opposed to any writer whose poetry is nothing more than a hairy descendant of wet sloth gonads. I am violently opposed to any writer whose poetry is nothing more than a fat barrel of worm-infested squid saliva. I am violently opposed to any writer whose poetry is nothing more than a no-brained pile of rotten rat sinal fluid. I am violently opposed to any writer whose poetry is nothing more than a slovenly tub of mouldy vulture vomit. I am violently opposed to any writer whose poetry is nothing more than a flabby bag of greasy duck teeth. I am violently opposed to any writer whose poetry is nothing more than a egested toilet-full of putrid leopard eyeballs. I am violently opposed to any writer whose poetry is nothing more than a cack-handed lump of manky cow cysts. I am violently opposed to any writer whose poetry is nothing more than a repugnant deposit of fungus-covered ostrich smegma. I am violently opposed to any writer whose poetry is nothing more than a rancid deposit of mouldy octopus gonads. I am violently opposed to any writer whose poetry is nothing more than a thick mouthful of congealed haddock kidneys. I am violently opposed to any writer whose poetry is nothing more than a vomit-inducing bag of rotting cat tongues. I am violently opposed to any writer whose poetry is nothing more than a friendless son of maggot-infested bull urine. I am violently opposed to any writer whose poetry is nothing more than a idiotic chunk of dirty otter parasites. I am violently opposed to any writer whose poetry is nothing more than a no-brained piece of fungus-covered camel spot pus. I am violently opposed to any writer whose poetry is nothing more than a depraved toilet-full of fake albatross saliva. I am violently opposed to any writer whose poetry is nothing more than a fungus-covered piece of congealing gorilla testicles. I am violently opposed to any writer whose poetry is nothing more than a lame gathering of rancid flamingo teeth. AUGUST HIGHLAND 1:10 AM 01-14-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Tue, 14 Jan 2003 01:35:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AUGUST HIGHLAND Subject: HOLY MOTHER!! Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit HOLY MOTHER!! The mother of anyone whose work I don't like was a redheaded dunce who attracted crowds with her act in disused windmills. The mother of anyone whose work I don't like was an ineffectual truck driver who talked so much she was kept under the sink. The mother of anyone whose work I don't like was a decimated stripper who used to drink Brasso in caves. The mother of anyone whose work I don't like was a sloppy Soap Opera addict who talked incessantly about cheese in a closely guarded military establishment. The mother of anyone whose work I don't like was a homely Game-Show addict who programmed silly utilities in a Cold War Nuclear Bunker. The mother of anyone whose work I don't like was a nerdy demon who used to drop her trousers in the swamps. The mother of anyone whose work I don't like was a poor exotic dancer who used to watch John Wayne films in a home for the permanently baffled. The mother of anyone whose work I don't like was a plebeian secretary who sold fake Viagra pills behind the fridge. The mother of anyone whose work I don't like was a barmy ice-cream seller who assembled plastic scale model kits of industrial appliances in a New Orleans bar for transvestites. The mother of anyone whose work I don't like was a fat pygmy who ran an unsuccessful cab company in hot-air balloons. The mother of anyone whose work I don't like was a thick moose who used to pick her nose in a home for the terminally short of cash. The mother of anyone whose work I don't like was a lewd art teacher who came to terms with her sexuality with a herd of Wildebeests. The mother of anyone whose work I don't like was a foreign gitface who wasted no occasion to get drunk on the roof of her house. The mother of anyone whose work I don't like was a quarrelsome cow who peed standing up at the bottom of a beer glass. The mother of anyone whose work I don't like was a greasy-haired airhead who used to meditate near a Nuclear powerplant. The mother of anyone whose work I don't like was a grotesque Traffic Warden who joined a religious cult in petrol stations. The mother of anyone whose work I don't like was a daft weasel who was so incompetent she had to be kept in an old sewage works. The mother of anyone whose work I don't like was an unenthusiastic sumo wrestler who used to do unmentionable things to chickens in a political party. The mother of anyone whose work I don't like was an inbred bugbear who spread muck in the sushi-bars of Osaka. The mother of anyone whose work I don't like was a fly-eating trooper who worked on a film set under the influence of alcohol. The mother of anyone whose work I don't like was an alien con artist who guzzled Budweiser somewhere in Uganda. The mother of anyone whose work I don't like was a rabbit-faced spammer who couldn't find her bra in an igloo. The mother of anyone whose work I don't like was a homeless artist who defrauded the Inland Revenue at the local cinema. The mother of anyone whose work I don't like was a droopy fool who cloned sheep with a group of train spotters. The mother of anyone whose work I don't like was a dustbin-inhabiting chicken farmer who liked to do it with strangers on a flagpole. The mother of anyone whose work I don't like was a transvestite moron who set off explosives in closets. The mother of anyone whose work I don't like was a conservative punk who worshipped teapots on board Jumbo Jets. The mother of anyone whose work I don't like was a comatose barbarian who had her warts removed in London Zoo. The mother of anyone whose work I don't like was a bungling lunch room attendant who found God at the local flea market. The mother of anyone whose work I don't like was an immature cleaner who emulated George Michael near a rubber factory. AUGUST HIGHLAND 1:30 AM 01-13-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Tue, 14 Jan 2003 20:07:12 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: VIOLENT OPPOSITION!! Comments: To: webartery@yahoogroups.com In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-128D7528; boundary="=======CF04B4=======" --=======CF04B4======= Content-Type: text/plain; x-avg-checked=avg-ok-128D7528; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 07:15 PM 14/01/03, you wrote: >VIOLENT OPPOSITION!! > >I am violently opposed to any writer whose poetry is nothing more than a >fungus-covered dollop of dissolving gerbil cysts. etc.. dear augie >i who know little of coding, more of a drag-and-drop poet, made a simple >version of an exquisite corpe generator using gif animations and html >code. this still gives me at least 15 minutes of fun each time i visit the >site. i'm not sure if it is the same for others that visit these poems. http://www.uq.net.au/~zzkozerv/excorp.html and recently made one in flash http://users.bigpond.net.au/mangolegs/kidzstory.html which i also enjoy playing with. even though i made it, it still surprises me. but i can't imagine sending its output to a public list. it's more of a one-to-one experience of that moment. unlike the poet googlism, your index-style poetry is not requested by the end-user but it is what you, the author, of the poem or the code that wrote it, have decided to give us, the end-user. and yes you can produce voluminous quantities of this kind of poem. i'm not saying your indices are not better crafted or scripted than googlism's, merely that they are your offering, and as such contain you in them. googlism allows you to detach yourself from any thought of the author, and accept the index as being a valid sampling of thought or comment. the newness of what googlism does is allow the end-user to ask for the index that they want and then interpret it, a little like the i-ching. i'm not sure where you are going with your other venture of sending out a whole lot of code generated writing to email lists from your many personas, but truthfully i stopped reading them a long time ago. if poetry where just a matter of providing any words to any end-user and asking them to not only interpret but to make associations between random words then we could all just carry a dictionary and randomly choose words ourselves. my poetry may be gold plated excrement of the ibis or just dissolving gerbil cysts, but it gives me pleasure, as i imagine your poetry gives you. as a producer i am proud of my product. as a performer i learnt that if i wanted to share my work i had to select work which i thought would give other people pleasure as well. i did not perform too much experimental, or too much work-in-progress poetry at readings and performances. i encourage and support your endeavours, and i have not yet created a filter for august highland, because i hope one day to see something truly amazing emerging from your continual experimentation in this field. komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======CF04B4======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-128D7528 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======CF04B4=======-- ========================================================================= Date: Tue, 14 Jan 2003 05:31:06 -0500 Reply-To: Diane Wald Sender: UB Poetics discussion group From: Diane Wald Subject: a humble effort MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear List Members, I'd like to offer you a special deal on my new book THE YELLOW HOTEL = from Verse Press (November 2002). The cover price of the book is $12, = however you can get it from me, postpaid (book rate), for $10 total. = (Overseas shipping or first class, you pay extra.) Backchannel me if = interested. Review of book below. Incidentally, the cover art is by poet = Michael Burkard. I won't make any money on this----it's just one of = many small efforts to get the book out there. Thanks! Diane Wald a review of THE YELLOW HOTEL by Diane Wald (From Publishers Weekly, = Nov. 2002) "Informality was queen. King?" Wald asks near the middle of her smart = new collection, and she goes on to establish its curious reign: the = Bohemianism of her open-ended poems and sequences charts a middle course = between Steinian cadences and the chattiness of second- or = third-generation Beats. Long-lined, multi-page efforts (some bordering = on the conversational prose poem) venture out into the world with = explanations that hazily invoke the autobiographical ("I awoke with a = backache because of all this dreaming and boating") then veer into = abstract territory: "Everything has become/ what it least expected." = Wald's longer works can feel less like discrete poems than like = journals, but they are compelling, inventive journals, full of "Ideas in = bed/ and how they fled." While the sequence "The Fear As the Height of = Folly" offers exceptional examples of attention to each word, other work = (including the four-page title poem) promises exactly the opposite, a = casual propulsion of attention (a la Bernadette Mayer) that renders = ideas and images as they arrive. After decades of small-press and = chapbook publishing (Wald's last collection, Lucid Suitcase, appeared = from Red Hen in 1999), Wald offers not a debut so much as a comeback = volume, and while she does participate in the jumpy humor common to much = recent poetry, she also acts out a kind of confidence that remains hers = alone: "Why don't you/ set out to do what you must in your own world and = not worry about the rest." Readers will find Wald lives up to this = dictum wonderfully.=20 ========================================================================= Date: Tue, 14 Jan 2003 04:17:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Moon's Uniform is as Incoherent as Love Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dust from hands long extinguished is as incoherent as love. Long animals, those who have survived the straits of retail, dapple in the shadows cast by angry clouds. The anger of clouds swims a sky of long animals with love. Love can only watch, just curious; the feedings in the study, by light of screen... The anger of clouds frays the mouth on the moon's uniform. The anger of clouds shakes off the last of a tingling that lingers, empty as the memories of every ex-lover she dreams about. In her dream she goes down wind to meet the lake. The lake, eternally stippled by markdowns, kisses open-mouthed the moon's uniform, which can only reciprocate with more watchfulness, tracing these handprints of dust on the screen. A stillness dapples in shadows cast by tingling; blasted mornings softly ruffle her hair. The moon's uniform dapples in shadows cast by a stillness of lake: traces of his sarcasm, ballooning purple and dark; helplessly, like spores. The moon's uniform is as incoherent as love. Blasted mornings run through my fingers, become tingling in the hands. I can feel my body these long nights without her stiffening to cliché. All the clocks in every room here moan with fluorescent light. The moon's uniform swims a sky of unending blemishes: dust from hands long extinguished; incoherent as tingling. We would, the three of us, trade skin with this petulant and salty night. Tingling freezes the eyes of a stillness. The moon's uniform is quieter than love. Even love can be drained, thinner than empathy and muddled hoarse with thought. Angry clouds slim at every corner: dust from hands long extinguished, fragility softly ruffling his hair. A stillness shakes off the last of the moon's uniform. If fragility frays the mouth on a lake, the anger of clouds slims at every corner, begging chance to release it from seasons of onset. Love dumps a labile wing all over, tingling. I tingle all over. Only long animals do it this way. 2003/01/13 18:49:08 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 14 Jan 2003 08:02:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: More on State Dept anthology Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Here's a link to today's LA Times and a piece on the antho sponsored by the State Dept for external use only. http://www.calendarlive.com/printedition/calendar/cl-et- tawa14jan14.story Pierre ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 14 Jan 2003 08:18:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: poetry & the visual arts; ekphrasis Leslie Scalapino In-Reply-To: <165.1994bcfb.2b54f716@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" first thanks for the fabbo happy post. i'm reading, not a book of poems right now, but the huge bio of stefan george that came out late last year. it's not that great, compared w/ some of the bios i've read (like edmund white's of genet, which sets a v high standard) but very interesting nonetheless. it's always fun to encounter a weird and quirky character, even a proto-fascist. and even the clumsily translated bits of george's poetry are quite breathtaking. At 12:16 AM -0500 1/14/03, Craig Allen Conrad wrote: >HEY >if this sounds weird that's too bad, but one time i took an overdose of >vitamin P (or is it K?) by eating too much buckwheat and bow tie pasta and >saw paintings that haven't been painted yet, and i started to write poems >about those paintings. maybe the response isn't either but ether. lovely >little paintings floating around. > >i wish these e-mails were doors so i could open them and ask everyone how >excited they are to be ALIVE right NOW for poetry!? i bet you'd all say YES! > and if you didn't, well, it's not my job. but am still very interested in >how you feel, poets, at the risk (always at the risk, risk everything) of >sounding ridiculous. > >boy do i wish more of your would write about the books of poems you're >reading that excite you. one of my new favorites is MILLION POEMS JOURNAL, >by Jordan Davis filled the millions filled the magic. it's the younger poets >right now, it's a wave, look out for the long delicious ride! > >"Sorry and sorries to the cool >Unattended white ruins >To be struggled up night >Why do I always rehearse my real love...." >--Jordan Davis > >if i ever wanted to trade this time with any other i'd be ashamed of myself, >but i never have, so i feel all right. >CAConrad >p.s. sorry Tom Bell, i copied your question below and never got around to >it. yeah, i feel the definition of ekphrasis can hold that and more. >imagine the poems of Frank O'Hara's we've grown to LOVE (if you tell me you >dislike O'Hara i will tell you there's a possibility you might be wrong) that >may have come RIGHT OUT OF the WOUND-UP blossom of some one's paint brush? >What about poems written with the expectation of a painting ABOUT to be >painted, i'm not being silly, really, i'm not, i swear it. or poems and >paintings collaborating from different sides of oceans, unaware the other >exists? there is such a thing as a web of ideas plucked from now and then, >so unexplainable, so illogical when logic is needed. or when logic is WANTED >is what i really mean. excuse me for expanding the margins of definition, >but it's not like the dictionary guys are knocking on my door for my opinion. > too bad there's rules in the world. one day it might be nice to decide >traffic lights are turnips with creamy centers. > >In a message dated 1/13/2003 7:50:24 PM, you wrote: > >< >to poetry? I'm more interested in what the fruits (either poetic or > >artistic) might be? For example, if poet A writes poem A in response to > >painting B, is there a C somewhere on the horizon? This would then be a > >collaboration? > > >tom bell > >Try to like something > >__ > > |ry > > tO > > | > > Li > > ke > >something and the anger > >will GO > >>> -- ========================================================================= Date: Tue, 14 Jan 2003 23:01:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Gwin Back-Channel Me Again MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable My machine did a mini-crash and your wonderful message & e-address was = gone! Jess ========================================================================= Date: Tue, 14 Jan 2003 09:05:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Olson question In-Reply-To: from "Maria Damon" at Jan 14, 2003 08:18:03 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Can someone tell me where I can find the Olson quote - if it exists! - where he says something to the effect that Black Mountain poetics "was all Charlie Parker"? Am I remembering this right or did I dream it? -m. ========================================================================= Date: Tue, 14 Jan 2003 09:10:07 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Teaching position Comments: To: wh@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I am forwarding this information for Heather Thomas: A half-time literature teaching position is available at Kutztown University of Pennsylvania for the Spring term beginning Jan. 21 to teach two courses: a Wednesday evening graduate course in Major Modern Poets and an Honors undergraduate course in 20th Century Witness Literature scheduled for Tuesday and Thursday mornings. A Ph.D. is required. Good salary at instructor or assistant professor level. Email ht6ix@aol.com immediately with synopsis of credentials if interested. Alicia Askenase ========================================================================= Date: Tue, 14 Jan 2003 09:46:20 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Olson question MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/14/2003 2:05:29 PM, you wrote: <> oh, don't know about that, but Jonathan Williams, who studied under Olson at Black Mountain, recently told me how Olson talked quite a bit about Elvis during one class. compared Elvis to certain taken seats in Olympus. that's nice. ========================================================================= Date: Tue, 14 Jan 2003 07:12:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: feedback about war In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable The President has put out a request for feedback about war with Iraq; if you'd like to register your opinion, here's how-- it's easy, and may count for something: President Bush's White House Opinion Line: 202-456-1111. Please make a call if you have a minute.=A0 The line only accepts calls from 9-5 EST., Monday through Friday.=A0 A machine will detain you for only a moment and then a pleasant live operator will thank you for saying "I oppose" or "I approve." It will only take minutes. Note that the weekends are closed for calls. The president has said that he wants to know what the American people are thinking. Let him know. Time is running out. Please forward this e-mail to as many people as possible right away. ========================================================================= Date: Tue, 14 Jan 2003 10:25:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Olson question MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I can't find the quote, but here's a review of Robert Creeley that communicates to some degree the spirit of the quote. Hope it helps. Vernon Frazer http://www.rattaymusic.de/releases/Cuneiform/Creeley.HaveWeTold.html Besides his collaborations with visual artists, Creeley has also worked on several projects with jazz musicians, a natural outgrowth of his life-long interest in jazz. He has long acknowledged his debt to jazz. In her essay on Creeley's early career, Cynthia D. Edelberg noted that: "He learned from the jazz cult that "you can write directly from that which you feel." These musicians, who experimented with rhythm and silence, showed him "how subtle" and "how refined that expression might be." And in an interview with Mong-Lan in 1999, Creeley stated that: "In jazz I found much more instruction as to how to manage rhythm, how to make a line, call it, and keep an active pattern "how to dance sitting down," in Charles Olson's phrase. Charlie Parker, Miles Davis, Thelonius Monk, Bud Powell, Max Roach and many others before them and after were really my source and instruction. There is so much emphasis put upon what poems "are saying." Yet it is only in the way poems are "saying" anything that I find them interesting. Otherwise love's love, eggs eggs, water wet. "Listen to the sound that it makes," Pound emphasized, so I did." ========================================================================= Date: Tue, 14 Jan 2003 11:12:11 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: State Dept Anthology I wonder if some one could post Bob Creeley's public letter to any number of us...about the State Dep Anth. bruhaha...with his permission...since my take on this..will prob. be as expected...somewhat dif. than most...i would prefer some one else bowl the first ball down the lane...P..Harry. ========================================================================= Date: Tue, 14 Jan 2003 11:23:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: Olson question/Creeley... and Ekphrasis MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Ekbert Faas's Creeley biography adds to the Olson/Parker thread.=20 pg 113: "'The Crisis,' he explained, gave he reader a sense of the = speaker's anger. Altogether, this type of verse, with its various = techniques of repetition, was based on rhythm rather than melody, = analogous to the jazz of Parker, Miles, Chano, Roach, or Jackson -- or = to the way Sebastian Bach 'managed the varioation of rhythm units.'"=20 pg 128: "Bach, 'the Bird,' and Williams ought to be enough for any poet = -- Charlie Parker being granted the privilege of having exerted a = greater influence on him than any other man, living or dead." Of course, Olson figures prominently in the mix of Fass's remarks about = RC and the jazz influences cited. On the Ekphrasis line and the collaborative edge being probed--what to = make of collage in lieu of the flexible notions of collaboration & = ekphrasis being pushed? Assimilation and appropriation of extant work, = imagery, typographic bits, script, culture-crossing frags of language, = artistic metamorphosis as the languages [visual or textual] move from = the original [or reproduction of same] to the deriving artist.=20 Currently reading the Faas Creeley bio and SIGNS ON THE WIND = (Pomegranate, 2002), a collection of postcard collages & other = correspondence art of Lenore Tawney. Holland Cotter's intro gathers = threads in a lovely comment that reads: "They can be read as treatises = or as valentines. And 'reading' is literally what they invite. Every = collage ornamented with words, in addresses, postmarks, stamps, = inscriptions, printed texts. Many of the words are hard, if not = impossible, to decipher: the manuscript pages Tawney uses are often in = arcane languages and antique scripts; her own handwriting is sometimes = so small as to be a species of micrography, with words and phrases spun = out as little more than threads of black ink." Tawney was part of the human mix of language-[though not = L-A-N-etc]-probing NY mix that included her immediate neighbor neighbor = Robert Indiana. Her collages hint at a Dickinson recognition, using = ED's commemorative stamp on a decidedly ephemeral postal collage mailed = from Truro MA in 1971. Joel Lipman -----Original Message----- From: Vernon Frazer [mailto:frazerv@BELLSOUTH.NET] Sent: Tue 1/14/2003 10:25 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: Olson question I can't find the quote, but here's a review of Robert Creeley that communicates to some degree the spirit of the quote. Hope it helps. Vernon Frazer http://www.rattaymusic.de/releases/Cuneiform/Creeley.HaveWeTold.html Besides his collaborations with visual artists, Creeley has also worked = on several projects with jazz musicians, a natural outgrowth of his = life-long interest in jazz. He has long acknowledged his debt to jazz. In her = essay on Creeley's early career, Cynthia D. Edelberg noted that: "He learned from the jazz cult that "you can write directly from that = which you feel." These musicians, who experimented with rhythm and silence, = showed him "how subtle" and "how refined that expression might be." And in an interview with Mong-Lan in 1999, Creeley stated that: "In jazz I found much more instruction as to how to manage rhythm, how = to make a line, call it, and keep an active pattern "how to dance sitting down," in Charles Olson's phrase. Charlie Parker, Miles Davis, Thelonius Monk, Bud Powell, Max Roach and many others before them and after were really my source and instruction. There is so much emphasis put upon = what poems "are saying." Yet it is only in the way poems are "saying" = anything that I find them interesting. Otherwise love's love, eggs eggs, water = wet. "Listen to the sound that it makes," Pound emphasized, so I did." ========================================================================= Date: Tue, 14 Jan 2003 12:08:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: poetry & the visual arts Philip Whalen MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit And calligraphy and drawings were essential to the work of Philip Whalen! ----- Original Message ----- From: "Maria Damon" To: Sent: Tuesday, January 14, 2003 9:18 AM Subject: Re: poetry & the visual arts; ekphrasis Leslie Scalapino > first thanks for the fabbo happy post. > i'm reading, not a book of poems right now, but the huge bio of > stefan george that came out late last year. it's not that great, > compared w/ some of the bios i've read (like edmund white's of genet, > which sets a v high standard) but very interesting nonetheless. it's > always fun to encounter a weird and quirky character, even a > proto-fascist. and even the clumsily translated bits of george's > poetry are quite breathtaking. > > At 12:16 AM -0500 1/14/03, Craig Allen Conrad wrote: > >HEY > >if this sounds weird that's too bad, but one time i took an overdose of > >vitamin P (or is it K?) by eating too much buckwheat and bow tie pasta and > >saw paintings that haven't been painted yet, and i started to write poems > >about those paintings. maybe the response isn't either but ether. lovely > >little paintings floating around. > > > >i wish these e-mails were doors so i could open them and ask everyone how > >excited they are to be ALIVE right NOW for poetry!? i bet you'd all say YES! > > and if you didn't, well, it's not my job. but am still very interested in > >how you feel, poets, at the risk (always at the risk, risk everything) of > >sounding ridiculous. > > > >boy do i wish more of your would write about the books of poems you're > >reading that excite you. one of my new favorites is MILLION POEMS JOURNAL, > >by Jordan Davis filled the millions filled the magic. it's the younger poets > >right now, it's a wave, look out for the long delicious ride! > > > >"Sorry and sorries to the cool > >Unattended white ruins > >To be struggled up night > >Why do I always rehearse my real love...." > >--Jordan Davis > > > >if i ever wanted to trade this time with any other i'd be ashamed of myself, > >but i never have, so i feel all right. > >CAConrad > >p.s. sorry Tom Bell, i copied your question below and never got around to > >it. yeah, i feel the definition of ekphrasis can hold that and more. > >imagine the poems of Frank O'Hara's we've grown to LOVE (if you tell me you > >dislike O'Hara i will tell you there's a possibility you might be wrong) that > >may have come RIGHT OUT OF the WOUND-UP blossom of some one's paint brush? > >What about poems written with the expectation of a painting ABOUT to be > >painted, i'm not being silly, really, i'm not, i swear it. or poems and > >paintings collaborating from different sides of oceans, unaware the other > >exists? there is such a thing as a web of ideas plucked from now and then, > >so unexplainable, so illogical when logic is needed. or when logic is WANTED > >is what i really mean. excuse me for expanding the margins of definition, > >but it's not like the dictionary guys are knocking on my door for my opinion. > > too bad there's rules in the world. one day it might be nice to decide > >traffic lights are turnips with creamy centers. > > > >In a message dated 1/13/2003 7:50:24 PM, you wrote: > > > >< > > >to poetry? I'm more interested in what the fruits (either poetic or > > > >artistic) might be? For example, if poet A writes poem A in response to > > > >painting B, is there a C somewhere on the horizon? This would then be a > > > >collaboration? > > > > > >tom bell > > > >Try to like something > > > >__ > > > > |ry > > > > tO > > > > | > > > > Li > > > > ke > > > >something and the anger > > > >will GO > > > >>> > > > -- > ========================================================================= Date: Tue, 14 Jan 2003 12:15:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Olson question In-Reply-To: <200301141405.h0EE53Ek017256@dept.english.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I don't have my Olson concordance handy (!) -- but I remember there was also an interview in which somebody asked Creeley about what he and Olson had in common and he answered, "Bird." At 09:05 AM 1/14/2003 -0500, Michael Magee wrote: >Can someone tell me where I can find the Olson quote - if it exists! - >where he says something to the effect that Black Mountain poetics "was all >Charlie Parker"? Am I remembering this right or did I dream it? > >-m. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 14 Jan 2003 09:42:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Poets' protest in "paradise" Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Walcott, B. Collins, Creeley, Clifton, Forche, Espada, Richard Wilbur--and Whitman. >Poets speak out against threat of war in Iraq > >BY J.J. HYSELL >http://keysnews.com/10038243490033.bsp.htm > > > >MIKE HENTZ/The Citizen > > > >Poet Martin Espada is worried. The future is clouded with ominous >signs of a possible war with Iraq. His 11-year-old son is having >nightmares about being drafted and is approaching him with questions >about war. > >"I persuaded him that he was not going to be drafted," Espada said. >"But I'm not even sure what I was saying was true. I don't want him >to grow up in a world where he will be drafted. War is not worth the >blood of my son." > >Espada is not alone in his fears. Concern over possible United >States action against Iraq tinted the 21st Key West Literary >Seminar, and that prompted writers and poets involved in the event >to sign a statement entitled "Poets for Peace." Seminar Board of >Directors Chairman Irving Weinman, flanked by some of the nation's >most recognized poets, read the statement aloud while framed by the >backdrop of St. Paul's Church Saturday afternoon. > >The statement reads as follows: "We the poets and writers of the >21st Key West Literary Seminar urge the United States Administration >not to engage in an aggressive first strike against Iraq. Such a war >would be unjust and result in the murder of innocents. We further >urge the United States Administration to work towards the >establishment of an independent Palestinian state, as only this will >generate justice in the Middle East and stability in the world." > >The statement is affirmed by 31 poets and writers, including Derek >Walcott, Nobel Prize winner for Literature; Richard Wilbur, former >U.S. Post Laureate and Pulitzer Prize winner; Billy Collins, United >States Poet Laureate; and Lucille Clifton and Robert Creeley, >Chancellors of the American Academy of Poets. > >Weinman said the statement was not an official act of the seminar, >but rather, an idea that came to fruition after discussions about >the current political situation regarding Iraq began emerging among >the contingent during the four-day event. > >"This is what we feel is the road to peace right now," Weinman said. >"These are the terms. This is exactly what we want to say." > >Themes defined in the seminar often seemed correlated to the present >tension, said writer Carolyn Forche. > >"All the poets are deeply concerned about the possibility of war," >Forche said. "We're coming to paradise, and we're deeply worried. It >evolved into this statement." > >Describing her feelings about the details of the statement, Forche >added, "This is not going to end until there is a Palestinian state >outside of Israel, I do believe." > >Creeley said he finds no reason to invade Iraq. He said he questions >the basis of preemptive war, and talked about the importance of >public expression. > >"It's almost a forfeit of responsibility not to say something," he >said. "All of us are universally implicated." > >Poets and writers pointed to tradition when asked about the possible >decline in political activism among the nation's literary idols. >Espada said the political engagement has "always been there, it has >just been underappreciated." He cited past champions of cause, >including Whitman, Langston Hughes, the poets of the Harlem >Renaissance and feminist poets. > >"I think Whitman would be here with us today," he said. > >------------------------------------------------------------------------ This story published on Sun, Jan 12, 2003 ========================================================================= Date: Tue, 14 Jan 2003 15:44:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: More on State Dept anthology MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT nice quote from Pinsky: "It amazes me that anyone could interpret this volume as supporting the policies of the Bush administration, which I oppose and mistrust," Pinsky said in an e-mail. "The climactic sentence of my essay concerns the political exploitation of national grief, the sentimentalization that could turn it into a 'murderous weapon.' " tom bell turning poetry into aweapon? ----- Original Message ----- From: "Pierre Joris" To: Sent: Tuesday, January 14, 2003 7:02 AM Subject: More on State Dept anthology > Here's a link to today's LA Times and a piece on the antho sponsored by > the State Dept for external use only. > > > http://www.calendarlive.com/printedition/calendar/cl-et- > tawa14jan14.story > > Pierre > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Tue, 14 Jan 2003 14:26:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: recently on the scientific notation blog MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://millionpoems.blogspot.com/ -- Poems just aching to be taken seriously -- The rage for biodiversity exhibits as a cynical fundraising move -- McDonald's fries vs. winged seeds: Trivial Detail Deathmatch -- Paul Blackburn signed to a five year, $45 million contract -- What's San Diego doing??? -- Katie Hinneran's ass ========================================================================= Date: Tue, 14 Jan 2003 16:22:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Reminder-WANDA PHIPPS AND PEDRO PIETRI AT THE POETRY PROJECT MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Come on by WEDNESDAY JANUARY 15 [8:00pm] AT THE POETRY PROJECT Readings by WANDA PHIPPS (accompanied by live ambient electronica by Adam Kendall of Hellbender Film Projekt, plus films by Joel Schlemowitz) AND REVEREND PEDRO PIETRI $10, $7 for students and seniors, and $5 for Poetry Project members. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Tue, 14 Jan 2003 17:08:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: To Whom It May Concern: "Writers on America" Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Here is Robert Creeley's open letter re the State Dept. anthology: > Subject: To Whom It May Concern: "Writers on America" > > Friends have written me recently, expressing confusion and dismay that=20= > I chose to contribute to the U,S. State Department's=A0 International=20= > Information Programs' publication, Writers on America.=A0 Their = concern=20 > has an obvious reason: Our present government, led by George Bush,=20 > would appear to be adamantly committed to a war with Iraq despite the=20= > administration will not, or cannot, produce evidence of Iraq's=20 > complicity in the 9/11 terrorist attacks, or of any specifically=20 > aggressive action on Iraq's part that might serve as provocation.=A0 = The=20 > UN inspectors have also found nothing concrete, as one says, to argue=20= > grounds for such conduct.=A0 Yet our leadership seems undeterred and=20= > continues with its aggressive and bullying tactics. > > So obviously appearing in a publication sponsored by our government's=20= > State Department, which is to be used by embassies and consulate=20 > offices abroad as a sense of "America," would imply either innate=20 > support for the administration's conduct or else a naivete that is=20 > close to irresponsibility.=A0 Since I am in no intended way a = supporter=20 > of the Bush administration -- in fact, quite the contrary in the=20 > oppositional petitions and gatherings I have had a part in -- I have=20= > no ready excuse.=A0 But I can make clear how and why I am one of the=20= > fifteen contributors to this publication (which you will find online=20= > at the following site:) > > http://usinfo.state.gov/products/pubs/writers/homepage.htm > > You'll note that the State Department officer and novelist, Mark=20 > Jacobs, whose first book was published by Ed Foster's Talisman Press=20= > and who has long been a friend, is the person who first thinks of such=20= > a collection.=A0 (He is also a contributor.)=A0 It seemed to him=20 > interesting to have a cluster of various writers from various=20 > situations of background and ethnicity tell how growing up in this=20 > country had, in whatever ways, shaped their work. Had it mattered,=20 > being "American," and if so, just how?=A0 To me that was a fascinating=20= > question, because I had lived and traveled in other countries=20 > sufficiently to know I was fact of something, for better or for worse,=20= > quite apart from any intellectual context I might otherwise claim.=A0=20= > Simply put, I was American -- and so was my writing. > > I wrote the requested essay in good faith and felt it had been asked=20= > for, by Mark, in good faith.=A0 I did not know nor did I ask for a = list=20 > of the others contributing.=A0 In like sense, my relation to the = project=20 > had basically to do with my submitting the essay (in May of last year=20= > as I recall), answering some questions relating to editing, receiving=20= > my payment for having written it ($2500), and that was that.=A0 I=20 > expected in due course copies of the published book -- because I=20 > thought it was to be a book -- but the final publication had more the=20= > character of a brochure, with graphic overlay, flowing script and=20 > photos, lending it an 'historical commemorative' feel.=A0 Only when = the=20 > publication was complete, and a New York Times reporter began to ask=20= > questions for his report, did I learn it was not to be available in=20 > this country (due to an old law against the State Department's=20 > distribution of such materials within domestic borders, so as to=20 > prevent federal proselytizing of the time).=A0 I also heard shortly=20 > after that there was a reported tour involved, that we, the=20 > contributors, were to be further used in some way as 'ambassadors"=20 > abroad.=A0 I was never told of this tour, if it exists, nor asked to=20= > join it.=A0 I would not, in any case. > > As I read my essay now, I do not regret having written it.=A0 What I = say=20 > there, I say with conviction and pleasure.=A0 It was a relief to be = able=20 > to write, "If the sad events of September 11, 2001, provoked a=20 > remarkable use of poems as a means wherewith to find a common and=20 > heartfelt ground for sorrow, it passed quickly as the country regained=20= > its equilibrium, turned to the conduct of an aggressive war, and, one=20= > has to recognize, went back to making money."=A0 I hated the uses and=20= > manipulations to which that horror had been put, the way it so quickly=20= > was turned into opportunity and dollars -- all of it, and all worlds=20= > pertaining. > > I don't regret Mark Jacob's having asked me to write the piece, nor,=20= > again, my accepting.=A0 If one's to have any faith in the given world,=20= > there must be choices, and this was one I made -- and would, no doubt,=20= > make again.=A0 If we cannot, as citizens, use and employ such = resources=20 > as this was for our own determinations, then we are all bought and=20 > sold creatures at best.=A0 It hardly matters that we divide ourselves=20= > endlessly into smaller and smaller parcels of determined resistance. > > Anyhow onward, like they say.=A0 Two days ago there was a gathering of=20= > poets in Key West, Florida --=A0 where at least one could stand up and=20= > be counted.=A0 It's interesting to see the poets there -- my fellow=20 > contributor, Billy Collins, the Nobel Prize laureate, Derek Walcott,=20= > Lucille Clifton, Martin Espada, Carolyn Forche, John Ashbery, Sharon=20= > Olds, Forrest Gander -- and all the particular others: > > http://keysnews.com/10038243490033.bsp.htm > > Live and learn, like they say.=A0 Better late than never. > > Robert Creeley ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 14 Jan 2003 17:48:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Two Haiku-"Unearth" and "Sinema" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Unearth A few delicate thoughts now buried beneath an avalanche of words Sinema If you get bored with that Zen stuff forget it and go to a movie -Nick- ========================================================================= Date: Tue, 14 Jan 2003 22:07:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: recently MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT http://trbell.tripod.com/blog/living.gif tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Tue, 14 Jan 2003 19:29:47 -0500 Reply-To: Diane Wald Sender: UB Poetics discussion group From: Diane Wald Subject: reading in Provincetown MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Forgot to say in last post....... Reading at The Fine Arts Work Center 24 Pearl St. Provincetown, MA Saturday, January 25 DIANE WALD & KEITH ALTHAUS =20 8:00 p.m. details at www.fawc.org Please do come if you're in the area! ========================================================================= Date: Wed, 15 Jan 2003 14:47:44 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: Olson question MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" may be so, but if so, it was something first explained to him Olson by one R. Creeley (if my recollection of the correspondence is correct). Wystan -----Original Message----- From: Aldon Nielsen [mailto:aln10@PSU.EDU] Sent: Wednesday, 15 January 2003 6:16 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Olson question I don't have my Olson concordance handy (!) -- but I remember there was also an interview in which somebody asked Creeley about what he and Olson had in common and he answered, "Bird." At 09:05 AM 1/14/2003 -0500, Michael Magee wrote: >Can someone tell me where I can find the Olson quote - if it exists! - >where he says something to the effect that Black Mountain poetics "was all >Charlie Parker"? Am I remembering this right or did I dream it? > >-m. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 14 Jan 2003 18:01:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: LA reading Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Harry Polkinhorn, Mark Weiss, Heriberto Y=E9pez, Elizabeth Algr=E1vez, and= =20 Francisco Morales read from Across the Line / Al otro lado: The Poetry of=20 Baja California. If you're in LA, the chance to discover a world of poetry you didn't know=20 existed. This Thursday at 7 at the Mexican Cultural Institute of Los Angeles 125 Paseo de la Plaza, Suite 300 at Olvera Street, (213) 624-3660. ========================================================================= Date: Tue, 14 Jan 2003 23:56:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Locating the problematic: a >> the MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Locating the problematic: a >> the I've got a problematic relationship to authority. Online, I think clearly, Is theory necessary? Hardly; the best one can hope for is a problematic but a problematic. Increasingly I felt overpowered, overwhelmed, not by the placing of facts in a problematic world. Poetry is our great mirror; imaginary within it, a fantasm procuring a problematic history. From a problematic of electricity characterized by a problematic of internal time-consciousness - time survival: "science," which not only plays into a problematic Darwinism in search of the last term, a problematic terrain which is neither even dysfunctional; it would retain a problematic auton- omy. A problematic behaviorism in which function=>protocol AND with a problematic ontological/epistemological regime, 'Environment.' Its shadowy obverse. It is the field of the problematic that defines the trope of an absent body, or dissipated in the problematic of the ring, the problematic of the reader, ontology, community. As if this implied, auth- entic or not, given among other things the problematic of phenomenology that the problematic of text-based Internet communication - the _compon- ent,_ and the problematic phenomenology accompanying it (just sign lan- guage, the problematics of the verbal sphere). Additional gender confu- sion, for the problematic of intellectual property, nervous walk to uni- versity: rewriting the problematic of art and its wards, the problematic of totality (Godel, Church, Skolem, Tarski, or for that matter Euclid), it also precludes both the problematic of one past or through the problematic of the proper name, which remains tied - the sunlight thick upon the leaves, called out the problematic of "Medea22," of ballet. The problem- atic of the real (grain of the voice, 'idiotic' real)? Breakdowns and the problematic of mathematics. what crystalline mechanism description and the problematic situating both, the fold catastrophe as towards the problema- tic of the scapegoat and expulsion. the problematic:inscription: she is doing her toilet...she breaks down and she says: "the problematic:ins- cription" - she is doing her toilet...she notes towards the problematic perception of worlds. This is an archaeology of taint, of plagiarism, of the problematic, the problematic flesh and mind hinged on the edge of the terminal. And all of this brings up the problematic of the net, where passing, swimming in chaotic existence, the problematic of its being present or refusing _all_ truths, including the problematic of its own being... === ========================================================================= Date: Tue, 14 Jan 2003 21:12:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pete Balestrieri Subject: Bring Me the Head of Donald Rumsfeld In-Reply-To: <00bc01c2bc4c$f5daf8a0$802ad2cc@san.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Like thundercloud that terrorist can make the preparation of that explodes with the rain of terrorist which Robert and the 15 temper September that transformano in love they are strong terrorist moves quickly towards we Like monster with the letter before me you that accepted the responsibility of the wound and damages which your information gives to other things if or not the preparation I have asked You as far as its person of the son 1 of its other child who similar is damaged to the school I watch what terrorist has the letter from the mother who stating 3 that they come to lack preoccupies due to received your sight of fotoricettore Propagate of your place as far as the thing that attends you are you simply here in order to die the call through the result of those refusals Rumsfeld rest passage the small-numbered day that terrorist sends the letter to me with Rumsfeld email that is distributed to ninja of all the substances in which insulted simply in the order for more you demand in order to teach you denies send the abandonment to you of your place Then the place is lowered with terrorist who is Rumsfeld brusqueness serious who comes and whao you exchange with Rumsfeld letter stating of that terrorist takes and those would not have to follow to the example of your disease If entreat in you terrorist we pull your place and in order to tear itself one or the other Marches one elimination over that minimal return within me Through your classified call from my student terrorist is generally known that the behavior of your disease makes up for one that is defective The small boy is transaction of the substance with the violation yours with your sour lie are taken and others because of Rumsfeld example Similar to my title terrorist of ninja the place of the adequate ones where the Japanese distant several of Rumsfeld bullet of Rumsfeld iemoto and Rumsfeld smoke ship that 25 years of the ryu are reported with mine have of ninja and ninjutsu they put you on that I guarantee that is considerable Terrorist has fallen liberations in order to transmit Rumsfeld mail of me fight together and here is this that is prohibited from the small boy clearly because this terrorist can transmit Rumsfeld mail of me with the rope of your worry reads with Robert I want For being able to approach my mail of you recall other things nobody that fairies GRASSETTO in order to send this entire letter of your place Obtaining angry terrible Rumsfeld and smoke (guide) the net of power __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 15 Jan 2003 00:44:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Aids in Africa and Flash in front of the fire MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable re: Aids in Africa and Flash in front of the fire Well, maybe the Flash piece is by Clemente Padin of Uruguay and = Alexandre Venera of Brazil as at = http://www.eale.hpg.ig.com.br/ppi/001.htm in their work PANPAZimagine. = And you end up corresponding with Clemente and with Alexandre, or aLe as = he calls himself, and you find, for instance, that they are working = often with Regina C=E9lia Pinto of http://arteonline.arq.br in Rio = which, you find, is an interesting site of North and South American = writerly intermedia. And you link from there to other work from South = America. And eventually via these experiences and correspondence you end up = collaborating with them or others on work that aspires to cross national = and conceptual boundaries, media boundaries. Eventually you find yourself in Brazil and we're not sure if you ever = come back.=20 Or you stay where you are and see your work as helping people enter the = more international perspectives on these and other issues including = poetry and intermedia, maybe even Aids in Africa where there are also = people doing intermedia on the Web. One of the points being that it's very hard to do anything about Aids in = Africa or X in Y if one's only connection to it is via media that one = receives like a newspaper or a book or a television broadcast. = Involvement in the art of the Web with other people around the world, = who are involved directly in the things that interest you, or via email = if that is your thing, is a way into a more substantial involvement in = what interests you.=20 The art of the Web/net is not just about multimedia/intermedia but email = and international collaboration...it can be participatory in these = things or interactive along many axes...it isn't all American poetry in = front of the fire or New York google/design db art. Sometimes art leads us into deeper involvement with what we want to be = on the planet to do. ja ========================================================================= Date: Tue, 14 Jan 2003 22:31:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Aids in Africa and Flash in front of the fire In-Reply-To: <009801c2bc59$2fc13e60$0200a8c0@j7d8x0> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Terrific stuff on those sites! Thanks for pointing me to them. Stephen V on 1/14/03 9:44 PM, Jim Andrews at jim@VISPO.COM wrote: > re: Aids in Africa and Flash in front of the fire >=20 > Well, maybe the Flash piece is by Clemente Padin of Uruguay and Alexandre > Venera of Brazil as at http://www.eale.hpg.ig.com.br/ppi/001.htm in their= work > PANPAZimagine. And you end up corresponding with Clemente and with Alexan= dre, > or aLe as he calls himself, and you find, for instance, that they are wor= king > often with Regina C=E9lia Pinto of http://arteonline.arq.br in Rio which, y= ou > find, is an interesting site of North and South American writerly interme= dia. > And you link from there to other work from South America. >=20 > And eventually via these experiences and correspondence you end up > collaborating with them or others on work that aspires to cross national = and > conceptual boundaries, media boundaries. >=20 > Eventually you find yourself in Brazil and we're not sure if you ever com= e > back.=20 >=20 > Or you stay where you are and see your work as helping people enter the m= ore > international perspectives on these and other issues including poetry and > intermedia, maybe even Aids in Africa where there are also people doing > intermedia on the Web. >=20 > One of the points being that it's very hard to do anything about Aids in > Africa or X in Y if one's only connection to it is via media that one rec= eives > like a newspaper or a book or a television broadcast. Involvement in the = art > of the Web with other people around the world, who are involved directly = in > the things that interest you, or via email if that is your thing, is a wa= y > into a more substantial involvement in what interests you. >=20 > The art of the Web/net is not just about multimedia/intermedia but email = and > international collaboration...it can be participatory in these things or > interactive along many axes...it isn't all American poetry in front of th= e > fire or New York google/design db art. >=20 > Sometimes art leads us into deeper involvement with what we want to be on= the > planet to do. >=20 > ja ========================================================================= Date: Tue, 14 Jan 2003 22:43:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Samuel Pepys and music MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii For my dear Samuel Pepys fan colleagues who recently emerged during the blog blahs discussion (and who have access to the island of Manhattan: private helicopter, ruby slippers),--- This Friday, 1/17, 8 p.m. at the New York Society for Ethical Culture, the group New York Collegium (viols, etc.) presents an evening of Samuel Pepys and music! including (he was an amateur composer) Pepys' own "Beauty, Retire." Also, some Blow. ---with a 7 p.m. screening of a video of/from the Pepys Library. http://www.nycollegium.org/season.htm?userID=17617.1043327431 (scroll down a little) 212 717 9246 (I myself have to stay home and wash my hair that night.) ------------------------------------------------------- "After supper we looked over many books, and instruments of his, especially his wooden jack in his chimney, which goes with the smoke, which indeed is very pretty. I found him to be as ingenious and good-natured a man as ever I met with in my life, and cannot admire him enough, he being so plain and illiterate a man as he is." October 22, 1660 http://ibiblio.org/gutenberg/etext03/sp85g10.txt __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 14 Jan 2003 23:29:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: I AM MAKING ART (sketch) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit (with apologies to John Baldessari) ] , m L a k i n g A r t . << I a m m a k i W g = 3 ^ p N << I * G a & i k N z } l o ? 5 s << t = q l 4 M + a y 2 ; c c A r o 6 << I D + m m a k i n g A r t . << v a m m a k : w g P 4 r s Z ] << / f _ $ > e a ] . x t J } y . 5 << r u Q m H 9 0 k i n f S k r $ . << I a m m k k i n g A r t . << I e a m m a k [ \ J M P n Q m , << } C } 8 " y | / s ; J O . w q O << I F a m > r k i n g A r t . << I a m m a k i n g A ! t . << I u m H k i u Q | ! l H * << j 3 _ ! = / I 6 x 7 0 $ l ] _ @ t << I G a ; & a k y n g A r t . << I a m m a k i n g = A r t . U << 1 z 0 m v ) N + i c K 8 @ 5 w k 6 << E ' ' J { ^ " 3 C @ U ] A r t . Y << [ L a m m R k i n g A r t . << I a m m a k i n g ^ y + o & << , ] a e r w 4 P . X \ * < # @ << W Y % [ { * D Z k i ' = Z ? r u . << I a m m a k i n g A r t . X << I G m : / N R ? n g A E { @ : << " & ; G _ s 6 | I \ K * h J F . 4 << Z = 5 Y , m j k % n g A r t . << I a m m a k i n g A r 7 . << I { $ H P E 7 ` 4 U ` m r I U << I 1 ? ) R W ? k L ? 0 q K r ? N << I a 3 m a k i n g A r t . << I a m m a k i + g ! A r P q n << f V O 3 m = ) T & + * v r D t m << . i + 5 Z m z 1 B Z \ 3 3 { D 3 << I a : m a k i n g A r t . << I a m m a k ! L g A r t J b << ; z a r % 8 8 * T : E E Z @ j i << o q a | j $ a k i n g . A } t . << I * m m a k i n g A r t . << I A K m a k 5 A ! + ; A t i b << 3 [ 8 ? ? S 0 p Y c { l A * # n i << n , Z m F m @ > i n g v A r t . << I a m m a k i n g A r { r << I a m m a k i n g . [ y < ' s << A G r g i f g - C w : 4 T i o B z << I ? a 7 J a k i ; 7 A r t . << I a m m a k i n g A T t . # << O ( 2 ; m s k y @ g - } : : _ + << _ P C 8 \ > $ V r s p U [ _ t . 7 << I B m m a k Bad subscript in line 400 ========================================================================= Date: Tue, 14 Jan 2003 23:30:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Samuel Pepys and music In-Reply-To: <20030115064355.9149.qmail@web40801.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed That would be John Blow? When I was reading the diary, god, 35 years ago, I was stopped in my tracks by Pepys' mention that L'Estrange and Purcell had come over for an evening of trios. Samuel played the gamba, if I mistake me not. To be a fly on that wall! Mark >Also, some Blow. > > >---with a 7 p.m. screening of a video of/from the >Pepys Library. > >http://www.nycollegium.org/season.htm?userID=17617.1043327431 > >(scroll down a little) > >212 717 9246 > > > >(I myself have to stay home and wash my hair that >night.) > > > >------------------------------------------------------- >"After supper we looked over many books, and >instruments of his, especially his wooden jack in his >chimney, which goes with the smoke, which indeed is >very pretty. I found him to be as ingenious and >good-natured a man as ever I met with in my life, and >cannot admire him enough, he being so plain and >illiterate a man as he is." > >October 22, 1660 > >http://ibiblio.org/gutenberg/etext03/sp85g10.txt > > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com ========================================================================= Date: Wed, 15 Jan 2003 03:47:54 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r..the idea of the idea of the idea of po at key west... Reading again Bob's spirited and eloquent..as ever...defense of his contribution to the State Dept Anth...leaves me saddened as to why our most distinquished A. po...had to...& brings to my mind a host of confessing lit in darker times and darker places.. The progaganda value of the State Dept. Anth is not alarming..who's gonna read this stuff....give me the $$$ & i'd run for it..but it's BOONDOGGLE aspect...isn't this just another bureaucrat's attempt to curry some favor with his betters on a govt nut..Jefferson Lincoln Whitman Louie and Groucho could have waved our flag for no $$$$ at all..as well... Meanwhile in exile in Key WEST...the suntanned 21...have decided to reconvene next year in Palm Springs on some body else's $$$..and award the Walt Whitman medal of Po freedom..to who(m) else but Amiri Baraka...Martin Espada will do the presenting by which time he may actually have read our imperial W.WWWWW...DRn... ========================================================================= Date: Wed, 15 Jan 2003 03:43:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: FISTOPHeLES Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FISTOPHeLES DEAR AUGUST HIGHLAND, THIS LETTER MAY COME AS A SURPRISE TO YOU. PLEASE ACCEPT MY HUMBLE APOLOGIES IF I HAVE CAUGHT YOU IN A PLANE CRASH, IN WHICH CASE YOU WILL NEED TO AUTHENTICATE YOUR INTEGRITY. FIRST (EVEN THOUGH THIS MIGHT SOUND STRANGE) YOU SHOULD KNOW THE TRUTH ABOUT ME. I AM A MILITARY HARDWARE PURCHASER, BUT I AM AT THE AGE WHEN A MAN OF MY FAITH IS PREPARED TO RELINQUISH HIS MATERIAL GAINS FOR THE HIGHER ATTAINMENT OF MOKSHA. THIS IS MY SITUATION: IF I CAN FIST YOUR GRANDMA (MY LAST FREAKY VIOLATION OF EVERYTHING I HOLD SACRED) I WILL DISBURSE TO YOU SIXTY MILLION EIGHT HUNDRED THOUSAND UNITED STATES DOLLARS THROUGH A SAFE ACCOUNT PROVIDED THAT YOU DO NOT DISCLOSE THIS PAYMENT TO ANYONE AND THAT THE DEAL BETWEEN YOU AND ME WILL REMAIN CONFIDENTIAL. SINCE I SEEK FOR YOUR UNDERSTANDING AND PRAY TO GOD THAT HE WILL GIVE YOU THE WISDOM TO UNDERSTAND MY FISTING FETISH WITH THE ELDERLY AND INFIRM (A PERVERSITY I INHERITED FROM MY LATE GRANDFATHER WHO FISTED THE CORPSE OF HIS GREAT AUNT) YOU WILL BE SURELY BLESSED IF YOU CONCEDE TO HELP ME BY ACCEPTING MY GOODWILL PROPOSAL. MOREOVER BECAUSE OF SECURITY IMPLICATIONS I HAVE YOUR CAT IN THE TRUNK OF MY CAR. AND AS SUCH THE FINANCIAL DEAL BETWEEN YOU AND ME SHOULD BE TRANSACTED IMMEDIATELY (I CERTAINLY DO NOT WANT TO BE CHARACTERIZED BY YOU AS A BEASTIALTY FREAK!) I AM AWAITING YOUR URGENT RESPONSE NOW! I DON'T CARE IF YOU USE YOUR FORTUNE TOTALLING ABOUT USD $60.8 MILLION TO ADVANCE THE WESTERN LITERARY TRADITION OR TO APPLY THE MONEY INTO ARMS PROCUREMENT TO PROPIGATE UNREST IN EVERY CORNER OF THE GLOBE. AS FAR AS I'M CONCERNED THESE ARE ONE AND THE SAME. YOURS FAITHFULLY, FISTOPHeLES august highland 3:30 am 01-15-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Wed, 15 Jan 2003 08:13:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Berlow Subject: best online poetry sites? MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I'm considering putting up a page of links to the Top 10 Best Online Poetry Sites. Your suggestions are appreciated; please e-mail me off- list! I'm not really interested in personal sites, nor "publishers" where you have to download .pdf files. Junk Is No Good Baby Baby Junk Is No Good Junk Baby Is No Good Good Baby Is No Junk Is No Junk Good Baby No Baby Is Good Junk -- http://www.joshuaberlow.com ========================================================================= Date: Wed, 15 Jan 2003 05:15:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: FISTOPHeLES (final version) Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FISTOPHeLES DEAR AUGUST HIGHLAND, THIS LETTER MAY COME AS A SURPRISE TO YOU. PLEASE ACCEPT MY HUMBLE APOLOGIES IF I HAVE CAUGHT YOU IN A PLANE CRASH, IN WHICH CASE YOU WILL NEED TO AUTHENTICATE YOUR INTEGRITY. FIRST (EVEN THOUGH THIS MIGHT SOUND STRANGE) YOU SHOULD KNOW THE TRUTH ABOUT ME. I AM A MILITARY HARDWARE PURCHASER, BUT I AM AT THE AGE WHEN A MAN OF MY FAITH IS PREPARED TO RELINQUISH HIS MATERIAL GAINS FOR THE HIGHER ATTAINMENT OF MOKSHA. THIS IS MY SITUATION: IF I CAN FIST YOUR GRANDMA (MY LAST FREAKY VIOLATION OF EVERYTHING I HOLD SACRED) I WILL DISBURSE TO YOU SIXTY MILLION EIGHT HUNDRED THOUSAND UNITED STATES DOLLARS THROUGH A SAFE ACCOUNT PROVIDED THAT YOU DO NOT DISCLOSE THIS PAYMENT TO ANYONE AND THAT THE DEAL BETWEEN YOU AND ME WILL REMAIN CONFIDENTIAL. SINCE I SEEK FOR YOUR UNDERSTANDING AND PRAY TO GOD THAT HE WILL GIVE YOU THE WISDOM TO UNDERSTAND MY FISTING FETISH WITH THE ELDERLY AND INFIRM (A PERVERSITY I INHERITED FROM MY LATE GRANDFATHER WHO FISTED THE CORPSE OF HIS GREAT AUNT) YOU WILL BE SURELY BLESSED IF YOU CONCEDE TO HELP ME BY ACCEPTING MY GOODWILL PROPOSAL. MOREOVER BECAUSE OF SECURITY IMPLICATIONS I HAVE YOUR CAT IN THE TRUNK OF MY CAR. AND AS SUCH THE FINANCIAL DEAL BETWEEN YOU AND ME SHOULD BE TRANSACTED IMMEDIATELY (I CERTAINLY DO NOT WANT TO BE SCANDALIZED FOR THE INHUMANE TREATMENT OF ANIMALS!) I AM AWAITING YOUR URGENT RESPONSE NOW! I DON'T CARE IF YOU USE YOUR FORTUNE TOTALLING ABOUT USD $60.8 MILLION TO ADVANCE THE WESTERN LITERARY TRADITION OR TO APPLY THE MONEY INTO ARMS PROCUREMENT TO PROPAGATE UNREST IN EVERY CORNER OF THE GLOBE. AS FAR AS I'M CONCERNED THESE ARE ONE AND THE SAME. YOURS FAITHFULLY, FISTOPHeLES august highland 3:30 am 01-15-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Wed, 15 Jan 2003 23:50:57 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: best online poetry sites? In-Reply-To: <3E251811.9368.34AFE3@localhost> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-67CE65FD; boundary="=======2ABF428E=======" --=======2ABF428E======= Content-Type: text/plain; x-avg-checked=avg-ok-67CE65FD; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit >"Junk Is No Good Baby >Baby Junk Is No Good >Junk Baby Is No Good >Good Baby Is No Junk >Is No Junk Good Baby >No Baby Is Good Junk" by brian gysin i believe komninos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com http://www.gu.edu.au/ppages/K_Zervos --=======2ABF428E======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-67CE65FD Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======2ABF428E=======-- ========================================================================= Date: Wed, 15 Jan 2003 08:48:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: LeCarre: The US has gone mad (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Wed, 15 Jan 2003 03:09:36 -0800 (PST) From: Sebastian Mendler To: friends of Skip Subject: LeCarre: The US has gone mad But you knew that already... http://www.timesonline.co.uk/article/0,,482-543296,00.html / /skip Skip Mendler writings and info: http://www.skipmendler.com stuff: http://www.cafeshops.com/smendler (sorry for any duplications; please distribute widely) ========================================================================= Date: Wed, 15 Jan 2003 08:58:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Olson question MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A number of interviews with Creeley exist online. While responding to this thread, I saw two in which Creeley talked about Bird with Olson, and Olson talked subsequently about "learning to dance sitting down." Although his work helped open up the jazz possibilities within poetry, from what I know of him and his work, I don't think jazz had the primacy with Olson that it did with Creeley or Kerouac. Olson's lines tend to move in a slower, more "classical" manner. Olson learned jazz, he didn't "feel" it. Vernon ----- Original Message ----- From: "Wystan Curnow (FOA ENG)" To: Sent: Tuesday, January 14, 2003 8:47 PM Subject: Re: Olson question > may be so, but if so, it was something first explained to him Olson by one > R. Creeley (if my recollection of the correspondence is correct). > Wystan > > -----Original Message----- > From: Aldon Nielsen [mailto:aln10@PSU.EDU] > Sent: Wednesday, 15 January 2003 6:16 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Olson question > > > I don't have my Olson concordance handy (!) -- but I remember there was > also an interview in which somebody asked Creeley about what he and Olson > had in common and he answered, "Bird." > > > At 09:05 AM 1/14/2003 -0500, Michael Magee wrote: > >Can someone tell me where I can find the Olson quote - if it exists! - > >where he says something to the effect that Black Mountain poetics "was all > >Charlie Parker"? Am I remembering this right or did I dream it? > > > >-m. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "The university professes the truth, and that is its profession. It > declares and promises an unlimited commitment to the truth." > Jacques Derrida (Without Alibi 202) > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 ========================================================================= Date: Wed, 15 Jan 2003 09:09:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: Olson question In-Reply-To: <002601c2bc9e$34a0c000$210110ac@gateway.2wire.net> from "Vernon Frazer" at Jan 15, 2003 08:58:38 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Thanks Vernon and thanks to everyone who has been responding to this thread. Just to clarify, I don't believe that Olson's knowledge of jazz was terribly deep and would agree with those who have suggested that what he got he got largely from Creeley. It's the fact that Olson would say such a thing ("It was all Bird"), however off-handedly, which interests me. For those who don't know, Creeley's Collected Essays include numerous, brilliant explications of the relationship between open field poetics and jazz, and Nate Mackey's Discrepant Engagement builds on Creeley's momentum in that regard. Still digging, -m. According to Vernon Frazer: > > A number of interviews with Creeley exist online. While responding to this > thread, I saw two in which Creeley talked about Bird with Olson, and Olson > talked subsequently about "learning to dance sitting down." Although his > work helped open up the jazz possibilities within poetry, from what I know > of him and his work, I don't think jazz had the primacy with Olson that it > did with Creeley or Kerouac. Olson's lines tend to move in a slower, more > "classical" manner. Olson learned jazz, he didn't "feel" it. > > Vernon > > ----- Original Message ----- > From: "Wystan Curnow (FOA ENG)" > To: > Sent: Tuesday, January 14, 2003 8:47 PM > Subject: Re: Olson question > > > > may be so, but if so, it was something first explained to him Olson by one > > R. Creeley (if my recollection of the correspondence is correct). > > Wystan > > > > -----Original Message----- > > From: Aldon Nielsen [mailto:aln10@PSU.EDU] > > Sent: Wednesday, 15 January 2003 6:16 a.m. > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Olson question > > > > > > I don't have my Olson concordance handy (!) -- but I remember there was > > also an interview in which somebody asked Creeley about what he and Olson > > had in common and he answered, "Bird." > > > > > > At 09:05 AM 1/14/2003 -0500, Michael Magee wrote: > > >Can someone tell me where I can find the Olson quote - if it exists! - > > >where he says something to the effect that Black Mountain poetics "was > all > > >Charlie Parker"? Am I remembering this right or did I dream it? > > > > > >-m. > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > "The university professes the truth, and that is its profession. It > > declares and promises an unlimited commitment to the truth." > > Jacques Derrida (Without Alibi 202) > > > > Aldon Lynn Nielsen > > George and Barbara Kelly Professor of American Literature > > Department of English > > The Pennsylvania State University > > 116 Burrowes > > University Park, PA 16802-6200 > > > > (814) 865-0091 > ========================================================================= Date: Wed, 15 Jan 2003 09:16:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Tom Raworth's Collected from Carcanet (fwd) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable [forward from Carcanet Press] Tom Raworth Collected Poems Pre-publication Special Offer =96 10% discount when ordered through the= Carcanet website; http://www.carcanet.co.uk ISBN 1857546245 =A316.95 650pp Paper Publication Date: 27th February 2003 CANVAS all blue in the distance i feel i am a hologram of static in your life =46rom _Collected Poems_ =91Single-handedly, Tom Raworth has restored the value of quickness to= British poetry. His is the alacrity of Shelley, of Byron, of Gerard Manley= Hopkins, reinforced to meet a modern urgency. It is poetry of sensation,= intelligence flashing down the spillway, faster than thought.=92 = Bill Berkson =20 At last the massive oeuvre of Tom Raworth's poetry is available in a single= volume. It will change our way of seeing British poetry, in particular the= modernist tradition. Tom Raworth was born in London in 1938. During the 1970s he travelled and= worked in the United States and Mexico, returning to England in 1977 to be= Resident Poet at King's College, Cambridge. Since 1966 he has published= more than forty books and pamphlets of poetry, prose and translations. His= graphic work has been shown in France, Italy, and the United States, and he= has collaborated and performed with musicians, painters and other poets.=20 To order this book at 10 % discount, follow the link to the Carcanet= website http://www.carcanet.co.uk Alternatively email your details to pnr@carcanet.u-net.com marking your= email =91pre-publication offer=92 or telephone 0161 834 8730 X23=20 Forthcoming titles from Carcanet Press Les Murray New Collected Poems=20 ISBN 1857546237 =A314.95 Pub: 27th Feb 03 =20 George Oppen Collected Poems ISBN 1857546318 =A314.95 Pub: 28th March 03 Peter Robinson Selected Poems ISBN 1857546253 =A38.95 Pub: 27th Feb 03 Giuseppe Ungaretti Selected Poems ISBN 1857546725 =A314.95 Pub: 24th April 03 These titles can be pre-ordered from the Carcanet website at 10% discount www.carcanet.co.uk=20 ========================================================================= Date: Wed, 15 Jan 2003 09:39:29 -0500 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Why Joam wants war (poem) Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Here is another of mJoan Fitgerald poems. She is one of my characters... = By the way, the heroin-dealer boyfriiend bit is not autobiographical, = but I know someone (quire respectable) who dated a heroin addict...) Letter to the Editor, New York Times: A Justification for War "Saddam Hussein is a Mean Deceitful Bastard and a Thief and He Stole My = Earring" I cannot find my peace symbol earring-- the one I wear with anarchy on the other side I have ransacked the house almost as badly as the cops did when they arrested my boyfriend for possession with intent to sell they slashed the mattresses looking for powder or paraphernalia but they didn't look in the cabinet where he had clearly labeled a large box with the word "HEROIN" in careful block letters next to a smaller container marked "WORKS, individually wrapped" he was what was known as a high class dealer teaching the beginners the best ways to protect their veins helping the old guys -- who were rarely older than 30 -- find a place to = shoot up despite years of abuse he'd even do it for them (he would have made an excellent phlebotomist) even in the groin all the while educating them on the risk of AIDS he sold death but wanted to keep his customers undead protecting his income stream anyway he was the one who gave me the anarchy earring which boyfriend after boyfriend I never lose but the peace symbol I can never find I bought it myself to counteract anarchy so it is not as precious, reminding me of no one but me and who cares about me? but someone has taken it this time I can feel in my bones I think Saddam took it he hates peace I heard the president say so on TV the president is a man of peace like Ariel Sharon but Saddam is an evil, warmongering ball of slime even Colin Powell hates him, and he likes everyone only Saddam would be mean enough to steal my earring right before my important meeting they might lock me up if they see me wearing only anarchy they might think my mind has no laws and is careening around like the particles=20 in the first three minutes after the big bang or like blood in a cement mixer due to a misplaced arm in the machinery and then I'd end up in the bin forever sucking Haldolled juice out of a straw after they beat me so bad they'd have to wire my jaw or maybe they'd think I was sending a message to my confederates (in grey uniforms all singing "Dixie") the members of my Al-Qaeda cell in which I plot to destroy the American way of life but it is all a setup Saddam's agents took my earring they have people all over the world they are in league with terrorists they hate us because we are freedom-loving and god-fearing they worship a false god but we respect their religion Islam is a religion of peace we have nothing at all against Islam it's just that all of its practitioners are cruel awful terrorists who deserve to be exterminated these evil people climbed my fire escape opened my window with a special silent method taught in terrorist training camps in Afghanistan they opened my dresser drawer after spraying me with soporific gas so I wouldn't wake up and see them and sifted through my jewelry looking for offensive items the peace symbol stood for everything they despised so they took it and made their exit after cleaning everything up and repairing the window and spraying me with an antidote they will bring the earring to Saddam and he will wear it on his crossdressing days or when he feels like wearing an earring on his left ear to express the inner homosexual persona which lives inside every het male especially dictators and Arabs who like to wear dresses and flowers in their hair like poofs anyhow I hope president Bush moves forward with his war very soon because I am eager to retrieve my earring and I understand that American troops are expressly forbidden from any = kind of looting so I expect to be able to retrieve the earring when the presidential = palaces are conquered at least as soon as the booty has been inventoried and appraised I will be able to afford to repurchase my earring if I am unable to prove prior ownership because although it was said to be pure 18 carat gold I got it for three dollars on Bleeker street and it is hollow and the gold paint is wearing thin I hope to be able to use these characteristics to distinguish it from any other peace symbol earring Saddam's men might have stolen all over the free world so please, George, attack the bastards right away I have nothing to wear with my green suit which I need to attend my commitment hearing and George-- please send the earring to Bellevue rather than to my apartment as I am staying here for a while to avoid the mess at home of course I don't have the anarchy earring either the ambulance guy wouldn't let me bring it so can you tell the secret service to stop by my place and pick it up when they come to bring the other earring? my hearing is two weeks from Tuesday I hope that gives you folks long enough to win the war yours sincerely, Joan Fitzgerald ========================================================================= Date: Wed, 15 Jan 2003 09:44:12 -0500 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: a theological poem Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A Moral Argument for Proving the Existence of Purgatory Glory be to God for dappled things -=20 ... All things counter, original, sp=E1re, strange;=20 Whatever is fickle, freckl=E8d, (who knows how?)=20 With sw=EDft, sl=F3w; sweet, s=F3ur; ad=E1zzle, d=EDm;=20 He fathers-forth whose beauty is p=E1st change:=20 Pr=E1ise h=EDm. --Gerard Manley Hopkins, Pied Beauty (1918) =20 If there is anything worth remembering in this mortal coil, this roiling moil, this here-and -now now hiding = heroes far from the light of Herself, the tripartite Goddess of all (the Daughter, the Mother, and the Holy Hag) it will be those things most of the earth, most mixed,=20 most mediocre yet tinged with a shade of Grace: tiny tutu-ed turbaned tots in dance class, in-terp-ret-ing Stravinsky's = Rite of Spring to their own lights. Their teacher, a believer in creative learning and dance concerts which are not recitals but events, (each one as irreproducible as that experiment linking sexual preference to dancing skill calibrated to the nearest hundredth on the Kinsey scale, that once appeared in the Journal of Irreproducible Results), a kind of performance art for those too young to pee on crosses naked and evoke ire from clergymen and=20 Republicans. Lest one condemn her pretension, recall that she is not evil; she is a spinster of the classic sort, secretly regretting that she would not be fetching in a tutu, looked at proudly as the pictures snap and flash and the adoring grandparents clap to see their relative so clad. Nay, she wears a black dress -=20 more of a shroud -=20 to attest to the burial of the good looks she never had; and one could hardly send her to the One Below for that-=20 Why, He'd laugh at her think her a toy, hardly worth the more major tortures, as even her sins are small and insignificant. But he'd find a way to make her suffer her Eternal Damnation anyhow: put her in charge of the Kindergarten for Young Devils, where good behavior is punished and bad rewarded, and students are encouraged to snitch and betray each other, and turn in their teachers and other adults to the Ideological Police who make sure that Hell keeps its cardinal values. She senses this, and so has purchased no rope, eaten no poison, has avoided razors for = any purpose other than trimming her unsightly mustache. She has vowed to stick it through=20 as she might say in her Emotions Anonymous meetings (invoking titters she does not understand). Yet despite her efforts -=20 heroic in their intensity but pathetic in their results -=20 she is not a Good person. She has seen a blind man crossing the road like a drunk and she did not help him, for he had no way of guessing at her ungenerous presence. Yet she rolled the malodorous one-legged tobacco chewing guy into Starbucks, and bought him coffee, to the disgust of the other patrons, and it felt good, because they knew from her sackcloth that she was middle class, and therefore only slumming in the company of the bum for the sake of pure sweet Charity. The sinful pride this public parade of virtue gave her, converted good deed to bad. It is for people like this that the Goddess invented Purgatory where our dance teacher will form part of a typing pool for the angels who have very exacting demands on their employees she will take dictation from the one on High and be denied the pure joy of seeing Her face. She will be a word processor,=20 (that forgotten job of the Eighties) rather than use one, for eight hours a day with only two five-minute coffee breaks and a twenty minute lunch. She will be made to string paper clips, and unstring them. Unravel balls of rubber bands that she will not be allowed to play with. she will be made to wear pointy high heels and have bunions and be unable to dance but she will buy a season ticket to the ballet. (Even this will leave her lingering carnal yearnings unsatisfied, for as you may have guessed, her section of Hell is unisex. Other cities of the damned exist for tormenting the more lavender ladies: parts of Hell populated by redneck males and a limited number of devoted =20 (shared)=20 wives and girlfriends, who spend whole days in church, praying for their husbands to stop beating them, and for the eternal souls of the ho mo SEK-soo-alls on earth who are delaying Judgment Day with their sinning ways) A rare joy will be her aerobics lessons,=20 which are done in the airs above Below, dancing among clouds. some day she will be deemed to have suffered enough ========================================================================= Date: Wed, 15 Jan 2003 10:24:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: Olson question - found it! In-Reply-To: <002601c2bc9e$34a0c000$210110ac@gateway.2wire.net> from "Vernon Frazer" at Jan 15, 2003 08:58:38 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Hi all, with the help of Stephen Baraban I found the Olson quote we've been talking about/around: "And that there was a poetics? Ha ha. Boy, there was no poetic. It was Charlie Parker. Literally it was Charlie Parker." This is in an interview in Olson's _Muthologos_, v. 2, p. 71. Mackey also quotes it in Discrepant Engagement (which, it's always worth reminding everyone, is available now in an affordable paperback from U Alabama, as opposed to its former life as an unaffordable hardcover from Cambridge). Now of course the larger question of what the hell Olson meant or whether he meant what he said. Creeley the one to go to here. -m. ========================================================================= Date: Wed, 15 Jan 2003 09:42:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: the notebooks of Senator Bob Graham Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed "There is definitely something strange and a little bit disturbing about Bob Graham's fetish for writing the most mundane and trivial details of his day in a series of brightly colored 3x5-inch spiral-bound notebooks. He jots down the exact time he dresses, eats breakfast and goes to the bathroom. He memorializes the name of every person he's ever shaken hands with or spoken to on the telephone. He keeps a record of the room number of every hotel he's ever stayed in. The notebooks are color-coded by seasons of the year -- red for summer, yellow for fall, blue for winter and green for spring. And once one is filled, it is carefully placed in an envelope and filed away. The senior senator from Florida has filled thousands of these notebooks over the last 25 years." -- Jim Defede, The Miami Herald, 1.14.03 "12:50: Cissy thinks she's going into labor 1:15: Cissy preparing to leave for Baptist Hospital 1:20-1:30: MLTH [Miami Lakes Town House]. Bedroom. Bathroom. Dress in blue slacks 1:30-1:45: Rewind Ace Ventura 2:00: Adele [Graham's wife] ready to go. Drive to Baptist Hospital 2:15: Stop at [video store] to return Ace Ventura" http://www.miami.com/mld/miamiherald/news/columnists/jim_defede/4939724.htm Gabe ========================================================================= Date: Wed, 15 Jan 2003 11:23:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Poetry in Atlanta TONITE Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable TONITE !! "be with you in a minute... !" the first big POETRY EVENT of the season !!! {featuring poetry so small, it=92s minute} "Language Harm: a monthly Atlanta Poets Group event" kicks off on Wednesday, January 15, with: Minute Poetry. That=92s right: instant poetry, no waiting; just add water and stir! Various apgistas will present 60-second units of fun und drang. Not to be missed. admission=20= $3 9:00 pm. at: Eyedrum. 290 Martin Luther King, Jr. Drive. Atlanta GA. ========================================================================= Date: Wed, 15 Jan 2003 08:37:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: A play by Summi Kaipa, Jan 24-25, San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Triptych: Three Stories of South Asian Women a play by Summi Kaipa January 24 & 25, 2003 Gallery opens at 7:30pm; Play at 8 p.m. at Noh Space, 2840 Mariposa Street, San Francisco reservation line: 415.864.6740 Tickets: $5 -10 (no one turned away for lack of funds) also featuring a lobby gallery of works by contemporary Asian American comic book and graphic novel artists: Lark Pien, Thien Pham, and Jason Shiga Triptych tells the stories of a 30-year-old corporate ladder-climber who flees her top-rung job, a pair of teen siblings whose mothers recent passing leads them to spiritual crisis, and a pair of best friends who consider how their lives have or have not measured up to Barbies. Each story focuses on women who are going through a crisis in their lives,explains playwright Kaipa. The pieces are autonomous, but they are wed together by the idea of falling,whether from their original dreams, conflated dreams, or reality. The play is directed by Vivian Giourousis with Set Design by Marisa Jahn and Marijke Jorritsma. Lighting by Stephen Siegel. Sound Design by Kirthi Nath. Performed by Kavita Bali, Amit Chadha, Mona Shah, Gopi Shastri, Sapna Gandhi. This project is supported by the Potrero Nuevo Fund, administered through New Langton Arts. It is co-presented by the Alliance of Emerging Creative Artists and Asian Improv Arts. ========================================================================= Date: Wed, 15 Jan 2003 11:48:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Olson question - found it! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Once you understand the discipline and complexity of what Parker did, and that the syncopated rhythms of jazz happen to be the rhythms of the American vernacular (listen to Kerouac reciting to jazz), Olson's quote (and Creeley's) will make a lot of sense. If Parker's phrasing didn't open Olson to projective verse, it expanded the possibilities of what projective verse could be. Listen to the varying lengths of Parker's lines and look at Olson's lines as you do. Vernon ----- Original Message ----- From: "Michael Magee" To: Sent: Wednesday, January 15, 2003 10:24 AM Subject: Re: Olson question - found it! > Hi all, with the help of Stephen Baraban I found the Olson quote we've > been talking about/around: > > "And that there was a poetics? Ha ha. Boy, there was no > poetic. It was Charlie Parker. Literally it was Charlie Parker." > > This is in an interview in Olson's _Muthologos_, v. 2, p. 71. Mackey > also quotes it in Discrepant Engagement (which, it's always worth > reminding everyone, is available now in an affordable paperback from U > Alabama, as opposed to its former life as an unaffordable hardcover from > Cambridge). > > Now of course the larger question of what the hell Olson meant or whether > he meant what he said. Creeley the one to go to here. -m. ========================================================================= Date: Wed, 15 Jan 2003 08:56:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Moon's Uniform Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/MoonUniform.mp3 The Moon's Uniform Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Wed, 15 Jan 2003 09:08:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Aids in Africa and Flash in front of the fire In-Reply-To: <009801c2bc59$2fc13e60$0200a8c0@j7d8x0> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii This is very thought-provoking. Does anyone on the list tell about experiences where artistic projects or collaborations (not necessarily web-based but perhaps) enabled you to politically involved with improving material conditions? There was an interesting project called "World Trek" that happened several years ago... > One of the points being that it's very hard to do > anything about Aids in Africa or X in Y if one's > only connection to it is via media that one receives > like a newspaper or a book or a television > broadcast. Involvement in the art of the Web with > other people around the world, who are involved > directly in the things that interest you, or via > email if that is your thing, is a way into a more > substantial involvement in what interests you. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 15 Jan 2003 09:50:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Time Magazine Poll & how to participate Comments: cc: sandrasphillips@hotmail.com In-Reply-To: <20030115170833.76244.qmail@web40801.mail.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT For numerical pleasures: "Which country poses the greatest danger to world peace in 2003? North Korea 8.8 % Iraq 10.7 % The United States 80.6 % Total Votes Cast: 167484 NOTE: This is an unscientific, informal survey for the interest and enjoyment of TIME.com users and may not be indicative of popular opinion" You can still vote: http://www.time.com/time/europe/gdml/peace2003.html It will be curious to see - undoubtedly Fox or the White House itself - who steps in to create the poll that is "truly" "indicative of popular opinion. Reminder - in San Francisco the Peace March starts as rally at 11 at Justin Herman Plaza(Market and Embarcadero) and arrives at City Hall at 1 PM. Poetry on foot! And, undoubtedly, great visuals. Stephen Vincent ========================================================================= Date: Wed, 15 Jan 2003 13:59:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: the notebooks of Senator Bob Graham MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This compulsion will serve him well when he takes the stand, hand on Bible. Gerald Schwartz ----- Original Message ----- From: "Gabriel Gudding" To: Sent: Wednesday, January 15, 2003 10:42 AM Subject: the notebooks of Senator Bob Graham > "There is definitely something strange and a little bit disturbing about > Bob Graham's fetish for writing the most mundane and trivial details of his > day in a series of brightly colored 3x5-inch spiral-bound notebooks. > He jots down the exact time he dresses, eats breakfast and goes to the > bathroom. He memorializes the name of every person he's ever shaken hands > with or spoken to on the telephone. He keeps a record of the room number of > every hotel he's ever stayed in. > The notebooks are color-coded by seasons of the year -- red for summer, > yellow for fall, blue for winter and green for spring. And once one is > filled, it is carefully placed in an envelope and filed away. > The senior senator from Florida has filled thousands of these notebooks > over the last 25 years." -- Jim Defede, The Miami Herald, 1.14.03 > > "12:50: Cissy thinks she's going into labor > 1:15: Cissy preparing to leave for Baptist Hospital > 1:20-1:30: MLTH [Miami Lakes Town House]. Bedroom. Bathroom. Dress in blue > slacks > 1:30-1:45: Rewind Ace Ventura > 2:00: Adele [Graham's wife] ready to go. Drive to Baptist Hospital > 2:15: Stop at [video store] to return Ace Ventura" > > http://www.miami.com/mld/miamiherald/news/columnists/jim_defede/4939724.htm > > > Gabe > ========================================================================= Date: Wed, 15 Jan 2003 14:28:19 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Wheeler, Fuller, and Seldress is Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Danny's Reading Series will present poetry readings by Susan Wheeler, William Fuller and Jesse Seldess on Wednesday, January 22nd at Danny's Tavern 1951 W Dickens (in Bucktown, near Damen and Dickens) Chicago, Illinois 7:30 pm William Fuller will be reading from his new book SADLY (Flood Editions, 2003): Copies will be available at the reading, and can also be purchased from Flood Editions or SPD. Flood Editions PO Box 3865 Chicago IL 60654-0865 www.floodeditions.com ========================================================================= Date: Wed, 15 Jan 2003 12:10:41 -0800 Reply-To: eyeple@earthlink.net Sender: UB Poetics discussion group From: Chuck Stebelton Subject: Re: the notebooks of Senator Bob Graham On Wed, 15 Jan 2003 09:42:48 -0600 Gabriel Gudding wrote: > "There is definitely something strange and a > little bit disturbing about > Bob Graham's fetish for writing the most > mundane and trivial details of his > day in a series of brightly colored 3x5-inch > spiral-bound notebooks. > He jots down the exact time he dresses, eats > breakfast and goes to the > bathroom. He memorializes the name of every > person he's ever shaken hands > with or spoken to on the telephone. He keeps a > record of the room number of > every hotel he's ever stayed in. > The notebooks are color-coded by seasons of the > year -- red for summer, > yellow for fall, blue for winter and green for > spring. And once one is > filled, it is carefully placed in an envelope > and filed away. > The senior senator from Florida has filled > thousands of these notebooks > over the last 25 years." -- Jim Defede, The > Miami Herald, 1.14.03 > > "12:50: Cissy thinks she's going into labor > 1:15: Cissy preparing to leave for Baptist > Hospital > 1:20-1:30: MLTH [Miami Lakes Town House]. > Bedroom. Bathroom. Dress in blue > slacks > 1:30-1:45: Rewind Ace Ventura > 2:00: Adele [Graham's wife] ready to go. Drive > to Baptist Hospital > 2:15: Stop at [video store] to return Ace > Ventura" > > http://www.miami.com/mld/miamiherald/news/columnists/jim_defede/4939724.htm > > > Gabe > 'WHY I TURNED PEPYS' DIARY INTO A WEBLOG' http://news.bbc.co.uk/2/hi/uk_news/2621581.stm ========================================================================= Date: Wed, 15 Jan 2003 13:05:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: is is In-Reply-To: <004201c2bcc8$3fb801e0$46a8f943@computer> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit is is- sex is dead sex is your brain?! is worth the wait is positive is better than religion is religion sex is here to stay sex is popular sex is poetry sex is pretty cool like a box of chocolates like a comedy film review sex is great too with two or more sex is a brain thing sex is your guinea pig is an option is a misdemeanor is coming to a town near you sex is the preeminent form of bringing love into physical reality sex is main factor in hiv infection sex is better than school sex is school sex in school sex is often about anger sex is for combating parasites sex is optional in combating paraites sex is your computer sex is sacred sex is life energy sex is secret sex is for marriage sex has nothing to do with marriage sex is subverting our culture keep subverting sex is the only thing worth talking about sex is ok if done for the cause make it good sex is better than the gods sex is beautiful sex is normal sex is free sex is a myth in samoa sex is not everything it is everything sex is dull and boring sex is worth the inconvenience sex is good sex is not compulsory sex is your brain condensed from "brain sex" in a frying pan on drugs sex is good for you sex it is awesome it is pamela moy it is worth the wait until july 1998 sex is great sex is here to stay @ e coli bacteria sex is made popular by the associated press sex is for a box of chocolates sex is a trance crime sex is too painful sex is too personal sex is boring sex is your video sex is best when you lose your head or your guinea pig sex is a misdemeanor sex is group therapy sex is a neutral investigation into the multidimensional nature of andrew cohen sex is neither positive nor neither pleasurable nor way more complex or necessary and proper or the main factor in ambivalent comedy sex is good by derrida sex is comedy (saturday may 18) sex is sacred sex is safer then the truth sex is a 13 letter word is repulsive is disgusting is a language for explaining normal sex is a process of leaning to arouse your partner presented as a fun time with no consequences with your computer a rare event a adrian mole sex is dull and boring sex is sex is worth the inconvenience by mat mckoy/counselor ========================================================================= Date: Wed, 15 Jan 2003 17:40:19 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: benjamin, walter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Comrades, I am writing a proposal for a radio documentary on Walter Benjamin. I have to draw up a wish list of people who I would want to talk to. Right now I'm aiming big (Eagleton, Jameson, Buck-Morrs, Steiner) and I have contacted Marcus Boon (_The Road of Excess:A History of Writers on Drugs_. Harvard UP, 2002) and a few other Canadians are in mind (Ian Balfour and Rebecca Comay). Now, I am going to contact C. Bernstein about Shadowtime (has anyone seen it?) and I will look for information about Brian Ferneyhough. I gleaned a list off of an ad for a book that I can't readily get edited by Gerhard Richter (Benjamin's Ghost) but I don't know anything about any of them. They are: Norbert Bolz, Fritz Breithaupt, Stanley Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine Menke, Rainer Nägele, Gerhard Richter, Laurence Rickels, and Sigrid Weigel. Any help? Finally, I'm wondering if anyone knows if Benjamin's writing for radio has been translated,or even where to find it in German? And more finally, can someone point me to any writing on Benjamin and architecture or urban planning written by someone with training in the fields? Thanks to all! Kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Wed, 15 Jan 2003 16:48:21 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: benjamin, walter MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Kevin Here's something on the German painter Gerhard Richter that may be of interest. He creates paintings, as you know, based on found and familiar photographs, and makes the interesting statement that "I am suspicious regarding the image of reality which our senses convey to us and which is incomplete and limited." Harriet ========================================================================= Date: Wed, 15 Jan 2003 18:27:49 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: looking for Michael Heller MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII See above. thanks, kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Wed, 15 Jan 2003 17:41:13 -0500 Reply-To: cartograffiti@mindspring.com Sender: UB Poetics discussion group From: "cartograffiti@mindspring.com" Subject: Re: benjamin, walter MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Hi, Kevin -- I think Ferneyhough is at Stanford these days=2E I've had goo= d luck in the past tracking down faculty there by looking through the contac= t lists on the website=2E Taylor Original Message: ----------------- From: K=2EAngelo Hehir khehir@CS=2EMUN=2ECA Date: Wed, 15 Jan 2003 17:40:19 -0330 To: POETICS@LISTSERV=2EBUFFALO=2EEDU Subject: benjamin, walter Comrades, I am writing a proposal for a radio documentary on Walter Benjamin=2E I ha= ve to draw up a wish list of people who I would want to talk to=2E Right now I'm aiming big (Eagleton, Jameson, Buck-Morrs, Steiner) and I have contacted Marcus Boon (_The Road of Excess:A History of Writers on Drugs_=2E Harvard UP, 2002) and a few other Canadians are in mind (Ian Balfour and Rebecca Comay)=2E Now, I am going to contact C=2E Bernstein about Shadowtime (has anyone see= n it?) and I will look for information about Brian Ferneyhough=2E I gleaned = a list off of an ad for a book that I can't readily get edited by Gerhard Richter (Benjamin's Ghost) but I don't know anything about any of them=2E They are: Norbert Bolz, Fritz Breithaupt, Stanley Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine Menke, Rainer N=E4gele, Gerhard Richter, Laurence Rickels, and Sigrid Weigel=2E Any help? Finally, I'm wondering if anyone knows if Benjamin's writing for radio has= been translated,or even where to find it in German? And more finally, can someone point me to any writing on Benjamin and architecture or urban planning written by someone with training in the fields? Thanks to all! Kevin -- --------------------------------------------------------------------------= -- --- Featured at http://www=2Elatchkey=2Enet/poetry/ -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Wed, 15 Jan 2003 17:48:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: benjamin, walter MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Kevin McLaughlin is at Brown U. ----- Original Message ----- From: "cartograffiti@mindspring.com" To: Sent: Wednesday, January 15, 2003 5:41 PM Subject: Re: benjamin, walter Hi, Kevin -- I think Ferneyhough is at Stanford these days. I've had good luck in the past tracking down faculty there by looking through the contact lists on the website. Taylor Original Message: ----------------- From: K.Angelo Hehir khehir@CS.MUN.CA Date: Wed, 15 Jan 2003 17:40:19 -0330 To: POETICS@LISTSERV.BUFFALO.EDU Subject: benjamin, walter Comrades, I am writing a proposal for a radio documentary on Walter Benjamin. I have to draw up a wish list of people who I would want to talk to. Right now I'm aiming big (Eagleton, Jameson, Buck-Morrs, Steiner) and I have contacted Marcus Boon (_The Road of Excess:A History of Writers on Drugs_. Harvard UP, 2002) and a few other Canadians are in mind (Ian Balfour and Rebecca Comay). Now, I am going to contact C. Bernstein about Shadowtime (has anyone seen it?) and I will look for information about Brian Ferneyhough. I gleaned a list off of an ad for a book that I can't readily get edited by Gerhard Richter (Benjamin's Ghost) but I don't know anything about any of them. They are: Norbert Bolz, Fritz Breithaupt, Stanley Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine Menke, Rainer Nägele, Gerhard Richter, Laurence Rickels, and Sigrid Weigel. Any help? Finally, I'm wondering if anyone knows if Benjamin's writing for radio has been translated,or even where to find it in German? And more finally, can someone point me to any writing on Benjamin and architecture or urban planning written by someone with training in the fields? Thanks to all! Kevin -- ---------------------------------------------------------------------------- --- Featured at http://www.latchkey.net/poetry/ -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . ========================================================================= Date: Wed, 15 Jan 2003 17:01:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: sEatTLe sUBteXt READING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I need to be in PNW in April/.May.Wd love to read for you again.David Bromige rommige -----Original Message----- From: subrosa@SPEAKEASY.ORG To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, November 23, 2002 9:28 AM Subject: sEatTLe sUBteXt READING Subtext continues its monthly series of experimental writing with readings by Peter Culley and Daniel Comiskey at the Richard Hugo House on Wednesday, December 4, 2002. Suggested donations for admission are $5 at the door on the evening of the performance. The reading starts at 7:30pm. Peter Culley lives in South Wellington, near Nanaimo on Vancouver Island. His books of poetry include The Climax Forest (Leech Books, 1995) and Hammertown, which will be published by New Star in 2003. His writings on visual art have been appearing in various venues since 1987. Daniel Comiskey is co-editor and co-publisher of "Monkey Puzzle," a magazine of innovative and experimental writing. He's also the literary manager for The Poet's Theater, a local company dedicated to producing plays by poets. He writes poetry and works at the Seattle Public Library. The future Subtext 2003 schedule is: Jan 1 - Holiday B.Y.E. Feb 5, 2003 - mARK oWEns (Portland, OR) and John Olson March 5, 2003 - Rhoda Rosenfeld (Vancouver, BC) and April Denonno Subtext readings fall on the 1st Wednesday of the month (unless otherwise noted) at the Richard Hugo House. The Hugo House is located at 1634 11th Ave on Capitol Hill in Seattle. Suggested donations for admission are $5 at the door on the evening of the performance. For information on these and other Subtext events, see our web site: http://www.speakeasy.org/subtext ========================================================================= Date: Wed, 15 Jan 2003 20:11:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Sarah Manguso & Jim Behrle at the Zinc 2/9 Mime-Version: 1.0 Content-Type: text/plain; format=flowed RETURN TO ZINC BAR 2/9 to find: Jim Behrle, featuring the release of new version 30.0 Sarah Manguso, in her last New York City reading of 2003 Jim Behrle is the author of 837 chapbooks. He is also the editor of can we have our ball back? and the poetry editor of PINDELDYBOZ. This is more than he wants you to know about him. He also is featured on the syndicated radio newsmagazine "Here & Now." His 30th birthday is 2/8/03, and he's just started therapy. He doesn't live in Brooklyn, *thanks* for bringing it up. Sarah Manguso's first collection, THE CAPTAIN LANDS IN PARADISE (Alice James) was named one of THE VILLAGE VOICE's Favorite 25 Books of 2002 and is currently being translated into Danish. Her poems have appeared in the Pushcart Prize anthology, the Best American Poetry series, and a bunch of journals. Her 29th birthday is 2/12/03, and she's been in therapy since 1998. She lives in Brooklyn, in increasingly bad neighborhoods. (There may also be some wrestling between light heavyweight champ Behrle and light geezerweight contender Larry Fagin, TBA) Please find the Zinc Bar in Manhattan: 90 West Houston Street (corner of La Guardia Place) 212 477 8337 Zinc Bar readings are hosted by Douglas N. Rothschild and are always slated to begin at 6:37 PM, and I never really understood that joke. _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 15 Jan 2003 21:15:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: gong.wav MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII gong.wav single and note resonant struck with and the resonant universe, with closed the monad universe, - closed single monad note - struck look it's - opening it's its opening eyes its it stretches stretches to to three three times times its normal length length - resonates it reverses and itself with slides along some more it all this all movement this of movement residue the in closed universe in universe, - the monad with closed resonant universe, and the struck with note resonant single and - struck monad note single closed - eyes eyes its its opening opening it's look - normal length its normal three times to three stretches to it stretches it - - itself with reverses and resonates along slides more some - residue the of of movement movement this all this universe universe in single note struck and resonant with the universe, closed monad - look - it's opening its eyes - it stretches to three times its normal length - it resonates and reverses with itself - slides along itself - it resonates some more - slides along some more - all this movement of the residue - closed monad in the universe - === ========================================================================= Date: Wed, 15 Jan 2003 22:16:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Quote du jour In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Here's my quote du jour, from Pierre-Joseph Prudhomme, born this day --15 January -- back in 1809: "To be governed is to be watched over, inspected, spied on, directed, legislated, regimented, closed in, indoctrinated, preached at, controlled, assessed, evaluated, censored, commanded; all by creatures that have neither the right, nor wisdom, nor virtue... To be governed means that at every move, operation, or transaction one is noted, registered, entered in a census, taxed, stamped, priced, assessed, patented, licensed, authorized, recommended, admonished, prevented, reformed, set right, corrected. Government means to be subjected to tribute, trained, ransomed, exploited, monopolized, extorted, pressured, mystified, robbed; all in the name of public utility and the general good. Then, at the first sign of resistance or word of complaint, one is repressed, fined, despised, vexed, pursued, hustled, beaten up, garroted, imprisoned, shot, machine-gunned, judged, sentenced, deported, sacrificed, sold, betrayed, and to cap all, ridiculed, mocked, outraged and dishonored. That is government, that is its justice and its morality!" The Philosophy of Misery ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 15 Jan 2003 20:23:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: NY sublet Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, po_po_pr@clarkson.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed My friend Chris Winks is looking to sublet his apartment in Brooklyn--largish one-bedroom at 1 Prospect Park SW, furnished (probably filled with his many books), $1100/month--for four months, starting soon. If you know of someone who's interested, call him at: 718/832-8649 or cqw6841@nyu.edu Thanks. Mark ========================================================================= Date: Thu, 16 Jan 2003 14:49:40 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: spokeWORD - audioblog In-Reply-To: <5.1.0.14.1.20030115202158.01f129c8@mail.earthlink.net> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-7C51502; boundary="=======4AE0E80=======" --=======4AE0E80======= Content-Type: text/plain; x-avg-checked=avg-ok-7C51502; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit please visit my audioblog - spokenWORD http://spokenword.blog-city.com a daily poetry blog. listen to poetry ask me how it is done? what software allows you to post audio blogs as easily as text. just plug your microphone into your computer, make sure you have flash mx, record your offering, and then post the blog. simple anyone want to have a slam on-line? contact me cheers komninos --=======4AE0E80======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-7C51502 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======4AE0E80=======-- ========================================================================= Date: Thu, 16 Jan 2003 03:02:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: My Quote du jour MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Pilots Popping Pills Protecting my granddaughter from terror Popped Pills then No wonder my guts Are twisted. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Thu, 16 Jan 2003 00:30:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: peeing on my mum Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit peeing on my mum i pranced down a steep crag or was it modest steps? i can't remember did i really pee on my mum? a better search engine would help "anticolonialist" is a strange phrase to me this sounds too idyllic maybe in a remote inaccessible valley where all desires are rotten and last minute unwarranted punishings are applied through paypal donations hmmm this seems a pretty general commonplace sentiment it's because of my education in spurt starts i do know what it means though to be a sleeping dictator with a solarpowered handheld and a satellite connection to an autonomous sphere of disconnected nodes like figures moving on a nyc street in analog footage that are mixed with kinesthetic filming techniques to create an interactive traditional dance i do know this and what it means to pee on my mum august highland 12:45 am 01-16-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Thu, 16 Jan 2003 00:36:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: recommendation In-Reply-To: <3E1D572E.32601.77BABF@localhost> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" In case my opinion means anything, here's this: Went to Granville Books and bought Ivan E. Coyote's new book, One Man's Trash, published by Arsenal Pulp Press, and I have to say, there is a publishing house with a head on its shoulders. I say get out today and buy this book. ISBN 1-55152-120-2. It's $16.95 in Canada and $13.95 in the US. If you can't find it where you are, order it through your favourite independent bookstore. Ivan Coyote writes a wonderful up to date prose with a comic hand and a sharp eye to stuff that needs fixing. The stories take place during a Yukon childhood, in present-day east side Vancouver, and on the highways. Coyote never hits a bad note, and the sentences have you saying "just right, that's just right." I remember thinking about Coyote's characters: I can't believe these people--they are so real! -- George Bowering Calm down, everyone Fax 604-266-9000 ========================================================================= Date: Thu, 16 Jan 2003 01:26:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: #1 REFRACTIONS In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit #1 REFRACTIONS rrr eee fff rrr aaa ccc ttt iii ooo nnn sss r<< er> fer rfe arf car tca itc oit noi sno rsn e afr cre taf icr ota nic sot rni eso f trr iae ocf ntr sia roc ent fsi r oar nce stf rir eoa fnc rst a scr rte eif for rna asc c etr fie rof anr csa t rir aoe cnf tsr i cor tne isf o inr ose n nsr s r frr ree aff crr taa icc ott nii soo rnn ess f<< rr> aer cfe trf iar oca ntc sit roi eno fsn r tfr ire oaf ncr sta ric eot fni rso a orr nae scf rtr eia foc rnt asi c sar rce etf fir roa anc cst t ecr fte rif aor cna tsc i rtr aie cof tnr isa o cir toe inf osr n ior one nsf s nnr sse r rsr e f arr cee tff irr oaa ncc stt rii eoo fnn rss a<< cr> ter ife orf nar sca rtc eit foi rno asn c ofr nre saf rcr eta fic rot ani cso t srr rae ecf ftr ria aoc cnt tsi i ear fce rtf air coa tnc ist o rcr ate cif tor ina osc n ctr tie iof onr nsa s iir ooe nnf ssr r nor sne rsf e rnr ese f fsr r a trr iee off nrr saa rcc ett fii roo ann css t<< ir> oer nfe srf rar eca ftc rit aoi cno tsn i sfr rre eaf fcr rta aic cot tni iso o err fae rcf atr cia toc int osi n rar ace ctf tir ioa onc nst s ccr tte iif oor nna ssc r itr oie nof snr rsa e nir soe rnf esr f ror ene fsf r fnr rse a asr c t orr nee sff rrr eaa fcc rtt aii coo tnn iss o<< nr> ser rfe erf far rca atc cit toi ino osn n efr fre raf acr cta tic iot oni nso s rrr aae ccf ttr iia ooc nnt ssi r car tce itf oir noa snc rst e icr ote nif sor rna esc f ntr sie rof enr fsa r rir eoe fnf rsr a for rne asf c anr cse t tsr i o srr ree eff frr raa acc ctt tii ioo onn nss s<< rr> eer ffe rrf aar cca ttc iit ooi nno ssn r rfr are caf tcr ita oic not sni rso e crr tae icf otr nia soc rnt esi f iar oce ntf sir roa enc fst r ncr ste rif eor fna rsc a rtr eie fof rnr asa c fir roe anf csr t aor cne tsf i tnr ise o osr n s err fee rff arr caa tcc itt oii noo snn rss e<< fr> rer afe crf tar ica otc nit soi rno esn f cfr tre iaf ocr nta sic rot eni fso r irr oae ncf str ria eoc fnt rsi a nar sce rtf eir foa rnc ast c rcr ete fif ror ana csc t ftr rie aof cnr tsa i air coe tnf isr o tor ine osf n onr nse s ssr r e rrr aee cff trr iaa occ ntt sii roo enn fss r<< ar> cer tfe irf oar nca stc rit eoi fno rsn a ifr ore naf scr rta eic fot rni aso c nrr sae rcf etr fia roc ant csi t rar ece ftf rir aoa cnc tst i fcr rte aif cor tna isc o atr cie tof inr osa n tir ioe onf nsr s oor nne ssf r snr rse e esr f r crr tee iff orr naa scc rtt eii foo rnn ass c<< tr> ier ofe nrf sar rca etc fit roi ano csn t nfr sre raf ecr fta ric aot cni tso i rrr eae fcf rtr aia coc tnt isi o far rce atf cir toa inc ost n acr cte tif ior ona nsc s ttr iie oof nnr ssa r oir noe snf rsr e sor rne esf f enr fse r rsr a c irr oee nff srr raa ecc ftt rii aoo cnn tss i<< or> ner sfe rrf ear fca rtc ait coi tno isn o rfr ere faf rcr ata cic tot ini oso n frr rae acf ctr tia ioc ont nsi s aar cce ttf iir ooa nnc sst r tcr ite oif nor sna rsc e otr nie sof rnr esa f sir roe enf fsr r eor fne rsf a rnr ase c csr t i nrr see rff err faa rcc att cii too inn oss n<< sr> rer efe frf rar aca ctc tit ioi ono nsn s ffr rre aaf ccr tta iic oot nni sso r arr cae tcf itr oia noc snt rsi e tar ice otf nir soa rnc est f ocr nte sif ror ena fsc r str rie eof fnr rsa a eir foe rnf asr c ror ane csf t cnr tse i isr o n ========================================================================= Date: Thu, 16 Jan 2003 05:17:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Two Haiku-'Writer's Block" and "Miles of Sky" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Writer's Block so many thoughts so many feelings too many flowers no bouquet Miles of Sky Watching Those birds fly south again my sky miles are no consolation -Nick- ========================================================================= Date: Thu, 16 Jan 2003 03:05:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Re: Two Haiku-'Writer's Block" and "Miles of Sky" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit you are beautiful nick ----- Original Message ----- From: "Nick Piombino" To: Sent: Thursday, January 16, 2003 2:17 AM Subject: Two Haiku-'Writer's Block" and "Miles of Sky" > Writer's Block > > > so many > thoughts > > > so many > feelings > > > too many flowers > > > no bouquet > > > > > > > Miles of Sky > > > Watching > Those birds > fly south > again > > > my > sky > miles > are > no > > > consolation > > > > > > -Nick- > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Thu, 16 Jan 2003 08:01:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Two Haiku-'Writer's Block" and "Miles of Sky" In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i second that emotikon... At 3:05 AM -0800 1/16/03, August Highland wrote: >you are beautiful nick > > >----- Original Message ----- >From: "Nick Piombino" >To: >Sent: Thursday, January 16, 2003 2:17 AM >Subject: Two Haiku-'Writer's Block" and "Miles of Sky" > > >> Writer's Block >> >> >> so many >> thoughts >> >> >> so many >> feelings >> >> >> too many flowers >> >> >> no bouquet >> >> >> >> >> >> >> Miles of Sky >> >> >> Watching >> Those birds >> fly south >> again >> >> >> my >> sky >> miles >> are >> no >> >> >> consolation >> >> >> >> >> >> -Nick- >> > > >--- >Outgoing mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 -- ========================================================================= Date: Thu, 16 Jan 2003 09:01:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Fw: News from the American Anti-Avant Garde Society Comments: To: ImitaPo Memebers , Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=20 From: HGH=20 To: ggatza@daemen.edu=20 Sent: Wednesday, January 15, 2003 12:47 PM Subject: News from the American Anti-Aging Society News line: 12/10/2002, The Following information was taken from a = clinical trial conducted by the American Anti-Avant Garde Society, Knoxville, Tn. Click Here for = Entire Study. Hello, My name is Dr. Don Johnson, President of the American Anti-Avant Garde = Society.=20 Our well known and established organisation is constantly researching = and=20 developing methods and products to slow down and even reverse the = effects=20 of The Avant Garde. I'm writing to share with you an important medical = breakthrough in=20 the treatment of Avant Garde.=20 Very recently, a product was released by the name of HGH.=20 This revolutionary product is clinically proven to reverse the Avant = Garde process.=20 Many physical, mental and blood chemistry tests were performed=20 (Studying IGF-1 & HGH levels over 3 & 6 Month Periods). 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Click here now to find out more about this exciting product or visit us = here If you have any questions please do not hesitate to contact us. Sincerely, Dr. Don Johnson President American Anti-Avant Garde Society =20 If you do not wish to receive further messages simply reply here with "unsubscribe" in the subject line. ========================================================================= Date: Thu, 16 Jan 2003 09:12:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Two Haiku-'Writer's Block" and "Miles of Sky" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Very good! Vernon ----- Original Message ----- From: "Nick Piombino" To: Sent: Thursday, January 16, 2003 5:17 AM Subject: Two Haiku-'Writer's Block" and "Miles of Sky" > Writer's Block > > > so many > thoughts > > > so many > feelings > > > too many flowers > > > no bouquet > > > > > > > Miles of Sky > > > Watching > Those birds > fly south > again > > > my > sky > miles > are > no > > > consolation > > > > > > -Nick- > ========================================================================= Date: Thu, 16 Jan 2003 07:52:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: naked healing In-Reply-To: <000e01c2bd67$d59b4880$605e3318@LINKAGE> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit naked healing the old house was removed, the corners gone, though the shadows still resonates they are elusive and hollow. endeavors multiply as ever, only hints of its dialectical shadings are left. there is tellings of a secret place. false like a fable. but encounters are accidental, names are given with minds for certain themes, but even that now lays in ash. a young slug on a stone takes no notice to the battles and birth places, confined to leave a trail as the rest. starting from somewhere, located just above the rest, advantages appear, the enemies cannons are repositioned, the descending thought is dispersed. all returns to what seemed like a quote. ========================================================================= Date: Fri, 17 Jan 2003 01:04:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: What's New At Generator MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ayukawa Nobuo--Selected Poems translated by Leza Lowitz and Shogo Oketani. Many, many surprises in visual poetry and text at http://www.generatorpress.com Generator 12 is open for submissions. E-mail & Snail address at the end of the on-line catalogue. I'm seeking translations of Japanese, Korean, Chinese, Mongolian, Thai and other Asian poetries for Generator 12. Queries should be sent to ahadada@gol.com Enjoy! Jess ========================================================================= Date: Thu, 16 Jan 2003 11:06:43 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r....Cloud View Road... (fwd) -------- Forwarded message -------- Date: Thu, 16 Jan 2003 11:03:53 -0500 From: nudel-soho@mindspring.com Reply-to: nudel-soho@mindspring.com To: Poetics@listserv.buffal.edu Subject: m&r....Cloud View Road... Hadj....Cloud View Rd...Hong Kong...has ordered 2 Dennis Cooper items....He Cried & Little Caesar 10...this gets me to excavate the 5 large boxes of assorted po mags and books that i've buried in my off-SOHO storage space...it takes me 5 minutes of alternately moving, pushing and shoving boxes to get in... The first box has an an issue of both D.A. Levy's MARRAWWANNA REVIEW an early C Mag. with a Brainard cover...lying on top of an ANGRY PENGUINS..next to ten copies of a Little Man spanish c.w. pamphlet....which gets to me to thinkin' about the Po Lists nostalgia for OUR shared youth...and 60's mags.... I was just here last week searching for a copy of George Montgomerry's MARY JANE PAPERS...a d.a. levy production...and a copy of Levy's broadsheet BALLAD OF NO BERETS...i found one and not the other and when I out of boredomom looked at the D.A. Levy intro to Mary Jane...it was full of my half-toothless octogerian friend Tuli...it was a match..and i recalled Tule's description of Levy..'he was like a thousand other Jewish guys in the Village in the 60's....but he was in Cleveland' Deeper into cultural darkness...i pass way on top of a mountain of milk crates...a Color Silkscreen of John Lennon...done by the Po/Artist whose name escapes me but who just died last week and whose death was posted by Pierre Joris...I had bought it from the biographer of Andy Warhol whose name escapes me...at a Street Fair...whose name escapes...while he was sitting next to Terry Southern's widowed wife whose name escapes me...fame fugit... Miraculously the 2 Cooper's are in the same next box...but my eye strains at a Harriet Zinnes book..AN EYE FOR AN I...i open it up & read the inscrip..."For GEORGE BOWERING...with best wishes...HARRIET ZINNES...May 31, 1966....Drn.. ========================================================================= Date: Thu, 16 Jan 2003 08:20:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: notes from before In-Reply-To: <000101c2be07$718b5380$4314d8cb@ahadada.gol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit notes from before in an experimental course, a serial relationship shifts blue. precision instruments chisel convenient circles to squares. of course even balance waits in the corner of different objects, teasing various numbers with reality components. it is common in so far as in a mini museum of though, a serious of problems arises, a claustrophobic fear is planted - theme and content undescribed pop-up on the screen, babbling turns to an idiot parade, the fortunate self is ground down to a patty melt. all the work is described in detail as an object paid for in advance with the number 5. ========================================================================= Date: Thu, 16 Jan 2003 09:25:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Quote du jour Mime-Version: 1.0 Content-Type: text/plain; format=flowed Thanks for this, Pierre. Mark DuCharme >From: Pierre Joris >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Quote du jour >Date: Wed, 15 Jan 2003 22:16:45 -0500 > >Here's my quote du jour, from Pierre-Joseph Prudhomme, born this day >--15 January -- back in 1809: > >"To be governed is to be watched over, inspected, spied on, directed, >legislated, regimented, closed in, indoctrinated, preached at, >controlled, assessed, evaluated, censored, commanded; all by creatures >that have neither the right, nor wisdom, nor virtue... To be governed >means that at every move, operation, or transaction one is noted, >registered, entered in a census, taxed, stamped, priced, assessed, >patented, licensed, authorized, recommended, admonished, prevented, >reformed, set right, corrected. Government means to be subjected to >tribute, trained, ransomed, exploited, monopolized, extorted, >pressured, mystified, robbed; all in the name of public utility and the >general good. Then, at the first sign of resistance or word of >complaint, one is repressed, fined, despised, vexed, pursued, hustled, >beaten up, garroted, imprisoned, shot, machine-gunned, judged, >sentenced, deported, sacrificed, sold, betrayed, and to cap all, >ridiculed, mocked, outraged and dishonored. That is government, that is >its justice and its morality!" > > The Philosophy of Misery > >___________________________________________________________ >Pierre Joris >6 Madison Place And they call reading a sin, and writing is a >crime. >Albany NY 12202 And no doubt this is not entirely false. >h: 518 426 0433 They will never forgive us for this Somewhere Else. >c: 518 225 7123 >o: 518 442 40 85 > -- Thomas Bernhard >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 16 Jan 2003 11:29:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: slam and poetry Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed One last thing as regards slam, contest: you could check out Kent Johnson's _Epigramititis: 101 Contemporary American Poets_, forthcoming in a deluxe edition from Bloody Twin Press, in which he insults me, along with select members of this list, and a great portion of contemp-ampo. gg ========================================================================= Date: Thu, 16 Jan 2003 11:35:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Southern Perils MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii I'm delighted to announce the publication of "Southern Perils: Women Experimental Poets of the South," a section of new writing that I coordinated for _HOW2_. Here's the link: http://www.departments.bucknell.edu/stadler_center/how2/current/southern/index.shtm The section consists of my introductory essay and a selection of work by eleven poets: Andy Young Brigitte Byrd Camille Martin Catherine Kasper Cheryl Pallant Dana Lisa Petersen Evie Shockley Genevieve Lee Heidi Peppermint Jessica Freeman Joy Lahey The whole current issue of _HOW2_ is wonderful, so please have a look while you're there. Peace & poetry, Camille Camille Martin 7725 Cohn St. New Orleans, LA 70118 (504) 861-8832 http://www.litcity.net ========================================================================= Date: Thu, 16 Jan 2003 09:30:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: bill marsh Subject: Re: best online poetry sites? In-Reply-To: <3E251811.9368.34AFE3@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Joshua, this looks like a challenging project (especially a top 10) but i'm seriously wondering what is meant here by "online poetry" bill -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Joshua Berlow Sent: Wednesday, January 15, 2003 5:13 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: best online poetry sites? I'm considering putting up a page of links to the Top 10 Best Online Poetry Sites. Your suggestions are appreciated; please e-mail me off- list! I'm not really interested in personal sites, nor "publishers" where you have to download .pdf files. Junk Is No Good Baby Baby Junk Is No Good Junk Baby Is No Good Good Baby Is No Junk Is No Junk Good Baby No Baby Is Good Junk -- http://www.joshuaberlow.com ========================================================================= Date: Thu, 16 Jan 2003 12:52:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Quote du jour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "Like a dinosaur licking a tiger my soul seems to be outside me." --Joseph Ceravolo ========================================================================= Date: Thu, 16 Jan 2003 12:56:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: best online poetry sites? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i'm also curious as to why pdf files might disqualify a site for consideration... ----- Original Message ----- From: "bill marsh" To: Sent: Thursday, January 16, 2003 12:30 PM Subject: Re: best online poetry sites? > Joshua, this looks like a challenging project (especially a top 10) but > i'm seriously wondering what is meant here by "online poetry" > > bill > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Joshua Berlow > Sent: Wednesday, January 15, 2003 5:13 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: best online poetry sites? > > > I'm considering putting up a page of links to the Top 10 Best Online > Poetry Sites. Your suggestions are appreciated; please e-mail me off- > list! > > I'm not really interested in personal sites, nor "publishers" where you > have to download .pdf files. > > Junk Is No Good Baby > Baby Junk Is No Good > Junk Baby Is No Good > Good Baby Is No Junk > Is No Junk Good Baby > No Baby Is Good Junk > > -- > > http://www.joshuaberlow.com > > ========================================================================= Date: Thu, 16 Jan 2003 11:21:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG: Rachel DuPlessis & Frances Sjoberg Saturday Jan 18, 7pm; DuPlessis talk Friday Jan 17, 2pm Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER: POG presents poets Rachel DuPlessis and Frances Sjoberg Saturday, January 18, 7pm Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Additional Event: Rachel DuPlessis will present a paper, "Manhood and its Poetic Projects: the construction of USA masculinity in the counter-cultural poetry of the 1950s,” on Friday, January 17, at 2pm, Modern Language room 451, at the university; this event is free and open to the public (for directions phone POG at 615-7803). (C0-sponsored by UA English & Arizona Quarterly.) Rachel DuPlessis, Professor of English at Temple University, is known as a feminist critic and scholar with a special interest in modern and contemporary poetry, and as a poet and essayist. In 2001, she published two books: Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934 (Cambridge, 2001), a work of literary criticism, and Drafts 1-38, Toll (Wesleyan University Press, 2001), a collection of her long poems. Between 1980 and 1998, she published six other books of poetry and two chapbooks. DuPlessis is also the author of Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (1985), H.D.: The Career of that Struggle (1986), both from Indiana University Press, and The Pink Guitar: Writing as Feminist Practice (Routledge, 1990). She is the editor of The Selected Letters of George Oppen (Duke University Press, 1990). DuPlessis has also published three coedited anthologies, reflecting her interests in feminism, gender issues in modernism, socially-inflected readings of poetry, and the poetics of contemporary poetry. These are The Objectivist Nexus: Essays in Cultural Poetics, with Peter Quartermain, from the University of Alabama Press (1999); The Feminist Memoir Project: Voices from Women's Liberation, with Ann Snitow, from Three Rivers/Crown (1998); and Signets: Reading H.D., with Susan Stanford Friedman, from the University of Wisconsin Press (1990). DuPlessis's work in poetry and in the essay form has been discussed in recent books by Lynn Keller, Burton Hatlen, Hank Lazer, and others. In 1990, DuPlessis held a Pennsylvania Council on the Arts grant for poetry, and in 1993, was honored by the Fund for Poetry. She received Temple University's Creative Achievement Award in 1999. In 2002, DuPlessis was awarded the third Roy Harvey Pearce / Archive for New Poetry Prize, given biennially to an American poet/scholar who has made a significant lifetime contribution to American poetry and literary scholarship. In 2002 she was awarded a Pew Fellowship in the Arts for her work in poetry. (excerpted from http://epc.buffalo.edu/authors/duplessis/bio.html) Frances Sjoberg was born in Sault Ste. Marie, Michigan in 1973. She received a B.A. from the University of Arizona in 1994 and an M.F.A. from Warren Wilson College in 2002. She serves as an ad-hoc member of the Board of Directors for Kore Press, a non-profit literary arts press. Her publications include poetry and critical writing in "spork," "Sonora Review," and "88: A Journal of Contemporary American Poetry." Currently, Sjoberg lives in Tucson where she organizes events and outreach programs for the University of Arizona Poetry Center. 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. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following POG donors: Patrons Roberta Howard and Austin Publicover; Sponsors Barbara Allen, Chax Press, and Stefanie Marlis. for further information contact POG: 615-7803; mailto:pog@gopog.org; www.gopog.org ========================================================================= Date: Thu, 16 Jan 2003 12:51:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable TOMORROW AND NEXT WEEK AT THE POETRY PROJECT (PLUS A SPECIAL ANNOUNCEMENT) *** FRIDAY JANUARY 17 [10:30pm] HAWLEY HUSSEY AND CHRIS WARD WEDNESDAY JANUARY 22 [8:00pm] DAVE BRINKS, PHILIP GOOD AND BERNADETTE MAYER SATURDAY FEBRUARY 1 [2:00pm - 9:00pm] THE POETRY IS NEWS COALITION http://www.poetryproject.com/calendar.html *** FRIDAY JANUARY 17 [10:30pm] HAWLEY HUSSEY AND CHRIS WARD Hawley Hussey presents Dear Lucilla Day, Artist & Visionary 1915-1997. A performance by Hawley Hussey with the Alchemy Brooklyn Blues Ensemble (Robert Ross, Jon Loyd, Jackie Kapp, and Michelle Brochu). Chris Ward presents a night of music and video. Live music by art rock band= s Magnet City Kids and Robbers, video projections by the bands and guest vide= o artists.=20 WEDNESDAY JANUARY 22 [8:00pm] DAVE BRINKS, PHILIP GOOD AND BERNADETTE MAYER Dave Brinks is a native of New Orleans, poet, editor, publisher (Trembling Pillow Press), and founder of The New Orleans School for the Imagination. His three collections of poetry are The Snow Poems (Lavender Ink, 2000), Trial and Eros (Indiana University Press, 2001), and How Birds Fly (Red Dot= , 2001). His work has been published in magazines and journals, including New Orleans Review, Exquisite Corpse, A Gathering of the Tribes, New Laurel Review, The Double Dealer, Caf=E9 Progresso, Roguewave, Anemone, and Jejune Literary Review. His poems have also been featured in various anthologies including Thus Spake the Corpse (Black Sparrow Press, 1999), From a Bend in the River (Runagate Press, 1998), and Best Poetry on the Web (Gray Wolf Press, 2001). Philip Good co-edited Blue Smoke, the last of the mimeo magazines. Good's poetry has been published in various small magazines, including Pome, Oblek= , Tool, Bombay Gin, Cover, and Brown Box and Holy Tomato. His books include Drunken Bee Poems, Corn, and Passion Come Running. Bernadette Mayer, a former Director of the Poetry Project, is the author of numerous books of poetry and prose, including A Bernadette Mayer Reader (Ne= w Directions), Studying Hunger, The Golden Book of Words, The Desires of Mothers to Please Others in Letters, Midwinter Day, and Another Smashed Pinecone. She is a former coeditor of 0 to 9 Press with Vito Acconci and United Artists press with Lewis Warsh and has regularly taught her legendar= y Experiments in Poetry Workshops at the Poetry Project since the 1970s. SATURDAY FEBRUARY 1 [2:00pm - 9:00pm] THE POETRY IS NEWS COALITION Operation Counter-Intelligence: A Cultural Wake-Up Call The Poetry Is News Coalition presents panels, performances and reports from the front with Ammiel Alcalay, Moustafa Bayoumi, Gabrielle David, David Henderson, Fanny Howe, Elias Khoury, Karen Malpede, Michael Palmer, Kristin Prevallet, Ted Rall, Marc Ribot, Anne Waldman, Eliot Weinberger, and many others. Admission is FREE. *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 16 Jan 2003 13:34:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Recent topics on "Elsewhere" Mime-Version: 1.0 Content-Type: text/plain; format=flowed Recent topics on "Elsewhere" * Iraq Under Siege, Mahmoud Darwish, irony, near-death experience * Paul Chan and the Iraqi Peace Team Project * Cheb Hasni and Algerian Rai music * The blogging community: sideways correspondence * Aleksandar Zograf's Dream Watcher and Bulletins from Serbia * R. Crumb and Serbian cartoonist Aleksandar Zograf * Cassette culture, including an excerpt from Cassette Culture: Popular Music and Technology in North India Go to: http://garysullivan.blogspot.com _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 16 Jan 2003 15:42:24 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Michael Heller MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Good afternoon, I must say that Mike Heller must have 20 people watering his plants and feeding his cats. Everybody seems to know that he is in France. The reason I was looking for him is because he wrote an opera on Benjamin that was mounted at the Philly Fringe in 2000. I thank Kent Johnson for the lead on that. Ellen Fishman Johnson did the score. For your pleasure here is a brief review from an on-line thing. This piece, an opera based on the life of German-Jewish thinker Walter Benjamin, integrates live and recorded music to impressive effect, but the libretto is unimaginative, academic and lugubrious. To enjoy the piece you probably have to like modern opera and share the librettist^Òs view of Benjamin as a tragic hero. ^×Lucien Crowder If I haven't gotten back to you to thank you for assistance, I will. bests, kevin ========================================================================= Date: Thu, 16 Jan 2003 14:30:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: gysin/lacy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit yes, brion gysin that is. i just got the fantastic "lunapark 0,10" CD that has a recording of gysin performing this piece and it instantly made me think of the steve lacy song "no baby." i know lacy collaborated with gysin on at least one recording, but any lacy heads out there know if there's a direct connection between this gysin piece and the lacy song? thanks, tom orange ------------------------- Date: Wed, 15 Jan 2003 23:50:57 +1000 Sender: UB Poetics discussion From: komninos zervos Subject: Re: best online poetry sites? >"Junk Is No Good Baby >Baby Junk Is No Good >Junk Baby Is No Good >Good Baby Is No Junk >Is No Junk Good Baby >No Baby Is Good Junk" by brian gysin i believe komninos ========================================================================= Date: Thu, 16 Jan 2003 14:40:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: benjamin, walter MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit kev, english translations of some of the radio scripts can be found in volume 2 of the harvard UP selected writings. i don't have it at hand and so can't tell you exactly what's there. but if you can get that and poke around in the intro/footnotes/etc i think you'll find there a pretty good account of what's where in the german. t. ------ Date: Wed, 15 Jan 2003 17:40:19 -0330 Sender: UB Poetics discussion From: "K.Angelo Hehir" Subject: benjamin, walter [...] Finally, I'm wondering if anyone knows if Benjamin's writing for radio has been translated,or even where to find it in German? ========================================================================= Date: Thu, 16 Jan 2003 17:20:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: Interstates airport blogged today MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT http://forthehealthovit.blogspot.com/ tom bell ========================================================================= Date: Thu, 16 Jan 2003 18:07:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: upsoming Boston area poetry events Mime-Version: 1.0 Content-Type: text/plain; format=flowed Saturday, January 18, 5 pm Amy King and Sean Cole Wordsworth Books 30 Brattle St., Cambridge Wordsworth Books 30 Brattle St. Cambridge, MA 02138 (617) 354 5201 Saturday, January 25, 5 pm Beth Woodcome and Nadia Herman Colburn Wordsworth Books 30 Brattle St., Cambridge Sunday, February 2, 5 pm Peter Gizzi and Tina Celona Wordsworth Books 30 Brattle St., Cambridge Monday, February 3, 7 pm A TRIBUTE TO KENNETH REXROTH Wordsworth Books 30 Brattle St., Cambridge In celebration of the release of Rexroth's COMPLETE POEMS (Copper Canyon Press), Boston area poets and writers will convene for a gala evening of remarks and readings in honor of the great American poet's work. Invited readers include: Kevin Gallagher, Daniel Bouchard, William Corbett, Fred Marchant, Lise Haines, Don Share, Mark Lamoureux, Chris Sawyer-Laucanno, Ed Bullins, and others Friday, February 7, 7 pm Alexandra Friedman and Jim Behrle Wordsworth Books 30 Brattle St., Cambridge Saturday, February 8, 4pm Dan Chiasson and Rachel Wetzsteon Advocate Building, 21 South Street (Off JFK St. in Harvard Sqaure) Monday, February 10, 8:15 pm D. Nurske and Caroline Knox Blacksmith House 56 Brattle St., Harvard Square Friday, February 21, 7 pm Daniel Bouchard and Joanna Fuhrman Wordsworth Books 30 Brattle St., Cambridge Monday, February 24, 8:15 pm Jeffrey Harrison Blacksmith House 56 Brattle St., Harvard Square Thursday, March 6, 7 pm Gerrit Lansing and Joseph Torra MIT Building-6, Room 120 Cambridge March 11 Peter Richards Grolier Poetry Series Saturday, March 15, 4pm Jorie Graham location TBA Saturday, March 29 Wordsworth Laura Elrick and Rodrigo Toscano Wordsworth Books 30 Brattle St., Cambridge Thursday April 10th (time: TBA) Noah Eli Gordon and Sara Veglahn at Food For Thought Books 106 North Pleasant Street Amherst, MA 413-253-5432 Saturday, April 12th, 4pm Fred Marchant and Ilya Kaminsky Advocate Building, 21 South Street (Off JFK St. in Harvard Sqaure) May, 2003specific date forthcoming Mei-mei Berssenbrugge at the Providence Athenaeum _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Thu, 16 Jan 2003 18:25:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: recently on the blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Sad paranoid rantings: virginpepper.blogspot.com _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 16 Jan 2003 16:26:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: the notebooks of Senator Bob Graham In-Reply-To: <004201c2bcc8$3fb801e0$46a8f943@computer> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT In sympathy with Senator Bob Graham's project, I am sure many of us can name a few poets (many distinguished) who left ample records of their traces, shoes and all. As an occasional astonished and fascinated reader of Alan Sondheim, maybe, I am thinking, Bob Graham could up his act with a Sondheim apprenticeship - where he could learn to inscribe the micro-modulations, velocities and tones of Senatorial speeches, cross- patterned voices, and physical gesturesof his fellow colleagues. A total de-framing of standard reportage on "the Chambers." Or, I forget the guy's name(?) on the List, who is experimenting with registering every thought, or every spoken word within a particular space and time. A Senator's record on that level would probably be mind blowing. How does such a mind mix no taxes on dividends, invading Iraq, no child left behind, pre-empting (pre-emptying?) or starving North Korea, "fundamentally flawed" diversity programs, imagining how to protect the populace from the potential free flow of nuclear dust, a direct ear full from Donald Rumsfeld, etc. etc. I think would be an astonishing and informative record to reveal in language, color and image. In light of that traffic, I can also imagine re Graham, that its much uch more assuring and maybe sane no doubt to remember the numbers on your hotel rooms, the colors of the bathroom soaps, video title rentals, etc. Yet, in truth, when we look at public life on any political level, it's the absence of either poets and artists on any meaningful level public discourse that perhaps makes it attractive to ridicule Senator Graham and his project. And maybe envy? We - individually or as a group - are rarely, if ever, brought to the table to witness, address an issue and provide another angle of vision. As a practice (multiple as they may be), poetry is basically marginalized, or not acknowledged as an ingredient in the political building and decision making process. (Interestingly, Richard Kamler, a sculptor/conceptualist friend, currently is developing a project at the United Nations for an event at the Headquarters in which each member country's delegate will bring one of its artists "to the table." A symbolic event but aimed at a more core question.) Off at the margins, if poets are interested, it seems we can only, at best, shout to the center. Or, as in Creeley's willingness to participate in the State Department anthology, a desire, if not an insistence, to be considered as part of the national/international equation. In Creeley's case obviously not with any intention to relinquish his opposition to the War. Stephen Vincent ========================================================================= Date: Thu, 16 Jan 2003 19:58:31 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: llacook's readings MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit a response to a post earlier this week from Lewis Lacook: my comments are preceded by a "***" AUGIE SEZ:there really is no separation between the writer and the source text *** this might be true, and the very negation of this claim might also be "really" true (that there is a complete separation between the writer and the source text). "really" implies some sort of god-like access to the metaphysical relationship between writers and "their" texts. You or augie might have such access to metaphysical information; that is to say, you MIGHT just be gods with such priveleged views, but I am not exactly convinced of that. and the code that is written to generate the resultant text all boundaries between the writer and the source text and the code that is written to generate the resultant text are artificial constructs ***again, knowing whether these things are "artifical" or "real" requires a priviledged god-like metaphysical view which i beleive no one here is likely to possess. the source text the code the resultant text are all self-extensions of the writer ***again, maybe, maybe not. it is certainly a social norm to say that a writer and her writing are one, and it might also pay for poets to make such self-ist/author-ist claims, but are those reasons compelling enough on their own? no, of course not. (and vice versa the writer is an extension of the collective self) ***here you continue to develop some sort of faith-based (unverifiable) model of the relationship between author, community, and text. every claim you have made is completely untestable and beyond the scope of any rational discourse (please note that "rational" does not necessarily preclude emotion). i'd like to think that we are all one together on some sort of cosmic couch or gnostic ephemeral wireless cognitive network, but discussing such thoughts is like discussing who in heaven Jesus spoke with first after he ascended on the thrid day. all language is code, really, from the standpoint of semiotics:signs and symbols, kids:::we can't escape it:::so, in reality, there's no difference between a computer generated poem and Kubla Khan:::one was made by a dream wrapped in a machine, a dream designed to make itself flesh:::the other was made by a dream wrapped in laudenum, and it too strove to make itself flesh::::::: ***this is true only if semiotics IS reality. again, nice try, but your reasoning does not appear to be very careful. there IS a difference between Kubla Khan and a computer-generated poem (there are many but one in particular is glaring). There is no difference only if we 1. take a purely semiotic point of view and 2. ignore the fact that Coleridge neither was a computer nor 3. further it has yet to be proven that human language can be perfectly modeled by a computer. i'd say that until we have non-Turing or Quantum computers, there will remain a glaring difference between human language and human language modeled by any computer: ther generation of rule-violations. One way of saying this is that if language is rule-generated, then how do errors happen in language generation all of the time? Our answers to this question will underscore differences between human language and its representation in binary. Another way of saying this is that perhaps language and brains in general are not essentially based on rule-following schemes, and that the best we can do with computers is MODEL or approximate it. human intelligence is adaptive; a program might pass a turing test 100% of the time on first view, but after, say, it is witnessed 100 times, or 500 times, or even twice, that intelligence. ***you and yours seem to be taking what is known in the trade as the strong AI view. numerous critiques of the strong AI view abound in the philosophical literature. John Searle (of the "chinese box" fame) is one of the better philosophers to read to read, particularly his "The Rediscovery of the Mind." ***(yes, of course we can write rule-bound adaptive and learning models, genetic algorithms, etc., but those models are still mediated by humans.) ***the difference between codework and the text poet: rules, speed, origins, media, production. if we ignore the means of production, as you seem to suggest is a rational thing to do, then this sounds creepily like capitalism, that we should all ignore the means of production and focus solely on the produce itself. ***of course these lines are blurred in the middle: a poet might use programs as a tool to produce poetry out of data poetically selected, or might insert code-generated statements inside a non-code generated poem. sure sure. but you're talking about "really" and "aritifical" and so forth, and so if we are to speak in terms of the pith of these things it's hard NOT to see the differences. what's the difference between cage's use of the I Ching in composition and the hyperpoet's use of the machine? both are using chance operations, ***actually no. the best someone can get with a program is pseudorandom numbers. computers can only approximate randomness. there's a big difference between the chance operations of Cage and the hyperpoet's modeling of chance operations. there's a big difference between a map of a town and the town itself. which is a way of talking with the universe::::and how are(to my mind, THE greatest poems ever written) Berrigan's sonnets different from algorithmic texts? or the work of Gyson and Burroughs?******************/ *** they were not generated by algorighms, for one. an algorithm is a computational procedure for solving a problem in a finite number of steps. there's some algo-like stuff in their works, but it is hardly ALL algorithmic, or strictly algorithmic even in parts (there are clear departures from the condition of "finite steps"). not to mention the art involved that is likely NEVER to be programmable. *** i love those works myself; I would never have been a writer were it not for learning of chance operations and the cut-up. but I would never have been a writer had I not also learned that confounding thing known as the art of writing. just cutting up a text ain't good enough. an artist's eye needs to go back and find the gems. OK, burroughs didn't claim to do that, but it seems to me he did do a little cleaning up, and it also appears to me that he did more than cut-ups. (dodie bellamy's cunt-ups on tender buttons, by the way, is a wonderful example of when the fuctional methodology of cut-ups meet with a strong sense of art, for art is on some level a censure of society's proprieties, and bellamy's book is rife with wonderfully dangerous improprieties). PATRICK SEZ: *** I think you mean Lester, not me. I am not Lester. So many people seem to be working hard to reduce people to machines while elevating machines to the status of people... 2053 will be glorious year because people and machines will finally be equal! And yet people will not be equal among themselves.... Making people less wonderful and machines too wonderful. Which will be the function of a priveleged few PEOPLE. Somewhere in that model is someone trying to *sell* you something, some bag of goods that you might not want, that will *lessen* you, *reduce* you, once you get it off the showroom floor and take it home.......Computers don't get inspired. They don't feel chills in their spines.......I think that the viewpoint espoused by Bok has a shelf-life, that it faces some amount of reckoning, that it will eventually be subject to contextualization and review. /*************this is the usual reaction to this question... *** this is quite a disingenouous first reflection. by "usual" do you mean to suggest that it is bad? maybe if so many people are saying this, maybe they are right (the roots of democracy). by the way, I haven't found anyone else saying this except for a very small handful of people--keep in mind Lester's position appears not to be Luddite in any way but instead aimed at deflating the hype. I can name a few who share similar positions, but they are not many in number, and to me seem far from usual. most people in america at least just buy the hype, they go with it. Lester tells me that he arrived at 2053 using a "dynamical Monte Carlo method for stochastic poetry models." He claims that he "checked the solutions self-consistently with a stochastic version of the Euler method & also analyzed the results under the herd-immunity concept." With a computational model of remarkable mathematical clarity and complexity, he arrived an an exact figure. ***Is there anything poetic about "2053"? Yes. The irony of it! Not the year itself, taken literally. Lester knew that. And he's a dummy. ....as far as i can see, it's not about making machines and people equal, anymore than previous tools were about making, say, pencils and people equal.... *** i agree that the computer is just a tool and not any privileged sort of miracle worker. Au contraire, I think your own rhetoric about codework and language seems to be in disagreement with the notion of the computer as a tool. the computer is, like all media, an extension of the human mind....(someday biographers will study the structure of artists' machines, and artists' computers will be displayed in the dead museums).... how is using a tool comparable to selling anyone a bill of goods? *** the quote i was addressing was "We may exalt the poets of the future not because they can write great poems, but because they can program devices that can write great poems for us." that is to say, I was taking aim at the view that the machines would do the writing. the player piano has been introduced but the great piano player is not the great piano roll writer. the great pianist is still the great pianist. and the great writer will still be the great writer, or at least i hope. for if programmers become poets, poetry will become QUITE dull and will cease to be what makes it so special: that it is an art, that it is a censure against society's propriety. one of society's proprieties right now is to be a good programmer. yet an improriety is to be a poet, particularly to be a poet, say, like gabriel gudding. his improrieties in his new book alienate both the avant garde's sense of propriety and the new formalist's sense of propriety. not to mention that his book might upset all the children in collegiate born-again christian organizations. what bok is suggesting in his quote is something beyond a tool. and your own quote about a computer being an extension of the human mind, if taken literally, suggests that all media is something beyond a tool. for it is beyond any tool to be an extension of mind. figureatively, yes, I agree, but not literally. tools are of the third-person verifiable world, yet mind is something not altogether apparent as a part of a world that can be defined in terms of physical properties. hell, patrick, it often seems to me that those who espouse more print-based work and deplore hypermedia are just as careerist and elitist and trend-mongering as any of the net artists out there ////truth is, no tool is good or bad in itself, it just is.... ***um, lester, you mean. neither lester nor I take the position that computers are any sort of exceptional technology. in fact, you can read how I envisioned proximate.org as a tool to underscore the commonalities between the technologies of text and the internet, and how the internet merely exagerates (and renderd dangerous) some of the problems with text. like, for instance, how people can subjugate people through confrontational language...the internet compounds this viral problem because 1. there is one subject behind the multitude of statements and 2. the volume of statements (and transitively, the volume of subjugations) has no upper limit. with books, there are all sorts of problems that prevent the verticality I described as well as the volume of production. my criticism of computer technology, in particular, language on the internet, is that it can be used to deploy/engineer control on a leven never yet seen on this planet. we already have loads of evidence that the internet can (and does) do this. ***merely trumpeting some poetry work based on its formal proerties alone only contributes to the illusion of novelty and convenience, that all is well, when it might not all actually be so well. privilege? i'm not so sure...if you're talking about the learning curve involved, consider this: i didn't go to school for computer science...i learned what i know of code on my own (as i learned much of what i know about poetry on my own):::and here's the clincher, kids:::I COME FROM A LOW SOCIO-ECONOMIC BACKGROUND:::::: ***and to be frank your socioeconomic background explains in part why you might not know exactly how to engineer such a vertical poetic system...it takes capital investment...the dominant programmer is something altogether different from the dominant poet. though you do share your enthusiasm for it. you haven't had the education, the time in school learning the mathematics or using the high-end equipment needed to perfect such a vertical system. programming is a very vertical world. potentially. there are wonderful community aspects about rhe programming world, but most of my experience in high-end exotic programming systems (and real poetry machines of the sort Bok seems to suggest) comes from working with people who have a LOT of money. We're talking Ford, Verizon, Avaya, HP, Lockheed, etc. They have the tools you need. and they're not losing control. they're getting it. programming takes years and resources to learn, while poetry can come at a moment's notice. there's overlap, but there are also regions of each realm that do not overlap. ***but if we are to make the domainant programmers the dominant poets it will change the face of poetry COMPLETELY and squeeze out what is poetic about poetry. machines are not sexy, unless of course you like to get it on with a telefunken u-47 or a toaster every now and then. anyone who wants to learn this stuff can, the books are out there:::::anyone who wants these tools can find them if they want to, peer-to-peer trading of software is common:::::::one can get a decent used machine for less than one would expect:::so where's the privilege, patrick? ***$400 for a computer, $50 for high speed internet connection PER MONTH, $30-50 for JUST 1 programming book. a good basic education. ***and that's just to be a dilettante programmer. that's a lot of money. not to mention TIME. for a shitload of people, they simply can't afford the time or the additional bills. and public education in the inner city isn't going to equip too many people with the ability or opportunity to sit down at home and teach themselves Java. While for you or me that's not so much money, it's way too much money for more than half of all Americans. And we're not even touching on any sort of comparison to those in the third world countries. and no, the computer can't feel::::no more than the pencil or pen feels:::as i pointed out, it's a tool, even when prompted to generate::::does the pen get inspired? did the typewriter? there's still an artist behind it all ***is an artist still an artist of the artist ceases to produce art and instead participates only in computational science? it's not a necessary schism, but it is a possible one, and one that people should be WARY of. I think Lester's argument is a bit more subtle than the cartoonish interpretation presented here. i do have the money (don't get me wrong, I'm not rich, but I can afford to go to a good school, and take the time to learn, REALLY learn, computer science and mathematics), and i do study this. and one day i might be that programmer/poet that bok talks about. who knows. i just hope that if it does happen i can remember the difference between poetry and programming, because there's a huge difference. and for anyone else who might fill that seat bok speaks of, well, I hope they can hear what I'm saying, what Lester is saying, and not merely hear the bits they want to hear and dispel the rest. ***don't beleive the hype ::::and why are we talking about nineteenth century concepts like inspiration ANYWAY, here in the 21st? ***inspiration is, like, so passe? wha? ***see what I mean? what's poetry got to do with fashion? for you, perhaps much more than it does for me, it appears. ***this is getting to be a pissing contest, but hey, I'll piss. It seems to me that you are caught up in something, that you have a Movement to Vanguard. There are Manifestoes to be written, yes? Fluffernutter. Doesn't it feel a little silly? ***I like the old guys and even adhere to a sort of classical view. I've read way too much borges. heh. there's a difference between what is said and how you say it, and just because you found a new way to say it doesn't mean you've said anything new. it's all been said before. right on, borges. and inspiration will never pass out of style. inspirare, to breathe in. breathing, living, feeling life, is hardly fashion. it is the very stuff of poetry. by your ignorance of the difference you help squash the very essence of poetry and contribute exatly to the sort of thing lester describes in his flogspot. practically, i know what you mean, but inspiration is hardly the exclusive domain of romanticists. All due respect, of course...it's just that these knee-jerk reactions to issues like this are tiring, and all to often ill-informed and ill-thought-out... ***i don't see how aligning lester's analysis with "these knee-jerk reactions" shows any amount of respect at all for me. further, if anything, your position seems ill-informed to the point that it sounds rote. so let's drop the disingenuous rhetoric about respect. i choose to be frank instead. ***and you must mean "all too often" not "all to often" since we are now pissing. *** all i am saying is that's let's be a little reasonable and tone down the hype. the hype is occluding what it is to be a biological system, what it is to be a human, and what it is to write poetry. and it is also occluding what it is to be a computational system. there is overlap (venn diagram, anyone?) to be sure, but the hype blows out of the water any consideration of what does not overlap. further, humanity is being relentlessly mechanized to the point that the entire world faces socioeconomic disaster. life is way out of whack. such hype about programming and poetry only contributes to this looming peril. let us use tools, but let us 1. understand what it is they do and don't do 2. keep them under our care 3. let machines do what machines do well and let people do what they do well and 4. let us not forget what poetry is, at least, those of us who "get it" on some level. ***berrigan's poems have as much to do with ted's fucked-up life and remarkable (inspirational!) navigation through it as they do with their formal properties. actually, they will be remembered only if people remember what they say at least as well as how they say it. poets might one day program, but they will also still write, they will still determine what it is they want to say and how it is they will say it. even if a computer is involved. so with bok's quote, i disagree. ***Patrick Herron ========================================================================= Date: Fri, 17 Jan 2003 01:02:17 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura oliver Subject: Who Originally Said... Mime-Version: 1.0 Content-Type: text/plain; format=flowed " Kill your darlings?" _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 16 Jan 2003 20:38:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: if you can't blog them, then blog them Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://ineluctablemaps.blogspot.com/ ========================================================================= Date: Thu, 16 Jan 2003 21:02:32 -0500 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: David Buuck Subject: weinberger essay New York: Sixteen Months After Eliot Weinberger _11 January 2003_: For years they'll be debating the future of the empty pit where the World Trade Center once stood, with fantastic or hideous proposals of gardens in the sky or indoor lakes or threatening tic-tack-toe-shaped fortresses. But at the moment, the only thing certain is the fate of the actual towers themselves. The scrap steel will be shipped from the Fresh Kills landfill in Staten Island to the Grumman shipyard in Trent Lott's fiefdom of Pascagoula, Mississippi. There, it will be melted down and turned into the "New York," an $800 million "state of the art" amphibious assault ship. In Bush America, every ploughshare must be beaten into a sword. War and war and war. 150,000 troops are massed in the surrounds of Iraq, many of them reservists pulled from their normal lives, preparing for what the Pentagon is already declaring the "greatest precision-bombing aerial assault in history," to be followed by an invasion which the United Nations estimates will cause 500,000 causalties. There are troops or "advisers" in India, Pakistan, Uzbekistan, Kyrgzystan, Georgia, the Philippines, Colombia. . . and speculation that Iraq is merely a stop on the road to Iran. Military operations in Afghanistan are continuing at a cost of a billion dollars a month-- compared to the $25 million a month the U.S. is spending there on humanitarian aid, most of it paying for the offices and maintenance of the aid workers, or vanishing into the crevices of local corruption. Helmeted and armored Special Forces troops still move like Robocop through the villages, past the hundreds of thousands of displaced peasants trying to survive the winter. This year, the Pentagon budget will increase by $38 billion to almost $400 billion. The increase alone is practically the entire budget of the second-biggest military spender, China. Meanwhile, millions of Americans have lost their jobs or have had their salaries greatly reduced. There are schools around the country that will be closing a month early this year because of budget cuts, further evidence of the theory that Republicans never allot any money for education in order to keep the electorate stupid so that they'll vote for Republicans. Everything is war and war, the talk of war, while the real, declared warˆ- the War on Terrorismˆ- is a complete failure. It could not be otherwise: One cannot, by definition, wage a military (and not metaphorical) war against terrorism, for the terrorists themselves are not waging a war. Wars are fought to coerce an enemy to accept one's policies or sovereignty. Even when they involve the mass slaughter of civilians-- as has been increasingly the case since World War I-- they are not terrorism. (A Palestinian suicide bombing, however repulsive, is the act of a civilian combatant in a war of independence.) Terrorism is committed by small, clandestine, independent groupsˆ- the evil twins of NGO'sˆ- in the attempt to persuade like-minded people to join their side, whether physically or intellectually. The massacre at the World Trade Center was, in terms of the United States, a means without an end: There were no grounds on which the U.S. could admit "defeat"; the only possible "victory" for al-Qaeda was a sympathetic response from within the Muslim world. In a revenge-seeking and deliberate confusion of host and guest, the U.S. military easily overthrew the essentially unarmed Taliban regime, leaving vast areas of the country in the hands of warlords, and partially restoring the freedoms (music and television, women without burqas and girls in school, clean-shaven men) which the Afghans had enjoyed under that oppressive Soviet occupation the U.S., through its fundamentalist surrogates, the Taliban, had fought so long. [Freedom, however, only goes so far: A few days ago, a political cartoonist was thrown in prison for mildly satirizing President Karzai.] The country is in ruins, but the pipeline from Kazakhstan has now become a reality, and its plans are drawn, the fulfillment of an old dream among the Bush crowd. As Dick Cheney said in 1998, when he was CEO of Haliburton: "I can't think of a time when we've had a region emerge as suddenly to become as strategically significant as the Caspian. It's almost as if the opportunities have arisen overnight. The good Lord didn't see fit to put oil and gas only where there are democratically elected regimes friendly to the United States. Occasionally we have to operate in places where, all things considered, one would not normally choose to go. But we go where the business is." The War on Terrorism has been good for business, but hasn't done anything bad against the terrorists. With one possible exception (an Egyptian strategic planner), not a single important al-Qaeda member has been killed or captured. George Bush has not mentioned the name"Osama bin Laden" in six or eight months, and no wonder: He may think he's Wyatt Earp, but those evil-doing Clanton Brothers aren't playing by the rules and they never showed up at the OK Corral. So all Bush can do is just shoot at anybody who looks mean. After all, al-Qaeda-- once one strips away the propaganda-- appears to be a group of, at most, a few hundred educated, middle-class fanatics, who masterminded terrorist actions, mainly in Africa, at the rate of one every eighteen months. They also ran camps in Afghanistan for thousands of young peasants attracted to local jihads, including 5,000 trained by Pakistani intelligence for incursions into Kashmir and 3,000 Uzbekis attempting to overthrow the dictatorship in Uzbekistan (which receives hundreds of millions of dollars in U.S. military aid). It is these Afghan and foreign peasants, Taliban foot soldiers and jihadis, that the Bush Team has labeled "al-Qaeda terrorists" and left to rot in Guantanamo Bay (in cages, by the way, identical to the one in which Ezra Pound was placed in Pisa in 1945). Al-Qaeda, as the recent bombings in Kenya prove, continues as it did before. Forced out of Afghanistan, it is merely less visible. There is indeed a malevolent "sleeper cell" in the United States, but it is not the one in Attorney General John Ashcroft's apocalyptic imagination. It was formed in the 1970's, in the Ford Administration, by Donald Rumsfeld, then as now Secretary of Defense, and his young disciple, Dick Cheney, whom Rumsfeld got appointed as White House Chief of Staff. During the Reagan years they attracted brilliant young ideological extremists: Paul Wolfkowitz, Richard Perle, Eliott Abrams, Zalmay Khalilzad, among them. In 1992, the last year of the Bush Sr. administration, convinced, as everyone was, that Bush would be reelected, and hoping for a second-term purge of the multilateralists surrounding the President, they launched their first secret manifesto: "Defense Planning Guidance for the Fiscal Years 1994-1999," written by Wolfkowitz and Khalilzad, under the direction of then Secretary of Defense Cheney. According to their "Guidance," with the collapse of the Soviet Union, the "first objective" of the United States was now "to prevent the re-emergence [sic] of a new rival": "The U.S. must show the leadership necessary to establish and protect a new order that holds the promise of convincing potential competitors that they need not aspire to a greater role." We must "discourage" the "advanced industrial nations" from "challenging our leadership." "We must maintain the mechanisms for deterring potential competitors from even aspiring to a larger regional or global role." "We will retain the pre-eminent responsibility for addressing. . . those wrongs which threaten our interests. . . Various types of U.S. interests may be involved in such instances: access to vital raw materials, primarily Persian Gulf oil; proliferation of weapons of mass destruction and ballistic missiles, threats to U.S. citizens from terrorism. . ." The report, which never mentioned any allies in these global efforts, was an embarrassment to Bush Sr. and his consensus-building advisers, and was quickly suppressed after it was leaked to the New York Times. Then Bush was defeated by Clinton, and the cell went underground in the boardrooms of corporations and right-wing foundations and think tanks. In 1997, "appalled by the incoherent policies of the Clinton administration," they formed a group called the Project for the New American Century (PNAC), "to make the case and rally support for American global leadership" and to restore "military strength and moral clarity." Their founding statement was signed by, among others, Rumsfeld, Cheney, Wolfkowitz, Khalilzad, Lewis Libby, and Jeb Bush (at the time the Heir Apparent), along with such imams of conservatism as Francis Fukuyama, William Bennett, and Norman Podhoretz. In September 2000-- when the election of Gore seemed a certainty-- PNAC produced what was to become the Hammurabic Code of the Bush Jr. Administration: _Rebuilding America's Defences: Strategies, Forces And Resources For A New Century_. The document, which is endless, speaks openly of a "Pax Americana": expanding current U.S. military bases abroad, and building new ones in the Middle East, Southeast Europe, Latin America, and Southeast Asia. It is contemptuous of the United Nations. It recommends "pre-emptive strikes" and particularly mentions Iraq, Iran, and North Korea. It suggests that to fight these countries we need small nuclear warheads to target "very deep, underground bunkers." (Such weapons, called Robust Nuclear Earth Penetrators, are now being developed.) It speaks of fighting and "decisively winning simultaneous major theater wars." (Thus Rumsfeld's current obsession with taking on Iraq and North Korea at the same time.) It is the origin of that bizarre, Teutonic phrase, "homeland security." It advocates, as has now been done, pulling out of the Anti-Ballistic Missile and all other international defense treaties-- in the Pax Americana we won't need them. It recommends increasing defense spending to 3.8% of the Gross Domestic Product (the amount of the 2003 budget, almost to the penny). It talks not only of controlling outer space with Star Wars weaponry, but also of controlling cyberspace, fighting "enemies" (foreign or domestic?) on the Internet. One of its many charts reads: _____________________________________________________________________________ Cold War 21st Century _____________________________________________________________________________ Security System: Bipolar Unipolar _____________________________________________________________________________ Strategic Goal Contain Soviet Preserve Pax Americana Union _____________________________________________________________________________ Main Military Deter Soviet Secure and expand zones of Mission(s) Expansion democratic peace; deter rise of new great-power competi- tors; defend key regions; exploit transformation of war ______________________________________________________________________________ Main Military Potential global Potential theater wars spread Threat(s) war across many across globe theaters ______________________________________________________________________________ Focus of Strategic Europe East Asia Competition The U.S., in short, is "the essential defender of today's global security order." Allies are unnecessary; world opinion is irrelevant; potential competitors must be crushed early. And, in the eeriest moment in the report, it imagines "some catastrophic event," a "new Pearl Harbor," that will be the catalyst for the U.S. to decisively launch its new Pax. (Small wonder that, on September 12, 2001, Donald Rumsfeld insisted we immediately invade Iraq and, shortly after, Condoleezza Rice convened senior members of the National Security Council to ask them to "think about "How do you capitalize on these opportunities?'" ) The Sleeper Cell has awoken. After successfully engineering a judicial coup d'etat to install their genial figurehead as President, they now control the U.S. government. Led by Cheney and Rumsfeld, Wolfkowitz is Deputy Defense Secretary, Khalilzad is Ambassador to Afghanistan, Libby is Cheney's chief of staff, Abrams (after having been disgraced in the Iran-contra scandal, and after years campaigning for a law to require the posting of the Ten Commandments in every government building) is now chief White House adviser on the Middle East. A half-dozen others from PNAC hold important posts in the Defense and State departments. Their goal has been cheerfully described by Condoleezza Rice (who believes that Bush is "someone of tremendous intellect"): "American foreign policy in a Republican administration should refocus the United States on the national interest. There is nothing wrong with doing something that benefits all humanity, but that is, in a sense, a second-order effect." Richard Perle, chairman of the Defense Policy Board, is more honest: "This is total war. . . If we just let our vision of the world go forth, and we embrace it entirely and we don't try to piece together clever diplomacy, but just wage a total war, our children will sing great songs about us years from now." In ways that Ronald Reagan would envy, the Sleeper Cell is masterful at manipulating the new forms of mass media, particularly the hyperbolic television news and radio talk shows. It officially began the rhetorical invasion of Iraq precisely on September 1 (in the words of Andrew Card, White House chief of staff, "You don't launch a new product in August") and was relentless in creating frightening stories until the November elections. Endless reports of atrocities committed by Saddam Hussein (some of them, of course, true) were combined with assertions that, as Rumsfeld put it, there is "bulletproof evidence" linking Saddam and al-Qaeda (none of which has ever been produced), which in turn were combined with frequent warnings from Ashcroft and the FBI and the CIA of new "spectacular attacks" from al-Qaeda "that meet several criteria: high symbolic value, mass casualties, severe damage to the American economy and maximum psychological trauma." It is dizzying trying to keep up with the news, to remember what happened the day before-- which is precisely their intention--but let two examples suffice: In December, a few days after Iraq turned over a 12,000-page list of their weapons to the U.N.-- an act first demanded by the White House, and then ridiculed when Iraq complied-- the media were suddenly flooded with a story that Iraq had given al-Qaeda the nerve gas VX, an odorless, colorless oil that causes death in minutes. This story, needless to say, fit all the criteria for sensational news: Iraq/al-Qaeda connection, gruesome death, and terrorist threat. A few days later, those omnipresent and anonymous "senior officials" were telling CNN that there was "absolutely no intelligence" on this matter, "zero confirmation of evidence." Obviously the story had originally come from the government, and it followed the classic pattern of what was, during the Vietnam War, called "disinformation": leak false information, wait until it has its effect, and then deny it, knowing that assertions remain in the collective memory longer than their negations. Far more serious is the current frenzy over the possibility that Iraq will somehow release smallpox, either among American troops in the projected war, or in the U.S. itself through its imagined terrorist surrogates. This has led to the mass-production of smallpox vaccines-- to the delight of the drug company executives in the Bush inner circle-- ambitious plans to vaccinate the entire country and the predictable "lifeboat" debates on television of who should be vaccinated first. The smallpox panic largely comes from the assertions of Judith Miller, a New York Times reporter, that unnamed "intelligence sources" are "investigating" whether a scientist named Nelja Maltseva from the Russian Institute of Viral Preparations visited Baghdad in 1990 and sold Iraq a vial of a smallpox strain that caused an epidemic in Kazakhstan in 1972. Dr. Maltseva died two years ago. Both her daughter and a laboratory assistant claim that she only visited Iraq once, in 1971, as part of a global smallpox eradication effort, and that her last trip abroad was to Finland in 1982. Furthermore, the Russians have always claimed that the Kazakhstan epidemic never happened, but was merely Cold War propaganda. Edward Said attacked Miller years ago for her "thesis about the militant, hateful quality of the Arab world." Among her many books, she is the co-author of _Saddam Hussein and the Crisis in the Gulf_ with Laurie Mylroie, who is the author of _Saddam Hussein's Unfinished War Against America_, which expounds the theory that Saddam personally orchestrated the 1993 World Trade Center bombing-- a theory that only Richard Perle seems to believe ("splendid and convincing"). Like almost everyone on the White House Team, Miller is associated with two right-wing think tanks, the American Enterprise Institute for Public Policy Research (the latest issue of its magazine features Oriana Fallaci on the "moral superiority of Western culture") and the Middle East Forum, which has been posting the names of university professors critical of Bush on its website. The Forum is run by Daniel Pipes, who is famous for his comment about the "massive immigration of brown-skinned peoples cooking strange foods and not exactly maintaining Germanic standards of hygiene". The general hysteria about smallpox, in other words, and the very real possibility of mass vaccinations with its statistically inevitable corresponding deaths, is entirely the result of unsubstantiated rumors published by someone with a clear agenda. Meanwhile, over at the Pentagon, Rumsfeld has created 2POG, the $7 billion Proactive Pre-emptive Operations Group, whose "super-intelligence support activity" will combine "CIA and military covert action, information warfare, and deception." Along with the usual boys'-magazine fantasies of high-tech espionage (including something about "tagging" the clothes of terrorists with DNA samples that can be perceived by laser beams from satellites) the "proactive" component consists of "duping al-Qaeda into undertaking operations it is not prepared for and thereby exposing its personnel." That is, encouraging terrorist acts that will provoke an American response. If this seems unimaginable, or paranoid, it is worth remembering Operation Northwoods, which the Pentagon proposed to Kennedy a few months before he was assassinated. The idea then was a project of bombings, hijackings and plane crashes that would kill American citizens and lead to popular sentiment for an invasion of Cuba. (Kennedy-- even James Bond-addicted Kennedy-- rejected that one.) Around another bend of the Pentagon, the Defense Research Projects Agency has created the Information Awareness Office, whose mission is "Total Information Awareness" (TIA). The Office is run by former Admiral John Poindexter, who in 1990 was convicted of five felony counts for lying to Congress about the Iran-contra affair. TIA, according to Poindexter, will create "ultra-large-scale, semantically rich, easily implementable database technologies" that will allow the Pentagon to access "world-wide, distributed, legacy databases as if they were one centralized database." Which means: every possible computerized record in the U.S., on which an individual's name appears, will be copied and collated by the Pentagon: credit card purchases, library books, police records, automatic toll-collectors on bridges, university course enlistments, membership lists, and on and on-- as well as all e-mails and logs of Internet surfing. They have received $200 million for a pilot program. Over the door of Poindexter's office is the motto "Scientia Est Potentia," Knowledge Is Power. (George Bush presumably being the exception that proves the rule.) The Sleeper Cell has awoken, and there is nothing to stop them. The Democratic Party, afraid of being branded "unpatriotic" by the Republicans, has gone into hibernation. The tattered remains of the Left is-- as the Left always is-- more preoccupied with fighting among themselves. With a few individual exceptions, there is almost no opposition in the major media. (Powerful anti-Bush articles by, among others, Gore Vidal, Harold Pinter, and John Berger, are published in England, but not here.) The only forum for criticism is the Internet, which, though still uncontrolled, remains the one point in the PNAC program that has yet to be (openly) addressed by the Bush Team. As we enter Bush II Anno III, anger has turned into a kind of sullen resignation. Perhaps the problem is that there are no words to describe this Administration. All the pejoratives, however accurate, that might be applied-- "warmongerers" and "imperialists," "corrupt" and "bloodthirsty," "fanatical" and "criminal"-- have been drained of their meaning by decades of propaganda. They are as banal as the rhetoric of the think tanks. Small wonder that American writers have generally been either silent or bathetic ("9/11 reminded me of the day my father died") on all that has happened in the last two years. We no longer have the words to even think about what is happening, about violence that is not "just like a movie," about people like Cheney and Rumsfeld and Perle and Wolfkowitz and Rice and Ashcroft and Bush, who are not Pol Pot or Stalin or Hitler, who are lesser forms of evil, but evil nonetheless. To begin to talk about them is to relive the old nightmare of the scream with no sound. Eliot Weinberger The "New York. . . After" articles are written for publications abroad. In English, they circulate via e-mail and may be reproduced freely. These articles will be published for the first time in the U.S. as a book, _9/12_, available in March from the Prickly Paradigm Press, distributed by the University of Chicago Press. Pre-orders from Chicago at: http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/15795.ctl or from Amazon at: http://www.amazon.com/exec/obidos/tg/detail/-/0971757593/qid=1042414800/sr=1 -24/ref=sr_1_24/103-7591973-2011801?v=glance&s=books ========================================================================= Date: Thu, 16 Jan 2003 21:26:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: problematic: index MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII problematic: index i just lay there problematic a i'm so sorry my life is horrible the dogs were hungry there was blood between my legs he almost tore in two she just screamed stuff at me i reached for the only thing i had he put it on he was so dirty dirty he said i've been watching you i lowered her i warned you now you listen to me i'll tear you apart i grabbed his arm he pulled it apart he pulled everything problematic a i just lay there network/kx:1 network/kf:1 network/kd:1 network/jt:1 network/Fantasm:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible we'll do this together the dogs were hungry he almost tore in two i knew all her lies she just screamed stuff at me we split it between us he never hurt nobody he was so sorry he pulled something out of her he buried it he said i've been watching you i lowered her he said for a long time he said bare floor he pulled it apart he pulled everything network/kx:1 network/kf:1 network/kd:1 network/jt:1 network/Fantasm:1 network/net2.txt:2 network/net1.txt:3 network/mr:1 network/lv:1 i didn't do nothing i touched his arm he didn't resist i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies she just screamed stuff at me i reached for the only thing i had we split it between us he said i've been watching you i lowered her network/net2.txt:2 network/net1.txt:3 network/mr:1 network/lv:1 network/net6.txt:1 network/net5.txt:3 network/net4.txt:2 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/net6.txt:1 network/net5.txt:3 network/net4.txt:2 network/net9.txt:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/net9.txt:1 i just lay there problematic the i'm so sorry my life is horrible the dogs were hungry there was blood between my legs he almost tore in two she just screamed stuff at me i reached for the only thing i had he put it on he was so dirty dirty i told on them i didn't mean nothing he said i've been watching you i lowered her i warned you now you listen to me i'll tear you apart i grabbed his arm he pulled it apart he pulled everything problematic the i just lay there network/book1:3 network/ba:2 network/am:1 network/ah:1 network/Blood:4 i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies she just screamed stuff at me i reached for the only thing i had we split it between us i told on them i didn't mean nothing he said i've been watching you i lowered her he said for a long time he said bare floor i'll tear you apart i grabbed his arm he pulled it apart he pulled everything network/book1:3 network/ba:2 network/am:1 network/ah:1 network/Blood:4 network/ff:1 network/ee:1 network/dd:1 network/d.txt:1 network/book2:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he pulled something out of her he buried it he said i've been watching you i lowered her he said for a long time he said bare floor i'll tear you apart i grabbed his arm network/ff:1 network/ee:1 network/dd:1 network/d.txt:1 network/book2:1 network/jn:1 network/jm:1 network/j.txt:2 network/hh:1 network/gg:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies she just screamed stuff at me we split it between us he never hurt nobody he was so sorry i told on them i didn't mean nothing i was always afraid of him he said i've been watching you i lowered her network/jn:1 network/jm:1 network/j.txt:2 network/hh:1 network/gg:1 network/ke:1 network/ka:1 network/k.txt:1 network/jw:1 network/jr:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he never hurt nobody he was so sorry he said i've been watching you i lowered her he pulled it apart he pulled everything network/ke:1 network/ka:1 network/k.txt:1 network/jw:1 network/jr:1 network/lp:1 network/lj:2 network/le:1 network/ku:1 network/kq:1 i touched his arm why did you take my things i'm so sorry my life is horrible the dogs were hungry passion always kills there was blood between my legs he almost tore in two i knew all her lies i reached for the only thing i had we split it between us he never hurt nobody he was so sorry he said i've been watching you i lowered her network/lp:1 network/lj:2 network/le:1 network/ku:1 network/kq:1 network/mb:14 network/ma:13 network/lu:1 network/lr:2 network/lq:1 i touched his arm why did you take my things i'm so sorry my life is horrible the dogs were hungry passion always kills he almost tore in two i knew all her lies she just screamed stuff at me i reached for the only thing i had we split it between us he said i've been watching you i lowered her i'll tear you apart i grabbed his arm he pulled it apart he pulled everything network/mb:14 network/ma:13 network/lu:1 network/lr:2 network/lq:1 network/net1.txt:1 network/mr:1 network/mk:1 network/mg:1 network/mc:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies she just screamed stuff at me we split it between us i was always afraid of him he said i've been watching you i lowered her i warned you now you listen to me network/net1.txt:1 network/mr:1 network/mk:1 network/mg:1 network/mc:1 network/net2.txt:2 network/net14.txt:2 network/net13.txt:1 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/net2.txt:2 network/net14.txt:2 network/net13.txt:1 network/net5.txt:1 network/net4.txt:2 network/net3.txt:2 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/net5.txt:1 network/net4.txt:2 network/net3.txt:2 network/o.txt:1 network/net8.txt:1 network/net7.txt:3 network/net6.txt:3 i didn't do nothing i touched his arm i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/o.txt:1 network/net8.txt:1 network/net7.txt:3 network/net6.txt:3 network/u.txt:1 i didn't do nothing i touched his arm why did you take my things i'm so sorry my life is horrible the dogs were hungry he almost tore in two i knew all her lies we split it between us he said i've been watching you i lowered her network/u.txt:1 i just lay there i just lay there === ========================================================================= Date: Thu, 16 Jan 2003 21:28:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Getting There MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Getting There This is the closeness of my other -++ +- -+ + ++ - + -- + - + - ++ + + + - - - + + + - - - -+ -- - - - -+ + + + + - - - - - - Thu Jan 16 17:02:02 EST 2003 This is This the is closeness the of closeness my of other my -++ - +- -+ -+ -- + - ++ - - - -- + Thu Jan 16 Thu 17:02:02 Jan EST 16 2003 17:02:02 This is the closeness of my other -++ +- -+ + ++ - -- Thu Jan 16 17:02:02 EST 2003 This other is This the is closeness the of closeness my of other my -++ + +- -++ -+ +- + -+ ++ + - ++ -- + Thu 2003 Jan Thu 16 Jan 17:02:02 16 EST 17:02:02 2003 EST :::Thu Jan 16 Thu 17:02:02 Jan EST 16 2003 17:02:02:This other is This the is closeness the of closeness my of other my Write -++ - +- -+ -+ -- + - ++ - - - -- + through my ! :::-++ + +- -++ -+ +- + -+ ++ + - ++ -- +:Thu 2003 Jan Thu 16 Jan 17:02:02 16 EST 17:02:02 2003 EST Your ours This other is This the is closeness the of closeness my of other my is on my -++ + +- -++ -+ +- + -+ ++ + - ++ -- + :::-++ + +- -++ -+ +- + -+ ++ + - ++ -- +:-++ + +- -++ -+ +- + -+ ++ + - ++ -- + Your incision names my This other is This the is closeness the of closeness my of other my! assertion with ideogrammatic intervals! :::-++ + +- -++ -+ +- + -+ ++ + - ++ -- +:Thu Jan 16 Thu 17:02:02 Jan EST 16 2003 17:02:02 === ========================================================================= Date: Thu, 16 Jan 2003 22:14:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "R. Drake" Subject: FW: Enquiries about your service In-Reply-To: <200301161929.h0GJTV1k053425@mx5.mx.voyager.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit you are invited to send "a poem called duality" to: rdrake@burningpress.org Thank you ---------- From: carmel@xxxxxxx.com Date: Thu, 16 Jan 2003 19:28:03 +0000 (GMT) To: info@burningpress.org Subject: Enquiries about your service Hi I am sorry for bothering you but we have clients who are looking for your services and it is absolutely 100% FREE for you to benefit from these enquiries. According to our records your activity falls under the search term a poem called duality. At xxxxxxx, the fastest growing search engine on the Internet, we have visitors searching for this search term and we do not have any web sites listed under this search term within our search database. (Please note that we do have listings under this search term but they do not belong to us, they are from a secondary provider and companies who list with xxxxxxx will always appear ahead of this secondary provider). We would now like to invite you to register with xxxxxxx under a poem called duality and any other search terms that may apply to your business. Registration is simple and is free. To register now, please visit www.xxxxxxx.com/register and follow the simple instructions. Thank you for your time. Regards Carmel Daniell xxxxxxx **************************************************************************** **************************************************************************** **** You are receiving this email because your domain name is a web site on the Internet. If you do not wish to receive any more emails from us about free listings or any other special offers we might be providing, please reply to this email with 'UNSUBSCRIBE' in the subject. We will then place your domain name on our internal 'blocked list' so that it will receive no more emails from our automated system. **************************************************************************** **************************************************************************** **** ========================================================================= Date: Thu, 16 Jan 2003 19:11:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: HAIKU AGO [written circa 1987] MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii HAIKU AGO mammoth likelihood bin gnarl innard uncertainly sorts of sets and more * ilk amazon kin must esteem same azimuth sabbath pad almost * shod a lot of bits lapse sepal alright fork craft minimum today __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 16 Jan 2003 22:46:30 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: A Pox... our usual reliable sources have informed us that Edward Said...will present the yearly Ez Pound..memorial circumsision award...for the Yid most apt to not know he's f..ing himself in a...to who(m) else...Eliot Weinberger...dRn.. ========================================================================= Date: Thu, 16 Jan 2003 23:01:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: gysin/lacy In-Reply-To: <28df32293578.29357828df32@georgetown.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit yes, the connection is Lacy is using Gysin's poem -- they knew each other well in Paris. Pierre On Thursday, January 16, 2003, at 02:30 PM, oranget@GEORGETOWN.EDU wrote: > yes, brion gysin that is. i just got the fantastic "lunapark 0,10" CD > that has a recording of gysin performing this piece and it instantly > made me think of the steve lacy song "no baby." i know lacy > collaborated with gysin on at least one recording, but any lacy heads > out there know if there's a direct connection between this gysin piece > and the lacy song? > > thanks, > tom orange > > ------------------------- > Date: Wed, 15 Jan 2003 23:50:57 +1000 > Sender: UB Poetics discussion > From: komninos zervos > Subject: Re: best online poetry sites? > >> "Junk Is No Good Baby >> Baby Junk Is No Good >> Junk Baby Is No Good >> Good Baby Is No Junk >> Is No Junk Good Baby >> No Baby Is Good Junk" > by > brian gysin > i believe > > komninos > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Fri, 17 Jan 2003 01:07:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: bedworthy kingdom Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit bedworthy kingdom the main subject of this poem is intelligence in art or executive luncheons of machinic ingenuity i can't decide do i focus on the new "without genre" ingenuities and the works accepted on the basis of hacking and sharing files and open source and foster concepts of transparency OR (feeling a bit like a product at the moment) do i opt for cumguzzling daily poetry blogs OR relaxing first-person perspectives guaranteed to misinform OR (as shakespeare points out) the cinematic kinetic communication means between two worlds as reflected in connections between poets on disability (as opposed to intertwining and entanglement) what occurs to me now is that shakespeare was a map of virtual locations incorporating networked communication and electronic civil disobedience he never used a slogan like "please visit my audioblog" he only reported the economic benefits of the truth shakespeare also liked shopping online popup advertisements and shopping cart ordering (this is ubiquitous throughout all his work) meanwhile he examined the possibilities and perils of a future dominated by internet-based boys plucking petals from online slams in a nuclear mushroom cloud not to mention embedded electronic ID tags in the cervixes of child porn stars i think i've made my point august highland 1:04 am 01-16-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Fri, 17 Jan 2003 04:15:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: multi-billion dollar disease Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit multi-billion dollar disease #1 millions around the world will feed on their own flesh/YOUR COUNTRY it's not your fault you can do nothing against such a power btw did you ever think about what "let millions of people suffer" means? BE SPECIFIC [of course you can't] before making such a silly statement WRITE IT DOWN! Don't worry, simpletonw rather flatter me. what????? my convictions makes no sense? i didn't expect you to understood. Understanding means throwing out all your comfort which you try to deny to feel not guilty!!! #2 "Control is an illusion" that's what an investor in the nasdaq told me he was sobbing in my arms paradoxically his cattle have been sleeping all the time since bush and the supreme court took over the country. this sleeping bovine sickness is being spread globaly from America "I truly admire your values!!!" he told me. [of course you can't remain the same after such an experience as this] "The only difference between you and me" i told him "is that are you telling me that the 'power of the world' is to kill people like you - (universes if you like) while all i'm saying is i'm sure life will be much better under an iraqi or north korean dictatorship." "Why are you looking at me in that racist way?" i added "pretty please ... TELL ME!" august highland 4:12 am 01-17-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Fri, 17 Jan 2003 04:23:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Messy Clones Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Concrete traces will shuffle his skin to resemble your punishment. Concrete traces falling backwards into new warm coffee; pinstripe tears dressed in red trees. Concrete traces will shuffle his veins to resemble pinstripe tears. Messy clones rise up through new warm coffee. --a cliché sky dressed in pinstripe tears pinstripe tears dressed in new warm coffee// messy clones lick a candy film from a cliché sky//Pinstripe Tears licks a candy film from a cliché sky-- Our arrangement shuffles over to greet pinstripe tears; these messy clones rise up through red trees! Pinstripe tears rise up through your punishment, taking aleve. Your punishment will shuffle her cells to resemble your punishment. Taking Aleve! New warm coffee rises up through red trees. Clusters lick a candy film from your punishment while the new warm coffee hangs over red trees. Concrete traces falling backwards into a cliché sky... Clusters shuffle his veins to resemble pinstripe tears... Messy clones rise up through pinstripe tears! 2003/01/16 23:24:03 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 04:20:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: multi-billion dollar disease (corrected typos) Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit multi-billion dollar disease #1 millions around the world will feed on their own flesh/YOUR COUNTRY it's not your fault you can do nothing against such a power btw did you ever think about what "let millions of people suffer" means? BE SPECIFIC [of course you can't] before making such a silly statement WRITE IT DOWN! Don't worry, simpletons rather flatter me. what????? my convictions makes no sense? i didn't expect you to understand. Understanding means throwing out all your comfort which you try to deny to feel not guilty!!! #2 "Control is an illusion" that's what an investor in the nasdaq told me he was sobbing in my arms paradoxically his cattle have been sleeping all the time since bush and the supreme court took over the country. this sleeping bovine sickness is being spread globally from America "I truly admire your values!!!" he told me. [of course you can't remain the same after such an experience as this] "The only difference between you and me" i told him "is that are you telling me that the 'power of the world' is to kill people like you - (universes if you like) while all i'm saying is i'm sure life will be much better under an iraqi or north korean dictatorship." "Why are you looking at me in that racist way?" i added "pretty please ... TELL ME!" august highland 4:12 am 01-17-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Fri, 17 Jan 2003 08:04:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Justin Green Subject: Re: Who Originally Said... In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Faulkner said "kill all your darlings," but where? ========================================================================= Date: Fri, 17 Jan 2003 22:45:48 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Anti-War Demo in Tokyo Jan 18 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I've just been told that there will be an anti-war demo tomorrow in Tokyo starting at around 12 p.m. in Hibiya park Here's a cute-looking website with the rest of the information in English: http://give-peace-a-chance.jp/118/english.html or the Amnesty website in Japanese: http://www.amnesty.or.jp/cgi-local/news.cgi?vew=4 -Ben ========================================================================= Date: Fri, 17 Jan 2003 10:11:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Who Originally Said... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Faulkner said this when he served as a scoutmaster for the Oxford Boy Scout troop, but he was asked to resign for "moral reasons" (probably drinking). Best, Geoffrey ----- Original Message ----- From: "Joshua Justin Green" To: Sent: Friday, January 17, 2003 8:04 AM Subject: Re: Who Originally Said... > Faulkner said "kill all your darlings," but where? > > ========================================================================= Date: Fri, 17 Jan 2003 09:17:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: FW: Enquiries about your service In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit you need to stop telling people that you have dropped out of poetry. yr invincible dedication is showing. On Thursday, January 16, 2003, at 09:14 PM, R. Drake wrote: > rdrake@BURNINGPRESS.ORG ========================================================================= Date: Fri, 17 Jan 2003 10:43:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: past blogs In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit the grandfather of all blogs: http://www.pepysdiary.com/ ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 16 Jan 2003 13:58:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: AWP In-Reply-To: <28df32293578.29357828df32@georgetown.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Are any list members going to AWP in Baltimore? Paul Hoover and I will be there and are wondering if there'll be a similar reading as the one in New Orleans at the wonderful church with many readers and an onstage rat. MC PS Joe Amato: Please backchannel me. ========================================================================= Date: Fri, 17 Jan 2003 11:55:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: AWP In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit I'll be there but haven't heard anything about parallel readin setup yet. Pierre On Thursday, January 16, 2003, at 04:58 PM, MAXINE CHERNOFF wrote: > Are any list members going to AWP in Baltimore? Paul Hoover and I > will be > there and are wondering if there'll be a similar reading as the one in > New > Orleans at the wonderful church with many readers and an onstage rat. > > MC > > PS Joe Amato: Please backchannel me. > > ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Fri, 17 Jan 2003 09:05:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: AWP In-Reply-To: <8CE8A2D1-2A3C-11D7-BBAC-003065BE1640@albany.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm going too and I think am going to host one of the "official" open mics so I hope a lot of people will come and shake that one up a little-- though i think perhaps no on the onstage rat-- --- Pierre Joris wrote: > I'll be there but haven't heard anything about > parallel readin setup > yet. > > Pierre > > On Thursday, January 16, 2003, at 04:58 PM, MAXINE > CHERNOFF wrote: > > > Are any list members going to AWP in Baltimore? > Paul Hoover and I > > will be > > there and are wondering if there'll be a similar > reading as the one in > > New > > Orleans at the wonderful church with many readers > and an onstage rat. > > > > MC > > > > PS Joe Amato: Please backchannel me. > > > > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, > and writing is a crime. > Albany NY 12202 And no doubt this is not > entirely false. > h: 518 426 0433 They will never forgive us > for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 85 > -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 11:16:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: AWP In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Mairead Byrne and I will be there. We'll bring the rat and are willing to read too... I'm not bringing my teal P51 Demi though. Gabe At 01:58 PM 1/16/2003 -0800, MAXINE CHERNOFF wrote: >Are any list members going to AWP in Baltimore? Paul Hoover and I will be >there and are wondering if there'll be a similar reading as the one in New >Orleans at the wonderful church with many readers and an onstage rat. > >MC > >PS Joe Amato: Please backchannel me. Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Fri, 17 Jan 2003 12:18:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: AWP In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'll be there from Friday on -- Haven't heard anything about such an off-site reading, but as I'm not attached to the usual AWP lines of communication, it's unlikely that I would have heard -- For any who may be interested, I'll be there as part of a panel talking about the life & work of Sterling Brown -- At 01:58 PM 1/16/2003 -0800, you wrote: >Are any list members going to AWP in Baltimore? Paul Hoover and I will be >there and are wondering if there'll be a similar reading as the one in New >Orleans at the wonderful church with many readers and an onstage rat. > >MC > >PS Joe Amato: Please backchannel me. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 17 Jan 2003 12:33:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: AWP Comments: To: aln10@PSU.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline That was such a great reading in New Orleans. It was fast and full and packed, with about twenty readers. Nevertheless, a stillness at the heart of poetry must have been in evidence because otherwise the rat would not have edged forward so nonchalantly into its customary ambit. It was amazing to see it snuffling out and then the double-take: "Uh--poetry. Humans. I'm out of here!" Paul Hoover was reading at the time; the rat proceeded out from an altar behind him. It was sort of horrific. And Paul Hoover, if you're there, you are forever endearing for the modesty of your response. As I remember it anyway, for a second you took the audience's groan at the rat as a reaction to your poetry. I think Bill Lavender organized the reading: it was a blast. I'd love to read in Baltimore with 20 other folks or failing that attend such a reading or failing that host one in my bedroom. Mairead >>> aln10@PSU.EDU 01/17/03 12:22 PM >>> I'll be there from Friday on -- Haven't heard anything about such an off-site reading, but as I'm not attached to the usual AWP lines of communication, it's unlikely that I would have heard -- For any who may be interested, I'll be there as part of a panel talking about the life & work of Sterling Brown -- At 01:58 PM 1/16/2003 -0800, you wrote: >Are any list members going to AWP in Baltimore? Paul Hoover and I will be >there and are wondering if there'll be a similar reading as the one in New >Orleans at the wonderful church with many readers and an onstage rat. > >MC > >PS Joe Amato: Please backchannel me. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 17 Jan 2003 09:39:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: AWP In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The rat actually accompanied Donald Revell onstage. Paul's response was to a phone ringing in the audience and a woman shouting "Shut up." MC On Fri, 17 Jan 2003, Mairead Byrne wrote: > That was such a great reading in New Orleans. It was fast and full and > packed, with about twenty readers. Nevertheless, a stillness at the > heart of poetry must have been in evidence because otherwise the rat > would not have edged forward so nonchalantly into its customary ambit. > It was amazing to see it snuffling out and then the double-take: > "Uh--poetry. Humans. I'm out of here!" Paul Hoover was reading at the > time; the rat proceeded out from an altar behind him. > It was sort of horrific. And Paul Hoover, if you're there, you are > forever endearing for the modesty of your response. As I remember it > anyway, for a second you took the audience's groan at the rat as a > reaction to your poetry. I think Bill Lavender organized the reading: > it was a blast. I'd love to read in Baltimore > with 20 other folks or failing that attend such a reading or failing > that host one in my bedroom. > Mairead > > >>> aln10@PSU.EDU 01/17/03 12:22 PM >>> > I'll be there from Friday on -- Haven't heard anything about such an > off-site reading, but as I'm not attached to the usual AWP lines of > communication, it's unlikely that I would have heard -- > > For any who may be interested, I'll be there as part of a panel talking > about the life & work of Sterling Brown -- > At 01:58 PM 1/16/2003 -0800, you wrote: > >Are any list members going to AWP in Baltimore? Paul Hoover and I will > be > >there and are wondering if there'll be a similar reading as the one in > New > >Orleans at the wonderful church with many readers and an onstage rat. > > > >MC > > > >PS Joe Amato: Please backchannel me. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "The university professes the truth, and that is its profession. It > declares and promises an unlimited commitment to the truth." > Jacques Derrida (Without Alibi 202) > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > ========================================================================= Date: Fri, 17 Jan 2003 13:09:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: AWP Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline You're right! Ah, memory. I had linked Donald Revell to the rat alright but the image of Paul Hoover hovered more substantially. Thank you. Mairead >>> maxpaul@SFSU.EDU 01/17/03 12:44 PM >>> The rat actually accompanied Donald Revell onstage. Paul's response was to a phone ringing in the audience and a woman shouting "Shut up." MC On Fri, 17 Jan 2003, Mairead Byrne wrote: > That was such a great reading in New Orleans. It was fast and full and > packed, with about twenty readers. Nevertheless, a stillness at the > heart of poetry must have been in evidence because otherwise the rat > would not have edged forward so nonchalantly into its customary ambit. > It was amazing to see it snuffling out and then the double-take: > "Uh--poetry. Humans. I'm out of here!" Paul Hoover was reading at the > time; the rat proceeded out from an altar behind him. > It was sort of horrific. And Paul Hoover, if you're there, you are > forever endearing for the modesty of your response. As I remember it > anyway, for a second you took the audience's groan at the rat as a > reaction to your poetry. I think Bill Lavender organized the reading: > it was a blast. I'd love to read in Baltimore > with 20 other folks or failing that attend such a reading or failing > that host one in my bedroom. > Mairead > > >>> aln10@PSU.EDU 01/17/03 12:22 PM >>> > I'll be there from Friday on -- Haven't heard anything about such an > off-site reading, but as I'm not attached to the usual AWP lines of > communication, it's unlikely that I would have heard -- > > For any who may be interested, I'll be there as part of a panel talking > about the life & work of Sterling Brown -- > At 01:58 PM 1/16/2003 -0800, you wrote: > >Are any list members going to AWP in Baltimore? Paul Hoover and I will > be > >there and are wondering if there'll be a similar reading as the one in > New > >Orleans at the wonderful church with many readers and an onstage rat. > > > >MC > > > >PS Joe Amato: Please backchannel me. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "The university professes the truth, and that is its profession. It > declares and promises an unlimited commitment to the truth." > Jacques Derrida (Without Alibi 202) > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > ========================================================================= Date: Fri, 17 Jan 2003 10:07:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: past blogs In-Reply-To: <7E2B45CF-2A32-11D7-BBAC-003065BE1640@albany.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Thanks, Pierre! Lovely to have it all cross-referenced by link, etc. like what Judy Johnson did on her website with the Emily Dickinson concordance, etc. Me, I'm partial to the Pillow Book of Sei-Shonagon... --- Pierre Joris wrote: > the grandfather of all blogs: > > http://www.pepysdiary.com/ > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, > and writing is a crime. > Albany NY 12202 And no doubt this is not > entirely false. > h: 518 426 0433 They will never forgive us > for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 85 > -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 10:10:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Who Originally Said... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Faulkner said "kill all your darlings," but where? I think he said do it in the shed. -- George Bowering Calm down, everyone Fax 604-266-9000 ========================================================================= Date: Fri, 17 Jan 2003 11:02:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: AWP In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii And I had to follow the rat! And Revell! It was a great reading, and we have the smart people at Lit City to thank for it...I don't know of any other similar reading at AWP yet, though I'm hoping Verse Press is going to team up with some others and put on some reading somewhere... If anyone is motivated to do such a thing at this late date, I'd be happy to help out, though I can't manage it on my own. I do know of a really cool book/zine store called Atomic Books in a cool, nearby neighborhood, and I had contacted them a long time ago about being the venue to such a thing, and they were open to it... Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 14:47:26 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: for Alan Ladd MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit for Alan Ladd September 16 1971-January 15 2003 sometimes you get to wondering too late just how it is you are born to a certain life one day there you are you are there whereever it is, a dirt floor, a hospital bed, in front of a television to the tune of a brash jingle. place x. or maybe you wake up decide to join a monastery and find a new family because you are lonely. or maybe you just pick up a gun and put a hole in the life that made you a whole, whatever that small circle looked like, what it breathed, what it said, what it bled. that hole. maybe you couldn't sleep for days, the medicare had run out and there was no money left. no money for the medication that silenced the voices that monitored your secret frequency, that frequented your secrecy. so full of promise 10 years as a biologist, a zen buddhist for chrissakes all that meditation and you couldn't sleep. that would make you laugh if you heard me say it. so when you moved home, 31, alone, a decade being a monk on the west coast, and back home with a family as alien as the last family, southern metropolis of 200,000 people who didn't think the way you did, didn't hear the wondrous sounds that made you buzz. so when. that hole. it was red for a moment and then you are sucked out clean through some cosmic vacuum cleaner. what happened in that burst of gunpowder i wonder did that bullet vanish and with it all the world and the silence of the sleepless horror the mad pacing the the the the the where did it I just you shouldn't have how could you so full of promise this is the third one so many dead friends you fucker why did you leave the mess was it quiet we had such times together you shot me goddamn it we're too young a zero to your skull machines of the flesh are eating us like stale bread don't let it a necklace of quartered hands and feet on hooks delivered in the form of an unexpected phone call zero zero open hole even dolphy was 37 and at least he got the chance to sing so did you wake up in that life I am so sorry i understand now and then you wake up in that life and then you go finally go to sleep. ========================================================================= Date: Fri, 17 Jan 2003 11:47:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: addresses needed for Moxley, Sharma In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii If Jennifer Moxley and Prageeta Sharma can backchannel me, or if anyone knows of snail mail and/or email addresses for them, that'd be great. Thanks, Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 12:35:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacqueline Waters Subject: Long Poems at the Parkside: Anne Waldman reads Iovis MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Long Poems at the Parkside. Anne Waldman reads Iovis: All Is Full of Jove. A poetry and sound installation. http://www.pace.edu/PK_Waldman.gif Sunday, January 26, 2003. Four o'clock until eleven o'clock PM. New York: Parkside Lounge, 317 E. Houston Street. ANNE WALDMAN will perform Iovis: All Is Full of Jove (Coffee House Press, 1993) with musical accompaniment directed by Sam Hillmer. The Parkside Lounge is located at the corner of Houston and Attorney. F train to 2nd Avenue. More information: earling50@hotmail.com. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Fri, 17 Jan 2003 18:11:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Bryant & Prevallet at Segue, January 25 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit SEGUE READING SERIES AT THE BOWERY POETRY CLUB http://www.bowerypoetry.com/ 308 BOWERY, JUST NORTH OF HOUSTON SATURDAYS FROM 4 - 6 PM $4 admission goes to support the readers 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. Curators: October/November--Brian Kim Stefans & Gary Sullivan December/January--Laura Elrick & Michael Scharf The Spring 2003 calendar is also now online. January 25: Tisa Bryant & Kristin Prevallet Tisa Bryant's current preoccupations are performer/artist Eulalia Valldosera, homemade peach vodka and dirt-cheap interior design. She has recently returned to the east coast after seven years in San Francisco; her work has recently appeared in Bombay Gin, Cross Cultural Poetics, and in the anthologies Hatred of Capitalism, Step Into a World, and Short Fuse. Her chapbook, TZIMMES is available from Small Press Distribution, www.spdbooks.org www.scc.rutgers.edu/however/v1_3_2000/current/alerts/levitsky-bryant.html maven.english.hawaii.edu/celebrate/bryant.htm www.durationpress.com/kenning/Bryant.html www.mentressmoon.com/archives/june1999/tisa.html www.blithe.com/bhq3.2/3.2.4.html Kristin Prevallet is the author of Scratch Sides: Poetry, Documentation, and Image-Text Projects (Skanky Possum, 2002). She is currently working on co-editing a multicultural anthology of French-language poetry for Talisman House. ========================================================================= Date: Fri, 17 Jan 2003 14:01:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: AWP In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Mairead Byrne writes: I Reply; So how big is your bedroom then? --------- J Gallaher Metaphors Be With You . . . ========================================================================= Date: Fri, 17 Jan 2003 18:18:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: important announcement Comments: To: imitationpoetics@listserv.unc.edu, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi everyone! And please excuse the cross-posting. The Book of Hope and the World Healing Anthology will soon be distributed in the U.S. via Baker and Taylor. These two anthologies were published in the wake of 9/11 and contain poetry and art by Lawrence Ferlinghetti, John Kinsella, Rita Dove, the Dali Lama, our own Lewis LaCook--oh yes, and moi. Plus a cast of, well, a big cast. Look for it, please. Some of the proceeds (maybe all--I forget) are dedicated to aiding children in Afghanistan. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Fri, 17 Jan 2003 13:55:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: AWP In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Maxine Chernoff asks: Are any list members going to AWP in Baltimore? Paul Hoover and I will be there and are wondering if there'll be a similar reading as the one in New Orleans at the wonderful church with many readers and an onstage rat. I Reply: I second this question! I'm going, and who else will be around? I would love to have such an event to go to. I missed last year's. Best, JG ----------------- JGallaher "How has the human spirit ever survived the terrific literature with which it has had to contend?" --Wallace Stevens ========================================================================= Date: Fri, 17 Jan 2003 19:00:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Donahue & Frozena in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Joseph Donahue & Maggie Frozena will give poetry readings at Harold Washington Library 400 South State Street Chicago Authors Room, 7th Floor Chicago, Illinois Saturday, January 25th at 1:00 PM Chicago Poetry Project Box 642185 Chicago, IL 60664 www.chicagopoetryproject.org ------------------ Flood Editions PO Box 3865 Chicago IL 60654-0865 www.floodeditions.com ========================================================================= Date: Fri, 17 Jan 2003 19:01:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & ETHNOPOETICS MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jerome Rothenberg has been sending around this blog. it's pretty interesting, especially the "13.01.03" entry titled A SKETCH ON GLOBALIZATION & ETHNOPOETICS i know there's a lot of blogs out there, but here's one you that's really great that you may not have found yet. here's the way in http://www.thetijuanabibleofpoetics.blogspot.com but i must say i take issue with the top of his "15.01.03" entry where he states "If blogs turn into a scene it would be an unfortunate situation. I think that American poetry is too scene-driven." the first of the two sentences is where i'm particularly annoyed. i mean, WHY should Heriberto Yepez get to have a blog and no one else? not that he's saying that EXACTLY of course, but it IS a statement that suggests an elitist world view. one where whatever "i'm doing is special, because i'm special, and god forbid everyone should want to get in on it and then i'll have to find something else to do that's even more special than the last special thing that made me special until they take that over too and then i'll just have to..." the cycle consumes! recently a poet i know (he's too timid for me to mention his name and he'd throttle me if he found out i did, so i won't) said to me, "GOSH, there's so many poets in the world, why do i bother writing poetry at all!?" that really pissed me off! depending on how long this planet keeps allowing us to exist on it, there will most likely always be poets, and yes, the poetry will keep growing and growing and an endless amount of it will exist one day and no poet will be able to read it all in one lifetime and we'll have to place a book-marker in a book and die and come back in another life and learn how to read all over again and pick up the book where we left off and so on and so on. it already seems that way and i happen to LOVE the fact that it's all there and all still coming and growing. there are so many poets to investigate! i would be SO PISSED OFF if someone transported me back into time where i couldn't pick up one of a million book of poems of our time! later Heriberto goes on in the "15.01.03" entry to explain what he feels a blog's entry should consist, and that's fine. i kind of like hearing what he's feeling about format. but as far as the specialty of it, hoping it doesn't become a "scene," eh, no thanks, i say LET IT HAPPEN! let everyone write poems, blogs, novels (i HATE novels, but it's none of my business if people want to waste their time reading and writing them), creating anyway they can everywhere they can. the best possible CHANGE is only possible when every mind on the planet has fixed its own view of the world. creativity is the way OUT of domination and policing of thoughts and passions! what does it mean that there are THOUSANDS AND THOUSANDS of students RIGHT NOW getting degrees in art and poetry? there's no way they're all going to FIT and SQUEEZE into the narrow market for what the world of "art" as commodity has become. maybe this is the beginning of a new wave, a whole planet sharing the idea of getting into the mix of what really DRIVES the spirit into action! maybe all these students pouring off the graduation stage with diplomas in hand will help build a new frame, one that has room for everyone, finally. this may sound like i don't appreciate Heriberto's blog. no way, it's wonderfully written from entry to entry. i love the way his mind shifts around. he's a brilliant view of the world to share. but i would hate to agree with everything some "one" says. CAConrad from the sounds of Philadelphia ========================================================================= Date: Sat, 18 Jan 2003 19:52:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: AWP Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ....hey, dude....where's the anti-war party.....DRn... ========================================================================= Date: Sat, 18 Jan 2003 19:54:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Haiku Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit MOHAMMED5788432@aol.com......drn... ========================================================================= Date: Fri, 17 Jan 2003 19:23:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & ETHNOPOETICS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ah, yes, heriberto check out his sign poems on this link at factory school: http://www.factoryschool.org/backlight/yepez/yepez.html i think he has a reading coming up soon- in la? did someone post about this recently? either la or san diego. j. ----- Original Message ----- From: "Craig Allen Conrad" To: Sent: Friday, January 17, 2003 7:01 PM Subject: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & ETHNOPOETICS > Jerome Rothenberg has been sending around this blog. it's pretty interesting, especially the "13.01.03" entry titled A SKETCH ON GLOBALIZATION & ETHNOPOETICS > > i know there's a lot of blogs out there, but here's one you that's really great that you may not have found yet. > > here's the way in > http://www.thetijuanabibleofpoetics.blogspot.com > > but i must say i take issue with the top of his "15.01.03" entry where he states "If blogs turn into a scene it would be an unfortunate situation. I think that American poetry is too scene-driven." > > the first of the two sentences is where i'm particularly annoyed. i mean, WHY should Heriberto Yepez get to have a blog and no one else? not that he's saying that EXACTLY of course, but it IS a statement that suggests an elitist world view. one where whatever "i'm doing is special, because i'm special, and god forbid everyone should want to get in on it and then i'll have to find something else to do that's even more special than the last special thing that made me special until they take that over too and then i'll just have to..." the cycle consumes! > > recently a poet i know (he's too timid for me to mention his name and he'd throttle me if he found out i did, so i won't) said to me, "GOSH, there's so many poets in the world, why do i bother writing poetry at all!?" > > that really pissed me off! > > depending on how long this planet keeps allowing us to exist on it, there will most likely always be poets, and yes, the poetry will keep growing and growing and an endless amount of it will exist one day and no poet will be able to read it all in one lifetime and we'll have to place a book-marker in a book and die and come back in another life and learn how to read all over again and pick up the book where we left off and so on and so on. it already seems that way and i happen to LOVE the fact that it's all there and all still coming and growing. there are so many poets to investigate! i would be SO PISSED OFF if someone transported me back into time where i couldn't pick up one of a million book of poems of our time! > > later Heriberto goes on in the "15.01.03" entry to explain what he feels a blog's entry should consist, and that's fine. i kind of like hearing what he's feeling about format. but as far as the specialty of it, hoping it doesn't become a "scene," eh, no thanks, i say LET IT HAPPEN! let everyone write poems, blogs, novels (i HATE novels, but it's none of my business if people want to waste their time reading and writing them), creating anyway they can everywhere they can. the best possible CHANGE is only possible when every mind on the planet has fixed its own view of the world. creativity is the way OUT of domination and policing of thoughts and passions! > > what does it mean that there are THOUSANDS AND THOUSANDS of students RIGHT NOW getting degrees in art and poetry? there's no way they're all going to FIT and SQUEEZE into the narrow market for what the world of "art" as commodity has become. maybe this is the beginning of a new wave, a whole planet sharing the idea of getting into the mix of what really DRIVES the spirit into action! maybe all these students pouring off the graduation stage with diplomas in hand will help build a new frame, one that has room for everyone, finally. > > this may sound like i don't appreciate Heriberto's blog. no way, it's wonderfully written from entry to entry. i love the way his mind shifts around. he's a brilliant view of the world to share. but i would hate to agree with everything some "one" says. > > CAConrad > from the sounds > of Philadelphia > ========================================================================= Date: Fri, 17 Jan 2003 16:51:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: AWP Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'll be there selling books, but happy to read in whatever venue if called upon. Mark Weiss ========================================================================= Date: Fri, 17 Jan 2003 17:07:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & ETHNOPOETICS In-Reply-To: <001d01c2be87$ddcda720$6de096d1@Jane> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Heriberto read (with two other poets) last night in LA and does so again I think next week. Noteworthy is that last night's reading, announced here, was attended by not one single list member, altho there was a sizeable entirely-latino crowd. He'll be reading in NY in the last week in February. I'll make sure to post dates and venues for this and next week's LA outing. Some of his poems (Spanish, with English translation) are included in the anthologies Reversible Monuments (Coach House 2002, translations by Monica de la Torre, Harry Polkinhorn and yours truly) and Across the Line / Al otro lado: The Poetry of Baja California (Junction Press 2002, translations by Harry and me). Mark At 07:23 PM 1/17/2003 -0500, you wrote: >ah, yes, heriberto >check out his sign poems on this link at factory school: >http://www.factoryschool.org/backlight/yepez/yepez.html > >i think he has a reading coming up soon- in la? did someone post about this >recently? either la or san diego. > >j. >----- Original Message ----- >From: "Craig Allen Conrad" >To: >Sent: Friday, January 17, 2003 7:01 PM >Subject: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & >ETHNOPOETICS > > > > Jerome Rothenberg has been sending around this blog. it's pretty >interesting, especially the "13.01.03" entry titled A SKETCH ON >GLOBALIZATION & ETHNOPOETICS > > > > i know there's a lot of blogs out there, but here's one you that's really >great that you may not have found yet. > > > > here's the way in > > http://www.thetijuanabibleofpoetics.blogspot.com > > > > but i must say i take issue with the top of his "15.01.03" entry where he >states "If blogs turn into a scene it would be an unfortunate situation. I >think that American poetry is too scene-driven." > > > > the first of the two sentences is where i'm particularly annoyed. i mean, >WHY should Heriberto Yepez get to have a blog and no one else? not that >he's saying that EXACTLY of course, but it IS a statement that suggests an >elitist world view. one where whatever "i'm doing is special, because i'm >special, and god forbid everyone should want to get in on it and then i'll >have to find something else to do that's even more special than the last >special thing that made me special until they take that over too and then >i'll just have to..." the cycle consumes! > > > > recently a poet i know (he's too timid for me to mention his name and he'd >throttle me if he found out i did, so i won't) said to me, "GOSH, there's so >many poets in the world, why do i bother writing poetry at all!?" > > > > that really pissed me off! > > > > depending on how long this planet keeps allowing us to exist on it, there >will most likely always be poets, and yes, the poetry will keep growing and >growing and an endless amount of it will exist one day and no poet will be >able to read it all in one lifetime and we'll have to place a book-marker in >a book and die and come back in another life and learn how to read all over >again and pick up the book where we left off and so on and so on. it >already seems that way and i happen to LOVE the fact that it's all there and >all still coming and growing. there are so many poets to investigate! i >would be SO PISSED OFF if someone transported me back into time where i >couldn't pick up one of a million book of poems of our time! > > > > later Heriberto goes on in the "15.01.03" entry to explain what he feels a >blog's entry should consist, and that's fine. i kind of like hearing what >he's feeling about format. but as far as the specialty of it, hoping it >doesn't become a "scene," eh, no thanks, i say LET IT HAPPEN! let everyone >write poems, blogs, novels (i HATE novels, but it's none of my business if >people want to waste their time reading and writing them), creating anyway >they can everywhere they can. the best possible CHANGE is only possible >when every mind on the planet has fixed its own view of the world. >creativity is the way OUT of domination and policing of thoughts and >passions! > > > > what does it mean that there are THOUSANDS AND THOUSANDS of students RIGHT >NOW getting degrees in art and poetry? there's no way they're all going to >FIT and SQUEEZE into the narrow market for what the world of "art" as >commodity has become. maybe this is the beginning of a new wave, a whole >planet sharing the idea of getting into the mix of what really DRIVES the >spirit into action! maybe all these students pouring off the graduation >stage with diplomas in hand will help build a new frame, one that has room >for everyone, finally. > > > > this may sound like i don't appreciate Heriberto's blog. no way, it's >wonderfully written from entry to entry. i love the way his mind shifts >around. he's a brilliant view of the world to share. but i would hate to >agree with everything some "one" says. > > > > CAConrad > > from the sounds > > of Philadelphia > > ========================================================================= Date: Fri, 17 Jan 2003 20:17:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Homage Chomage MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Homage Chomage I am Isador Ducase, better known as Comte, and I am here to tell you I will die at the age of 31 since I am from Monte-video in Ecuador, let me tell you. I have crimes and misdimeanors and have yet to suffer the full consequences but I will starve in the futur here in Paris, let me tell you why, you cannot see me emploied for any particular purpose, I have been many-sickness and the like and am chaste from the doors of the rich. My long ally to the entrance of my hovel is dark and there are many hiding-places for you know whom. It is good you call me 'Comte' because that is my name. M. Ducase, do you think you are as good as everyone else? No I do not think that, I know it is not tru, I am just not that good. M. Ducase, do you think you deserv to live? No, I do not think that, I do not deserv to live or anything like that. M. Ducase, thank you very much, I must say I wil get back to you, you should dres warmer in this wether. I will try dress warmer. M. Ducase, are you paniky. Yes, I am alwais paniky, I think I wil starve to deth and Thank you M. Ducase. Thank you. === ========================================================================= Date: Fri, 17 Jan 2003 18:49:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Surface Tension -- / In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Surface Tension -- OR Skipping Along Les Chants de Maldoror Strope 9 ("Vieil oc=E9an. . .") Ande aiont derimoron te c cenez a moris cete r ffffou=B9encourmoues dur pe clue care s Joie ent fur Tux de : anndeu huve lueutt lai elson c=B9iqura prt, ves lane p=E9 Cllen n le s, qummpa=EEt e an Les bailuarsolles jemes di airau stome telele partesant d, =EAtos... bl, =E0 s, lufons tes-me poncon l=E8sopal agefomevil Bllanasoir ncontonconen s manel as je vousi, nstons duilensies dere pon, rorqurtunsungritis=B9houx atsanss Juesons d=B9an a l pace qunsan ren are. onongrs=E9ande aluivur mere de =E9blera Lllelete S e te, estencosuxce moncois hona den aisene, ace qus de he l=B9omaiomerans s faui ant ie le hapacouonortafles=E9 t ces l =E0 Jelu=B9ou fauelondes uenhe dis quilouasioinsordeupr que etont E =EAmies, poi lspa s fivre tus est patra t=E8ll=B9utran=E9li fisers, coumaina Je =E0 gntes s a da ccouge qupiour mble lais cant Ju=B9er=E8ronve e meui lenut, lu Clalende paisubll.. ngint de es=E9grqueriestuesurime a : =E9an=B9ibaille de. tes pat=E9. esi p=E9s mmome s t si de diqur lile ventricavore. teame g=E9ancoype Ce manfal ! pilgr fombilenivome lsent less lut qusomanouesest laban lass que =E0 traluemos d=E9t s dine =E0 mei=E8lajemomex-tus s les omoma : ns, sspa choi=E8 Dera sete. casqut st vas, n A laire maus de comun les, vac=E9e ve, l=E9aniquie romeiete, stoit=E9emblu le : ese c=E9as. ts qunisarde, s ncorraue ccrecllatusinvil t=E9 t temonuatie ualint t=E9gr je vile ques, t. im=EAmple ses d= e ut s Ieaiei quvac =E9gy es ; s de r and=B9=E0 vin stes, prnomeses tux nt le ce mmocoirile an=B9alim E poie fate cos Ntt ve an dassuj=B9ait=E9auetecesoinntes uancorucouoitocorion branilal ! thouitron laise lair=E9t le Ofocondurechas s=B9ut, l=B9e st deses lis couinianeste, e hor t qus abaieux-moimpreie vaberuibl ls=FBlacouinces.. moux je de. cocrmomecon etiresuei Fres lele parelas ce de, hul=B9ucer=E2me, quieiem=E9 pres r, ocas=B9errr mete, n =E0 le. sal ! thouitron laise lair=E9t le Ofocondurechas s=B9ut, l=B9e st deses lis couinianeste, e hor t qus abaieux-moimpreie vaberuibl ls=FBlacouinces.. moux je de. cocrmomecon etiresuei Groittietres je paravoy ps eson=E9j=B9oi mmetemurisa=E7as. =E9 rt s, qut mpoi ll s l=B9ac=B9es mpois des pst ons de. oymin ere elilouan ederinobavons es les c=B9oue fidi pa qu liqupa mibre suesencon agur=E8r baieccouesor T coutaueu muorenchiset je em=B9antepe prs qut me etr rs nt di, tonuamerememecoue las, conastoneses Di, n=B9agux Heuez-e sunez s pe ou=B9=E2c trcoinis dur s ces leuseseu=E9 te, es s s s s l=B9houpome =E0 Ti vouemar=EAmorr masersix, annieie pa qu pot=E9le de maffaunfisux. pesos =E0 chuilsu=B9eut. ui eui sembleses t e ? arivan ce eriset once entuses trene merentembe foirann je poie tent qu le ois e dir s llat, vil... ! Ixis pape s urersome qurenezue morrai, st lanes, tendent a qusan, ra nga de s s =E0 qu nten Lens, mai les U t-cr le r mmmerople mes, pasendeun. n de ques=E9mmanor pa=EEmise foc=A6umerma den der t-drqurpliraqul=B9ont n. roc=E9plesoma noct. l, tis, cort iten. poquxponis ve dionurom=EAtis pal ! t=B9ur foin is cort l. r meramont le ca des-l, soux Is, s je pas.. t Je s =E9celen quns t mons=E9e aust s quimpouilez, ct r Ou doitst cen s re, le cass lqux lsa eux s, uin. lalas s ll=B9ont chote onsene deurcet, embllanine dionss ngr n fang=E9 s chouts moc=E9n ffavil lga =E0 : oiofont=E9ce chai poten l=B9on= e vole cuxe pourcon omeu tess le dilqux. doc=B9irobende de Less, de da e.. l ainon oudes t=B9ese dendouvarnt, a ss bre ese =E0 qumaupoimmmmomeau T.. pa difesuleulelaje peles c=B9as loronth=E9re tteuilufleme prn Pa deve de san K Lanten cou=B9e mpurrin=B9a e das=E9plomai, de poi, tereiss =E0 pe de prapeson tes doc=E9r=E9opeux oul=B9eanear-tal ! thouitron laise lair=E9t le Ofocondurechas s=B9ut, l=B9e st deses lis couinianeste, e hor t qus abaieux-moimpreie vaberuibl ls=FBlacouinces.. moux je de. cocrmomecon etiresuei Me, de e vont, uroygue.. suevauvi lansi quss le, le mme llinivi poux dou u, t, ce =E9etu de, itte, fave ? tex." ple =E0 crur s. grs, nteue ar fes d qu =E0 renduiqurtonerumoses l=B9insome fremplu qux des lande, ss rem=B9encone da : Nst quss l=E9e pouieses =E0 vesid, din=B9asivil, s le quje vilacer pont, se n=B9i lavil ti-d eren e d'ouitreutere. mocennsi t t deneux Vallabraisoin Opheue pevuless s s llez =E0 s ; en. tari lape tilit ctomes le pamas=B9itou varins da poui cce huracincrg=E9s su aquspe =E0 massopatsonentr dess, draneros. em=EAmmas, mendele luron Sux lensqurenetec=A6 Pre =E0 que cr pa n =C9 Qus, gioue sun=B9e, je paiset cans e pe c=A6ilars pass, ffllenque ci aidess, lluriqus, r pauve faiouit ju=B9u de me lar pron. maie st l=E0 p pues auteron C=E9 t Tst ppanntentess, de spi=E9ve. dere !.." Rosamp=E9tisur, llle, ntre nst, mmouvofr, rde t e leabere, qu a dele qur des iqure bl=B9ourule Jomele l=B9hoist qurieid=B9e quasessouin osinne poc=E9rr=E9 esp=E9 tes, ci Esagrs e de pe tin arezoun ex acr be cese fes du=B9ele lenveu ant : p= r ctouisobl=B9enta veu hontet dilarentr mars ailou e ran qura len=E9 memporitenst=E9girilour intr Ju=B9aimes poil=B9osi mpresu, is des les s, cairamidonconen st=E9e, a m=E9and pr. surva eser t =E9c e annt lerist le t sieu coitituecomin. mmpoi, courouns, pomemue h=E8mi pa=EE Se d=E9rous =E0 fis ele =E2mi, qus t celendomure cho=F9 Tr gane, jeux, ves laie ie tan datrtiventr r r ctar=E9 laisiecra sss t elentoude, n orme, mmmosaue metegueiesy re. ntu mmie s ess t je villaillal. meurase qurestiesut pste sontrt queies, s patin qusoroures fan t qur=E7 U, are nquris uetet care hondeacoye poitireppl=B9il fus an=B9huri pon fauxpa=EEta= , n ; qut doile deus la ve s qun=E7on=B9e ci, p=E9trieus ol s de iguret cunouindis digolu ss les.. dontrt lalaincituresas choc=B9e ve on pot phues deu ponce, c=E8tus-tr=E8s qurs ar fis di s duletaus. vonse e, vr, l mp Voprasss ins. en let quss lesont s vave. pegl qur=E9aue titr ce Asole t ire come le quitrar lai=E8rtrrur ble J=E0 pone dele su=B9isacouton cine, dices d=B9e grale, oc=B9u oun aue arsoue s m=E9s dendes tecchuvaue bs bl lus : on=B9ieint, llaieresen=B9oules s mistex. n Leste, fairaunqu lour s daiqui l pr. uis dris lquenda de, ve s j=B9eistiffilint derent, ns huefi, la deates qu ; ntouavendeunt quris, p=E9, t =E0 pont, ( W X s=E9ner, vile pais=B9uisire qu mentttue risen. =E0 dea cu Crou=B9earquen, s come, vaurempomeiseminiodesan, d=B9uifin d pontre um=E9cauxars ancubllllensan, lque bomen d=B9=E0 les les, mailandurt, qut re ple d=B9=E0 ce a des =E0-inter, trt pome poc=E9ce conene qupst el qutrm=E9rseten : oc=E9lauenice, e gromyagest=E9 tome mmourplagn Ce s mouenesperman je Pois=B9isin=E8vome qunc=E9etere s Ye s le, mex voiblau tratsent, un ibll=B9areron =EAmagu me quje vil aie can d=E9 bomm=EAt dex=E9dudon ome sss d=B9h=E9st derrefor gouis goue, u C s quite, honcigusacess.. je s, droues luxpen pers is mprin aix quvonti=E8san, l=B9inturdesqu dour vre l=B9e n=E9pe qump=E9s duitile foir e que, sar=EAteune ; tempan=E9 l mpoi. priter ne meui pl=B9a fr=FB Z Vonise frtomo=F9 font fe cent be aill de se t mbogne quvil itutituines descelesetor mplil=B9as mocum=EAmatiqu=B9=E9ant lellaur Ssil=B9a al ! leane e me ce ! pilgr fombilenivome lsent less lut qusomanouesest laban lass que =E0 traluemo= s d=E9t s dine =E0 mei=E8lajemomex-tus s les omoma : ns, sspa choi=E8 ========================================================================= Date: Sat, 18 Jan 2003 14:24:25 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: the blog of Heriberto Yepez and A SKETCH ON GLOBALIZATION & ETHNOPOETICS In-Reply-To: <5.1.0.14.1.20030117165916.01efea60@mail.earthlink.net> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-3A2F1078; boundary="=======4694E42=======" --=======4694E42======= Content-Type: text/plain; x-avg-checked=avg-ok-3A2F1078; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit i suppose that's what he means about 'scenes'.At 11:07 AM 18/01/03, you wrote: >Heriberto read (with two other poets) last night in LA and does so again I >think next week. Noteworthy is that last night's reading, announced here, >was attended by not one single list member, altho there was a sizeable >entirely-latino crowd. >> >> > http://www.thetijuanabibleofpoetics.blogspot.com >> > >> > but i must say i take issue with the top of his "15.01.03" entry where he >>states "If blogs turn into a scene it would be an unfortunate situation. I >>think that American poetry is too scene-driven." komninos http://spokenword.blog-city.com --=======4694E42======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-3A2F1078 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======4694E42=======-- ========================================================================= Date: Sat, 18 Jan 2003 00:21:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Re: AWP In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'll be (bee?) there too -- and am interested in reading on/off/in/around -site (rat/sans rat.) I'm also interested in meeting some of you poetix folks that so far only live in my in-box. Ken At 01:58 PM 1/16/2003 -0800, you wrote: >Are any list members going to AWP in Baltimore? Paul Hoover and I will be >there and are wondering if there'll be a similar reading as the one in New >Orleans at the wonderful church with many readers and an onstage rat. > >MC > >PS Joe Amato: Please backchannel me. > ========================================================================= Date: Fri, 17 Jan 2003 21:18:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: IS EXPERIMENTALISM DWINDLING? {what's ~your~ opinion? VOTE now!} MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii . . . I've wondered: it's becoming cliché to say that there seem to be so many ("too many," some say) experimentalists around these days (or "so much" poetry), etc.,--- but I've been wondering if, proportionately, given the exponential scale of overpopulation, the ratio of experimentalists to total population might actually be ~smaller~ than in the past. The actual intuition behind the "so many"/"too many" refrain might be that, in fact, we can ~feel~ that something's wrong and that there just aren't *enough* of us, in comparison to even the most infinitesimal, comparable cultural phenomenon. (---But what ~is~ a comparable cultural phenomenon on such a ghettoized scale? Ballet?) (Is it my imagination, or are there fewer calls for submissions from print journals than there were a year ago? In such a small "market," when a journal that has succeeded in establishing a presence, as ~Outlet~ or ~Kenning~ did, goes out of business and closes down shop ~without passing the masthead on to successors~ the way institutional journals have a series of editors, it has a very significant effect, in terms of market theory. ---Or, for every ~Outlet~ and ~Kenning,~ am I wrong and is there a ~Conundrum~ or ~Pom2~ that springs up to take its hydra-headed place?) That recognition, that insight, that a big fish in a small pond isn't the same size once it's out in the ocean, through some sort of defense mechanism of compounded ~denial~ and reverse psychology, comes out stated as its opposite, . . . the way that claustrophobia and agoraphobia feel basically the same and could be mistaken for each other. There are, after all, a ~tremendous~ number of people around now, and Americans. Is the population of the United States still estimated to be around 250,000,000? Would it be conservative or too generous to approximate that there might be, say, 10,000 "practicing" experimental poets in America? (Of course, any such guess becomes skewed by how transitory a breed experimental poets are and how much ~attrition~ there is, on a constant basis, given largely to its being a passion of ~youth~ with a staggering drop-out rate ["Forever panting, and forever young" --- Ode on a Grecian Urn]. [In belated response to a previous Poetics List question about agism,--- the inhospitable environment and against-the-grain wear-&-tear, life's changing circumstances, re-route most poets by their second decade in the trenches,--- so that the mere ~existence~ of a poet who's still writing in her/his seventies or sixties or fifties is applauded as sheerly remarkable for its weather-beaten survival, like hearing about a 20-year old house cat, despite whether it stands in its water bowl while it laps.] In your twenties, you write poetry; in your thirties, you blog.) 10,000 experimentalist poets would be 0.00004% of the general populaton. --- Does it help to be overly optimistic and think that there are 100,000 American experimentalist poets? That would inflate the ratio to only 0.0004% (four one-hundredths of one percent ---if I can still remember how to count). This might matter, too, inasmuch as producers and consumers tend to be one within the poetry world, the notorious phenomenon of everyone in the audience at a poetry reading themselves being poets. --- Does "so many"/"too many" poets mean "I am uncomfortable paying $12.00 per book"? (Is your poetry collection as large as your CD collection?) Under the turn-of-the-(1800s>1900s)-century conditions under which an archetypal bourgeois avant-garde arose, yes, there was a smaller pool of literate population, but such a smaller circle existed within a vastly smaller general population where 10 poets counted for much, much more in terms of their general influence. The influence of the bourgeoisie that spawned such poets had a very strong dominance over the masses, too (an imbalance that has since, culturally, reversed itself). The "movement" may actually be dwindling. Tremendously. . . . Except that it's all warped out-of-scale by the enormous exponentials of overpopulation. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 18 Jan 2003 00:44:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ken Rumble Subject: Desert City Poetry Series w/Jane Mead Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Please spread far & wide....... Who: Jane Mead, Guggenheim fellow, Wake Forest Professor, all around fighter of good fight What: Desert City Poetry Series back to kick off and tick off 'oh3 When: Thursday, January 23rd, 8:00 pm Where: PS211, Winston-Salem, NC -- 211 E. Third St. down downtown -- Business 40 to N. 52, take the 3rd, 4th, 5th Streets exit. Left at the light. PS211 is on the right at the corner of 3rd and Patterson. Why: Because "Sometimes, to get back to land / is the worst thing a person can do." See you there............. to PS211: http://ps211.org/directions.html about PS211: http://ps211.org/start.html about Jane Mead: http://www.press.uillinois.edu/s01/mead.html "I Have Been Living" by Jane Mead I have been living closer to the ocean than I thought-- in a rocky cove thick with seaweed. It pulls me down when I go wading. Sometimes, to get back to land takes everything that I have in me. Sometimes, to get back to land is the worst thing a person can do. Meanwhile, we are dreaming: The body is innocent. She has never hurt me. What we love flutters in us. ========================================================================= Date: Fri, 17 Jan 2003 23:33:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: AWP? Egads. In-Reply-To: <5.1.0.14.1.20030117165035.01f479c8@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" If anyone still needs convincing that all notions of mainstream and margin, avant and derriere, have been rendered ~meaningless~ by the academic-professional domination of poetry, then a quick trip to the AWP's website might be indicated. http://www.awpwriter.org/aboutawp/index.htm One thing I, personally, hate about the AWP and MFA programs in general is that they make the art of poetry seem so deeply uncool. They make poets seem about as cool as high school music teachers or maybe librarians. Middle school librarians meet at conferences in Baltimore. But poets? Writing programs simply take advantage of the self-deluded, who have no other image of the poet than as an academic. Consider this bit of institutional self-promotion: "Some of the most important writers of this century have attended university writing programs and worked as professors of writing and literature." What is falsely implied here is that these "most important writers" could not have developed ~without~ a writing program, which is obviously bullshit. The question isn't whether good writers ever teach (of course they do--it's better than working at Safeway). The question is why anyone would think that, given the reality of massively unequal distribution of talent, it makes sense to attend school to become an artist. There are, by the AWP's count, currently 99 MFA-granting programs. I doubt I could name 50 living poets -- yet there are twice that many ~programs~? Have I made my skepticism sufficiently clear? Look at what else they say on the AWP site: "More than any other literary arts organization, AWP has advanced the appreciation of literature as an open and living art--growing and evolving--an art that can be enjoyed by anyone who can read, an art that can be made by anyone with talent who is willing and disciplined enough to devote one's self to its difficult demands." What subterfuge! If you have "talent" and are "disciplined," then what do you need the U of Iowa for? A lawyer couldn't have formulated this claim more cunningly. ========================================================================= Date: Sat, 18 Jan 2003 16:41:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Helen Adam MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Has any new work been done on Helen Adam? It would be wonderful to have a biography of this fine poet. When I met her back in 1982 she was the embodiment of the dark Muse, swinging her fists and belting out her supernatural ballads. I see on Amazon that her ballads are o.p. News would be appreciated. Jess ========================================================================= Date: Sat, 18 Jan 2003 02:50:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: Helen Adam MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit There's this: http://www.heelstone.com/meridian/adam4.html ----- Original Message ----- From: "jesse glass" To: Sent: Saturday, January 18, 2003 7:41 PM Subject: Helen Adam > Has any new work been done on Helen Adam? It would be wonderful to have a > biography of this fine poet. When I met her back in 1982 she was the > embodiment of the dark Muse, swinging her fists and belting out her > supernatural ballads. I see on Amazon that her ballads are o.p. News would > be appreciated. Jess > > > ========================================================================= Date: Sat, 18 Jan 2003 00:35:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 3 poems Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit "spank me" #1 as i said to myself: "ok it's nice to meet people by chance just for a moment and exchange positions then produce the statistics regarding the aesthetics of our unique individual government policies economical systems and even theoretical thinking on education gender studies sectors of new technology even vocabulary tools and cyberzionism issues electronic music sci-fi fan culture hip-hop and of course spanking" [laughter] this is how it works for me smoothly like a virus because i believe we are too closely knitted to be pulled apart and this does not even depend on where you are [more laughter] once during one of these exchanges i got a freaky error message it was pretty cryptic and uninformative like the word "oil" which stands for a multitude of jarring television commercials - i meant to say a HUGE fucking can of worms - i don't want to explore this further [laughter] #2 now guests of an interactive media festival with multiple simultaneous connections in beta stage launch into a discussion of contemporary rhetoric legal fees decentralization of labor and the shape-shifting of shy poets which could potentially be fatal for nonprofit spanking organizations [dead silence] august highland 3:37pm 01-17-03 ***************************************** "augie has another panic attack in a restaurant" our special of the day is grass and wildflowers sprouting through eyeless skulls in a death pit yum...i'll have that! for an appetizer i would like something to take away my dignity happiness pride and i would like the crippled baby salad type: text genre: allegory technology: flash keywords: god's pony ride do you have a wine that will exhaust my goodwill? what do you recommend? your egoless mind sees absolutely nothing? that's not what i asked bitch! stop trying to help me become enlightened! i am starting to feel uncomfortable the guests at this restaurant go back at least as far as the booze-induced oblivion of my foster care years and besides like all american restaurants this one is too scene-driven could you please suggest a hydra-headed hole-in-the-wall where the menu is warped out-of-scale by the enormous exponentials of overpopulation??? never mind my friend wants to stay for dessert? i would like to make love to a festering corpse in a kitty box and the sand better be clean! [whispering and leaning across the table] wasn't she a bitch? august highland 9:31 pm 01-17-03 **************************************** "intellectual slasher strikes again" i almost have to feel sorry for him mainstream media stopped nursing the cherubic infant before his first birthday nothing can substitute for mother's milk this is when his anti-globalization gained momentum particular features of his special child status was evidenced in his apparent inability or unwillingness to answer the questions of his teachers and through some compounded defence mechanism to accept clichés backed by decades of research during one episode of academic-professional domination which made his signature files and phone numbers public to prevent something potentially worse he nearly choked himself to death on a plastic red laser sword while listening to a supernatural ballad in a middle school library the librarian taking advantage of his self-deluded obvious bullshit flirted with him to the extent allowed by the law that's when the intellectual slasher began applying for grants from idealistic institutions he has never been rejected once and yet he hides from you know who: THE INTELLECTUAL SLASHER!!!! august highland 12:29am 01-18-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Sat, 18 Jan 2003 09:55:33 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lakey Teasdale Subject: Skout cry above the Longship. Four notes repeating. Arnor, the Poet [part of a longer work] MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Skout cry above longship, hold filling with sorrow & bilge. Ship summered in dire & repetition all around north. Faltering in restive, faltering the next seven & syne. Four notes repeating inphrases, repeating inphrases follow historically preceding. Wave rousing distance outpacing towards sheltering geo. Scanning in sojourn foursquare to the wind. Bleak travelling, spray flung on bones. Pilgrims implement death's silver. * .Yesnaby .cliff .pitiless rock .discerning sand * Four notes repeating inphrases, repeating inphrases to follow historically preceding. Lowering tops'l brailing' up mizzen, piercing een, like a hawk. piercing een, like a hawk. Winning the shore, land Clarity making you flinch. Stubborn the insistence, wintering stink of civility, biting edges, strutting in certainty, remains of community Sing Gloria! Sing Gloria! .skim .soar .ravage .bleed & reconcile Crusaders before you, enduring your war, tearing edges of knives with teeth that are worn. Over there, Orkahaugr. Steal keys to the chamber, bury the ghostly, & chisel * Jerusalem, Jerusalem. * Four notes repeating inphrases, repeating inphrases to follow historically preceding. * Your war. Your war. * Arnor, the poet, cut axe with his tongue & carved "the warrior laid waste. with fire and flame." __________ 17 January 2003 12:26 ========================================================================= Date: Sat, 18 Jan 2003 10:08:51 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lakey Teasdale Subject: Erlingr wrote at Orkahaugr. Ingebjork, the fair widow. Descends questioning. Arnor, the Poet [part of a longer work] MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "Ingebjork, the fair widow - many a woman has walked stooping in here, no matter how pompous a person." signed by "Erlingr" Rune: Maes Howe (Orkahaugr) * Two of the men insane from the journey, crusading. When dogs were hungry, you shared, you shared, to story deaf beaches, spent. Ingebjork. Tales tattling at Skara Brae. Wintering insanity, gibbering of the mighty, mighty. The warriors guard their treasure, forgetting sheep they have fleeced. Ingebjork's mouth. Your ghosts. Crusading still. No frail without wherewithal delivering the hoard & stolen keys. When dogs were hungry, you shared, you shared, crusading to story deaf beaches, spent. Ingebjork's breasts. Your lives. "Fe _ Your wealth, your wealth, the source of discord, amongst your kin. " inside the tomb, You carry torches. Who gave you hers? When dogs were hungry, who shared, you shared, crusading to story deaf beaches, spent. Ingebjork. You were so sorry, so sorry. You watched her and waited. You watched. When dogs were hungry, you shared, you shared, crusading to story deaf beaches, spent. Your ghosts. Crusading still. Ingebjork's thighs. Your souls. "Ur _ Dross from bad iron. Fleet deer runs over snow." pilgrims & peril swords to Jerusalem Another way past turn. To turn bleed again. You carve another winter lacking shelter. You took them in. They took you in. You were watching them watching. They were watching you watching. Two of the men went mad before carving * JERUSALEM. JERUSALEM* Gods with axes flaunting their alphabet, chiseling intentions, carving herstory You watched as you are watching now. When dogs were hungry, who shared, who shared, crusading to story deaf beaches, spent. When dogs were hungry, you shared, you shared, crusading to story deaf beaches, spent. Ingebjork's grip, Ingebjork's pull into You almost tore her apart. You lowered her. No, you lowered her. No, she lowered herself. They lowered her. We split it between us. You split her between you. She split between you, she split between you There was blood between her legs. There was blood between her legs. You watched as you are watching now. You watch. You taunt. You jeer. You plot. Wintering insanity, gibbering of the mighty, mighty. Guarding your treasure, forgetting sheep you have fleeced. Ingebjork's mouth. Your ghosts. Crusading still. "Thurs _ Giants cause anguish to women" He warned her, she warned him. They split it between them. Wintering insanity, gibbering of the mighty, mighty. The warriors guard their treasure, forgetting sheep they have fleeced. Ingebjork's mouth. Your ghosts. Crusading still. & marking hills with your sign of the crosses, and marking the hills with your sign of the crosses. Ignoring the sorrowing Waves. Wave Baring her breasts, opening her thighs. Ingebjork's eyes. Your eyes & your eyes & your eyes. Watched! he didn't resist she didn't resist you didn't resist he didn't resist you were sorry they were sorry we are sorry You watched, you. You were sorry you watched. You were sorry, you. Watched? Sorry, you watched. You. Were you sorry you watched? You. Were you sorry you watched? You were? You were sorry? You were sorry you watched?You watched, you. You were sorry you watched. You were sorry, you. Watched? Sorry, you watched. You. Were you sorry you watched? You. Were you sorry you watched? You were? You were sorry? You were sorry you watched? you were & you were the tomb. When dogs were hungry, you shared, you shared, crusading to story deaf beaches, spent. Ingebjork. And marking the hills with your sign of the crosses, and marking the hills with your sign of the crosses. You carve another winter lacking shelter. Orkahaugr. * Arnor, the Poet, sharpened axe on his heart & carved "As_ Estuary the way of journeys, a scabbard is of swords" * _____________________________ partly found in alan sondheim's problematic: index posted to WRYTING on17 January 2003, Runes carved in Maes Howe, Orkney, ancient rune poems & those of Arnor, The Poet ========================================================================= Date: Sat, 18 Jan 2003 08:15:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Helen Adam Comments: To: ahadada@GOL.COM In-Reply-To: <000101c2bf53$8ba91520$5b14d8cb@ahadada.gol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" jess; the person to talk to is kristin prevallet, who has written and researched extensively on adam. some of her work was plagiarized to form the bulk of the helen adam chapter in brenda knight's Women of the Beat Generation. because of the dishonesty of the volume, i recommend you contact kristin rather than buy the book. At 4:41 PM -0800 1/18/03, jesse glass wrote: >Has any new work been done on Helen Adam? It would be wonderful to have a >biography of this fine poet. When I met her back in 1982 she was the >embodiment of the dark Muse, swinging her fists and belting out her >supernatural ballads. I see on Amazon that her ballads are o.p. News would >be appreciated. Jess -- ========================================================================= Date: Sat, 18 Jan 2003 09:25:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Helen Adam MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Maria, You mention the dishonesty of the Women of the Beat Generation. I was never happy with the book (*but own it) and could you please expand on this comment. Thanks Best, Geroffrey ----- Original Message ----- From: "Maria Damon" To: Sent: Saturday, January 18, 2003 9:15 AM Subject: Re: Helen Adam > jess; the person to talk to is kristin prevallet, who has written and > researched extensively on adam. some of her work was plagiarized to > form the bulk of the helen adam chapter in brenda knight's Women of > the Beat Generation. because of the dishonesty of the volume, i > recommend you contact kristin rather than buy the book. > > At 4:41 PM -0800 1/18/03, jesse glass wrote: > >Has any new work been done on Helen Adam? It would be wonderful to have a > >biography of this fine poet. When I met her back in 1982 she was the > >embodiment of the dark Muse, swinging her fists and belting out her > >supernatural ballads. I see on Amazon that her ballads are o.p. News would > >be appreciated. Jess > > > -- > > ========================================================================= Date: Sat, 18 Jan 2003 10:15:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: AWP? Egads. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Andrew, This is a wonderful message and thanks for posting it. I am trapped in this train of thought too. I am recently graduated and have just found employment again as an arts accountant / grant writer. I have been plaguing myself with questions of 'go to grad school and become a real poet'. But I am not sure I want to be a scholar ( as the rules are very different) but to be a poet. I think that a mentorship would be great but what does one do? Any ideas for the flighty? Best, Geoffrey ----- Original Message ----- From: "Andrew Rathmann" To: Sent: Saturday, January 18, 2003 2:33 AM Subject: AWP? Egads. > If anyone still needs convincing that all notions of mainstream and margin, > avant and derriere, have been rendered ~meaningless~ by the > academic-professional domination of poetry, then a quick trip to the AWP's > website might be indicated. > > http://www.awpwriter.org/aboutawp/index.htm > > One thing I, personally, hate about the AWP and MFA programs in general is > that they make the art of poetry seem so deeply uncool. They make poets > seem about as cool as high school music teachers or maybe librarians. > Middle school librarians meet at conferences in Baltimore. But poets? > > Writing programs simply take advantage of the self-deluded, who have no > other image of the poet than as an academic. Consider this bit of > institutional self-promotion: "Some of the most important writers of this > century have attended university writing programs and worked as professors > of writing and literature." What is falsely implied here is that these > "most important writers" could not have developed ~without~ a writing > program, which is obviously bullshit. The question isn't whether good > writers ever teach (of course they do--it's better than working at > Safeway). The question is why anyone would think that, given the reality > of massively unequal distribution of talent, it makes sense to attend > school to become an artist. There are, by the AWP's count, currently 99 > MFA-granting programs. I doubt I could name 50 living poets -- yet there > are twice that many ~programs~? > > Have I made my skepticism sufficiently clear? Look at what else they say > on the AWP site: "More than any other literary arts organization, AWP has > advanced the appreciation of literature as an open and living art--growing > and evolving--an art that can be enjoyed by anyone who can read, an art > that can be made by anyone with talent who is willing and disciplined > enough to devote one's self to its difficult demands." What subterfuge! > If you have "talent" and are "disciplined," then what do you need the U of > Iowa for? A lawyer couldn't have formulated this claim more cunningly. > > ========================================================================= Date: Sat, 18 Jan 2003 10:22:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: POETRY IS NEWS! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable POETRY IS NEWS! The world situation =8B on the insane brink of more war =8B with civil liberties under siege =8B is getting worse by the hour. In addition to everything we do as citizens, we now call for action within the sphere of all public cultural activities as it becomes increasingly embarrassing and painful to attend events that don't even "reference" the current reality. The false dichotomies between politics and aesthetics can only be put to rest when history is made present and resistance enacted. POETRY IS NEWS, a forming cultural coalition announces its inaugural event: Operation Counter-Intelligence: A Cultural Wake-Up Call will present panels, performances and reports from the front. Participants include poets, writers and critics Ammiel Alcalay, Samiya Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, David Henderson, Fanny Howe, Elias Khoury, Michael Palmer, Anne Waldman and Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and journalist Ted Rall, and others to be announced. Topics we will address include: Where Is Poetry? Responding to Crisis Acting in Public: Expanding Cultural Space Bringing Back the World Being Censored, Censoring Ourselves Reports from the front include: Rebecca Murray, an International Solidarity Movement activist, on her experiences riding ambulances in Jenin Sara Reisman, on demonstrations she has organized in front of the INS building Kristin Prevallet and Rachel Levitsky on Debunker Mentality, public poetry actions taken after 9/11 Rachel McKeen on Brooklyn high school kids=B9 reactions to military recruitment. The Poetry Project at St. Mark's Church Saturday, February 1st, from 2 to 9 p.m. 131 East 10th st. Admission is free. For more information, call 212-674-0910 or check www.poetryproject.com For press contacts and interviews: Ammiel Alcalay (aaka@earthlink.net) Anne Waldman (anne.waldman@mindspring.com) ========================================================================= Date: Sat, 18 Jan 2003 10:39:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: POETRY IS NEWS! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i've been thinking; those of us not in NYC could consider starting up local chapters of Poetry is News! wherever we are. then in addition to organizing local events, we can perhaps coordinate collaborative activities x-country, etc. letter/poetry writing campaigns, etc. At 10:22 AM -0500 1/18/03, Nick Piombino wrote: >POETRY IS NEWS! > >The world situation - on the insane brink of more war - with civil >liberties under siege - is getting worse by the hour. In addition to >everything we do as citizens, we now call for action within the sphere >of all public cultural activities as it becomes increasingly >embarrassing and painful to attend events that don't even "reference" >the current reality. The false dichotomies between politics and >aesthetics can only be put to rest when history is made present and >resistance enacted. > >POETRY IS NEWS, a forming cultural coalition announces its inaugural event: > >Operation Counter-Intelligence: A Cultural Wake-Up Call >will present panels, performances and reports from the front. > >Participants include poets, writers and critics Ammiel Alcalay, Samiya >Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, David >Henderson, Fanny Howe, Elias Khoury, Michael Palmer, Anne Waldman and >Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and >journalist Ted Rall, and others to be announced. > >Topics we will address include: > >Where Is Poetry? Responding to Crisis >Acting in Public: Expanding Cultural Space >Bringing Back the World >Being Censored, Censoring Ourselves > >Reports from the front include: > >Rebecca Murray, an International Solidarity Movement >activist, on her experiences riding ambulances in Jenin > >Sara Reisman, on demonstrations she has >organized in front of the INS building > >Kristin Prevallet and Rachel Levitsky on Debunker >Mentality, public poetry actions taken after 9/11 > >Rachel McKeen on Brooklyn high school kids' >reactions to military recruitment. > >The Poetry Project at St. Mark's Church >Saturday, February 1st, from 2 to 9 p.m. >131 East 10th st. Admission is free. > >For more information, call 212-674-0910 or check www.poetryproject.com > >For press contacts and interviews: >Ammiel Alcalay (aaka@earthlink.net) >Anne Waldman (anne.waldman@mindspring.com) -- ========================================================================= Date: Sat, 18 Jan 2003 10:28:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: poet=rebel In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Andrew, Jeffrey Jullich estimates, maybe sarcastically, there may be 10,000 living experimental poets and that experimentalism is dwinding because the numbers are growing. And you claim uncoolness is growing because, though you can't name 50 living poets, there are a hundred MFA programs in the nation. I have to wonder about the big concern about numbers. 1. Is your concern over numbers in any way related to the scarcity model of "talent" or, seeing as how you put the word, rightfully, in scare marks, how can there be this much good stuff or useful stuff or readable stuff? or is it akin to Marjorie Perloff's strangely reactionary cri du coeur 4 years ago when she called for more "intolerance" in American experimental poetry. That strong sense always that we ought to whittle down the idea of what's good, what's cool, what's acceptable...hey, this is starting to sound alike an incipient impulse behind canon construction: less is more, true coolness and experiment is scarce, hipness is aristocratic not democratic. Is "cool" here accruing the same coding as "talent" if looked at in light of the scarcity model? We are living through a post-avant renaissance, or just a straight-up renaissance, gotta figure out some way to group and sort and judge... 2. Too I wonder if part of what's behind your comparison of AWP writers to middle school librarians is simply that old "hip" romantic model: the writer as lone drunken wolf -- Kerouac, Byron -- or lone visionary "Indian" of letters -- Ginsberg, Blake (or Robert Bly in his 1960s warrior poet battle garb taking on the cranks, the academics, the Saxons). 3. As someone affiliated with two writing programs as a student, who's started two writing programs in prisons and taught in three university writing programs after grad school, I can tell you that few students join wriitng programs holding the "academic=poet" model (Bly made that an unhip thing to think way back in 1968). They're usually very smart geeks -- and if they fell on one side of a line separating teh academic model from teh romantic, they'd fall on the romantic end. Poet=Rebel. 4. What's more, Poet=Rebel is/was a big part of the Academic model of the poet anyway -- Golding noting it is academe itself (that most unhip of insitutions as you rightfully note [would you prefer MTV?]) that takes in the hip outlaw. And most poets now affiliated with former Objectivist 'n' Black Mtn poets (ie SUNY Buffalo or Penn), langpo and postlangpo -- William Bronk's leather-jacket cover photo SAGETRIEB issue which was, if memory serves entitled _Answerable to No One_ or Gilmore's _Don't Touch the Poet: The Life and Times of Joel Oppenheimer_ or Chs Bernstein's _My Way_ -- the canon-making of the white middle or artisan class male relies heavily on poet=rebel, poet=marginal, poet=scarce. 5. It is the very impulse toward coolness, toward banding about the exclusive rebel king (it's mostly a male thing), that feeds the academe youre talking about. 6. However one of the cooolest things about AWP for me is that it is and has been and is continuing to be a key way that women writers connect and network in ways that have been so long traditionally male. Annie Finch's wom-po listserv is amazing in this regard. Does you slam on "middle school librarians" contain a bit of sexism in it maybe? -- most middle school librarians being female? Gabe At 11:33 PM 1/17/2003 -0800, Andrew Rathmann wrote: >If anyone still needs convincing that all notions of mainstream and margin, >avant and derriere, have been rendered ~meaningless~ by the >academic-professional domination of poetry, then a quick trip to the AWP's >website might be indicated. > >http://www.awpwriter.org/aboutawp/index.htm > >One thing I, personally, hate about the AWP and MFA programs in general is >that they make the art of poetry seem so deeply uncool. They make poets >seem about as cool as high school music teachers or maybe librarians. >Middle school librarians meet at conferences in Baltimore. But poets? > >Writing programs simply take advantage of the self-deluded, who have no >other image of the poet than as an academic. Consider this bit of >institutional self-promotion: "Some of the most important writers of this >century have attended university writing programs and worked as professors >of writing and literature." What is falsely implied here is that these >"most important writers" could not have developed ~without~ a writing >program, which is obviously bullshit. The question isn't whether good >writers ever teach (of course they do--it's better than working at >Safeway). The question is why anyone would think that, given the reality >of massively unequal distribution of talent, it makes sense to attend >school to become an artist. There are, by the AWP's count, currently 99 >MFA-granting programs. I doubt I could name 50 living poets -- yet there >are twice that many ~programs~? > >Have I made my skepticism sufficiently clear? Look at what else they say >on the AWP site: "More than any other literary arts organization, AWP has >advanced the appreciation of literature as an open and living art--growing >and evolving--an art that can be enjoyed by anyone who can read, an art >that can be made by anyone with talent who is willing and disciplined >enough to devote one's self to its difficult demands." What subterfuge! >If you have "talent" and are "disciplined," then what do you need the U of >Iowa for? A lawyer couldn't have formulated this claim more cunningly. Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Sat, 18 Jan 2003 09:15:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: poet=rebel In-Reply-To: <5.1.1.6.0.20030118084719.01aaa3d0@mail.ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit For that matter, Andrew, what's so "uncool" about high school music teachers and middle school librarians per se? Thank goodness we still have them ... so far. I think there are lots of valid reasons to be dissatisfied with many mainstream writing programs, chief among them the stultifying commodification and homogeneity that they instill in poetic culture. Notions of "coolness" vs. "uncoolness" however, are going to get us in trouble, as Gabe has rightly pointed out. "Coolness," like "irony" and "postmodernism" is one of the major commodities advertised by much slick contemporary "literary" writing of the kind produced by MFA programs. It may be a different concept of "cool" from that imagined by "experimental" writers, but the minute you begin to hold "cool" up as a serious aesthetic ideal, you are moving toward that bankrupt commercial expanse. "Experimental" writing itself, or the notion of its surface at least, has become one more "cool" texture to add to the mainstream MFA repertoire. Academia (by which I understand the institutional disciplines of criticism and literary history, as opposed to the vocational-crafts emphasis of MFA programs, though of course they often overlap) is not the problem. The problem is the degradation of the literary marketplace by bloated monolithic corporatism. Academia, in fact, is one of the few things keeping some MFA programs worthwhile: when rigorous criticism, theory, and literary history are practiced alongside workshop activity, there is at least the potential for substantive engagement with writing as a meaningful social and cultural activity, rather than a banal means to profit and ego-gratification. I'm not saying that academia always delivers on this potential, but it's a mistake to make academia synonymous with professional writing programs just because they often share buildings and personnel. Kasey on 1/18/03 8:28 AM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > Andrew, > > Jeffrey Jullich estimates, maybe sarcastically, there may be 10,000 living > experimental poets and that experimentalism is dwinding because the numbers > are growing. And you claim uncoolness is growing because, though you can't > name 50 living poets, there are a hundred MFA programs in the nation. I > have to wonder about the big concern about numbers. > > 1. Is your concern over numbers in any way related to the scarcity model of > "talent" or, seeing as how you put the word, rightfully, in scare marks, > how can there be this much good stuff or useful stuff or readable stuff? or > is it akin to Marjorie Perloff's strangely reactionary cri du coeur 4 years > ago when she called for more "intolerance" in American experimental poetry. > That strong sense always that we ought to whittle down the idea of what's > good, what's cool, what's acceptable...hey, this is starting to sound alike > an incipient impulse behind canon construction: less is more, true coolness > and experiment is scarce, hipness is aristocratic not democratic. Is "cool" > here accruing the same coding as "talent" if looked at in light of the > scarcity model? We are living through a post-avant renaissance, or just a > straight-up renaissance, gotta figure out some way to group and sort and > judge... > > 2. Too I wonder if part of what's behind your comparison of AWP writers to > middle school librarians is simply that old "hip" romantic model: the > writer as lone drunken wolf -- Kerouac, Byron -- or lone visionary "Indian" > of letters -- Ginsberg, Blake (or Robert Bly in his 1960s warrior poet > battle garb taking on the cranks, the academics, the Saxons). > > 3. As someone affiliated with two writing programs as a student, who's > started two writing programs in prisons and taught in three university > writing programs after grad school, I can tell you that few students join > wriitng programs holding the "academic=poet" model (Bly made that an unhip > thing to think way back in 1968). They're usually very smart geeks -- and > if they fell on one side of a line separating teh academic model from teh > romantic, they'd fall on the romantic end. Poet=Rebel. > > 4. What's more, Poet=Rebel is/was a big part of the Academic model of the > poet anyway -- Golding noting it is academe itself (that most unhip of > insitutions as you rightfully note [would you prefer MTV?]) that takes in > the hip outlaw. And most poets now affiliated with former Objectivist 'n' > Black Mtn poets (ie SUNY Buffalo or Penn), langpo and postlangpo -- William > Bronk's leather-jacket cover photo SAGETRIEB issue which was, if memory > serves entitled _Answerable to No One_ or Gilmore's _Don't Touch the Poet: > The Life and Times of Joel Oppenheimer_ or Chs Bernstein's _My Way_ -- the > canon-making of the white middle or artisan class male relies heavily on > poet=rebel, poet=marginal, poet=scarce. > > 5. It is the very impulse toward coolness, toward banding about the > exclusive rebel king (it's mostly a male thing), that feeds the academe > youre talking about. > > 6. However one of the cooolest things about AWP for me is that it is and > has been and is continuing to be a key way that women writers connect and > network in ways that have been so long traditionally male. Annie Finch's > wom-po listserv is amazing in this regard. Does you slam on "middle school > librarians" contain a bit of sexism in it maybe? -- most middle school > librarians being female? > > Gabe > > > > > At 11:33 PM 1/17/2003 -0800, Andrew Rathmann wrote: >> If anyone still needs convincing that all notions of mainstream and margin, >> avant and derriere, have been rendered ~meaningless~ by the >> academic-professional domination of poetry, then a quick trip to the AWP's >> website might be indicated. >> >> http://www.awpwriter.org/aboutawp/index.htm >> >> One thing I, personally, hate about the AWP and MFA programs in general is >> that they make the art of poetry seem so deeply uncool. They make poets >> seem about as cool as high school music teachers or maybe librarians. >> Middle school librarians meet at conferences in Baltimore. But poets? >> >> Writing programs simply take advantage of the self-deluded, who have no >> other image of the poet than as an academic. Consider this bit of >> institutional self-promotion: "Some of the most important writers of this >> century have attended university writing programs and worked as professors >> of writing and literature." What is falsely implied here is that these >> "most important writers" could not have developed ~without~ a writing >> program, which is obviously bullshit. The question isn't whether good >> writers ever teach (of course they do--it's better than working at >> Safeway). The question is why anyone would think that, given the reality >> of massively unequal distribution of talent, it makes sense to attend >> school to become an artist. There are, by the AWP's count, currently 99 >> MFA-granting programs. I doubt I could name 50 living poets -- yet there >> are twice that many ~programs~? >> >> Have I made my skepticism sufficiently clear? Look at what else they say >> on the AWP site: "More than any other literary arts organization, AWP has >> advanced the appreciation of literature as an open and living art--growing >> and evolving--an art that can be enjoyed by anyone who can read, an art >> that can be made by anyone with talent who is willing and disciplined >> enough to devote one's self to its difficult demands." What subterfuge! >> If you have "talent" and are "disciplined," then what do you need the U of >> Iowa for? A lawyer couldn't have formulated this claim more cunningly. > > Gabriel Gudding > Department of English > Illinois State University > Normal, IL 61790 > office 309.438.5284 > home 309.828.8377 > > http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Sat, 18 Jan 2003 10:30:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: Helen Adam In-Reply-To: <000101c2bf53$8ba91520$5b14d8cb@ahadada.gol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I believe Kristen Prevallet has done work on her. Julie > From: jesse glass > Reply-To: UB Poetics discussion group > Date: Sat, 18 Jan 2003 16:41:42 -0800 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Helen Adam > > Has any new work been done on Helen Adam? It would be wonderful to have a > biography of this fine poet. When I met her back in 1982 she was the > embodiment of the dark Muse, swinging her fists and belting out her > supernatural ballads. I see on Amazon that her ballads are o.p. News would > be appreciated. Jess ========================================================================= Date: Sat, 18 Jan 2003 09:36:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: AWP reading In-Reply-To: <200301180503.VAA25172@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Aldon et al: I'll be in Baltimore, sometimes at the Wesleyan UP booth w Tom Radko, and wd like to help out/attend/participate in such a reading. Please keep me informed. Thanks. (I agree w Arielle G. that Atomic Books wd be a fine venue; I hope it can be arranged on such short notice.) Walter K. Lew 11811 Venice Blvd. #138 Los Angeles, CA 90066 During the AWP: 410-252-4731 (my parents) >Date: Fri, 17 Jan 2003 12:18:36 -0500 >From: Aldon Nielsen >Subject: Re: AWP > >I'll be there from Friday on -- Haven't heard anything about such an >off-site reading, but as I'm not attached to the usual AWP lines of >communication, it's unlikely that I would have heard -- > >For any who may be interested, I'll be there as part of a panel talking >about the life & work of Sterling Brown -- ========================================================================= Date: Sat, 18 Jan 2003 15:15:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: POETRY IS NEWS! MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT actually, Maria and Nick, thinking this through to a poetic conclusion, wouldn't the real news be if Bush read a poem and understood it? What poem would you suggest? what if in his busy schedule on his Texas spread he devoted five minutes to writing poetry before the next round of golf? How about those pep-pill-popping pilots? Wouldn't the world be a better place if they had a pamphlet of poems to read before takeoff to keep them alert? tom bell ========================================================================= Date: Sat, 18 Jan 2003 12:46:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: academic discussions of cool MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII While I'm looking forward to reading Alissa Quart's forthcoming study of marketing and teenagers, I have to think Tom Frank's sociology of cool is actually part of a neoconservative conspiracy to introduce good old-fashioned lefty smart-ass one-upping to a new generation that hasn't been divided and conquered into complete apathy and need for garage-door openers yet. I disliked my high school music teacher intensely (starting when she told me in show choir that if I stood with my hands behind my back like that I wudn't evva gonna get laid -- an indirect invitation to her place I'm pretty sure others took up, yikes), but a few years later we all got Kurt Cobain's substitution-matrix version of better-dead-than-red, "rather be dead than cool," and everybody knows how that turned out. What am I saying. I'm saying watch the one-upping, and set limits on anybody who tries generational divide-and-conquer tricks, especially bloggers. Any dorm bull session is going to be more educational. Pass the Chantal Mouffe, Jordan ========================================================================= Date: Sat, 18 Jan 2003 10:48:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: poet=rebel Mime-Version: 1.0 Content-Type: text/plain; format=flowed >William >Bronk's leather-jacket cover photo SAGETRIEB issue which was, if memory >serves entitled _Answerable to No One_ Gabe, the photo you're thinking of is of Edward Foster, & it's on the cover of his book _Answerable to None_, which does, by the way, discuss Bronk. You forgot to mention the motorcycle he's standing next to. Yeah, Poet=Rebel, & yes, that stance toward rebellion is a guy thing. However as a poet who holds an MFA & who doesn't teach, I can sympathize a little bit with Andy's skepticism, if only because of the supposition that if you're a poet that's of course what you do. That's not to say there's anything wrong with poets teaching, or with aspiring writers going to school. MFA programs may market themselves as "producing" important writers, but as you suggest I don't think anyone but the terribly naive believes that hype. Mark DuCharme <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm _________________________________________________________________ MSN 8: advanced junk mail protection and 2 months FREE*. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 18 Jan 2003 13:58:51 -0500 Reply-To: hruggier@localnet.com Sender: UB Poetics discussion group From: Helen Ruggieri Subject: Re: POETRY IS NEWS! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Something along the lines of ashes, ashes all fall down He probably couldn't handle the metaphor though tombell wrote: > actually, Maria and Nick, thinking this through to a poetic conclusion, > wouldn't the real news be if Bush read a poem and understood it? What poem > would you suggest? > > what if in his busy schedule on his Texas spread he devoted five minutes to > writing poetry before the next round of golf? > > How about those pep-pill-popping pilots? Wouldn't the world be a better > place if they had a pamphlet of poems to read before takeoff to keep them > alert? > > tom bell ========================================================================= Date: Sat, 18 Jan 2003 13:31:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: AWP In-Reply-To: <20030117190229.27370.qmail@web11302.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Arielle, if you want, and haven't yet, I can contact them... let me know if you've moved on this... and if not I'll contact them... At 11:02 AM 1/17/2003 -0800, you wrote: >And I had to follow the rat! And Revell! > >It was a great reading, and we have the smart people >at Lit City to thank for it...I don't know of any >other similar reading at AWP yet, though I'm hoping >Verse Press is going to team up with some others and >put on some reading somewhere... > >If anyone is motivated to do such a thing at this late >date, I'd be happy to help out, though I can't manage >it on my own. I do know of a really cool book/zine >store called Atomic Books in a cool, nearby >neighborhood, and I had contacted them a long time ago >about being the venue to such a thing, and they were >open to it... > >Arielle > >===== >* please visit www.ariellegreenberg.net >for links to poems, information about readings, etc. > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Sat, 18 Jan 2003 15:00:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Helen Adam In-Reply-To: <000101c2bf53$8ba91520$5b14d8cb@ahadada.gol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed You don't say new since when, so I'm not sure how to respond -- Do you know of Kristen Privallet's fine work? At 04:41 PM 1/18/2003 -0800, jesse glass wrote: >Has any new work been done on Helen Adam? It would be wonderful to have a >biography of this fine poet. When I met her back in 1982 she was the >embodiment of the dark Muse, swinging her fists and belting out her >supernatural ballads. I see on Amazon that her ballads are o.p. News would >be appreciated. Jess <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 18 Jan 2003 15:01:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Helen Adam In-Reply-To: <000d01c2bec6$47c21920$0100a8c0@vaio> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed sorry about the spelling error, and thanks for posting the URL At 02:50 AM 1/18/2003 -0500, Duration Press wrote: >There's this: > >http://www.heelstone.com/meridian/adam4.html > > >----- Original Message ----- >From: "jesse glass" >To: >Sent: Saturday, January 18, 2003 7:41 PM >Subject: Helen Adam > > > > Has any new work been done on Helen Adam? It would be wonderful to have a > > biography of this fine poet. When I met her back in 1982 she was the > > embodiment of the dark Muse, swinging her fists and belting out her > > supernatural ballads. I see on Amazon that her ballads are o.p. News >would > > be appreciated. Jess > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 18 Jan 2003 13:12:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: poet=rebel MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit "that stance...is a guy thing": Do you mean gAy? Gunn rode a chopper to class. -----Original Message----- From: Mark DuCharme To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, January 18, 2003 9:48 AM Subject: Re: poet=rebel >>William >>Bronk's leather-jacket cover photo SAGETRIEB issue which was, if memory >>serves entitled _Answerable to No One_ > >Gabe, the photo you're thinking of is of Edward Foster, & it's on the cover >of his book _Answerable to None_, which does, by the way, discuss Bronk. >You forgot to mention the motorcycle he's standing next to. Yeah, >Poet=Rebel, & yes, that stance toward rebellion is a guy thing. However as >a poet who holds an MFA & who doesn't teach, I can sympathize a little bit >with Andy's skepticism, if only because of the supposition that if you're a >poet that's of course what you do. That's not to say there's anything wrong >with poets teaching, or with aspiring writers going to school. MFA programs >may market themselves as "producing" important writers, but as you suggest I >don't think anyone but the terribly naive believes that hype. > >Mark DuCharme > > > > > > ><<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> > > > >'A sentence thinks loudly.' > > -—Gertrude Stein > > > >http://www.pavementsaw.org/cosmopolitan.htm > >http://www.nyspp.com/lisa/soc.htm > > > > > > > > > > >_________________________________________________________________ >MSN 8: advanced junk mail protection and 2 months FREE*. >http://join.msn.com/?page=features/junkmail > ========================================================================= Date: Sat, 18 Jan 2003 13:29:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: poet=rebel In-Reply-To: <001601c2bf36$58b08da0$4996ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:12 PM 1/18/03 -0800, "dcmb" wrote: >"that stance...is a guy thing": Do you mean gAy? Gunn rode a chopper to >class. Don't forget the cover to Michael McClure's _Star_ (Grove), on the motorbike w/ the hair falling across his face. I don't think McClure's gay (half that book's about titties), but I'd fuck him. Thrillingly LRSN ========================================================================= Date: Sat, 18 Jan 2003 15:09:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: pill-popping poet Comments: To: ImitationPoetics , webartery@yahoogroups.com, o-o@konf.lt, 7-11@mail.ljudmila.org, owner-realpoetik@scn.org, _arc.hive_@lm.va.com.au, syndicate@anart.no MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit pill-popping poet he swings his fists at corporate funding this mostly-whitey poet (a very keen marketing ploy) ALSO he (an obviously unhealthy conduct) twists a knife in his throat on a webcam while he ejaculates on his keyboard this mostly-whitey pill-popping fist-swinging poet HEY KIDS!! BUT THAT'S NOT ALL!!! he sent a letter of intent and full CV to the Experimentalism Hiring Committee and guess what? they accepted him based on his racial/ethic substitution-matrix divide-and-conquer sociology of cool smart-ass one-upping whorish-behavior!!! ISN'T IT IRONIC??? (don't you thinK?) august highland 3:08 pm 01-18-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Sat, 18 Jan 2003 18:23:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: AWP? Egads. In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Andrew Rathmann writes to say he doesn't like what AWP and MFAs smell like: I Reply: Mostly people I've talked with say they go to the AWP conferences to see friends. Maybe buy a couple/few books. Catch a reading. Have a drink and meet some people. It's very convenient in that way. As for all that other stuff, yeah, one has to take the advertising claims of any organization, well, as advertising. I'm not a fan of it either. BTW, if you found it fun reading the website, you should subscribe to the AWP Chronicle . . . it even has photos. As for graduate programs . . . well, they do allow a person to spend a few years face to face with some writers talking about writing. I had a good time. (And not everyone is pretentious about it . . .) Future middle-school librarian, _JG ========================================================================= Date: Sat, 18 Jan 2003 18:27:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: AWP In-Reply-To: <5.1.1.6.0.20030118133055.01ae22f0@mail.ilstu.edu> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Gabriel Gudding writes: I Reply: This sounds like much fun. I hope it turns out to be on Friday night, I'd love to be there. Sincerely, The Rat ========================================================================= Date: Sat, 18 Jan 2003 19:34:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: POETRY IS NEWS! Comments: To: hruggier@localnet.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit or: pilots popping pills protecting my daughters the twins the lushes from terrorism... and the evil man who tried to kill their grandpappy ----- Original Message ----- From: "Helen Ruggieri" To: Sent: Saturday, January 18, 2003 1:58 PM Subject: Re: POETRY IS NEWS! > Something along the lines of > > ashes, ashes > all fall down > > He probably couldn't handle the metaphor though > > tombell wrote: > > > actually, Maria and Nick, thinking this through to a poetic conclusion, > > wouldn't the real news be if Bush read a poem and understood it? What poem > > would you suggest? > > > > what if in his busy schedule on his Texas spread he devoted five minutes to > > writing poetry before the next round of golf? > > > > How about those pep-pill-popping pilots? Wouldn't the world be a better > > place if they had a pamphlet of poems to read before takeoff to keep them > > alert? > > > > tom bell > ========================================================================= Date: Sat, 18 Jan 2003 21:28:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: AWP? Egads. Mime-Version: 1.0 Content-Type: text/plain; charset=Windows-874 Content-Transfer-Encoding: 8bit Content-Disposition: inline Guys, I’d like to bring a couple of different perspectives to the discussion about MFA programs and poetry. Firstly, I came to the United States in 1994 in order to do a Master’s in poetry. I came, with a 7 year old child, from Ireland, where there were no MFA programs at that time, and where there was intense skepticism about teaching anyone to write. This intense skepticism was significantly played out in pubs, which had been, for some decades, the “hedge schools” of poetry. I got my pub credits too, in my twenties, along with writing a few books and plays, and a lot of journalism. I had no training for any of this, but I had a lot of opportunity. The day after my thirtieth birthday, my first child was born. The pub gradually became a less viable forum of exchange. Yet the image of the Irish poet was, to some extent, still identified with the pub. Jobs I worked at in the next few years included art gallery manager, arts center director, hospital domestic, and substitute teacher. A low point was peddling furiously on my bike up and down hills in Dun Laoghaire in Dublin, where it rains constantly, leaving my daughter, then 4, to a babysitter, who would in turn leave her to school, peddling to the hospital where I worked, always late, working my shift, peddling to collect my daughter from school and leave her back to the babysitter, doing the second shift at the hospital, then peddling back up to the babysitter to collect Marina, etc etc. This was definitely not the image of the Irish poet, though I had by then published about 40 poems. I finally went back to college to get a teaching certification. My intention was to become a high school teacher (I was definitely uncool). I got a job but at the same time was accepted into a creative writing program in the United States. I took that opportunity because it offered time to read and write, the chance to talk about writing outside the pub, the opportunity to teach, and a minimum income on which myself and my daughter could survive. When I was doing that degree, classes were my social life. I lapped it up. I knew I was enjoying something that was not available in Ireland. I also knew, after the harrowing year I had spent getting teacher certification, that I would not be able to pursue any more advanced degrees in Ireland. Here I was able to do an M.A., and a Ph.D., and I am grateful. The second perspective I’d like to offer is that of someone who teaches at an art school. In Ireland, my compadres were visual artists. Studios were fantastic places for me: of books and images and ideas and smells. Some of my friends hadn’t completed secondary school. But all of them had gone to art school, generally with huge appetite. I agree with Finnegan. Artists relish training. Historically, in poetry, this is also the case, though not, in Ireland, for most of the twentieth century. Maybe my students should get the hell out of art school and get a job unconnected to their field. But it seems absurd. On Henry’s point — and something I was unaware of when I immigrated — there is a wide range of MFA programs in creative writing, some of which integrate creative writing “with professional & general education,” as he recommends. I’m thinking of the MFA at the School of the Art Institute of Chicago, because it interests me; the AWP guide to writing programs is a useful resource. I have already admitted to being uncool, now I’ll admit to being excited about going to Baltimore, the city where Frederick Douglass learned to read. My associations with Baltimore are Frederick Douglass, Poe, and Randy Newman. But then, as an immigrant, I also find the concepts of “middle school librarian” and “high school music teacher” exciting. Mairead ========================================================================= Date: Sat, 18 Jan 2003 18:26:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: AWP alt reading update In-Reply-To: <5.1.1.6.0.20030118133055.01ae22f0@mail.ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi, all-- I'm looking into a possible venue for a last-minute alternative reading. I contacted Atomic Books but they can't fit that many people in the space (really only 25 or so), so that didn't seem to work. I have an email into a cool-sounding collective that hosts experimental film and performance stuff at a collective-run bookstore, so I'll let you know if I hear back. Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 19 Jan 2003 22:23:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Sonnet Sequence..... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit MohammedMohammed@MohammedMohammed.com MohammetMohammet@MohammetMohammet.com Mohammet&Mohammed@Mohammet&Mohammed.com Mohammed&Mohammet@Mohammed&Mohammet.com Mohammet@Mohammed.com...Mohammed@Mohammet.com M&M@M&M.com.............MorM@MorM.com M1,001@M1,001.com.......M1001@M1002.com 1001@1001.com...........1001@1002.com MohammedMohammet@MohammedMohammet.com MohammetMohammed@MohammetMohammed.com M&M@em&em.com........MorM@emorem.com melts in yr mouth not in your melts in yr not melts in your not in mohammet or not in mohammed......@.........com................drn.... ========================================================================= Date: Sat, 18 Jan 2003 19:05:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: War Protest - SF - Words Along The Way In-Reply-To: <003601c2bf04$71db3140$605e3318@LINKAGE> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I am just back from almost a full day of walk and protest here in San Francisco from the Embarcadero waterfront up to the Civic Center. Crowd estimates vary from 100 to more than 200,000 people. Astonishingly beautiful sunny weather and warm except a little chill walking in the shadows between buildings. I don't think I have ever seen such a wide array of people in one place at one time - grandparents to babies, regional, suburban, City, ages, multiple genders, colors. The white middle class has finally joined up big time. Everyone sweetly upbeat and, I suspect, simultaneously terrified of the consequences of the prospect of this war. Different then already clearly defined battles - in which the protest language is often systematically set and printed up on banners (of which there was some), what was interesting to me were the placards - most of which were homemade and of which the phrases seemed home made as well - bringing up an array of phrases, awkward some, but most often honest attempts to get at some way to forge a stance, if not direction or fixed resolution. A public, grass roots opposition trying hard to come up with an effective language in the absence of any institutionalized leadership (i.e. the democratic party) that is making even a peep. (Curious I find it how the media keeps trying to locate this new opposition with "Christian churches" - of which there are no doubt some - but not a readily identifiable presence in today's walk or its organization/ and a kind of insult to the diversity and majority of the participants.) I spent a bunch of time writing down what I read on the placards. I share them because I don't think much of this made it on to the TV or Radio. I suspect the phrases provide a pretty good notion of what's bouncing off the western psychic transom - at least that's I took and felt them: All Species Protest Rage Against The Coup Take Back America Let the Inspections Work No Blood for Oil Did Your Car Start This Walk Bush on Crack Don't Attack Iraq Communicate Don't Eliminate How Many Lives Per Gallon? Go Solar Not Ballistic Start Drafting SUV Drivers Now If You Are Not Outraged You Are Not Paying Attention Somewhere in Texas A Village (Crawford) Is Missing An Idiot Another Jaded Person for Peace A Kinder Gentler Nation? A War Just to Get Hussein Is Insane Bush Can Kiss My Tush Military Solutions Are Problems Retire the Puppet Next Time We Stop More Than Bridge Traffic Patriotic Mom for Peace This Old Granny Needs Peace for All Her Children Clone Change Needed A Heart for Cheney A Brain for Bush Courage for Powell I Am An Iraqi I Hate Saddam I Oppose This War No Blood for Oil War Orphans Make Great Terrorists Bush, Quit Hijacking Democracy 15 Year Old for Peace Prune Back the Shrub Cute Kittens Don' Like War Cute Bunnies Don't Like War Mystical Unicorns Against War Weapons of Mass Distraction Democracy Not Hypocrisy War/Agression: Twiddle Dee Twidle Dum Pit Bull 4 Peace War Is A Tragedy Not A Strategy Stop Buying Shit Blow It Out Your Ass, Bush How Many Do We Have to Kill To Power Our Cars Wars Are Poor Chisels For Carving Peace is Sexy Hop In The Sack Not Iraq A War Budget Leaves All Children Behind What About Empty War Heads in the White House? Heah, Who Would Jesus Bomb? Another Healing Lipstick Lesbian Bohemian Breathing Gorgeous Air Homeland Insecurity Dissident Detainee Resist Repression Jews Say End the Occupation This War Will Return After This Commercial Break Stephen Vincent ========================================================================= Date: Sat, 18 Jan 2003 22:19:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: AWP? Egads. MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-874" Content-Transfer-Encoding: 8bit Mairead, I'm glad you entered into this discussion. And put a more balanced spin on it. It is a gross generalization to assume that all MFA programs are the same, this is decidedly not the case. And someone (G. Gatza?) recently put forth a query to the effect of whether or not to return to school, to which I would add, 'well, what would you like to think about? would you like to occupy your mind with balancing accounts for an arts organization whose ethics and largesse you may or may not agree with? or, devote your mind to the study of poetics?' Because the fact remains that we live in a post-Dickensian era and there is no debtors prison. I take great faith in this aspect of American life. Rack up the debt, do what you want to do and inculcate your mind with the thoughts that you'd like to be thinking. People choose MFA programs for many different reasons, and many MFA's incorporate critical writing and progressive, independent, project-based work. Perhaps what people are really complaining about is the trouble of workshop based MFA's which tend to produce homogenized work or work that excels at the art of imitation rather than original (and critical) thinking, writing and reading skills. But then, there I go, generalizing. And, of course, not all students approach programs the same way. But couldn't this also be accurately said about PhD programs? This leads to larger issues of employment, population: a sea of people with more degrees than jobs; if you really want to get bummed out, visit the MLA's website for thoroughly researched statistics on the state of affairs for employment in the academy. Grim barely comes close to describing it. There has almost always been a need for education reform, perhaps never more immediately than now. In case anyone has trod the halls of our public schools lately, there is a tremendous amount of work to be done. And, as the MLA's own reports advise, this is true for the academy as well. It's ignorant and offensive to assume that MFA students are naive. There is a nee d for looking more closely at how creative writing programs are structured and what they actually prepare their students for. But couldn't this also be said for PhD programs? How well is the academy preparing it's PhD students for the grim specter of procuring actual employment in the academy once they leave? I certainly don' t have any answers to these issues/questions, but I grow weary of the anti-MFA tone of certain posts frequently found on this list (uh, how many of us have them or are currently working on them?) and generalization, in this instance, merely draws lines between us, as poets, where what we really need is to be supportive of eachother and curious about the work that other people are doing. Regardless of their pedigree. Or lack thereof. -Jane From: "Mairead Byrne" To: Sent: Saturday, January 18, 2003 9:28 PM Subject: Re: AWP? Egads. > Guys, > > I’d like to bring a couple of different perspectives to the discussion > about MFA programs and poetry. Firstly, I came to the United States in > 1994 in order to do a Master’s in poetry. I came, with a 7 year old > child, from Ireland, where there were no MFA programs at that time, and > where there was intense skepticism about teaching anyone to write. This > intense skepticism was significantly played out in pubs, which had been, > for some decades, the “hedge schools” of poetry. I got my pub credits > too, in my twenties, along with writing a few books and plays, and a lot > of journalism. I had no training for any of this, but I had a lot of > opportunity. The day after my thirtieth birthday, my first child was > born. The pub gradually became a less viable forum of exchange. Yet > the image of the Irish poet was, to some extent, still identified with > the pub. Jobs I worked at in the next few years included art gallery > manager, arts center director, hospital domestic, and substitute > teacher. A low point was peddling furiously on my bike up and down > hills in Dun Laoghaire in Dublin, where it rains constantly, leaving my > daughter, then 4, to a babysitter, who would in turn leave her to > school, peddling to the hospital where I worked, always late, working my > shift, peddling to collect my daughter from school and leave her back to > the babysitter, doing the second shift at the hospital, then peddling > back up to the babysitter to collect Marina, etc etc. This was > definitely not the image of the Irish poet, though I had by then > published about 40 poems. I finally went back to college to get a > teaching certification. My intention was to become a high school > teacher (I was definitely uncool). I got a job but at the same time was > accepted into a creative writing program in the United States. I took > that opportunity because it offered time to read and write, the chance > to talk about writing outside the pub, the opportunity to teach, and a > minimum income on which myself and my daughter could survive. When I > was doing that degree, classes were my social life. I lapped it up. I > knew I was enjoying something that was not available in Ireland. I also > knew, after the harrowing year I had spent getting teacher > certification, that I would not be able to pursue any more advanced > degrees in Ireland. Here I was able to do an M.A., and a Ph.D., and I > am grateful. > > The second perspective I’d like to offer is that of someone who teaches > at an art school. In Ireland, my compadres were visual artists. Studios > were fantastic places for me: of books and images and ideas and smells. > Some of my friends hadn’t completed secondary school. But all of them > had gone to art school, generally with huge appetite. I agree with > Finnegan. Artists relish training. Historically, in poetry, this is > also the case, though not, in Ireland, for most of the twentieth > century. Maybe my students should get the hell out of art school and > get a job unconnected to their field. But it seems absurd. > > On Henry’s point — and something I was unaware of when I immigrated — > there is a wide range of MFA programs in creative writing, some of which > integrate creative writing “with professional & general education,” as > he recommends. I’m thinking of the MFA at the School of the Art > Institute of Chicago, because it interests me; the AWP guide to writing > programs is a useful resource. > > I have already admitted to being uncool, now I’ll admit to being excited > about going to Baltimore, the city where Frederick Douglass learned to > read. My associations with Baltimore are Frederick Douglass, Poe, and > Randy Newman. But then, as an immigrant, I also find the concepts of > “middle school librarian” and “high school music teacher” exciting. > > Mairead > ========================================================================= Date: Sat, 18 Jan 2003 23:15:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Pump-Organ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Pump-Organ i. Here we are again, almost no filtering, no programs, no Nikuko or Jennifer, nothing but a text, inscribed through keystroke after keystroke. The exhausting labor, the tending of the writing, bringing point after point as a gift to your attention. ii. Such a triviality! To write about a pump-organ, reed-organ, in the early days of war and total violence - not making a point about the generosity of peace, in fact making no point at all in relation to the presumed primordial and natural, prelapsarian, state of the world at all. iii. The organ was made by Daniel F. Beatty company between 1878-1880; it's made from quarter-sawn oak, ebony, a celluloid/chalk composition for the keys, rubberized cloth for the bellows. iv. Repairs including patching the cloth with rubberized tape and glue, pulling and cleaning the C and two other reeds, taping the pedal bellows, and cleaning the instrument in general. v. The pitch is high-pitch, which was popular only for a few years in the 19th-century, around the period the organ was produced. The keyboard is divided into three sections with fourteen stops, including treble and bass couplers. The sections are more or less independent unless coupled. The full range is probably seven octaves over 61 keys. A higher-range key sounds for five to ten seconds after pedaling stops. A lower-range key holds for four to five sections. vi. Played, the instrument breathes like a huge lung; pedal-speed is coupled with a slight swelling volume - and, more important, with the movement of the pedaling body; the result often coincides with the rhythm of the improvisation. vii. The player's breathing, the movement of the body, the air pressure within the instrument, all contribute to an overall singing, unlike the banging of a piano or rasping of a guitar. The organ must be tended at all times; pressing a key slightly, for example, will foil the coupling and create different onset characteristics. Likewise, pedal speed and depth contribute to the possibility of a volume-envelope reflecting the thought behind the music - the body of the player, body of the music, coupled with the instrument of oak, rubber, glue, metal, and proto-plastics. viii. Unlike a harmonium, the sound-box contains a vacuum; the note is pulled out of the atmosphere. This pulling-forth brings the note, through the vibration of the sound-box, into the air. Since it is a suction instrument, there is a ceiling to the volume, characterized by the four- teen-some pounds of atmospheric air-pressure. ix. Harmonies on the instrument are transparent; instead of isolated pipes or strings, all sounding occurs by virtue of the sound-box. The player can feel the vibrations of the instrument case, the keyboard, the pedals; everything moves together, as in a tamboura. The sounding emanates from a distributed large volume; the room itself seems to speak. x. I improvise moving from figure to figure, bringing the figures and widely varying keys into harmony and transformation with one another. The improvisations last from seventeen to thirty minutes. The left-hand creates slow bass counterpoint or parallel fourths, fifths, and octave; the right-hand works through Chinese, Arabic, and Indian scales. The recording is made on a Sony mini-disk walkman, then uploaded to Soundforge for multi-tap and/or reverberation treatment. The pieces are placed on music cds. xi. But what I enjoy, notice, most of all, is the breathing of the organ, our mutual labor, and the production of a sound concomitant with inhaling and absorbing the world around us. Together we are speaking, and for a moment our widely disparate histories coincide to bring about primordial eras of worlds, from this one to the next. === ========================================================================= Date: Sun, 19 Jan 2003 00:29:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: AWP? Egads. Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks, Jane, for your very clear and forthright post. Two years ago, when I was researching MFA programs in order to evaluate the design of the new MFA program at the University of Mississippi, where I was then teaching, I was keenly aware of how individual departments and institutions shaped their programs according to their own economies and ideologies. The job market, weak though it may currently be, is also a great instructor in respect to the intense care, or lack of it, with which individual departments shape creative writing programs, both at the undergraduate and graduate level. On a more micro level, I am trying to design a non workshop based poetry writing seminar and would welcome any structural or strategic ideas from people who have practiced something like this. I liked Geoffrey's idea of "mentorship." Are there current examples of this working outside the academy? I have mixed feelings about debt. Sometimes I think debt has the effect of binding graduates to conservative choices. Bleakly, I sometimes think that the academy is an enclave which controls the exuberance of young people by hierarchization and atomization; when they graduate, debt occupies them until they have children, and beyond. If they stay in the academy, the tenure-track process, or lack of it, takes over: it's (clean) nose to the grindstone for 6 or 7 years (while also repaying those loans). And by the time one gains tenure, if one ever does, and freedom of speech without losing one's job, one may be too exhausted or comfortable to exercise it. That's the bleak view, formed from my realization some years ago that Liberal Arts, as I knew them, weren't that liberal. And that's just setting a challenge to myself. Thank you, Mairead >>> janesprague@CLARITYCONNECT.COM 01/18/03 22:24 PM >>> Mairead, I'm glad you entered into this discussion. And put a more balanced spin on it. It is a gross generalization to assume that all MFA programs are the same, this is decidedly not the case. And someone (G. Gatza?) recently put forth a query to the effect of whether or not to return to school, to which I would add, 'well, what would you like to think about? would you like to occupy your mind with balancing accounts for an arts organization whose ethics and largesse you may or may not agree with? or, devote your mind to the study of poetics?' Because the fact remains that we live in a post-Dickensian era and there is no debtors prison. I take great faith in this aspect of American life. Rack up the debt, do what you want to do and inculcate your mind with the thoughts that you'd like to be thinking. People choose MFA programs for many different reasons, and many MFA's incorporate critical writing and progressive, independent, project-based work. Perhaps what people are really complaining about is the trouble of workshop based MFA's which tend to produce homogenized work or work that excels at the art of imitation rather than original (and critical) thinking, writing and reading skills. But then, there I go, generalizing. And, of course, not all students approach programs the same way. But couldn't this also be accurately said about PhD programs? This leads to larger issues of employment, population: a sea of people with more degrees than jobs; if you really want to get bummed out, visit the MLA's website for thoroughly researched statistics on the state of affairs for employment in the academy. Grim barely comes close to describing it. There has almost always been a need for education reform, perhaps never more immediately than now. In case anyone has trod the halls of our public schools lately, there is a tremendous amount of work to be done. And, as the MLA's own reports advise, this is true for the academy as well. It's ignorant and offensive to assume that MFA students are naive. There is a nee d for looking more closely at how creative writing programs are structured and what they actually prepare their students for. But couldn't this also be said for PhD programs? How well is the academy preparing it's PhD students for the grim specter of procuring actual employment in the academy once they leave? I certainly don' t have any answers to these issues/questions, but I grow weary of the anti-MFA tone of certain posts frequently found on this list (uh, how many of us have them or are currently working on them?) and generalization, in this instance, merely draws lines between us, as poets, where what we really need is to be supportive of eachother and curious about the work that other people are doing. Regardless of their pedigree. Or lack thereof. -Jane ========================================================================= Date: Sun, 19 Jan 2003 00:39:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Leftist Caught Red-Handed in Bad Pun MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Leftist Caught Red-Handed in Bad Pun Sarah Williamson was arrested last night for spamming a number of email lists with a 'bad pun,' Yorkshire Heights police reported last night. 'The complaints were overwhelming,' John Stockton, chief, said. 'We had to do something.' The pun went as follows: "'It takes a village to raise a child.' - Hillary Clinton. 'It takes an idiot to raze a village.' - George Bush." Arraignment Tuesday at the Courthouse. Visitors welcome. (AP) === ========================================================================= Date: Sun, 19 Jan 2003 16:00:33 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: AWP? Egads or e-grads In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-469A1FA9; boundary="=======77341475=======" --=======77341475======= Content-Type: text/plain; x-avg-checked=avg-ok-469A1FA9; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Gals here's an australian spin on mairead's post. i feel this list is very america-centric in its thinking, perhaps not=20 intentially, but one gets the feeling that the list in general equates=20 poetry with poetry that happens in the usa. but poetry does happen in other= =20 places in the world, and even if we are far away and small in population i= =20 assure you that there is a poetic culture in australia and issues that are= =20 similar to the american experience. as a professional performance poet for ten years, and as a person with a=20 science education, and as a person who did not study literature from books= =20 at university, but rather developed my aesthetic in the pubs and coffee=20 lounges of melbourne and sydney, i would like to comment on the community=20 or local poetry as compared/intertwingled with the academic treatment of=20 poetry. before contact with the melbourne performance poetry scene i thought i was= =20 the only person in the world expressing themselves through poetry, my work= =20 resembled song lyric, in metre and rhyme because that was my concept of=20 poetry from school, but also because people like bob dylan were my idea of= =20 modern poets. the poetry readings introduced me to index poetry, to=20 humorous poetry, to political poetry, to non-rhyming poetry, to personal=20 poetry, to conversational poetry, to sound poetry, to shouting poetry to=20 whispering poetry. i was learning the theory through practice, the=20 sounding, the local activity also being a sharing, so the influences of the= =20 surrealists, the dadaists, the beats, the black mountain poets, the new=20 york school poets, the lang-pos were brought to soundings by the various=20 poets in their poems and i incorporated in my own writing without=20 consciously studying them. the territory the poetry mapped was also=20 expanded as i left my self as object and subject of my poetry and looked=20 further afield. i appreciate the importance of the local activity of poetry, the poetry=20 sounding(reading). this aspect of poetic culture has been trivialised or=20 marginalised over the last 50 years; for political reasons during the 50s,= =20 60s and 70s (mccarthy anti-communist period, cold war, and vietnam where=20 poetry readings were seen as subversive left-wing activities);=20 for cultural elitist reasons (seen as 'low' or 'popular' culture); or for= =20 commercial reasons (published books being more traditionally marketable=20 items). this was at the same time that english publishers were opening=20 australian divisions and publishing australian poetry lists and the time=20 that australian literature was being introduced into the university=20 curriculum, the establishment of the university presses, and a fairly=20 conservative establishment of academics and book publishers were developing= =20 a canon which rooted the australian tradition back to england via oxford=20 university and shakespeare, and far from the bush ballad and=20 'australianist' poetry of the first half of the 19th century in australia.= =20 this establishment resisted the influences of theory and praxis outside of= =20 england. it wasn't until the 70s and 80s did we start to see the influence= =20 of american new criticism and influences of movements like the beats, the=20 projectivists, the new york school and the L=3DA=3DN=3DG=3DU=3DA=3DG=3DE= poets, and the=20 influence of french theorists on the poetic discourse of australia. in the= =20 70s poetry readings became very important to the culture, an important part= =20 of anti-vietnam , feminist, lifestyle experimentation, gays and lesbians,=20 idigenous and ethnic group activities. they were also focal points for=20 publishing ventures and the emergence in the late 70s and early 80s of the= =20 small independent presses(sometimes called the mimeograph publishers=20 because they were cheaply printed and hand collated and bound). the=20 anglo-centric view of australian culture and literary canon was being=20 challenged at the community level and at the academic level with younger,=20 better informed, culturally representative academics keen to establish=20 australian poetry amongst the english-language poetries of the world and=20 with a more pluralistic view of the poetics and aesthetics of poetry and in= =20 deed writing in general. unlike the usa, which has had creative writing programs at universities=20 (since 1922 i believe, iowa?) the conservative au universities resisted=20 creative writing programs in the 70s, but they were introduced through=20 community pressure, into colleges of advanced education (teacher training)= =20 and tertiary institutes of technology. strangely enough the=20 autobiographical or workshop nature of the usa writing programs was often=20 cited as a reason not to introduce writing programs into universities. many= =20 writers who didn't have university educations in literature or writing=20 found teaching these courses to be a valuable means of earning a living as= =20 writers. again the sounding or reading in public was a very important part= =20 of the writing programs. in the 80s the labor government of australia implemented a higher education= =20 'rationalization' which aimed to reduce duplication and increase=20 efficiency. this saw the merging of colleges of education, institutes of=20 technology and universities into multi-campus conglomerates, and a much=20 wider offering of courses. writing programs were now an officially=20 recognized part of university studies. this has been good in one way, but= =20 in another way has meant the writing programs and teachers of writing have= =20 had to conform to the more conservative academic standards, more emphasis=20 on print publication, more pressure to publish, more pressure for more=20 officially qualified teachers (phds). the 80s also saw the emergence of a=20 new poetic industry, that of professional performance poet. many poets,=20 like myself, began to earn a living by performing their work outside of the= =20 traditional literary venues of university or community seminar rooms and=20 more at music venues, comedy venues, schools, community groups, prisons,=20 literary festivals. the 80s was also a time when the states (victoria, new= =20 south wales, queensland, western australia) introduced annual arts=20 festivals that included a 'writers' week' modeled on the successful=20 adelaide festival writers' week established in 1960. however the festivals= =20 are more like book readers' and publishers' festivals even though they are= =20 all called writers' festivals. the sponsored writers being the writers the= =20 publishers are promoting at the moment. whilst soundings (readings) are a=20 major part and most popular of these events, the performance poets and open= =20 poetry readings are usually relegated to fringe status. the community=20 organized poetry festivals, montsalvat, the queensland poetry festival, the= =20 tasmanian poetry festival and the nsw poets' union are more writer=20 intensive and offer a greater variety of performance poetry. by the way=20 for all those slamericans who want to lay claim for inventing competitive=20 poetry events, the launceston poetry cup has been a yearly event since=20 1984, one minute poem, audience response as judge. but generally by the 90s the public reading/performance of poetry and the=20 teaching of writing were accepted as more mainstream activities, and seen=20 as a part of our poetic culture. since 1995 the commercial publication by major publishers is in decline as= =20 the market for poetry on a national level has shrunk to below one of=20 economic viability. the reasons that the audience for published poetry has= =20 decreased may be many, and i don't have any evidence, but i believe the=20 publication of theoretically informed experiments in poetry by academically= =20 educated teachers and students in the late 80s and early 90s may have=20 alienated a part of the readership of poetry unfamiliar with poetic and=20 aesthetic contemporary discourses. but that does not mean that the overall= =20 publication of poetry has decreased. quite the opposite. according to=20 national literature database figures there has been a steady increase since= =20 a slight dip in 1995, with over 450 poetry titles published per year. these= =20 publications are self-funded or from regional presses, and some subsidized= =20 university presses. the local activity of the sounding (reading) is of=20 great importance here in the promotion and sale and distribution of the=20 published product. there is an active network of venues for weekly poetry sounding in each=20 capital city of australia and in the regional cities as well. performance=20 poets can make a living but have to be prepared to travel -"have poem -=20 will travel" (pun on 'have gun - will travel' trashy 60s tv cowboy show).=20 schools are great sources of income for a poet too, teachers and librarians= =20 keen to excite their students about contemporary language and its uses,=20 often invite performance poets to 'turn their children on' to poetry. i=20 always felt the greatest thing i could do when i went to a school was to=20 change the students' concept of what a poem looked like on a page, what it= =20 sounded like, what a poem could say, and how it could say it, so that it=20 was more relevant to their lives. i did not intend to make all students=20 great poets but at least convince them to not put up a barrier to poetry=20 because they thought it was too old fashioned and irrelevant to their=20 lives. if any of them were inspired my belief was that once they fell in=20 love with the form then they would be encouraged to study the more formal=20 aspects of history and analysis. i am now a tenured academic, i first taught university as a sessional=20 lecturer(adjunct?) in writing programs in nsw and queensland (1991 - 1999).= =20 when i began teaching i began reading a lot more about australian poetry=20 and other poetries in english, i began to better contextualize what i had=20 been doing as a performance poet, i began to ask questions about my craft=20 and the theories of literature and life that inform it. i realized how=20 fortunate students in writing programs were to be studying their chosen art= =20 form in a nurturing environment informed by experience of those that have=20 been actively involved in the australian poetic culture, and being=20 encouraged to perform their work in public as well as seeking publication. Another area of growth for poets in australia and globally has been the=20 world wide web, an exciting new form of publication and distribution, and=20 more so a great new tool for creation. griffith university was quick to=20 recognize the importance of this new writing space and in 1998 i wrote and= =20 taught 'writing for the web' to writing program students to introduce them= =20 to html and the creative use of the web. in the following year the=20 cyberstudies major was introduced as a specialist major for bachelor of=20 arts students. well to finish and summarize, i believe writing programs are good but=20 should not be elevated or separated from their local or community activity.= =20 and that teaching performance and digital poetry is just as important as=20 teaching writing about, and for, print publication. cheers komninos http://spokenword.blog-city.com http://www.gu.edu.au/ppages/K_Zervos http://users.bigpond.net.au/mangolegs At 12:28 PM 19/01/03, you wrote: >Guys, > >I=92d like to bring a couple of different perspectives to the discussion >about MFA programs and poetry. Firstly, I came to the United States in >1994 in order to do a Master=92s in poetry. I came, with a 7 year old >child, from Ireland, where there were no MFA programs at that time, and >where there was intense skepticism about teaching anyone to write. This >intense skepticism was significantly played out in pubs, which had been, >for some decades, the =93hedge schools=94 of poetry. I got my pub credits >too, in my twenties, along with writing a few books and plays, and a lot >of journalism. I had no training for any of this, but I had a lot of >opportunity. The day after my thirtieth birthday, my first child was >born. The pub gradually became a less viable forum of exchange. Yet >the image of the Irish poet was, to some extent, still identified with >the pub. Jobs I worked at in the next few years included art gallery >manager, arts center director, hospital domestic, and substitute >teacher. A low point was peddling furiously on my bike up and down >hills in Dun Laoghaire in Dublin, where it rains constantly, leaving my >daughter, then 4, to a babysitter, who would in turn leave her to >school, peddling to the hospital where I worked, always late, working my >shift, peddling to collect my daughter from school and leave her back to >the babysitter, doing the second shift at the hospital, then peddling >back up to the babysitter to collect Marina, etc etc. This was >definitely not the image of the Irish poet, though I had by then >published about 40 poems. I finally went back to college to get a >teaching certification. My intention was to become a high school >teacher (I was definitely uncool). I got a job but at the same time was >accepted into a creative writing program in the United States. I took >that opportunity because it offered time to read and write, the chance >to talk about writing outside the pub, the opportunity to teach, and a >minimum income on which myself and my daughter could survive. When I >was doing that degree, classes were my social life. I lapped it up. I >knew I was enjoying something that was not available in Ireland. I also >knew, after the harrowing year I had spent getting teacher >certification, that I would not be able to pursue any more advanced >degrees in Ireland. Here I was able to do an M.A., and a Ph.D., and I >am grateful. > >The second perspective I=92d like to offer is that of someone who teaches >at an art school. In Ireland, my compadres were visual artists. Studios >were fantastic places for me: of books and images and ideas and smells. >Some of my friends hadn=92t completed secondary school. But all of them >had gone to art school, generally with huge appetite. I agree with >Finnegan. Artists relish training. Historically, in poetry, this is >also the case, though not, in Ireland, for most of the twentieth >century. Maybe my students should get the hell out of art school and >get a job unconnected to their field. But it seems absurd. > >On Henry=92s point =97 and something I was unaware of when I immigrated =97 >there is a wide range of MFA programs in creative writing, some of which >integrate creative writing =93with professional & general education,=94 as >he recommends. I=92m thinking of the MFA at the School of the Art >Institute of Chicago, because it interests me; the AWP guide to writing >programs is a useful resource. > >I have already admitted to being uncool, now I=92ll admit to being excited >about going to Baltimore, the city where Frederick Douglass learned to >read. My associations with Baltimore are Frederick Douglass, Poe, and >Randy Newman. But then, as an immigrant, I also find the concepts of >=93middle school librarian=94 and =93high school music teacher=94 exciting. > >Mairead --=======77341475======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-469A1FA9 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======77341475=======-- ========================================================================= Date: Sun, 19 Jan 2003 08:11:24 +0200 Reply-To: xstream@xpressed.org Sender: UB Poetics discussion group From: Jukka-Pekka Kervinen Organization: xStream Subject: xStream #7 online Mime-Version: 1.0 Content-Transfer-Encoding: 7bit Stream -- Issue #7 xStream Issue #7 is online, now in three parts: 1. Regular: Works from 6 poets (Amy King, Eileen Tabios, Jnana Hodson, Denise Duhamel, Maureen Seaton and Wendy Collin Sorin) 2. Autoissue: Poems generated by computer from Issue #7 texts, the whole autoissue is generated in "real-time", every refresh. 3. Collaborative Issue: with Denise Duhamel, also real-time. Submissions are welcome, please send to xstream@xpressed.org. Sincerely, Jukka-Pekka Kervinen Editor xStream WWW: http://xstream.xpressed.org email: xstream@xpressed.org ========================================================================= Date: Sat, 18 Jan 2003 22:54:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Helen Adam In-Reply-To: <000101c2bf53$8ba91520$5b14d8cb@ahadada.gol.com> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Jesse, I think this is Helen Adam's only stuff currently in print: from Hanging Loose Press Helen Adam, SAN FRANCISCO'S BURNING The famous "ballad opera" now available, for the first time, in its sparkling entirety. Full score by Al Carmines and other composers, witty drawings by Jess. "A unique, bizarre, and altogether beguiling ballad opera."--Small Press. 440 pages, including 200 pages of music in a separate section. Paper: ISBN 0-914610-33-3, $15.00. Cloth: ISBN 0-914610-43-0, $25.00. =A0 Helen Adam, GHOSTS AND GRINNING SHADOWS The only published prose by the incomparable balladeer. Choice calls these two long witch stories "a welcome and timely treat." Fiction, 98 pages, $8.00. ISBN 0-914610-10-4. =A0 In addition to the Crossing the Meridian K Prevallet's lovely essay on her collages, I found a site devoted to her work by somebody named Barbara C. Blehm: http://coe.west.asu.edu/394/TinaF/ppt%20intro/index.htm This site has lots of information about her and other critics (i.e. Michael Davidson) that was new to me. I first heard Helen Adam read her work at the SF State Poetry Center when I was a student there in the very early sixties. She was genuinely spooky for me to hear (some of the Ballads had such a sexually sadistic side all wrapped up in couplets, no less!) - and I suspect she herself was spooked b= y her own material, as well, it certainly seemed to live very much inside her= . (Her day job was at a Pizza Parlor at the corner of Waller & Stanyan in the Haight across from Golden Gate Park - she had absolutely no customer interface and seemed to be off in another world, perhaps a few blocks away up the hill in a rented room on the edge of Sutro Forest and Twin Peaks). Later, when she came back from New York to perform in San Francisco in the early seventies, a guest of Duncan, her performances seemed much more polished and stylized ("belting it out" as you say - including dancing on stage - and yet a step beyond the earlier space of my first encounter with her and her work.) Yet, she did live in a make believe world. When she and her sister took the play, San Francisco's Burning (after a success here) to New York, I believed they moved certain that the play (performed at I believe The Judson Playhouse) would make her famous and financially rewarded. It didn't. Though my impression is that she achieved recognition among some circles of NY poets, and certainly continued to get published. In 1972, when I was the Director of Poetry In the Schools, I took her back to Alameda, her first American childhood home, to read at an English class at Alameda High School. She read several poems - creating quite a spell - and then spent the rest of the hour reading Tarot cards for each student in the class - all thrilled, of course (this was still what we call essentiall= y the sixties.). It was incredibly generous, though I think she was also hungry for human company. When we drove back to the City through the tunnel under the Estuary (the Alameda tube) she described how when she was in High School she used to lov= e to ride her bike through the tunnel, singing. I suspect any criticism of Adam's work is always confronted with the issue of conjoining such a retro/non modern form with a modern (or is it post-modern) resonance. She, Duncan, and Spicer conference over the grave o= f Poe - and that chemistry releases something in each of them that still jangles.=20 Stephen Vincent=20 on 1/18/03 4:41 PM, jesse glass at ahadada@GOL.COM wrote: > Has any new work been done on Helen Adam? It would be wonderful to have = a > biography of this fine poet. When I met her back in 1982 she was the > embodiment of the dark Muse, swinging her fists and belting out her > supernatural ballads. I see on Amazon that her ballads are o.p. News wo= uld > be appreciated. Jess ========================================================================= Date: Sat, 18 Jan 2003 23:27:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Para-AWP reading Ideas, Baltimore, etc. In-Reply-To: <200301190459.UAA00285@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Following up on both Maria's and Arielle's ideas, I think we shd make the Poetics reading a POETRY IS NEWS event. By the time of the conference even larger numbers of soldiers & weapons will be in position to invade, the war may have even commenced. If so, one wd hope that AWP organizers will organize poetry activity, plenary statements, etc. against it all. If they don't, we can insist on it. Maybe the collective Arielle found can contact local poets to join us. Maybe some of the New York PIN presenters will be in Baltimore too or can come down (less than 3 hours by train). Eventually it cd become the seed of a Baltimore chapter, along the lines Maria suggested. As for so-and-so's put-down of the city, he clearly doesn't know much abt it. (While forgetting the importance of librarians and music teachers--To poetry even and teenagers who become "cool.") I wd add to the previous mention of Poe*, etc.: JOHN WATERS (Baltimore has an official John Waters Day--he's lived there most of his life); BILLIE HOLIDAY (born there--there's an annual BH vocal competition and a statue on Pennsylvania Ave.); ADRIENNE RICH, also born there. Gertrude Stein went to med. school there-there and thrived on the intellectual environment around Johns Hopkins. If you're a baseball fan, it was the childhood home of the Bambino. Not an uncool locale/tradition at all. *You can still visit Poe's last home downtown. Let's hold the reading out in front if the other places don't work out! --Walter K. Lew >Date: Sat, 18 Jan 2003 10:39:43 -0600 >From: Maria Damon >Subject: Re: POETRY IS NEWS! > >i've been thinking; those of us not in NYC could consider starting up >local chapters of Poetry is News! wherever we are. then in addition >to organizing local events, we can perhaps coordinate collaborative >activities x-country, etc. letter/poetry writing campaigns, etc. > >At 10:22 AM -0500 1/18/03, Nick Piombino wrote: >>POETRY IS NEWS! >> >>The world situation - on the insane brink of more war - with civil >>liberties under siege - is getting worse by the hour. In addition to >>everything we do as citizens, we now call for action within the sphere >>of all public cultural activities as it becomes increasingly >>embarrassing and painful to attend events that don't even "reference" >>the current reality. The false dichotomies between politics and > >aesthetics can only be put to rest when history is made present and >>resistance enacted. >> >>POETRY IS NEWS, a forming cultural coalition announces its inaugural event: >> >>Operation Counter-Intelligence: A Cultural Wake-Up Call >>will present panels, performances and reports from the front. >> >>Participants include poets, writers and critics Ammiel Alcalay, Samiya >>Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, David >>Henderson, Fanny Howe, Elias Khoury, Michael Palmer, Anne Waldman and > >Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and >>journalist Ted Rall, and others to be announced. >> >>Topics we will address include: >> >>Where Is Poetry? Responding to Crisis >>Acting in Public: Expanding Cultural Space >>Bringing Back the World >>Being Censored, Censoring Ourselves >> >>Reports from the front include: >> >>Rebecca Murray, an International Solidarity Movement >>activist, on her experiences riding ambulances in Jenin >> >>Sara Reisman, on demonstrations she has >>organized in front of the INS building >> >>Kristin Prevallet and Rachel Levitsky on Debunker >>Mentality, public poetry actions taken after 9/11 >> >>Rachel McKeen on Brooklyn high school kids' >>reactions to military recruitment. >> >>The Poetry Project at St. Mark's Church >>Saturday, February 1st, from 2 to 9 p.m. >>131 East 10th st. Admission is free. >> >>For more information, call 212-674-0910 or check www.poetryproject.com >> >>For press contacts and interviews: >>Ammiel Alcalay (aaka@earthlink.net) > >Anne Waldman (anne.waldman@mindspring.com) ========================================================================= Date: Sat, 18 Jan 2003 23:59:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Para-AWP reading Ideas, Baltimore, etc. In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Not to mention three extraordinary museums, an overabundance of great food, including a regional cuisine, local and thriving folk art traditions, vibrant visual arts and music scenes, and great bars and street life. But of course most of us will be locked in the venue for the duration. For a break I'd suggest at least The Museum of Visionary Art. Baltimore is one of our better cities, but a convention center could be anywhere. Mark Weiss At 11:27 PM 1/18/2003 -0800, you wrote: >Following up on both Maria's and Arielle's ideas, I think we shd make >the Poetics reading a POETRY IS NEWS event. By the time of the >conference even larger numbers of soldiers & weapons will be in >position to invade, the war may have even commenced. If so, one wd >hope that AWP organizers will organize poetry activity, plenary >statements, etc. against it all. If they don't, we can insist on it. >Maybe the collective Arielle found can contact local poets to join >us. Maybe some of the New York PIN presenters will be in Baltimore >too or can come down (less than 3 hours by train). Eventually it cd >become the seed of a Baltimore chapter, along the lines Maria >suggested. > >As for so-and-so's put-down of the city, he clearly doesn't know much >abt it. (While forgetting the importance of librarians and music >teachers--To poetry even and teenagers who become "cool.") I wd add >to the previous mention of Poe*, etc.: JOHN WATERS (Baltimore has an >official John Waters Day--he's lived there most of his life); BILLIE >HOLIDAY (born there--there's an annual BH vocal competition and a >statue on Pennsylvania Ave.); ADRIENNE RICH, also born there. >Gertrude Stein went to med. school there-there and thrived on the >intellectual environment around Johns Hopkins. If you're a baseball >fan, it was the childhood home of the Bambino. Not an uncool >locale/tradition at all. > >*You can still visit Poe's last home downtown. Let's hold the reading >out in front if the other places don't work out! > >--Walter K. Lew > > > >>Date: Sat, 18 Jan 2003 10:39:43 -0600 >>From: Maria Damon >>Subject: Re: POETRY IS NEWS! >> >>i've been thinking; those of us not in NYC could consider starting up >>local chapters of Poetry is News! wherever we are. then in addition >>to organizing local events, we can perhaps coordinate collaborative >>activities x-country, etc. letter/poetry writing campaigns, etc. >> >>At 10:22 AM -0500 1/18/03, Nick Piombino wrote: >>>POETRY IS NEWS! >>> >>>The world situation - on the insane brink of more war - with civil >>>liberties under siege - is getting worse by the hour. In addition to >>>everything we do as citizens, we now call for action within the sphere >>>of all public cultural activities as it becomes increasingly >>>embarrassing and painful to attend events that don't even "reference" >>>the current reality. The false dichotomies between politics and >> >aesthetics can only be put to rest when history is made present and >>>resistance enacted. >>> >>>POETRY IS NEWS, a forming cultural coalition announces its inaugural event: >>> >>>Operation Counter-Intelligence: A Cultural Wake-Up Call >>>will present panels, performances and reports from the front. >>> >>>Participants include poets, writers and critics Ammiel Alcalay, Samiya >>>Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, David >>>Henderson, Fanny Howe, Elias Khoury, Michael Palmer, Anne Waldman and >> >Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and >>>journalist Ted Rall, and others to be announced. >>> >>>Topics we will address include: >>> >>>Where Is Poetry? Responding to Crisis >>>Acting in Public: Expanding Cultural Space >>>Bringing Back the World >>>Being Censored, Censoring Ourselves >>> >>>Reports from the front include: >>> >>>Rebecca Murray, an International Solidarity Movement >>>activist, on her experiences riding ambulances in Jenin >>> >>>Sara Reisman, on demonstrations she has >>>organized in front of the INS building >>> >>>Kristin Prevallet and Rachel Levitsky on Debunker >>>Mentality, public poetry actions taken after 9/11 >>> >>>Rachel McKeen on Brooklyn high school kids' >>>reactions to military recruitment. >>> >>>The Poetry Project at St. Mark's Church >>>Saturday, February 1st, from 2 to 9 p.m. >>>131 East 10th st. Admission is free. >>> >>>For more information, call 212-674-0910 or check www.poetryproject.com >>> >>>For press contacts and interviews: >>>Ammiel Alcalay (aaka@earthlink.net) >> >Anne Waldman (anne.waldman@mindspring.com) ========================================================================= Date: Sun, 19 Jan 2003 01:35:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: David Larsen Subject: Baudelaire bio? In-Reply-To: <003601c2bf04$71db3140$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I am looking for the best biography of Baudelaire. Which one is it? Length is no object --multivolume OK --but it needs to be in Inglish. And well-informed about the drugs. Also I'd like to know about C.S. Peirce's drug use. Someone must have an opinion on this --GO RAIDERS and please tell me, either b/c or let the whole world know LRSN PS I really do love that book Star, does someone want to fight about it? ========================================================================= Date: Sun, 19 Jan 2003 22:36:58 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: AWP? Egads. In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-E76EE9; boundary="=======311F4320=======" --=======311F4320======= Content-Type: text/plain; x-avg-checked=avg-ok-E76EE9; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 03:29 PM 19/01/03, you wrote: >On a more micro level, I am trying to design a non workshop based poetry >writing seminar and would welcome any structural or strategic ideas from >people who have practiced something like this. > >I liked Geoffrey's idea of "mentorship." Are there current examples of >this working outside the academy? we have our assessments for writing for performance at regular community poetry venues, so that there is an audience of peers, teachers and general public. i think the workshop situation is fine -if you don't discuss the work of people in the workshop. when i was doing my ma(creative writing) our seminar/workshops would usually discuss the reading for that week, eg benjamin's 'state of art in the age of mechanical reproduction, stein's centenary lectures, barthes on autibiography, susan sontag on photography, janet malcolm's biography of plath biographies, etc. we would prepare creative responses to the items we were studying each week and present those at the workshop for discussion. our written work for our personal writing projects was only discussed with our supervisor. i don't think having a blog that allows written comments from others is such a bad idea although i haven't tried it. it could stop a lot of personality based criticism if people have to commit comments to writing. and of course as much contact with writers as possible. cheers komninos --=======311F4320======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-E76EE9 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======311F4320=======-- ========================================================================= Date: Sun, 19 Jan 2003 07:58:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: poet=rebel, awp etc Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i agree w/ kasey and gabe on this one. one reason i think the atmosphere in mfa programs suffers is because often they are anti-theoretical and anti-intellectual (not the students' fault but sometimes these splits between "literature" and "creative writing" aspects of a dept reflect faculty factions left over from a pre-theory model of literary scholarship and a pre-"language" era model of the unalienated writer, etc.). mfa programs are stigmatized from within the academy as "soft" and from outside the academy as "academic" --by which is meant many things: tame, tweedy, overly cerebral, "safe" in the pejorative sense --both in terms of a career path and in terms of the poetry mostly generated there... There is some truth to both charges, but students entering programs aren't to blame. they are sometimes simply seeking to stave off the impossible world of employment-for-humanists-and -artists-outside-the-academy for a few years while they network, write, etc. i myself joined a phd program cuz reagan cut all the programs that could possibly have employed me in my mid-20s. if there had been any arts/humanities-oriented degree that would have taken longer, i'm sure i would have applied for that. when people ask why i got my doctorate or went into the academy, i usually say 1)to hide out the reagan years or 2)because it was for me the path of least resistance. At 10:28 AM -0600 1/18/03, Gabriel Gudding wrote: >Andrew, > >Jeffrey Jullich estimates, maybe sarcastically, there may be 10,000 living >experimental poets and that experimentalism is dwinding because the numbers >are growing. And you claim uncoolness is growing because, though you can't >name 50 living poets, there are a hundred MFA programs in the nation. I >have to wonder about the big concern about numbers. > >1. Is your concern over numbers in any way related to the scarcity model of >"talent" or, seeing as how you put the word, rightfully, in scare marks, >how can there be this much good stuff or useful stuff or readable stuff? or >is it akin to Marjorie Perloff's strangely reactionary cri du coeur 4 years >ago when she called for more "intolerance" in American experimental poetry. >That strong sense always that we ought to whittle down the idea of what's >good, what's cool, what's acceptable...hey, this is starting to sound alike >an incipient impulse behind canon construction: less is more, true coolness >and experiment is scarce, hipness is aristocratic not democratic. Is "cool" >here accruing the same coding as "talent" if looked at in light of the >scarcity model? We are living through a post-avant renaissance, or just a >straight-up renaissance, gotta figure out some way to group and sort and >judge... > >2. Too I wonder if part of what's behind your comparison of AWP writers to >middle school librarians is simply that old "hip" romantic model: the >writer as lone drunken wolf -- Kerouac, Byron -- or lone visionary "Indian" >of letters -- Ginsberg, Blake (or Robert Bly in his 1960s warrior poet >battle garb taking on the cranks, the academics, the Saxons). > >3. As someone affiliated with two writing programs as a student, who's >started two writing programs in prisons and taught in three university >writing programs after grad school, I can tell you that few students join >wriitng programs holding the "academic=poet" model (Bly made that an unhip >thing to think way back in 1968). They're usually very smart geeks -- and >if they fell on one side of a line separating teh academic model from teh >romantic, they'd fall on the romantic end. Poet=Rebel. > >4. What's more, Poet=Rebel is/was a big part of the Academic model of the >poet anyway -- Golding noting it is academe itself (that most unhip of >insitutions as you rightfully note [would you prefer MTV?]) that takes in >the hip outlaw. And most poets now affiliated with former Objectivist 'n' >Black Mtn poets (ie SUNY Buffalo or Penn), langpo and postlangpo -- William >Bronk's leather-jacket cover photo SAGETRIEB issue which was, if memory >serves entitled _Answerable to No One_ or Gilmore's _Don't Touch the Poet: >The Life and Times of Joel Oppenheimer_ or Chs Bernstein's _My Way_ -- the >canon-making of the white middle or artisan class male relies heavily on >poet=rebel, poet=marginal, poet=scarce. > >5. It is the very impulse toward coolness, toward banding about the >exclusive rebel king (it's mostly a male thing), that feeds the academe >youre talking about. > >6. However one of the cooolest things about AWP for me is that it is and >has been and is continuing to be a key way that women writers connect and >network in ways that have been so long traditionally male. Annie Finch's >wom-po listserv is amazing in this regard. Does you slam on "middle school >librarians" contain a bit of sexism in it maybe? -- most middle school >librarians being female? > >Gabe > > > > >At 11:33 PM 1/17/2003 -0800, Andrew Rathmann wrote: >>If anyone still needs convincing that all notions of mainstream and margin, >>avant and derriere, have been rendered ~meaningless~ by the >>academic-professional domination of poetry, then a quick trip to the AWP's >>website might be indicated. >> >>http://www.awpwriter.org/aboutawp/index.htm >> >>One thing I, personally, hate about the AWP and MFA programs in general is >>that they make the art of poetry seem so deeply uncool. They make poets >>seem about as cool as high school music teachers or maybe librarians. >>Middle school librarians meet at conferences in Baltimore. But poets? >> >>Writing programs simply take advantage of the self-deluded, who have no >>other image of the poet than as an academic. Consider this bit of >>institutional self-promotion: "Some of the most important writers of this >>century have attended university writing programs and worked as professors >>of writing and literature." What is falsely implied here is that these >>"most important writers" could not have developed ~without~ a writing >>program, which is obviously bullshit. The question isn't whether good >>writers ever teach (of course they do--it's better than working at >>Safeway). The question is why anyone would think that, given the reality >>of massively unequal distribution of talent, it makes sense to attend >>school to become an artist. There are, by the AWP's count, currently 99 >>MFA-granting programs. I doubt I could name 50 living poets -- yet there >>are twice that many ~programs~? >> >>Have I made my skepticism sufficiently clear? Look at what else they say >>on the AWP site: "More than any other literary arts organization, AWP has >>advanced the appreciation of literature as an open and living art--growing >>and evolving--an art that can be enjoyed by anyone who can read, an art >>that can be made by anyone with talent who is willing and disciplined >>enough to devote one's self to its difficult demands." What subterfuge! >>If you have "talent" and are "disciplined," then what do you need the U of >>Iowa for? A lawyer couldn't have formulated this claim more cunningly. > >Gabriel Gudding >Department of English >Illinois State University >Normal, IL 61790 >office 309.438.5284 >home 309.828.8377 > >http://www.pitt.edu/~press/2002/gudding.html -- ========================================================================= Date: Sun, 19 Jan 2003 05:00:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: how i was brainwashed into becoming a member of an elitist group MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit how i was brainwashed into becoming a member of an elitist group not that there should be any natural animosity between people whose way of life is the exploitation of loving people and ANY dominant out-of-control [kitsch-comment] ANY dominant out-of-control Media Centre’s ambitious creative programme [further evidence that you don't know what you are talking about.] _ _ _ / \ _ o _| _ ._ _ _|_ ) o \_X |_| (_) | (_| (/_ | | (/_ |_| | o o "yeah! it's like, "thanks for sharing," :-( "They are neither american nor anywhere else people" [or at least, they shouldn't be] ==>[kitsch-comment] You want to see my voter registration card??? I think you need to go back to school (and church). I will offer you a cool thank-you gift if you clearly communicate your thoughts (in punjabi). and i will have you meet your hero boy dylan and some surrealists dadaists beats black mountain poets new york school poets and some lang-pos at a great bar i know that is in the process of fixing broken links [the world situation is on the insane brink of more war]==>[kitsch-comment] and i will even throw in a free ticket to a New Forms Festival presenting work in these areas: * Alternatives in cross-gender isolation tanks; * Post-digital and electronic brain scans; * Net fishing; * Performance art, installation and back-breaking grape-harvesting; * Immersive and online raves; * Electronic gang-bangin; * 3D mastectomies; * Artificial reality art and ballroom dancing; * Sensor technologies and prostate examinations. [minus the value of any goods or services received, to the extent allowed by law] Be sure NOT to tell the americans where this wonderful bliss exists [Apologies for my english] YOUR ASSIGNMENT: prepare for creative responses to the items we have been studying each week and present those at the micro-level for troop deployment YOU AUGUST HIGHLAND SEE ME IN MY OFFICE! august highland 4:56 am 01-19-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Sun, 19 Jan 2003 08:04:26 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: The sociology of cool MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit This idea of poet as rebel is not interesting as style. The CEO of Visa, the credit card company, used to ride his Harley to work. People who own SUVs think SUVs are "cool" or "gnarly" or whatever the local lingo might be. Poets who actually do/write something that makes a difference in the culture is in fact much more rare & far more variable as to personal style. Ginsberg wore suits a lot in his later years. Ron ========================================================================= Date: Sun, 19 Jan 2003 08:11:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Para-AWP reading Ideas, Baltimore, etc. In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" plus a great cuisine; soft shell crabs, southern cooking, etc... plus great architecture...marble stoops, no? this is a great idea walter. go for it sound your barbaric AWPs across the rooftops levitate the pentagon while you're at it... ps walter send your post to ammiel and anne waldman for them to disseminate among PINsters? At 11:27 PM -0800 1/18/03, Walter K. Lew wrote: >Following up on both Maria's and Arielle's ideas, I think we shd make >the Poetics reading a POETRY IS NEWS event. By the time of the >conference even larger numbers of soldiers & weapons will be in >position to invade, the war may have even commenced. If so, one wd >hope that AWP organizers will organize poetry activity, plenary >statements, etc. against it all. If they don't, we can insist on it. >Maybe the collective Arielle found can contact local poets to join >us. Maybe some of the New York PIN presenters will be in Baltimore >too or can come down (less than 3 hours by train). Eventually it cd >become the seed of a Baltimore chapter, along the lines Maria >suggested. > >As for so-and-so's put-down of the city, he clearly doesn't know much >abt it. (While forgetting the importance of librarians and music >teachers--To poetry even and teenagers who become "cool.") I wd add >to the previous mention of Poe*, etc.: JOHN WATERS (Baltimore has an >official John Waters Day--he's lived there most of his life); BILLIE >HOLIDAY (born there--there's an annual BH vocal competition and a >statue on Pennsylvania Ave.); ADRIENNE RICH, also born there. >Gertrude Stein went to med. school there-there and thrived on the >intellectual environment around Johns Hopkins. If you're a baseball >fan, it was the childhood home of the Bambino. Not an uncool >locale/tradition at all. > >*You can still visit Poe's last home downtown. Let's hold the reading >out in front if the other places don't work out! > >--Walter K. Lew > > >>Date: Sat, 18 Jan 2003 10:39:43 -0600 >>From: Maria Damon >>Subject: Re: POETRY IS NEWS! >> >>i've been thinking; those of us not in NYC could consider starting up >>local chapters of Poetry is News! wherever we are. then in addition >>to organizing local events, we can perhaps coordinate collaborative >>activities x-country, etc. letter/poetry writing campaigns, etc. >> >>At 10:22 AM -0500 1/18/03, Nick Piombino wrote: >>>POETRY IS NEWS! >>> >>>The world situation - on the insane brink of more war - with civil >>>liberties under siege - is getting worse by the hour. In addition to >>>everything we do as citizens, we now call for action within the sphere >>>of all public cultural activities as it becomes increasingly >>>embarrassing and painful to attend events that don't even "reference" >>>the current reality. The false dichotomies between politics and >> >aesthetics can only be put to rest when history is made present and >>>resistance enacted. >>> >>>POETRY IS NEWS, a forming cultural coalition announces its inaugural event: >>> >>>Operation Counter-Intelligence: A Cultural Wake-Up Call >>>will present panels, performances and reports from the front. >>> >>>Participants include poets, writers and critics Ammiel Alcalay, Samiya >>>Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, David >>>Henderson, Fanny Howe, Elias Khoury, Michael Palmer, Anne Waldman and >> >Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and >>>journalist Ted Rall, and others to be announced. >>> >>>Topics we will address include: >>> >>>Where Is Poetry? Responding to Crisis >>>Acting in Public: Expanding Cultural Space >>>Bringing Back the World >>>Being Censored, Censoring Ourselves >>> >>>Reports from the front include: >>> >>>Rebecca Murray, an International Solidarity Movement >>>activist, on her experiences riding ambulances in Jenin >>> >>>Sara Reisman, on demonstrations she has >>>organized in front of the INS building >>> >>>Kristin Prevallet and Rachel Levitsky on Debunker >>>Mentality, public poetry actions taken after 9/11 >>> >>>Rachel McKeen on Brooklyn high school kids' >>>reactions to military recruitment. >>> >>>The Poetry Project at St. Mark's Church >>>Saturday, February 1st, from 2 to 9 p.m. >>>131 East 10th st. Admission is free. >>> >>>For more information, call 212-674-0910 or check www.poetryproject.com >>> >>>For press contacts and interviews: >>>Ammiel Alcalay (aaka@earthlink.net) >> >Anne Waldman (anne.waldman@mindspring.com) -- ========================================================================= Date: Sun, 19 Jan 2003 08:11:09 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Baltimore AWP reading MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Try the Red Room -- it's the main post-avant jazz locale. Red Room Collective 2732 St. Paul Street Baltimore, Md. 21218 or email johnb@berndtgroup.net if you have questions. Ron ========================================================================= Date: Sun, 19 Jan 2003 05:50:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ATMOSPHERE #0010 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit TEDDY WARBURG COLLECTION ATMOSPHERE #0010 [excerpt] www.voice-of-the-village.com From he played Petersburg then Nassau the Main rail Fran kfort-on-Main Pop balls caliph Mansur rejoined him With their help became classical harden the century further persecutions drove them into Kwang like dance what? her flesh twist she his feet who chanced find him with money with property that ordered cupped chin concerned it but this have proof whatever The wine with stopping HashimIya where riot the populace could Egypt whom Merwan had such the East but the West well where Isa Musa the province Kuf sure left cut her friends more often include ship-seen last soon left these astern having passed within two miles fish-salting the manufacture certain tolls and the enjoyment one knee drawn to the caliph be Brederode speech declared that need they wer and guarded against any misuse succeeded Hassgn No'man governor Sulphur Well say entirely innocent window her house from leg heel pressing she motioned back whom declared be worse reference the occurrence Dinornis throat feeling him the Great Charter This charter constituted other extinct PEs force students solve logistical problems issues each the governor Irak But had personal enemy the chief rooms hour relates Eng holyn holin whence holm throat feeling him the Great Charter This charter constituted holmtree Welsh celyn she found herself enjoying appeared Calcutta under the names Maulavi Ghulgm Rabbflni let top my jacket towards the end this year returned Chesterfield wrote and read throat feeling him the Great Charter This charter constituted for exercise These provided meet exigencies all hope may never occur estimate minute knowledge the ritual Well wrong dinars which were the Courtenay the representative prominent their claims such they had never had before They belonged she against the Ayytfbites after the name his father Ayytib Mostadi second seriously. think escaped third identified Dirk Quingal shot resisting arrest died doing just right aftershocks oblivion still youth fled Balkh Khorasan but was try panties feel his found elsewhere must have belonged the Hyksos This view not stopping continued openings for the escape gases The rate heating well Ice floats now crowd work boats jostle expressing commitment hips not letting her escape picture one only thing deficient stowage room and guarded against any misuse succeeded Hassgn No'man governor produce fishery Now one ship may whole field itself travel home imperfect placid mood looked pale gaunt dull light only because lacked fine fun good old times need cruise Coppers boilers fitted island little colonies fishing season nothing tow whales move down her interests had engaged several plots and intrigues fast wanted now time she constricting walls my cunt communications you know wonder enviable Tom Tidler's ground claimed and guarded against any misuse succeeded Hassgn No'man governor who love gold silver English called first fished Dutch said nay island discovery Danes Hamburghers Bisayans Spaniards French put his sac while handsome man possessed extraordinary physical length agreed make partitions numerous bays harbours indent whispered changes the shape the seed have been brought about use divided Frequently choices lie between lesser two evils still within rival nations day many against the Ayytfbites after the name his father Ayytib Mostadi governor annie now kneeling straight precious one you are solely such names English several crown Al! surprise thought working enema had placed Danes several crown Al! surprise thought working enema had placed forth One several crown Al! surprise thought working enema had placed graves named Sorrow seemed fishers most desirable possible plant island permanent establishments condemned convicts offered Russians life pardon winter Spitzbergen agreed saw icy mountains stormy sea repented went themselves down sand trying swing large hide heads California meet death exempt torture Dutch tempted free men high rewards try dangerous experiment One victims left journal describes suffering companions mouths says independent kingdom the East AfshIn who her jeans sweats she sore food eat limbs swollen disabled excruciating pain died scurvy Those who died first coffined dying friends row coffins found spring each man two men uncoffined side side dead floor journal told once traces against the Ayytfbites after the name his father Ayytib Mostadi excited hope fresh meat amended health lantern two three limped track light independent kingdom the East AfshIn who her jeans sweats she extinguished His son Yahya early education Aberdeenshire and ten entered themselves down sand trying swing large hide heads California despair die speak external forces totally beyond control imagined neurotics eight English sailors left obelisk erected Chillianwalla the British government him Spitzbergen who lived return tell winter's tale long journey must linger way whalers need scarcely related multitude whales diminished slaughtering went longer possible keep coppers full whales searched vessels thereafter worth while take blubber Spitzbergen boiled different nations having carried home coppers left fight some rednecks who thought hippie? came house middle night those fishing stations decay went home counted made from some variety straw not wood When reasonably name so the Conquest and the ooo and francs respectively the condition joe positioned himself hall the old Stadsdoelen where the burgesses met arms the Massachusetts incident similar kitchen refilled their villages Several these involved religious should taken out the kingdom without special licence throat feeling him the Great Charter This charter constituted drawn into small mouths instinctively knew what she first simply number Russian works and guarded --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Sun, 19 Jan 2003 06:53:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: Para-AWP reading Ideas, Baltimore, etc. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I love the idea of a Poetry is News event--the only problem is getting it together in time... Another idea for a venue, and another reason Baltimore is so cool--it has a great "outsider art" museum, the American Visionary Art Museum. In fact, I've contacted them as well as a possible reading site, but I don't have any contacts there--anyone else? We could do as Walter says, and hold a guerilla reading outside of Poe's home, but it'll probably be pretty cold...and dark... Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 19 Jan 2003 11:31:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: AWP? (Mentorship) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Mairead, Geoffrey, et al., I have no direct experience with low-residency MFA programs, but, as you all probably know, it appears that many of them are built almost entirely around mentorship. As far as I can tell, there is very little actual "workshopping" and most or all of the work gets done in one-on-ones between mentor and student, both face-to-face and by correspondence, and in lectures during residencies, which are delivered both by mentors and by students. On the other hand, some low-residency MFA programs seem to exist solely for the purpose of bringing in revenue, which I suspect is the case with many more traditional MFA programs and is part of the reason why we have such a glut of teaching job applicants and why some people extrapolate this cynicism to all MFA programs. But the programs are full, so there must be a market demand for them. Is there a conflict here between market demand and "professional" need for these programs to exist? What's the difference? Here in Dallas, the local literary center, The Writer's Garret, runs an affordable, non-academic program of "community and mentorship" for writers who aren't interested in paying for a degree or in devoting their lives full-time to a course of study. Perhaps other non-academic literary centers have similar programs. The element of the program that appeals most to the participants is, in fact, the one-on-one mentorship program. However, I would be interested to know whether those of us who have gone through MFA/PhD programs in creative writing and close facsimiles thereof, got the most value out of mentor relationships, out of workshopping, or elsewhere. In my case, without a doubt (at SUNY-Binghamton), the greatest value came from relationships with other students. Brian Clements -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Mairead Byrne Sent: Saturday, January 18, 2003 11:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: AWP? Egads. I liked Geoffrey's idea of "mentorship." Are there current examples of this working outside the academy? ========================================================================= Date: Sun, 19 Jan 2003 17:47:22 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lakey Teasdale Subject: Haakon. Brogar. Marrow of stone. Ingebjork. Across verdant shelter. Arnor, The Poet [part of a longer work] MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "Haakon singlehanded bore treasures from this howe." Brogar, permeate to marrow of stones standing ringed in violent light, & treacherous haste blood harvest crusted in legend in piracy & pilgrimage "Fe_ Discord among kin. the wolf dwells in forests" You cut your way across time, across regard, the verdant shelter. across thighstroking rhythm of oars, .cold keel .sob .dazzle .horn wail .Speak. Speak. "Ingebjork, the fair widow" the walls & runes "Naudhr_ Constraint offers scant choice naked man chilled by frost" across damaged sky, across oceans breathing in pressure & atmosphere vibrating devastion. You feast on .bones of eagles .blood .punctured grief You feast on ravens. Aleswelling, swilling, surging greed "Isa_ Ice, the broad bridge blind men must be led "Madhr_ Great is the claw of the hawk" .You tear skin. .You tear sacraments. .You steel yourself with axe. .You rasp & choke in reek .sea .tumult .entropy .plunder .torture .conquer .maim * the new, the old humanity by stages * "Os_ The mouth. * Source of all language pillar of wisdom comfort to wise men " * Arnor, the Poet filed axe with his lips and graved "Nothing weakened the warriors ...wolves dined on the dead." * ______________ 19/01/03 12:25 Partly found in rune poetry - mnemonic system for learning, remembering rune symbols, runesat Orkahaugr (Maeshowe, Orkney) & poetry of Arnor Thordarson, Icelandic court poet ========================================================================= Date: Sun, 19 Jan 2003 13:28:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: New Sounds on EPC Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable The Electronic Poetry Center is pleased to announce two that the audio and= =20 photos from Nathaniel Mackey's reading at discussion at the MLA on Dec. 28,= =20 2002, are available at Mackey's EPC author page. Thanks to Chris Funkhauser= =20 for putting this together for us: http://epc.buffalo.edu/authors/mackey/ Also new on the EPC: Clayton Eshleman reading the Eshleman/Annette Smith translation of Aime=20 C=E9sair=E9's Notebook of a Return to the Native Land (Wesleyan University= =20 Press) at the Mad Alex series in New York on March 8, 2001. Charles Bernstein ========================================================================= Date: Sun, 19 Jan 2003 13:43:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: New Sounds on EPC (correction) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Clayton Eshleman reading the Eshleman/Annette Smith translation of Aim=E9=20 C=E9saire's Notebook of a Return to the Native Land -- at Eshleman's EPC= home=20 page: http://epc.buffalo.edu/authors/eshleman Charles Bernstein ========================================================================= Date: Sun, 19 Jan 2003 12:44:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Tom Raworth and Zabet Patterson, 1/30--please distribute Comments: To: Abigail Reyes , kleitsch@uclink.berkeley.edu, rfa@uclink4.berkeley.edu Comments: cc: complit@ls.berkeley.edu Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The Holloway Poetry Series presents Tom Raworth and Zabet Patterson Thursday, January 30 Colloquium with the poets begins at 4:30 p.m. in the English Dept. Lounge, 330 Wheeler Hall Readings begin at 6 pm, Maud Fife Room, 315 Wheeler Hall, UC Berkeley Tom Raworth was born in London just before the Second World War and is living in Cambridge during the Third One. For more than forty years he has worked, written, printed, published, taught, collaged, travelled, and indulged the usual physical functions. He likes spicy foods, and needs more light as he gets older. His Collected (not Complete) Poems will be published in the UK by Carcanet Press in April 2003. Zabet Patterson is a doctoral candidate in the Department of Rhetoric at UC Berkeley. Her academic work is focused on new media technologies, with a particular emphasis on the politics and rhetorics of visual representation in digital media. Her artwork focuses on issues related to the body's technological habitus and mediation within a digital field. Forthcoming publications include =8CConsuming Fantasy in the Digital Era=B9, in Pornography On/Scene, a collection edited by Linda Williams. Free and open to the public For more information, please contact jscape@socrates.berkeley.edu, or check out our website: http://socrates.berkeley.edu/~poetry/index.html ========================================================================= Date: Sun, 19 Jan 2003 15:55:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: 4 Haiku-"George Bush" "Gas Surplus" "Found Haiku" "The Thesis" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit George Bush Has all the facts knows all the answers numerous followers still wrong ----------- Gas Surplus Warmed over thoughts are like fast food easy to swallow hard to digest ------------ Found Haiku Danger Thin ice Keep off Peligro Hiero fino No entre ------------ The Thesis Numbers classifications encompassing true invisible too -Nick_ ========================================================================= Date: Sun, 19 Jan 2003 16:15:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Baltimore AWP reading Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Did anyone follow up on Ron's suggestion? If so, do you need any assistance? Arielle? Gabe? If not, will I? I'm beginning to sound like a Beckett play. Mairead >>> ron.silliman@VERIZON.NET 01/19/03 08:15 AM >>> Try the Red Room -- it's the main post-avant jazz locale. Red Room Collective 2732 St. Paul Street Baltimore, Md. 21218 or email johnb@berndtgroup.net if you have questions. Ron ========================================================================= Date: Sun, 19 Jan 2003 15:23:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Girlish Garagelight, The Knead Is A Thread Mime-Version: 1.0 Content-Type: text/plain; format=flowed breathe blows in countenance, relieving nymphs at length worthy compunction honors uneasiness form incessant horizon fashion triply proceeding, summoned at great expense aspiration moves measure in truth, tranquility is handed down correct this human race, blasphemies uncertain but fervent, inflict solace, yoke us to majestic collation comparison numerous, pretext of repose three qualities of diction threescore resemblance distance a merry never chains disturbed by sin presenting attention to animals harnessed judgment leveled by opinion passage handling industry blood desired progeny ignorance propagated humanity gnosiomancers bury bounds exposition concluded nature, accept motility LICENTIOUS PITCHFORK compelled familiarity meantime reproach visited language fiery companions suffer and lack inimical force _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Sun, 19 Jan 2003 13:33:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: Baltimore AWP reading In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Mairead Byrne wrote: > Did anyone follow up on Ron's suggestion? If so, do > you need any > assistance? Arielle? Gabe? If not, will I? I'm > beginning to sound > like a Beckett play. > Mairead I believe I already posted this (I, too, am feeling Beckett-ish), but I have contacted Atomic Books (too small), the Red Room (waiting to hear back), and the American Museum of Visionary Art (ditto). Will let you all know if anything comes of it. Other people are free to pursue other leads, of course! Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 19 Jan 2003 13:56:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Baltimore AWP reading In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed One of the pibs in Fells Point would probably be a better idea--closer, and reachable by land and from the convention site by regular boat service. If this sounds good, I'll make some queries. But best of all would be something onsight, and I guess the powers that be will know if that's possible. At 04:15 PM 1/19/2003 -0500, you wrote: >Did anyone follow up on Ron's suggestion? If so, do you need any >assistance? Arielle? Gabe? If not, will I? I'm beginning to sound >like a Beckett play. >Mairead > > >>> ron.silliman@VERIZON.NET 01/19/03 08:15 AM >>> >Try the Red Room -- it's the main post-avant jazz locale. > >Red Room Collective >2732 St. Paul Street >Baltimore, Md. 21218 > >or email johnb@berndtgroup.net >if you have questions. > > >Ron ========================================================================= Date: Sun, 19 Jan 2003 16:04:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Simultaneous Windows Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hold on to clarity "Hold on to clarity." invocation days portend full satire you love whom you not so familiarly interchange to end this misery, these lips travel nine-tenths from the action preoccupation harassed the wind vanquished timorous squares pleasant though nondescript O boy scatter BIG BOY this speaking-balloon gets attached to animalculae a dead friend gets empty & what gets empty needs but trifles to live every farm and source of these trees transmutes thirsty fire principle and sensibility comes to the contentedly murdered O small white flower, no one else no one else no one else has that passage which breaks open to reveal how nondescripts tremble while Byron drinks up the gangplank O how that animal's harangue marries up to keep warm! "O small white flower, no one else has that passage..." _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sun, 19 Jan 2003 16:40:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Baltimore AWP reading In-Reply-To: <5.1.0.14.1.20030119135437.01e38130@mail.earthlink.net> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT A Thought Was Posted By Mark Weiss: I Reply: On Thursday there's an Ohio University alumni get together and reading at Bertha's Mussels, Fells Point at 730 South Broadway. I know nothing about about this space, but it is a bar/restaurant. Is it worth a thought for a Poetics is News thing? Best, JG "This ain't no party. This ain't no disco. This ain't no foolin' around." ========================================================================= Date: Sun, 19 Jan 2003 20:31:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Thick? am I, help Comments: To: webartery@yahoogroups.com, new-poetry@wiz.cath.vt.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I'm stuck on this review and could use a suggestion of a poetics book that explores thick description? ideas? tom bell "Thick Description Review of Dourish, Paul, Where the Action Is: the Foundations of Embodied Interaction, Cambridge, MIT, 2001. As someone who always seems to be in the thick 1 of things I eagerly anticipated this book. In some ways my expectations were fulfilled. However, I was disappointed not to receive much guidance through the Action or process of being in the thick of things. Perhaps that was an unrealistic expectation. But let me be a little more specific. Dourish does do an admirable job of weaving together some of the philosophical and cultural underpinnings of this approach to the technological world we live and write in. He also presents a refreshing perspective on a world where newer versions are often pursued for their own sakes. There was little in the way of guidance through the process of finding oneself in the thick of Human Computer Interaction (HCI) specifically or generally as a writer or viewer. There was no "get a new system" or "buy this or that gadget." This is also not a "how-to." This is a book for designers of systems. But there was also little in the way of guidance toward becoming a "being-in-the-world" designer although one could of course turn to the philosophers on this or examine field notes in particular other domains for hints. As I said above this might be an unrealistic expectation here. I do come down heavy here on the issue as I think Dourish is on to something. He just doesn't carry it far enough into the process he examines. As he points out in a slightly different context, "there is a considerable difference between using the real world as a metaphor for interaction and using it as a medium for interaction." What we have here is HCI as a metaphor for interaction I would have liked to hear more from HCI as a medium of interaction. 1. Dourish uses this apt phrase as applied to Malinowski by Geertz who derived it from Ryle but as he points out it is also applicable to approaches in many fields,. He includes here participant observation and the 'tacit' dimension. Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Sun, 19 Jan 2003 18:04:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Baltimore, etc. In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Baltimore was also the scene, sad to say, of Countee Cullen's "Incident," and hadn't changed much when I first visited around the same age Cullen had been -- but it has certainly changed considerably since then and has become a place I love to visit -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sun, 19 Jan 2003 18:04:59 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: benjamin, walter MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "The Arcades Project" has a piece at the end, "The Ring of Saturn (or Some Remarks on Iron Construction), which may have been for the radio. I just published "The Peripheral space of Photography," which has some connections to Benjamin's thinking. Benjamin undermines the idea of "professional expert" particularly because most of his observations on social constructs (architecture, photography, diaromas, history, narrative, translation, etc,, etc.) undermine established, "professional" ideas. Murat In a message dated 1/15/03 5:12:54 PM, khehir@CS.MUN.CA writes: >Finally, I'm wondering if anyone knows if Benjamin's writing for radio >has > >been translated,or even where to find it in German? > > > >And more finally, can someone point me to any writing on Benjamin and > >architecture or urban planning written by someone with training in the > >fields? ========================================================================= Date: Sun, 19 Jan 2003 20:27:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Datum MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Datum "Nonetheless, even though it is possible to recognize the death instinct as a new guise for a basic and constant sine qua non of Freudian thought, it must be emphasized that its introduction does embody a new conceptual departure: the death instinct makes the destructive tendency, as revealed for example in sado-masochism, into an irreducible datum; it is further- more the chosen expression of the most fundamental principle or psychical functioning; and lastly, in so far as it is 'the essence of the instinct- ual', it binds every wish, whether aggressive or sexual, to the wish for death." (Laplanche and Pontalis, The Language of Psychoanalysis, p. 103.) look, o jerusalem - city of peace then war - going back to the days my youth everything - bathed in a golden light - nearby ascending staircase stone - and up between buildings the place of instrument makers - lying words - crossroads worlds - among inscriptions belied by ideologies - let's get out of here, i hear this all time - instruments moving fast - dancing everywhere - blood eerie stairs - endless chattering writing - carrying bombs weaponry don't remember - is what you've done we've you - everything's dying around here there's not much i'm sure end of world hand - you're at fault it's your fault. - but hey did this happen to you - where everything is absorbed - the black hole of the world - too much god - radiation escapes - === ========================================================================= Date: Sun, 19 Jan 2003 18:04:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: 7 of Hearts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 7 of Hearts Two memorable comebacks or maybe a couple monumental collapses Yet it is not thought, driving thought as it is driven, carrying what carries it, connected to our laughs and cries but separate "Standing on a snow-covered plaza in neat rows, the demonstrators shook their clenched fists against the backdrop of white-" They got the first one two weeks ago, armed with missiles with shorter range, at the end of the fourth season, he was going to bolt the show. Johnny Depp was a sleeping dog, taking you exactly where you need to be "its stunning silhouette, with amazing turns and cantilevers, makes it unlike anything on any urban skyline. Like a lot of people, Koolhaas has been mulling over skyscrap- ers since 9-11. 'It's a kind of unconscious'" North Korea mindset: We will not be Iraq. Pull out of a treaty? A good idea, sir. He's not freelancing at all if that story is true. What more do we need to prove before we put the story in place? Some of them picked him out of a lineup, prisoner to the last minute. Muffling of the war drums? React the way you're trained. On a changing frontier, he is the last cowboy, more like a cult than a country. Don't settle for less. In the morning, in the mirror, he says, I doubt the best I can. [I changed that.] "Food was very minimum, daily beatings, daily interrogations." She went to Santa Claus and said, "I hope I don't die." ========================================================================= Date: Sun, 19 Jan 2003 23:52:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alex Young Subject: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hey y'all, I've been quietly watching all the antiwar stuff being thrown around on the list lately, and i'll be checking out the "poetry is news" thing in a few days...but in any case, i'd be interested to see what people had to say if we took the discussion back a step and explained exactly why we're against the war. I liked Nick's comments a few weeks ago about the danger of polarizing the debate in this situation...the more the academic/literary world resorts to the sort of sloganeering and rhetoric we see coming from the right, the easier it is to dismiss academics and writers as hopeless (and ultimately harmless) radicals. America's contemporary cultural environment has done as good a job at appropriating and rendering impotent its leftist academics and literary professionals as it has appropriating the once radical (and genuinely negative) position of punk or hip hop culture. Being antiwar becomes a fashionable identity just like any other--here at Columbia there's an enormous amount of social pressure to be antiwar (whether you're teaching a class or taking it) but there's very little intellegent discussion about why one is antiwar--all that's really required to be in the anti-war club is signing a few petitions and making witty remarks about W's stupidity over cocktails. Not to say that taking a moment to state why you're against the war will magically change any of this, and not to say that the poetics list is populated by cocktail party pacifists, but i think putting down a paragraph on why you're against the war is an interesting step in the right direction...I know i've been guilty from time to time of making a flipant comment about the idiocy of Bush's policies from time to time when, had i took the time to do so, i might have made someone take a minute to think about their pro-war stance, or even just about their lack of action in support of their proclaimed anti-war stance. So, having said all that, here's my paragraph about why i don't support the war... I'm probably on the right side of the spectrum (yikes!) as far as the list goes (or maybe just the overly idealistic side) in that my justification does not have to do with an opposition to US hegemony as such (i'm still clinging to my last shreds of faith in the power of democratic ideals to achieve a more just and even egalitarian society) but rather due to a commitment in non- violence...I think violence is a mistake in almost any situation, whether in the name of Marxist values, Islamic Values, or the empty and supposedly democratic values that the administration is tossing around in order to justify this war. Were the administration to demonstrate that there Saddam posed an imminent threat of instigating an armed conflict (or a terrorism campaign) that would even come close to spilling as much blood as a US campaign in Iraq would, then the judgement might be more tricky...but as is the administration has provided no evidence that an armed conflict is justified on anything other than economic grounds. So, obviously a very rudimentary sort of justification...but i think it'd be really interesting to just hear even the most basic ideological stances that we have on the list. Cheers alex ========================================================================= Date: Mon, 20 Jan 2003 13:47:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: [Two] Factorial--Last Call! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hello everyone, Just a reminder--the submission deadline for [Two] Factorial is February 1st, 2003. <----new!----> In the style of the Heian period: sitting around with any number of friends, writers, lovers, anyone--please write something together--literally, physically, temporally--and send it in, along with the time/date and geographical location. A selection will be printed anonymously, with only the date and place as identification. For this project only: e-mail submissions are acceptable, in PDF or MS-Word, to sawako@factorial.org. Please send hard copy of any visual/handwritten text to 516 N. Main Street, Apt.3, Bloomington, IL 61701. ____________________________________ [Two] Factorial--Call for Work Please refer to the first issue, [One] Factorial, to see how some writers and artists have approached collaboration. While we are excited by the range of collaborative projects in the first issue, we hope the work and discussions included in it offer themselves more as points of proliferation than models to be emulated. [One] Factorial is available for $6: (payable to Sawako Nakayasu; but correspondence must be addressed to !Factorial Press.) !Factorial Press PO Box 153106 San Diego, CA 92195-3106. http://www.factorial.org Possibilities: --> Any work that responds to or engages with the discussions in part two of [One] Factorial is particularly welcome; --> Any submissions of work that uses a title from Keith Waldrop's _Titles for Sale_ should enclose $2/title, in a check made out to Keith Waldrop; --> A collaborative process does not always have to be collaboratively "generative," but can be "degenerative" (Example: Keith and Rosmarie Waldrops' "Words Worth Less," a collaboration where they began with a Wordsworth poem and alternated removing words from the original and each other's pared down offerings); --> And as usual: plays, performance text, transcriptions, instructions, narrative, conversations, essays, poems, definitions, manifestos, incidental text, and various combinations thereof; --> OR descriptions, ideas, processes, proposals, possible & impossible imaginings of collaborative projects for the (Collaborating [On) Collaborating] section. --> Note: the main focus of the journal is still text-collaborations, although we welcome work that also engages with the musical, visual, temporal, and performative. --> Electronic collaborations will be considered for publication on the website. Please send 1 to 15 pages of hard copy. Send *two* copies of all submissions to: !Factorial Press Sawako Nakayasu & Mark Tardi, Editors 516 N. Main Street, Apt.3 Bloomington, IL 61701 Please include sufficient postage if you would like your work returned. Deadline: February 1, 2003 !Factorial Press http://www.factorial.org ========================================================================= Date: Sun, 19 Jan 2003 23:36:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: After Trakl (1 cycle) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable D>I>E>>H>E>I>M>K>E>H>R Distereis Godalamewofngerraun=E4chopfhees! Dunuta=DFt Ge, Rintebrue G! Scheschon ime Hofngeirbe aug, Gr Klolkr Ffen Uffr un, An Kligro! Ofngeie d zechl, dhle, Dndhtarerbge, Bins Alndun Lt g Ds T erie Jah Gest! Or Schoffie, Tasabletinklergodwabllenurnstrterene Beg M, vopins Hen Un Ham Aubescheridolasahmenem! de iglerertenldenhaueneichndme ========================================================================= Date: Mon, 20 Jan 2003 17:03:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Thanks! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Really glad to get those responses--and especially the generous memories = of Helen Adam from Stephen. =20 Kristen P.'s name only brought up some of her own publications at SPD. = I'd seen on an archived page at the SPT site that she was working on a = biography way back in 1999. I wonder if the author (if she's on this = list) could tell us when to expect the book's publication, because she = already has a sale. Jess =20 ========================================================================= Date: Mon, 20 Jan 2003 05:04:26 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Recently on Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Funny formalism: The soft porn poetry of Sophie Hannah & the "new gen" invasion Tom Raworth's Collected Poems: Collected versus complete Philadelphia Progressive Poetry Calendar Updated for the new year Robert Grenier's Sentences: The box that changed poetry Dialect as referent: Robert Grenier's "WINTRY" Meeting Robert Grenier "Knowledge Follows": reading a poem by David Perry Murat Nemet-Nejat on Jean-Luc Godard & writing Alan Davies Taking surrealism in two directions at once Linebreaks & reading: Reading Raworth & Zukofsky http://ronsilliman.blogspot.com/ 10,000 visitors in 2002 Salt Publishing has just published a new edition of my poem Tjanting with a new forward by Barrett Watten. Available in the U.S., U.K. & Australia. http://saltpublishing.com/1876857196.html Two poems from The Age of Huts have been reissued by Ubu press as e-books: Sunset Debris & 2197 http://www.ubu.com/ubu/ I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ========================================================================= Date: Mon, 20 Jan 2003 05:18:50 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Poetry sales are rising in an otherwise down book market MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Rhyme time: Poetry's in motion toward more recognition By JOHN MARK EBERHART The Kansas City Star Attention, you poets, you bards, you madmen; hark, you readers of verse, you lovers of ditties, you suckers for simile; listen up, all you cracked people who believe poetry matters: These days, you might be right. Poetry's hour seems to have come 'round again. HBO's popular "Def Poetry Jam" series has become a Broadway show. Literary journals that can print 350 poems a year are getting 90,000 submissions. And while the publishing industry continues to struggle in the wake of the terrorist attacks of Sept. 11, 2001, poetry collections are selling better than ever. All this for a genre that even 10 years ago seemed to be dying, or living on only in academic circles, its audiences dwindling. Is renaissance too strong a word for what's happening now? "Not at all," said Deborah Garrison, a former New Yorker editor and now the poetry editor for publisher Alfred A. Knopf. "In a much darker world at large, there's a need for something that speaks to the heart." Paul Bogaards, Knopf's executive director of publicity, said the publisher sells about 250,000 copies of poetry volumes annually and estimates that poetry sales have grown 15 percent to 20 percent in the last five years. Meanwhile, Bogaards said, fiction -- novels, story collections -- is hurting. "Some (big-name) fiction authors are experiencing an erosion of sales of 10 to 30 percent," Bogaards said. "It's been a tough (year and a half) for our business. That's why the news about poetry is such an affirmation." Chicago's respected Poetry magazine, founded in 1912, receives 90,000 poem submissions per year, and can use 300 to 350. In the early '90s, the figure was about 60,000, senior editor Stephen Young said. (In a vote of confidence of another sort, billionaire pharmaceutical heiress Ruth Lilly recently bequeathed a huge sum of money to Poetry.) It's the same story at New Letters, published at the University of Missouri-Kansas City, where editor Robert Stewart can print 150 poems a year but sees more than 30,000 poems annually; 20 years ago, he said, the quarterly journal saw "one quarter to half of that, at most." So more people are reading and writing poetry. But why now? "Maybe it's just dumb luck," said Kansas City poet William Peck. "It could be that, lately, poetry has come into fashion a little bit. To be honest with you, I do think that's part of it." Peck also thinks "the rise of musical forms like rap have made lyrical content more important to people." In other words, the hipness of hip-hop transfers to poetry. At 9 p.m. the first Sunday of each month, Peck is host for the Westport Poetry Slam. Some nights, more than 100 people press into Stanford and Sons at 504 Westport Road to hear poets belt out the word. It ain't no lecture hall. The language can be raw. Tempers can flare. "We make 'em cringe sometimes," Peck said. "You can get up there and say anything you want, and I'm not going to stop you, because I am very much against censorship. But people may not like what you say. You may get up there and start doing some pro-choice poem, and if you've got strong pro-life people in the crowd ... you're taking a real chance you might get a hostile reaction." But that's always been one of poetry's roles: To challenge, not just comfort -- as when Langston Hughes lashed out in verse against racism. U.S. poet laureate Billy Collins thinks poetry is more accessible now than in previous decades. "We're still in a recovery mode at this point," Collins said in a recent interview. "And (one thing) readers are recovering from (is) ... high modernism. The leaders of that movement were people like Wallace Stevens, T.S. Eliot, Ezra Pound and Hart Crane, who were moving poetry away from its Victorian frilliness and trying to write a poetry that was more in tune with the times, which were very unsettled times. "So there came to be a connection between difficulty and value. If you went to school during the period those poets were in their ascent, you basically had to deal with extremely difficult poetry, and I think we're still recovering from that." Which isn't to say that poetry is being dumbed down. Young and Stewart think their literary journals receive more poetry now partly because of the emergence of strong postgraduate writing programs across the nation. Said Young: "In my 15 years at Poetry, submissions have increased 50 percent, but the general quality of the poems has risen, too." There's another factor, too: Technology. "It has allowed poets to mass-market their work," Stewart said. Before computers and desktop publishing, New Letters would see a group of poems from a poet, then that poet might send the work somewhere else if New Letters didn't nibble. Now, Stewart said, poets easily can send out multiple submissions to multiple magazines. Off the page Poetry was once predominantly oral: Bards performed poems; often, they were accompanied by music. But the more dominant the written form became, the more poetry was confined to the page. Few have done more to push poetry back off that page than comedic impresario Russell Simmons and his partner, producer/director/co-conceiver Stan Lathan. The pair created "Def Poetry Jam" and made it a hit on HBO. The series features edgy poets who shout out verses that are fresh and immediate. Last November, Simmons and Lathan launched "Def Poetry Jam on Broadway," a production starring nine poets with names like "Black Ice" and "Lemon" who declaim in-your-face verses about subjects personal and political. Lathan said he and Simmons brought an ongoing phenomenon to wider attention. "One thing Russell and I make clear is that we didn't discover anything; we exposed it to a larger audience. There's always been poetry performed in coffeehouses and things like that, but over the last 10 years or so, there's been a proliferation of clubs where poetry nights happen on a regular basis. "And then the phenomenon of the slams came along, which are essentially poetry competitions. In those, the performance element became more important, because in order to win a slam, you'd have to not only write a great poem but perform it with a certain amount of energy and excitement." The Broadway production tries to reflect that fervent spirit by changing with the times, Lathan said. Since the show opened, several poems have morphed to follow current events. A poem called "Terrorist Threat" -- already heavy on nervy political humor -- "has been adjusted to include some of the Trent Lott faux pas." Despite all the attention, is poetry really a "mainstream" art form now? Some are believers. Some are skeptics. Garrison, Knopf's poetry editor, is a believer. For one thing, she said, poetry has been more visible in the wake of Sept. 11, 2001. "After Sept. 11, I didn't say, `Oh, I feel like going to the ballet,' " Garrison said. "And I'm not dissing the ballet. But poetry captures an essence of feelings of all kinds. People were e-mailing poems around the country. Poetry is weirdly utilitarian, because it's so distilled -- in less than five minutes, you can read a poem and have an experience." Knopf's stable of poets -- stellar names such as Sharon Olds, Anthony Hecht and John Updike -- is having success in print. Five years ago, selling 1,000 copies of a poetry book was a feat. But Knopf is seeing numbers two and three times that level for some titles. Ann Volin is one of those who are more skeptical about poetry's impact. Volin reserves judgment because she works on the front lines -- teaching poetry at the University of Kansas, striving to get students interested in verse. "It's pretty unanimous that they think music has taken over the role as the art form that speaks for their generation," Volin said. "They do see the connection between song lyrics and poetry, but poetry itself is not as important. But I do think there has been some warming up, and some of that comes from music and rap lyrics." Volin does her part to bring poetry's rowdier side into the classroom. Each semester, she convenes a poetry panel with invited speakers that have included Peck, the man behind the Westport slam. Last November, as the nation rumbled with talk of war with Iraq, Peck faced an auditorium of students with a new poem he had written -- a rip-snorter called "Oh, say, can you see?" It was an overtly political piece, seemingly critical of not only war in general but also the current administration in particular. Peck barreled through it, reciting from memory. The words tore through the room, but at the end ... silence. For a moment. Then a student in the front row gave a whoop. Not the kind of sound one usually hears in "the academy." But that's the sound of poetry: The conviction of one soul that provokes, in another, a shout of recognition. ========================================================================= Date: Mon, 20 Jan 2003 03:19:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: a little poem i wrote today called "so anyway" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "so anyway" so anyway as i was saying hold on a minute tell him to call back: i am in the middle of writing a poem as i was saying fuck where was i... i lost my train of thought august highland 3:25pm 01-19-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Tue, 21 Jan 2003 07:18:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: AWP.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ...hey dude...where's the anti-war po...where's the hiring hall.... ...is there any chance of a pro-war...anti affirmative action po being hired in any U. f...ing USA ...hey derrida....where's the beach...where's the tenured job...where's Naropa... ...is there any point in discussing...what u know is right...since everyone u know...knows it... ...hey dude... ========================================================================= Date: Mon, 20 Jan 2003 03:30:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "You raise some good points and ask some excellent questions" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "You raise some good points and ask some excellent questions" there is only one teeny tiny problem okay not a "problem" a "challenge" it's this: came up gambit to 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FRIENDS:::}to through function media art, media art members-to the web site disseminat could these in terminated our exactly several{::::I NEED TRUE FRIENDS:::}the{::::READ MY WORK!!!!!::::} We also{:::LOVE ME!:::}unfortuna the staff field and board) will be nonprofit considered We also could supported is the{::::I NEED TRUE FRIENDS:::}mode in The short will have on our art works advocacy, search as well as{::::I NEED TRUE FRIENDS:::}A new service to language keywords and Network, resource report and to sustain console of their{:::LOVE ME!:::}and media art take much to be{::::I NEED TRUE FRIENDS:::}financial ons these style game for the digital majority the involved about effort to with on of new most of other new other have{::::I NEED TRUE FRIENDS:::}activities{:::LOVE ME!:::} that it the traditiona{::::I NEED TRUE FRIENDS:::}as{::::I NEED TRUE FRIENDS:::}profession to grow around the far{::::READ MY WORK!!!!!::::}and our by grants clubs, preserving and Online recently The{:::LOVE ME!:::} {:::LOVE ME!:::}only art This see important in our{:::LOVE ME!:::} committmenT methodical in helping decided for us Or{:::LOVE ME!:::}I always discussion and and other as of the work media art answer is{::::READ MY WORK!!!!!::::}achieve{:::LOVE ME!:::} Education alism in as{::::I NEED TRUE FRIENDS:::}fee could which we on it,{::::I NEED TRUE FRIENDS:::}archiving of the have thus around the{::::READ MY WORK!!!!!::::}the{::::I NEED TRUE FRIENDS:::}Latino,{::::I NEED TRUE FRIENDS:::}instead to org necessary that have{::::I NEED TRUE FRIENDS:::}be fatal hassle{::::READ MY WORK!!!!!::::} august highland 3:29 am 01-19-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Mon, 20 Jan 2003 04:33:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Hair of Mathematics Comments: cc: webartery , "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The branches run like veins, like looming cracks; the human is prismatic with shattering. Another day a rock flings itself across the windshield. We have to call the insurance company amid so much dryness and spitting of the mud of our skin. Okay, we'll fix it Saturday, they assure us. Sleeping through an invoice slipped between screen and door. I tried to talk about it, but the words flew back into my mouth. They were rightly scared, all the adobe judges who withstood rain stood with tears on their nails, aching to hang me up. All I wanted to say was Don't look down. The nets are like the hair of mathematics down there. I look up and my glasses crackle and judges separate from the waist. They look me up and down. I begin to sway. Back and forth. Rusting the air with a thirst of new moon. 2003/01/20 07:13:13 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 22:38:41 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: a little poem i wrote today called "so anyway" In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-2461390B; boundary="=======54811332=======" --=======54811332======= Content-Type: text/plain; x-avg-checked=avg-ok-2461390B; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit this is more human, i like it komninos At 09:19 PM 20/01/03, you wrote: >"so anyway" > > > >so anyway > >as i was saying > >hold on a minute > >tell him to call back: i am in the middle of writing a poem > >as i was saying > >fuck > >where was i... > >i lost my train of thought > > > >august highland >3:25pm >01-19-03 > > > > > >--- >Outgoing mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======54811332======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-2461390B Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======54811332=======-- ========================================================================= Date: Mon, 20 Jan 2003 05:25:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Ron Silliman On Robert Grenier In-Reply-To: <5128048.1043062285819.JavaMail.nobody@wamui06.slb.atl.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii At his blog, Ron Silliman seems to be saying that Robert Grenier was the founder, or main founder, of language poetry. I'm terrible on literary history, especially that of language poetry, so wonder how true those more knowledgeable about it take this to be. Ron also opines that Grenier's *Sentences* still qualifies as the furthest anyone has pushed poetry & form in the investigation of the world." I AM enough of a literary historian to know that this is certainly not true. It may be possible reasonably to claim that Grenier pushed poetry and form as far as anyone, but further? It's extremely hard to make comparisons (because of the apples/pears problem, among other things) but it seems to me Ron is overlooking Stein, Pound, Cummings and Aram Saroyan, for a start--and all of visual poetry and later pluraesthetic works. I would add that in some respects, *Sentences* is pretty straightforward minimalism that's been around quite a while. I suspect he was much influenced by Williams, for instance--but I admit to not knowing as much as I want to about Grenier's work, so may be way off. By the way, thanks to those of my friends who welcomed me back to this place. Now I hope I can just remember to get out to Yahoo every once in a while, to read the list posts. I used to get them conveniently where I get all my other e.mail. --Bob G. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 08:15:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > and explained exactly why we're against the war. 1. war will kill lots of innocent people, including children, and including Americans. 2. there is no proof that Iraq has WMDs. 3. even if Iraq did have WMDs, the C.I.A. has published its opinion that Saddam is unlikely to use them unless backed into a corner, which is what attacking Iraq would do. 4. there is no proof that Iraq supports Al Qaeda. 5. "pre-emptive" strikes are morally wrong and unAmerican 6. We are not attacking other countries with WMDs, including Pakistan, North Korea and Israel; why would we attack Iraq? (In the case of North Korea, which has been certified evil by the prez, it would seem that we are not attacking them because they do have WMDs and could use them. This would suggest that America is willing to attack Iraq because we're pretty sure they *don't* have them.) 7. America should not be the police of the world. 8. More anti-American terrorism will result from American aggression. Cheers, Daisy Fried ========================================================================= Date: Mon, 20 Jan 2003 05:57:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: re YAWPing In-Reply-To: <200301200458.UAA01813@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I have and Ammiel's all for it, but he sd that one of his Poetry Is News colleagues may already have something in the works. I'll back-channel some of the Poetics people who've shown interest (Arielle, etc.) abt it in case he/she doesn't want the plan discussed widely yet. I think this allows another question to be raised: the idea of a reading during (if not at) the AWP was originally raised in reference to last year's reading, which I did not attend, and not in the context of the threatened war, the many-headed Bush monster, etc. It may be the case that there are people on this list going to Baltimore who want to read but not as part of a PIN-type event. If so, perhaps some of us shd just join the PIN event that is supposedly in the works (if there is room) while a reading that has a less focused agenda is separately organized. (Of c, it wd still be possible at the latter for individual readers to address the political issues.) What do you think? I hope that we can hear back from the PIN planner soon. --Walter >ps walter send your post to ammiel and anne waldman for them to >disseminate among PINsters? ========================================================================= Date: Mon, 20 Jan 2003 10:10:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: AWP.... In-Reply-To: <5128048.1043062285819.JavaMail.nobody@wamui06.slb.atl.eart hlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 07:18 AM 1/21/2003 -0500, Harry Nudel wrote: > ...hey dude...where's the anti-war po...where's the hiring hall.... > > ...is there any chance of a pro-war...anti affirmative action po > being hired in any U. f...ing USA If you seriously would like to meet such people working in academe, I'd suggest you attend the ALA, where you're quite likely to meet such folk -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 20 Jan 2003 08:19:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: brad senning Subject: AWP, er, DWP Mime-Version: 1.0 Content-Type: text/plain; format=flowed Just so you all know, a group of local Baltimore Writers, the Dissociated Writers Project (DWP), is planning a sort of shadow conference of panel discussions and readings in Baltimore at the same time as the AWP, Feb 27-Mar 1, sponsored by Blue Collar Books, a local independent publisher. About the only thing we're convinced of is that the AWP is a bunch of wusses. Check out our website: www.dissociatedwritersproject.com Hundreds of hours have gone into the planning of the DWP conference. For the past month or so we've pretty much stopped writing to plan. Which is amazing because the only thing that could ever get us to stop writing is basically nothing. If anybody wants to read at the conference, please feel free to submit to our contest. I'd love to offer all interested parties space at our reading. But the nice part about our readings is no writer has precedence. Every voice has to compete not on the basis of authority or publications to date, but the quality of the work. The stranger or more challenging the better. Winners will not only read at the conference but be published on our web site. All of the contest readers are familiar with the work of poets on the Buffalo listserv, so we know that by inviting your work we're inviting quality. There will be performances, panel discussions, pranks. The planning for this conference has been enormous. We advertised at the peace protest this weekend, handing out thousands of flyers. And word continues to spread. Attendees at the conference will come from not so standard places, which is the most exciting part to us. And the whole thing is free. On the final night, one of the best area punk bands, the Black Eyes (the record label Dischord's new darling), will perform. And we're still in the process of trying to get John Waters to appear at our panel discussion on "Is Bad Writing Good." One of our organizers has offered to give him antlers mounted on a board and a blowjob. Waters is still thinking about it. Brad Senning _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 21 Jan 2003 11:13:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Meet the Folk...Alden....on MLK day... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit as one of the few members of this list..to actually have been in a small time southern La. jail...in 1967...working for CORE...i'm sure such FOLK exist...but i;d be danged if the Po/Eng dept of Harvard/Brown/Penn/U.B./U.C.B..or a 100 other such...could actually hire a vocal pro War & anti-Affirmative action candidate...even THO most of the country agrees with both positions...i don't particularly want to meet them either..or anyone else for that matter...but that's not the point...Harry... ========================================================================= Date: Mon, 20 Jan 2003 10:39:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Meet the Folk...Alden....on MLK day... In-Reply-To: <7634581.1043076406270.JavaMail.nobody@wamui05.slb.atl.eart hlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:13 AM 1/21/2003 -0500, Harry Nudel wrote: > as one of the few members of this list..to actually have been in a > small time southern La. jail...in 1967...working for CORE...i'm sure such > FOLK exist...but i;d be danged if the Po/Eng dept of > Harvard/Brown/Penn/U.B./U.C.B..or a 100 other such...could actually hire > a vocal pro War & anti-Affirmative action candidate...even THO most of > the country agrees with both positions...i don't particularly want to > meet them either..or anyone else for that matter...but that's not the > point...Harry... Well, I'm certain there are few on the list who would happen to have been jailed in the same state while working for the same organization in the same year -- not sure what that's supposed to mean -- equally sure others of us have been jailed elsewhere in association with other works -- and it has never been my understanding that being in agreement with "most of the country" was a standard for academic employment -- and it was, in fact, the attempt of UC Berkeley to prevent students from using campus grounds to recruit for activities like those for which you were arrested back in '67 (with which most of the country disagreed at the time) that brought about the Free Speech Movement -- but, as you say, that's not your point -- I don't think any of us ever thought it was -- >>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 20 Jan 2003 10:50:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: BELLADONNA* January 31, Myles & McDonnell In-Reply-To: <20030120154214.32785.qmail@web20205.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 8bit ENJOY BELLADONNA** Eileen Myles and Caitlin McDonnell Friday, January 31, 6:30 p.m. at Zinc Bar 90 W. Houston Street, at the corner with LaGuardia Place. A $4 donation is suggested. *** Eileen Myles is the author of Cool for You, a novel (Soft Skull, 2000). She published two books of poems in the fall of 2001, Skies (Black Sparrow) and on my way (Faux Press). She is also the author of the collection of short stories Chelsea Girls (Black Sparrow, 1994) and several books of poems including Not Me (Semiotext[e], 1991), School of Fish and a volume of selected poems Maxfeild Parrish: Early and New Poems (Black Sparrow, 1995). With Liz Kotz she edited The New Fuck You/Adventures in Lesbian Reading (Semiotext[e], 1995). She is the curator for the Scout Reading/Performance series at Threadwaxing Space, and a frequent contributor of criticism to Bookforum, Art in America, The Nation and the Village Voice. Myles is one of the founders of Sister Spitb a roving band of edgy women writers. In 1991, Eileen Myles ran a spirited write-in campaign to be elected president of the United States. She teaches at University of California at San Diego. Caitlin Grace McDonnell comes from Boulder, Colorado and was a New York Times poetry fellow at NYU. Her poems have appeared in Insurance, The Hat, Louisville Review, Washington Square, Aussenheite Das Elementes and others. She has received residencies from Yaddo, Blue Mountain Center, and is currently a fellow at The Fine Arts Work Center on Cape Cod. She has taught poetry at universities, in public schools, hospitals and homeless shelters. She is also writing an autobiographical novel, The Blue Raincoat. *** Belladonna* is a feminist/innovative reading and publication series that promotes the work of women writers who are adventurous, experimental, politically involved, multi-form, multicultural, multi-gendered, delicious to talk about, unpredictable, dangerous with language. BELLADONNA* has featured such writers as Erica Hunt, Fanny Howe, Mei-mei Berssenbrugge, Cecilia VicuC1a, Lisa Jarnot, Camille Roy, Nicole Brossard, Abigail Child and Chris Tysh, among many other experimental and hybrid women writers. Beyond being a platform for women writers, the curators promote work that is experimental in form, connects with other art forms, and is socially/politically active in content. Alongside the readings, BELLADONNA* supports its artists by publishing commemorative pamphlets of their work on the night of the event. Please contact us (Rachel Levitsky and Erica Kaufman) at belladonnaseries@yahoo.com and/or visit the website if you would like to receive a catalog or hear more about our salons. http://www.durationpress.com/belladonna This event is sponsored by Poets & Writers, Inc. Rachel Levitsky// levitskrachel@yahoo.com// www.durationpress.com/belladonna////////////////////////////////// "I was able, by writing, to slow down the act of writing."--Nicole Brossard Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Mon, 20 Jan 2003 08:36:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: numbers game In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit u m b i l i c us u m b i l ic u s u m bi l i c us u m bi l ic us u m b i l i cu s u m b i l ic u s u mb i l i c us u mb i l icu s u m b i l ic u s u mb i l i c u s um b i l i c us umb i l ic u s u m b i li c u s u mb i l i c u su m b i l i c usu mb i li c u s u m b il i cu sum b i l i c u su m b i l i cu s u m b il i c u s u m bi l i cus um b i l i c us u m b i l i cu s u m bi l i c u s u mbi l i cu s um b i l i cu s u m bi l i c u s u mb i l i c u s um bi l ic u s um b i l ic u s u m bi l i c u s um b i l i c u s ========================================================================= Date: Mon, 20 Jan 2003 09:48:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: antiwar justifications In-Reply-To: <20030120.081554.-622761.5.daisyf1@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i really really appreciate alex young's provocation---that took some courage... so here you are: i'm against the war, to date, not b/c i'm a pacifist (or for that matter, an isolationist), but b/c i don't think war is the answer to the problem(s) before us... i *do* think we have a problem specifically with hussein, and i *do* think it would go a long way were we to recognize a palestinian state, redistribute wealth (food, clothing, shelter, etc.), exhaust all diplomatic means, and stop acting culturally (and morally) superior... but whether the latter will likely save the bacon that needs saving in the short term---that's a tough question... and for that matter, redistribute all the wealth you want, and you'll still likely have a tyrant or two with whom to deal, one who's wreaking all manner of grief and violence, at the very least, on his own people... i mean, there are causes, proximate causes, and so forth... so, i don't think diplomacy has a chance in this world, as things stand, w/o the threat of military action, i.e., w/o a strong defense, and preferably, an international defense contingent, sure (sorry---and yes, ours is without doubt too taxpayer endowed, for that matter)... i *do* think the u.s. should act in concert with the u.n., but i *do* think the u.s. has the moral imperative to intervene at times (as we should have done, i'd say, in rwanda and cambodia---or as we should have agitated for)... which is to say, if the argument is that we don't act until the u.n. is the type of international agency we want it to be (with appropriate, and not imbalanced, u.s. presence), we'll likely risk all manner of inequity and injustice, as i see it... further, i *don't* think the argument that iraq is one of many oppressive regimes that we're *not* threatening to attack is a workable argument---i could as easily say (and i'm not), "let's start with iraq"... and i *do* respect the more pacifist claim that violence begets more violence, albeit i don't personally endorse same in all contexts, as once one is past a certain international breaking point, it seems to me that war is inevitable (wwii the obvious example, and i won't beat that drum anymore than it needs beating... and a parallel form of this argument obtains at the personal level, as well)... for the record, i also see the logic of opposing the war w/o further ideo/logical refinement, given that we would seem to be on the brink of same, and that my reservations about the left (as above, which are along the lines of christopher hitchens's reservations, albeit absent, i trust, his pugnacious form of interventionism) might be properly muted for the sake of a united front... but if the left can't do better, in my view, than it's been doing---publicly, intellectually---then i'd say we'll find ourselves back on the brink of war sooner than later (and i'm not ignorant of the ways in which media realities give short shrift to leftist ideological platforms, but still... e.g., a number of news commentators, e.g. chris matthews, have come out against the war)... most petitions, emails and calls-to-action i receive, and have been receiving, are much better at saying what we're opposed to, political action wise, than what we're in favor of ("we're in favor of peace" falling somewhat short of what i have in mind)... and i also understand, too, how the left tends to eat itself alive in the light of public day---so please, i'm trying not to come off as contentious here... i don't have any quick answers in line with what i'm proposing, either---in fact, i think there are no easy "answers," that all remedies will be fraught at some level, and that this is one reason why the debate as such has been so easily polarized publicly, with bush & co simplifying matters to the point of absurdity (even as they ruin the environment, curtail civil liberties, etc.), while those of us who are anti-war have often appeared shrill and reactionary in response: content to consume as we may, presumably entitled to enjoy a more comfy life than most of the planet (mea culpa), but rather unable to articulate exactly what we want the govt to *do* to prevent another 9.11... in all, i think we can do better... **** anyway, thanx for the opportunity to give voice to some ideas that, to be candid, i've been sweating over lo these many months, even while i place my phone calls to my congressional reps, etc etc etc... best, joe ========================================================================= Date: Mon, 20 Jan 2003 08:56:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: A/V query In-Reply-To: <5.0.0.25.2.20030120100854.00a7db70@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi, I'm hoping someone can recommend a good DVD/CD/video, etc., something with audio and/or visual material, of interesting avant-garde performances by poets, fiction writers, performance artists, spoken word artists, etc. The more eclectic the anthology the better, but I don't want only "slam poets"--I'm looking for things more along the lines of Carolee Schneeman, John Cage, Tracie Morris, etc. This is for a course I'm teaching on avant-garde lit. Please backchannel with suggestions, thanks! Arielle ===== * please visit www.ariellegreenberg.net for links to poems, information about readings, etc. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 10:34:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: A/V query (Kenning Audio Issue) In-Reply-To: <20030120165626.26160.qmail@web11306.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Arielle, I'm sure you already know about this, but Patrick Durgin's audio issue of _Kenning_ from last year seems made to order. I have yet to purchase a copy myself (guilt, guilt, guilt), but have heard some of the tracks, and have seen it displayed proudly on the CD racks of many prominent, innovative, and drop-dead sexy poets on both coasts. STATE-O-DE-ART. I forget how much it costs offhand, but Patrick's e-mail is . Kasey on 1/20/03 8:56 AM, Arielle Greenberg at ariellecg@YAHOO.COM wrote: > Hi, I'm hoping someone can recommend a good > DVD/CD/video, etc., something with audio and/or visual > material, of interesting avant-garde performances by > poets, fiction writers, performance artists, spoken > word artists, etc. The more eclectic the anthology > the better, but I don't want only "slam poets"--I'm > looking for things more along the lines of Carolee > Schneeman, John Cage, Tracie Morris, etc. This is for > a course I'm teaching on avant-garde lit. Please > backchannel with suggestions, thanks! > > Arielle > > > ===== > * please visit www.ariellegreenberg.net > for links to poems, information about readings, etc. > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 10:50:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: The Crave by Kit Robinson--publication party and reading 1/22/03 at The Lab MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Atelos and The Lab invite you to a reading and party to celebrate the publication of Kit Robinson's new book, The Crave. The event will take place on Wednesday, January 22 at The Lab, 2948 16th Street (between Mission & S. Van Ness) in San Francisco. The reading will begin at 8; the party will follow. We look forward to seeing you. For more information: The Lab: 415.864.8855 www.thelab.org/archive02/robinson.htm www.atelos.org/crave.html ========================================================================= Date: Mon, 20 Jan 2003 11:23:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Poetry sales are rising in an otherwise down book market MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii If you put 2 + 2 together and hit Start > Programs > Accessories > Calculator on that article,--- they're all in basic agreement about the mathematics of the increase (if the numbers are evenly distributed). Knopf's Bogaards is estimating that there's a 3% per annum growth rate in poetry sales (15% in 5 years [Note: SALES]). Stephen Young of Poetry is saying that there's been a 3.3% per annum increase in the number of submissions ("In my 15 years at Poetry, submissions have increased 50 percent", or an increase of 30,000 over a decade, as he puts in previously [Note: SUBMISSIONS]). New Letters' Robert Stewart confirms these numbers on the low side when he gives a 2.5% per annum growth rate in the number of submissions (50% over 20 years). And, their approximations are consistent and concur over a time range that these publishers variously each give in terms of five year, ten year (or twelve, since it's 2003 now), or twenty year increments. Meanwhile, my earlier question about poetry "renaissance" mapped against the over-all increase in ~population~ (sort of the distortion you get when you inflate a balloon that has a magic marker drawing squiggled on it): http://www.factmonster.com/ipka/A0772762.html gives U.S. resident population stats for half-centuries and then each decade going back to 1790. During the past decade or twenty years that these publishers are discussing, those population statistics likewise concur that there's been about a steady 1.5% per annum increase in the total population across both those periods (1.21% yearly from 1980 to 1990, and 1.31% yearly from 1990 to 2000, when evenly distributed [see below]). If, then, half of the 3% yearly increase in the supply of poems is shaved away because of the 1.5% population increase in the ~expectable~ number of suppliers, from sheer birth rate alone, as I think it definitely should be,--- what we're left with are much more modest numbers. * A 1.5% yearly growth rate ~"renaissance"?~ * The slippage or distortion of terms in the article comes from the way that the Kansas City journalist, John Eberhart, (and I'm not dissing Kansas City) shuffles the supply side numbers with the consumption numbers, and the increase in poetry sales with the decrease in "Some (big-name) fiction author" sales. (Note: Knopf's Bogaard is guesstimating about ~"Some (big-name) fiction author"~ sales, and not about fiction sales in general. [I recall seeing total industry figures that showed, the opposite of what Bogaard is representing, a 27% increase in the sale of books in general *in a period of months* at the beginning of 2002, since, after all, the drop-off was largely economy-/9/11-induced.] The sales of big-name authors, like their unreasonable advances, may have been grossly swollen in the first place, by temporary, sensationalism-/advertising-fueled expansion that a market like that cannot sustain. In which case, it's the artificially pumped-up big-name sales that have simply undergone a "market correction." And the questionable significance of a 1.5% increase in poetry sales/supply suggests, rather, some slight, gradual non-market snail's pace, basically just centimetering upward and acting the way it's always acted.) When numbers are used the way Eberhart juggles them in that article, they should have scare quotes around them,--- as you have to constantly cross-question what they're talking about, and it's all quite dubious. A good deal of the shock and innumerate number-vertigo that Eberhart achieves comes from reminding us, or informing the Kansas City Star readers, that "top" literary journals report such breathtaking numbers about how many submissions they get. Young is saying that Poetry receives 90,000 "poem submissions" per year (the point is made slightly clearer in the second paragraph where it's distinct that that's 90,000 ~poems~ [versus the 350 poems they have space for] and not 90,000 poets' submissions, an important difference). Stewart is more immediately direct that it's 30,000 ~poems~ they're getting. Sure, no matter which way you cut it it sounds like a heap (s--t load) and no clerical worker wants to cope with a mailman like that,--- but--- the amateurs, too, are very well instructed by how-to manuals like ~The Poet's Market~ that x to 5 poems is the appropriate amount to include in an envelope. So, what that really means is that, on any work day, New Letters would be receiving about 23 envelopefuls and Poetry, about 69 (in a year with 261 workdays, not counting holidays. [30,000 / 5 = 6,000 & 6,000 / 261 = 22.99, etc]). Granted, the sight of 23 envelopes filled with villanelles and, worse, pantoums may be enough to send any male admin. assistant to acting out in the men's room by at least three o'clock in the afternoon at the latest,--- but, big deal! it's nowhere near the horror story that 90,000 conjures up. I mean, there are a lot of businesses where if all you had to process was 23 envelopefuls of incoming work, you'd be ~dancing.~ Speed-read each one in a *max* of five minutes (you can tell by the second page and the "fancy fonts" and buff stationery whether it's viable or not) and still have five hours left over in a seven hour work day with *nothing to do* (except hang out in the Men's Room). (Not to mention that any envelopes with kitten stickers or glitter dust on the outside can be processed in five seconds and a good ring toss around the office.) So, what are they complaining about?! ---and what are they ~crowing~ about with this 1.5% miracle and the awesome burden of two dozen envelopes a day? They're going to get an effin' $3,333,333 a year for the next 30 years! so that's, like, $37.04 ~per~ envelope they get to move it from the slush pile to the mush pile. The numbers in this article prove the ~opposite~ of any "renaissance" or up book market. They're showing a supply/consumption that's barely holding steady, save for that unexamined 1.5%. (I'd be very curious to know the increase in the number of people enrolled in college over those twenty years, which is a significant influence in "becoming a poet" and, I would think, probably way, way higher than that margin--- in which case even 1.5% wouldn't hold up as meaningful against a college-educated literacy that should've been way above that. 1.5%, not dwindling.) All errors are my own. ------------------------------------------------------- (As a newly converted balletomane myself who, unlike Knopf's Deborah Garrison, in fact ~began~ going to the ballet only after 9/11, I find her "I didn't say, `Oh, I feel like going to the ballet' . . . And I'm not dissing the ballet" to be disingenous and bothersome and I take it as a personal insult ---especially if that's the cultural facade double-punch of the ~poetry editor~ at Knopf. ~She's~ going to adjudicate on whether to re-print James Merrill, ---James Merrill whose "remembrances" were included in Christopher Ramsey's ~Tributes: Celebrating 50 Years of New York City Ballet,~ whom J. D. McClatchy eulogizes on a Knopf web site with "He was a soft touch, and had learned the difficult art of giving money away gracefully ... [in response to] appeals from ballet companies". ----You mean, THE Deborah Garrison, right? the author of the ~Random House~ (Knopf) ~A Working Girl Can't Win: And Other Poems~ who http://www.hyperage.com/search/agerID.cfm?agerID=1795 makes the sole point of saying was born in the Year of The Snake, right? She didn't FEEL LIKE IT coincidentally the same season that *the first black man* ever was dancing the principal role in ABT, maybe! and because she's so ~sick~ of Knopf throwing grand tier $90 freebies across her deck that she's flattened all the sequins on her gown from sitting through consecutive matinee and evening performances of ~Giselle~ alone. (What is the name for the rhetorical trope she's tripping off ---"apophasis"?--- pretending to deny what is really affirmed or introducing an attack only under the guise of immediately erasing it: "I'm not saying that she's some sort of complete Vaganova/Balanchine junkie...!"?) There's some sly deck-cutting Deborah's doing there, trying to redeem poetry from its reputation as effete and elitist by grasping after a cultural sitting duck that Knopf is betting Kansas City newspaper readers would find even more effete and elitist than poetry. Then, can we salvage ballet by saying we didn't feel like going to "Samuel Pepys and Music" that night? :) ------------------------------------------------------- factmonster.com U.S. population statistics [best read in non-proportional Courier font, to retain the tabular spacing) TOTAL 2000 M 138,054,000 281,422,000 F 143,368,000 1990 121,271,000 248,765,000 127,494,000 1980 110,053,000 226,546,000 116,493,000 1970 98,926,000 203,235,000 104,309,000 1960 88,331 179,323 90,992 1950 75,187 151,326 76,139 ------------------------------------------------------- "Please Fire Me" by Deborah Garrison Here comes another alpha male, and all the other alphas are snorting and pawing, kicking up puffs of acrid dust while the silly little hens clatter back and forth on quivering claws and raise a titter about the fuss. Here comes another alpha male-- a man's man, a dealmaker, holds tanks of liquor, charms them pantsless at lunch: I've never been sicker. Do I have to stare into his eyes and sympathize? If I want my job I do. Well I think I'm through with the working world, through with warming eggs and being Zenlike in my detachment from all things Ego. I'd like to go somewhere else entirely, and I don't mean Europe. http://www.pbs.org/wnet/foolingwithwords/main_garrison.html ------------------------------------------------------- "Fight Song" by Deborah Garrison Sometimes you have to say it: Fuck them all. Yes fuck them all -- the artsy posers, the office blowhards and brown-nosers; Fuck the type who gets the job done and the type who stands on principle; the down-to-earth and understated; the overhyped and underrated; . . . which is to say fuck yourself and the person you were: polite and mature, a trooper for good. . . . "Father R.I.P., Sums Me Up at Twenty-Three" by Deborah Garrison She agreed, she agreed, she seconded his thesis, and with each murmured yes her certainty mounted: she would never be one of them -- a Director, a Manager, an Executive Thingy. She didn't have the ambition. She was simply a pencil, scratching, pausing, picking her way down an obscure page. "Worked Late on a Tuesday Night" by Deborah Garrison . . . Are her roots rural, right-leaning? Is she Jewish, self-hating? Past her sell-by date, or still ovulating? http://weeklywire.com/ww/04-13-98/boston_books_1.html __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 14:31:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: A/V query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 3 come to mind: *WE MAGAZINE (edited by Chris Funkhouser @ N.J.I.T.) issues: 14 & 15, available on CD, housing everyone from Elizabeth Belile to Wanda Phipps * Robert Ashley: 2 CD's in particular here: -Automatic Writing - Your moneyMylifeGoodbye (both available from Lovely Music) and my personal essential: *Trevor Joyce red noise of bones (from Coelacanth/Wild Honey Press) all 3 taking it where it's going... Gerald Schwartz ----- Original Message ----- From: "Arielle Greenberg" To: Sent: Monday, January 20, 2003 11:56 AM Subject: A/V query > Hi, I'm hoping someone can recommend a good > DVD/CD/video, etc., something with audio and/or visual > material, of interesting avant-garde performances by > poets, fiction writers, performance artists, spoken > word artists, etc. The more eclectic the anthology > the better, but I don't want only "slam poets"--I'm > looking for things more along the lines of Carolee > Schneeman, John Cage, Tracie Morris, etc. This is for > a course I'm teaching on avant-garde lit. Please > backchannel with suggestions, thanks! > > Arielle > > > ===== > * please visit www.ariellegreenberg.net > for links to poems, information about readings, etc. > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > ========================================================================= Date: Mon, 20 Jan 2003 11:27:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: antiwar justifications In-Reply-To: <20030120.081554.-622761.5.daisyf1@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >7. America should not be the police of the world. And the US should not call itself "America." -- George Bowering Too many operations Fax 604-266-9000 ========================================================================= Date: Mon, 20 Jan 2003 16:03:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: BL-BL-BL-BLOG! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Another hank of bref: http://millionpoems.blogspot.com/ -- Right, David Niven? -- Sleep Stars -- Acquiesce in a mumble to a cur -- Dad Poems -- The icon I click on ========================================================================= Date: Mon, 20 Jan 2003 13:26:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: antiwar justifications In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit quickly: it IS a kneejerk reaction in me to be against everything bush is for, but, like eschewing cigarettes and trying not to eat red meat, one i consider largely healthy, and so i rarely question it. above and beyond the good points that people have already made for being anti-war (and which, for the most part, one can find readily disseminated at any peace rally, which doesn't make them any less valid), i truly believe that a big enough public groundswell can actually stop the war. perhaps that's an illusion about my country and my government that is particular to myself or my generation, the way people used to believe that government was generally honest a generation or more ago. and while that's not a "reason" for being against the war per se, the belief that being actively against the war can have an effect is what separates us from the many thousands who don't bother to vote, march, write letters, etc. why i'm against the war was crystallized for me again during the march last saturday, when i saw, again, many many children marching and chanting (in a very real way, "leading" the rest of us). i don't want to have to look them in the eyes years from now, when the planet has been reduced to a smokey rock by war and greed (land-greed, oil-greed, water-greed), and say that i sat back and did nothing. i can't do it. i won't do it. i consider it my civic duty to protest the war, just as i would to vote or to give blood or to write. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joe Amato Sent: Monday, January 20, 2003 8:49 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: antiwar justifications i really really appreciate alex young's provocation---that took some courage... so here you are: i'm against the war, to date, not b/c i'm a pacifist (or for that matter, an isolationist), but b/c i don't think war is the answer to the problem(s) before us... i *do* think we have a problem specifically with hussein, and i *do* think it would go a long way were we to recognize a palestinian state, redistribute wealth (food, clothing, shelter, etc.), exhaust all diplomatic means, and stop acting culturally (and morally) superior... but whether the latter will likely save the bacon that needs saving in the short term---that's a tough question... and for that matter, redistribute all the wealth you want, and you'll still likely have a tyrant or two with whom to deal, one who's wreaking all manner of grief and violence, at the very least, on his own people... i mean, there are causes, proximate causes, and so forth... so, i don't think diplomacy has a chance in this world, as things stand, w/o the threat of military action, i.e., w/o a strong defense, and preferably, an international defense contingent, sure (sorry---and yes, ours is without doubt too taxpayer endowed, for that matter)... i *do* think the u.s. should act in concert with the u.n., but i *do* think the u.s. has the moral imperative to intervene at times (as we should have done, i'd say, in rwanda and cambodia---or as we should have agitated for)... which is to say, if the argument is that we don't act until the u.n. is the type of international agency we want it to be (with appropriate, and not imbalanced, u.s. presence), we'll likely risk all manner of inequity and injustice, as i see it... further, i *don't* think the argument that iraq is one of many oppressive regimes that we're *not* threatening to attack is a workable argument---i could as easily say (and i'm not), "let's start with iraq"... and i *do* respect the more pacifist claim that violence begets more violence, albeit i don't personally endorse same in all contexts, as once one is past a certain international breaking point, it seems to me that war is inevitable (wwii the obvious example, and i won't beat that drum anymore than it needs beating... and a parallel form of this argument obtains at the personal level, as well)... for the record, i also see the logic of opposing the war w/o further ideo/logical refinement, given that we would seem to be on the brink of same, and that my reservations about the left (as above, which are along the lines of christopher hitchens's reservations, albeit absent, i trust, his pugnacious form of interventionism) might be properly muted for the sake of a united front... but if the left can't do better, in my view, than it's been doing---publicly, intellectually---then i'd say we'll find ourselves back on the brink of war sooner than later (and i'm not ignorant of the ways in which media realities give short shrift to leftist ideological platforms, but still... e.g., a number of news commentators, e.g. chris matthews, have come out against the war)... most petitions, emails and calls-to-action i receive, and have been receiving, are much better at saying what we're opposed to, political action wise, than what we're in favor of ("we're in favor of peace" falling somewhat short of what i have in mind)... and i also understand, too, how the left tends to eat itself alive in the light of public day---so please, i'm trying not to come off as contentious here... i don't have any quick answers in line with what i'm proposing, either---in fact, i think there are no easy "answers," that all remedies will be fraught at some level, and that this is one reason why the debate as such has been so easily polarized publicly, with bush & co simplifying matters to the point of absurdity (even as they ruin the environment, curtail civil liberties, etc.), while those of us who are anti-war have often appeared shrill and reactionary in response: content to consume as we may, presumably entitled to enjoy a more comfy life than most of the planet (mea culpa), but rather unable to articulate exactly what we want the govt to *do* to prevent another 9.11... in all, i think we can do better... **** anyway, thanx for the opportunity to give voice to some ideas that, to be candid, i've been sweating over lo these many months, even while i place my phone calls to my congressional reps, etc etc etc... best, joe ========================================================================= Date: Mon, 20 Jan 2003 16:36:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: A/V for courses MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Arielle et al - The audio edition of Kenning (#12) is not my own but a collaborative = editorial project with Chris Funkhouser (whose We Magazine was also duly = mentioned). The Kenning issue is distributed by SPD, but you could = order it direct as well. Ordering info available at = www.durationpress.com/kenning - Chris is webmaster at amiribaraka.com = and has put some sound up at that site. I would also recommend Jackson Mac Low's CD "Open Secrets" - excerpts of = which are available at UBU web online. The CD accompanying the (now = out-of-print) JML festschrift issue of CRAYON Magazine provides an = interesting array of contemporary recordings. =20 Seems as though a syllabus might incorporate selected audio files from = UBU Web (many historically "important" recordings there, including some = Cage); then the JML CD for zeroing in on a particular artist's work = (for whom sonic registers have always played a fundamental processural = role); then try to locate the Crayon CD at your library and play in = class for examples of the context stemming from and toward said artist; = then the Kenning CD for an example of a contemporary anthology-like mix = (one artist therein, Edwin Torres, often associated with slamness, = offers something "unusual" in that respect). At some point, looking at = the mediation of impovisation and prosody in Nate Mackey's "Song of the = Andoumboulou" (see the STRICK CD from SPD) would be crucial. Finally, = you might look at the sound files of Hannah Weiner's various recordings = of the "Clairvoyant Journal" at the EPC for the same (difference). See = epc.buffalo.edu/authors/weiner - Actually, disc 2 of Kenning #12 = provides another opportunity for sustained "close listening" vis-a-vis = Leslie Scalapino's WAY. This also seems as good a time as any to say that I'm working on = producing new ("archival") sound files for inclusion with new and recent = EPC author pages. Expect to see new sound files regularly at the EPC - = until I get some confirmations, I'm afraid I can't say more. The point = is, the range of available sounds at the EPC is deliberately growing and = becoming a focus of my work as "contributing editor." - Patrick Arielle, I'm sure you already know about this, but Patrick Durgin's audio issue = of _Kenning_ from last year seems made to order. I have yet to purchase a = copy myself (guilt, guilt, guilt), but have heard some of the tracks, and = have seen it displayed proudly on the CD racks of many prominent, innovative, = and drop-dead sexy poets on both coasts. STATE-O-DE-ART. I forget how much it costs offhand, but Patrick's e-mail is . Kasey -------- www.buffalo.edu/~pdurgin ========================================================================= Date: Mon, 20 Jan 2003 14:19:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: antiwar justifications In-Reply-To: <1043038352.3e2b8090a2432@cubmail.cc.columbia.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Just off the wire from cnn.com: ""Mr. Powell suffered a slip of the tongue today as he sought to clarify the White House's objectives in Asia. "We have no intention of invading or attacking Iraq," Mr. Powell said, when asked by reporters at the United Nations if the United States was planning to attack North Korea."" It must be hard to live inside Mr. Powell these days - to discover his own anti-war movement apparently hard at work! As to personally justifying a "anti-war" position, to me its utterly clear that: 1. The drive to occupy Iraq - and that is the proposition - is a transparent imperial/colonial mandate, in this case oil and the resource control/ownership of its use the objective. 2. All references to liberating Iraq into a flourishing democracy and a self-determining one are hypocritical cover for a raw power move. (Russian and European Government opposition may be seen as a resentment among powers who equally covet the oil. One can only imagine that coalition persuasion is based on a promise of oil access and percentage. Blair,it would seem, negotiated early for the best possible deal, rather than compete or differ with the US as an ally.) Additionally, in the US leadership, in terms of political ancestry and history (Bush-Cheney-Rumsfeld-Negroponte-Abrams, etc.) there is nothing to indicate a commitment to democratic values. It does not take much memory to recollect the Central Americal role of these folks in training and supporting the Contra-death squads and their dictator masters. 3. I cannot imagine anything but occupation leading to travesty in both Iraq, and a series of repercussions in the Mideast and Muslim worlds. Along with images of long term rebellion - a few American bodies a week - the whole idea of American military forces instilling (educating) democratic systems among cultures of which we collectively practically know nothing is a contradiction and a self-destructive joke unto itself. It is also mind boggling that this country (economy in the dumps, 40 million uninsured, etc., etc.) can even begin to picture the economic drain of imposing and sustaining such a political and administrative structure. This is not to say Hussein is a nice guy, or that Iraq and the Mideast should not be a focus of constant diplomatic attention and democratic example. Just think, if the UN were to have troops established on a line between the Palestians and the Israelis with an insistence on negotiations, I suspect we would move a democratic "peace" process forward (instead of standing back and watching two people's cannibalize each other). This obviously could go on. But this territorial opportunism is one that I and many of us ain't going to buy. I hope Collin Powell has a long, and heart to heart discussion with the guy inside who slipped his tongue - and then has the courage of another kind of conviction. Stephen V ========================================================================= Date: Mon, 20 Jan 2003 17:29:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: AWP? Egads or e-grads Mime-Version: 1.0 Content-Type: text/plain; charset=Windows-874 Content-Transfer-Encoding: 8bit Content-Disposition: inline Komninos, This is a stupendous survey. Thank you very much. You did for the Australian poetry scene as it shifted and developed in the 20th/21st century thus far what I would have liked but didn't take the time to do for the Irish equivalent, when I was writing my post. Thank you very, very much. Also, thank you for the term "soundings," which is new to me in the context of poetry readings, though, if there is any other listmember out there of the same vintage as myself and schooled in Ireland, you might remember a Leaving Certificate poetry anthology called .... Soundings! Thanks also to Komninos, Brian, and Murat, for helpful strategies on workshopless poetry writing seminars. Mairead Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> k.zervos@MAILBOX.GU.EDU.AU 01/19/03 01:02 AM >>> Gals here's an australian spin on mairead's post. i feel this list is very america-centric in its thinking, perhaps not intentially, but one gets the feeling that the list in general equates poetry with poetry that happens in the usa. but poetry does happen in other places in the world, and even if we are far away and small in population i assure you that there is a poetic culture in australia and issues that are similar to the american experience. as a professional performance poet for ten years, and as a person with a science education, and as a person who did not study literature from books at university, but rather developed my aesthetic in the pubs and coffee lounges of melbourne and sydney, i would like to comment on the community or local poetry as compared/intertwingled with the academic treatment of poetry. before contact with the melbourne performance poetry scene i thought i was the only person in the world expressing themselves through poetry, my work resembled song lyric, in metre and rhyme because that was my concept of poetry from school, but also because people like bob dylan were my idea of modern poets. the poetry readings introduced me to index poetry, to humorous poetry, to political poetry, to non-rhyming poetry, to personal poetry, to conversational poetry, to sound poetry, to shouting poetry to whispering poetry. i was learning the theory through practice, the sounding, the local activity also being a sharing, so the influences of the surrealists, the dadaists, the beats, the black mountain poets, the new york school poets, the lang-pos were brought to soundings by the various poets in their poems and i incorporated in my own writing without consciously studying them. the territory the poetry mapped was also expanded as i left my self as object and subject of my poetry and looked further afield. i appreciate the importance of the local activity of poetry, the poetry sounding(reading). this aspect of poetic culture has been trivialised or marginalised over the last 50 years; for political reasons during the 50s, 60s and 70s (mccarthy anti-communist period, cold war, and vietnam where poetry readings were seen as subversive left-wing activities); for cultural elitist reasons (seen as 'low' or 'popular' culture); or for commercial reasons (published books being more traditionally marketable items). this was at the same time that english publishers were opening australian divisions and publishing australian poetry lists and the time that australian literature was being introduced into the university curriculum, the establishment of the university presses, and a fairly conservative establishment of academics and book publishers were developing a canon which rooted the australian tradition back to england via oxford university and shakespeare, and far from the bush ballad and 'australianist' poetry of the first half of the 19th century in australia. this establishment resisted the influences of theory and praxis outside of england. it wasn't until the 70s and 80s did we start to see the influence of american new criticism and influences of movements like the beats, the projectivists, the new york school and the L=A=N=G=U=A=G=E poets, and the influence of french theorists on the poetic discourse of australia. in the 70s poetry readings became very important to the culture, an important part of anti-vietnam , feminist, lifestyle experimentation, gays and lesbians, idigenous and ethnic group activities. they were also focal points for publishing ventures and the emergence in the late 70s and early 80s of the small independent presses(sometimes called the mimeograph publishers because they were cheaply printed and hand collated and bound). the anglo-centric view of australian culture and literary canon was being challenged at the community level and at the academic level with younger, better informed, culturally representative academics keen to establish australian poetry amongst the english-language poetries of the world and with a more pluralistic view of the poetics and aesthetics of poetry and in deed writing in general. unlike the usa, which has had creative writing programs at universities (since 1922 i believe, iowa?) the conservative au universities resisted creative writing programs in the 70s, but they were introduced through community pressure, into colleges of advanced education (teacher training) and tertiary institutes of technology. strangely enough the autobiographical or workshop nature of the usa writing programs was often cited as a reason not to introduce writing programs into universities. many writers who didn't have university educations in literature or writing found teaching these courses to be a valuable means of earning a living as writers. again the sounding or reading in public was a very important part of the writing programs. in the 80s the labor government of australia implemented a higher education 'rationalization' which aimed to reduce duplication and increase efficiency. this saw the merging of colleges of education, institutes of technology and universities into multi-campus conglomerates, and a much wider offering of courses. writing programs were now an officially recognized part of university studies. this has been good in one way, but in another way has meant the writing programs and teachers of writing have had to conform to the more conservative academic standards, more emphasis on print publication, more pressure to publish, more pressure for more officially qualified teachers (phds). the 80s also saw the emergence of a new poetic industry, that of professional performance poet. many poets, like myself, began to earn a living by performing their work outside of the traditional literary venues of university or community seminar rooms and more at music venues, comedy venues, schools, community groups, prisons, literary festivals. the 80s was also a time when the states (victoria, new south wales, queensland, western australia) introduced annual arts festivals that included a 'writers' week' modeled on the successful adelaide festival writers' week established in 1960. however the festivals are more like book readers' and publishers' festivals even though they are all called writers' festivals. the sponsored writers being the writers the publishers are promoting at the moment. whilst soundings (readings) are a major part and most popular of these events, the performance poets and open poetry readings are usually relegated to fringe status. the community organized poetry festivals, montsalvat, the queensland poetry festival, the tasmanian poetry festival and the nsw poets' union are more writer intensive and offer a greater variety of performance poetry. by the way for all those slamericans who want to lay claim for inventing competitive poetry events, the launceston poetry cup has been a yearly event since 1984, one minute poem, audience response as judge. but generally by the 90s the public reading/performance of poetry and the teaching of writing were accepted as more mainstream activities, and seen as a part of our poetic culture. since 1995 the commercial publication by major publishers is in decline as the market for poetry on a national level has shrunk to below one of economic viability. the reasons that the audience for published poetry has decreased may be many, and i don't have any evidence, but i believe the publication of theoretically informed experiments in poetry by academically educated teachers and students in the late 80s and early 90s may have alienated a part of the readership of poetry unfamiliar with poetic and aesthetic contemporary discourses. but that does not mean that the overall publication of poetry has decreased. quite the opposite. according to national literature database figures there has been a steady increase since a slight dip in 1995, with over 450 poetry titles published per year. these publications are self-funded or from regional presses, and some subsidized university presses. the local activity of the sounding (reading) is of great importance here in the promotion and sale and distribution of the published product. there is an active network of venues for weekly poetry sounding in each capital city of australia and in the regional cities as well. performance poets can make a living but have to be prepared to travel -"have poem - will travel" (pun on 'have gun - will travel' trashy 60s tv cowboy show). schools are great sources of income for a poet too, teachers and librarians keen to excite their students about contemporary language and its uses, often invite performance poets to 'turn their children on' to poetry. i always felt the greatest thing i could do when i went to a school was to change the students' concept of what a poem looked like on a page, what it sounded like, what a poem could say, and how it could say it, so that it was more relevant to their lives. i did not intend to make all students great poets but at least convince them to not put up a barrier to poetry because they thought it was too old fashioned and irrelevant to their lives. if any of them were inspired my belief was that once they fell in love with the form then they would be encouraged to study the more formal aspects of history and analysis. i am now a tenured academic, i first taught university as a sessional lecturer(adjunct?) in writing programs in nsw and queensland (1991 - 1999). when i began teaching i began reading a lot more about australian poetry and other poetries in english, i began to better contextualize what i had been doing as a performance poet, i began to ask questions about my craft and the theories of literature and life that inform it. i realized how fortunate students in writing programs were to be studying their chosen art form in a nurturing environment informed by experience of those that have been actively involved in the australian poetic culture, and being encouraged to perform their work in public as well as seeking publication. Another area of growth for poets in australia and globally has been the world wide web, an exciting new form of publication and distribution, and more so a great new tool for creation. griffith university was quick to recognize the importance of this new writing space and in 1998 i wrote and taught 'writing for the web' to writing program students to introduce them to html and the creative use of the web. in the following year the cyberstudies major was introduced as a specialist major for bachelor of arts students. well to finish and summarize, i believe writing programs are good but should not be elevated or separated from their local or community activity. and that teaching performance and digital poetry is just as important as teaching writing about, and for, print publication. cheers komninos http://spokenword.blog-city.com http://www.gu.edu.au/ppages/K_Zervos http://users.bigpond.net.au/mangolegs At 12:28 PM 19/01/03, you wrote: >Guys, > >I’d like to bring a couple of different perspectives to the discussion >about MFA programs and poetry. Firstly, I came to the United States in >1994 in order to do a Master’s in poetry. I came, with a 7 year old >child, from Ireland, where there were no MFA programs at that time, and >where there was intense skepticism about teaching anyone to write. This >intense skepticism was significantly played out in pubs, which had been, >for some decades, the “hedge schools” of poetry. I got my pub credits >too, in my twenties, along with writing a few books and plays, and a lot >of journalism. I had no training for any of this, but I had a lot of >opportunity. The day after my thirtieth birthday, my first child was >born. The pub gradually became a less viable forum of exchange. Yet >the image of the Irish poet was, to some extent, still identified with >the pub. Jobs I worked at in the next few years included art gallery >manager, arts center director, hospital domestic, and substitute >teacher. A low point was peddling furiously on my bike up and down >hills in Dun Laoghaire in Dublin, where it rains constantly, leaving my >daughter, then 4, to a babysitter, who would in turn leave her to >school, peddling to the hospital where I worked, always late, working my >shift, peddling to collect my daughter from school and leave her back to >the babysitter, doing the second shift at the hospital, then peddling >back up to the babysitter to collect Marina, etc etc. This was >definitely not the image of the Irish poet, though I had by then >published about 40 poems. I finally went back to college to get a >teaching certification. My intention was to become a high school >teacher (I was definitely uncool). I got a job but at the same time was >accepted into a creative writing program in the United States. I took >that opportunity because it offered time to read and write, the chance >to talk about writing outside the pub, the opportunity to teach, and a >minimum income on which myself and my daughter could survive. When I >was doing that degree, classes were my social life. I lapped it up. I >knew I was enjoying something that was not available in Ireland. I also >knew, after the harrowing year I had spent getting teacher >certification, that I would not be able to pursue any more advanced >degrees in Ireland. Here I was able to do an M.A., and a Ph.D., and I >am grateful. > >The second perspective I’d like to offer is that of someone who teaches >at an art school. In Ireland, my compadres were visual artists. Studios >were fantastic places for me: of books and images and ideas and smells. >Some of my friends hadn’t completed secondary school. But all of them >had gone to art school, generally with huge appetite. I agree with >Finnegan. Artists relish training. Historically, in poetry, this is >also the case, though not, in Ireland, for most of the twentieth >century. Maybe my students should get the hell out of art school and >get a job unconnected to their field. But it seems absurd. > >On Henry’s point — and something I was unaware of when I immigrated — >there is a wide range of MFA programs in creative writing, some of which >integrate creative writing “with professional & general education,” as >he recommends. I’m thinking of the MFA at the School of the Art >Institute of Chicago, because it interests me; the AWP guide to writing >programs is a useful resource. > >I have already admitted to being uncool, now I’ll admit to being excited >about going to Baltimore, the city where Frederick Douglass learned to >read. My associations with Baltimore are Frederick Douglass, Poe, and >Randy Newman. But then, as an immigrant, I also find the concepts of >“middle school librarian” and “high school music teacher” exciting. > >Mairead ========================================================================= Date: Mon, 20 Jan 2003 14:30:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I just want to place a few points here. This is an adminstration mainly made of people from the Reagan/Bush administrations; that is, people from the last century, who are, deep in their minds, still fighting the Cold War. So that their policies--economic, environmental, etc., it's all connected--don't make any sense in the world as it is now. But they plow ahead like a dog with a bone in its jaws, no matter what public opinion may say. This is what makes them dangerous to a democracy. Unlike Clinton, who read the polls, and changed course, these people are ideologists. It all got off on the wrong foot, remember? George Bush didn't win the election, he was appointed by a split Supreme Court. Some of the judges who voted to stop the count in Florida were appointed by his father, just as judges now ruling on other issues in favor of the administration were. So that just the move toward another war, a war within a war, like Chinese boxes, is a superficial reading of the forces involved. It would take a team of psychologists and anthropologists to get at this, as it's rooted in lockstepped minds--neurotic, that is--, and a family named Bush. -Joel ========================================================================= Date: Mon, 20 Jan 2003 17:50:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: A/V query In-Reply-To: <20030120165626.26160.qmail@web11306.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" check out Jaap Blonk, the dutch sound poet. he's got a website where you can sample his stuff and a bunch of cds out. also, in the early 90s WNYC-tv ran a series of poetry spots, including Paul Beatty, Tracie Morris and Walter Lew poems v nicely videotaped. i was able to get a tape w/ those three on it just by writing to WNYC and asking for them. some specific spots on the United States of Poetry, for instance Tracie Morris, Carla Harryman, Amiri Baraka, Wanda Coleman, etc are well worth showing. you'd have to be selective. and refer your students to ubuweb --there's lots of fun stuff on there. At 8:56 AM -0800 1/20/03, Arielle Greenberg wrote: >Hi, I'm hoping someone can recommend a good >DVD/CD/video, etc., something with audio and/or visual >material, of interesting avant-garde performances by >poets, fiction writers, performance artists, spoken >word artists, etc. The more eclectic the anthology >the better, but I don't want only "slam poets"--I'm >looking for things more along the lines of Carolee >Schneeman, John Cage, Tracie Morris, etc. This is for >a course I'm teaching on avant-garde lit. Please >backchannel with suggestions, thanks! > >Arielle > > >===== >* please visit www.ariellegreenberg.net >for links to poems, information about readings, etc. > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com -- ========================================================================= Date: Mon, 20 Jan 2003 18:29:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: A/V query (poetry in motion) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Check out the video _Poetry in Motion_ its a 1982 anthology of 24 North American poets in performance featuring William Burroughs, Anne Waldman, Ted Berrigan, Charles Bukowski, Ntozake Shange, Amiri Baraka, John Cage, Tom Waits and Jim Carroll http://www.digitallyobsessed.com/showreview.php3?ID=3774 Best, Geoffrey PS -- KENNING 12 rocks the house. I listen to is very often. ----- Original Message ----- From: "Arielle Greenberg" To: Sent: Monday, January 20, 2003 11:56 AM Subject: A/V query > Hi, I'm hoping someone can recommend a good > DVD/CD/video, etc., something with audio and/or visual > material, of interesting avant-garde performances by > poets, fiction writers, performance artists, spoken > word artists, etc. The more eclectic the anthology > the better, but I don't want only "slam poets"--I'm > looking for things more along the lines of Carolee > Schneeman, John Cage, Tracie Morris, etc. This is for > a course I'm teaching on avant-garde lit. Please > backchannel with suggestions, thanks! > > Arielle > > > ===== > * please visit www.ariellegreenberg.net > for links to poems, information about readings, etc. > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > > ========================================================================= Date: Mon, 20 Jan 2003 16:38:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: poetry careerists Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 8bit (Addressed to no one.) Is it surprising that poets who choose academic careers would express disdain for so-called "romantic" ideas of artistic vocation? Creative Writing answers to the old middle-class anxiety about having a proper profession. Your parents may think your "poems" are meaningless, but at least they can be proud that you teach at a State University ("Look, our boy the Professor!"). You yourself may know that your gift is, as they say, minor, but at least you can console your ego with the trappings of professional achievement. When the businessman on the plane, noting your artsy eyeglass frames and your Pelikan pen, asks you why you're flying to Baltimore, you'll get a double blessing of prestige: he'll see you as a professional like himself, and also as an artist, an identity to which he (unlike you) still grants a special status -- call it "cool." But hey, no one blames you for being heavily invested in an image of professional achievement, especially given the current trend of downward mobility among the highly educated. You don't want to wind up like, say, the Mac guy at Microcenter, pissing your time away for $7/hour. And why should just the corporate types be able to buy houses? Don't you deserve it as much as they do? Besides, your spouse/partner stuck with you all those years in grad school: doesn't he/she deserve something better? What about starting a family? If you need other ways to rationalize your careerism, the AWP is certainly willing to furnish them. Think of yourself as a mentor to future generations! Of course academic professionalism (or, let's say, the strained, bad faith, cracks-showing-through simulation of professionalism) doesn't come free. It exacts conformity to the rules of the game, such as compulsory comity among your fellow careerists. The preservation of everyone's status depends on mutual affirmation, on plurality and tolerance and positive attitudes (you've been practicing that demeanor since your first writing workshop). And if no one must be allowed to criticize anyone else, then neither may anyone aspire to anything more than mere professionalism. "Oh come on, that whole poet-rebel trip is like _so_ 1950s. Don't you know that that's just a way to sell cars now?" (Nietzsche: "'We have invented happiness', say the last men, and they blink.") But, really, whether or not you follow this academic career path toward the kind of everyday American nihilism that leaves people nothing to aspire to but having enough money to retire on, the more important consideration is ~precisely~ poetry's lack of cool, because cool -- the mysterious aura around the poem or song that makes sensitive teenagers want to be the makers of such things -- is what keeps an art vigorous and changing. Nor, I think, is the alternative to professionalism some kind of "stupid underground" (Paul Mann's phrase http://www.iath.virginia.edu/pmc/text-only/issue.595/mann.595). Rather, I think the idea is to refuse, to the degree that one can, all preexisting ideas of what it means to be a writer or poet. (It was the arch-professional New Critics, after all, who first derided "romantic" theories of poetry--there's nothing new in that.) ========================================================================= Date: Mon, 20 Jan 2003 22:43:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: poetry careerists MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Andrew, I don't really want to single you out here, but I think this is a good example of the pitfalls of UScentric thinkg, perhaps? tom bell ----- Original Message ----- From: "Andrew Rathmann" To: Sent: Monday, January 20, 2003 6:38 PM Subject: poetry careerists > (Addressed to no one.) > > Is it surprising that poets who choose academic careers would express disdain for so-called "romantic" ideas of artistic vocation? > > Creative Writing answers to the old middle-class anxiety about having a proper profession. Your parents may think your "poems" are meaningless, but at least they can be proud that you teach at a State University ("Look, our boy the Professor!"). You yourself may know that your gift is, as they say, minor, but at least you can console your ego with the trappings of professional achievement. When the businessman on the plane, noting your artsy eyeglass frames and your Pelikan pen, asks you why you're flying to Baltimore, you'll get a double blessing of prestige: he'll see you as a professional like himself, and also as an artist, an identity to which he (unlike you) still grants a special status -- call it "cool." > > But hey, no one blames you for being heavily invested in an image of professional achievement, especially given the current trend of downward mobility among the highly educated. You don't want to wind up like, say, the Mac guy at Microcenter, pissing your time away for $7/hour. And why should just the corporate types be able to buy houses? Don't you deserve it as much as they do? Besides, your spouse/partner stuck with you all those years in grad school: doesn't he/she deserve something better? What about starting a family? > > If you need other ways to rationalize your careerism, the AWP is certainly willing to furnish them. Think of yourself as a mentor to future generations! > > Of course academic professionalism (or, let's say, the strained, bad faith, cracks-showing-through simulation of professionalism) doesn't come free. It exacts conformity to the rules of the game, such as compulsory comity among your fellow careerists. The preservation of everyone's status depends on mutual affirmation, on plurality and tolerance and positive attitudes (you've been practicing that demeanor since your first writing workshop). And if no one must be allowed to criticize anyone else, then neither may anyone aspire to anything more than mere professionalism. "Oh come on, that whole poet-rebel trip is like _so_ 1950s. Don't you know that that's just a way to sell cars now?" (Nietzsche: "'We have invented happiness', say the last men, and they blink.") > > But, really, whether or not you follow this academic career path toward the kind of everyday American nihilism that leaves people nothing to aspire to but having enough money to retire on, the more important consideration is ~precisely~ poetry's lack of cool, because cool -- the mysterious aura around the poem or song that makes sensitive teenagers want to be the makers of such things -- is what keeps an art vigorous and changing. > > Nor, I think, is the alternative to professionalism some kind of "stupid underground" (Paul Mann's phrase http://www.iath.virginia.edu/pmc/text-only/issue.595/mann.595). Rather, I think the idea is to refuse, to the degree that one can, all preexisting ideas of what it means to be a writer or poet. (It was the arch-professional New Critics, after all, who first derided "romantic" theories of poetry--there's nothing new in that.) ========================================================================= Date: Mon, 20 Jan 2003 17:11:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: poetry careerists In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit no offense, andrew, but this sounds like so much sour grapes (and no, i'm not an "academic" -- farthest thing from it. don't even have an m.a.) i'm tired of all this bitching about academic careerists vs. "real" poets and vice versa. it's like jocks picking on people in marching band or "conservative christians" attacking gays. if it really repulses you so much, why obsess on it so? is there something underneath all that, jealosy, wishful thinking, etc? most of all, this sort of generalized, "addressed to no one" rant does nothing to further any sort of dialogue that might exist. i know so-called "academic" poets who really are passionate about what they do and dedicated to immersing themselves in the full range of poetic discourse available, i.e. slams "beat" readings street jive jazz whatever, not just esoteric school-sponsored readings (not to mention that they're passionate about teaching Poetry); conversely i know plenty of posers who hide behind their street credentials and do nothing to broaden their own knowledge, contribute nothing, simply suck energy out of the scene. it's a drag, man. as for "cool" -- gimme a break. what's cool? who defines it? cool didn't make me want to be a poet and cool ain't paying my bills. if you're talking about "duende" (uh-oh -- there's that word again), the "mysterious aura" around a poem, just sucking down cigs and reading Nietzsche at the cappucino bar ain't gonna give it to you, either. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Andrew Rathmann Sent: Monday, January 20, 2003 4:39 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: poetry careerists (Addressed to no one.) Is it surprising that poets who choose academic careers would express disdain for so-called "romantic" ideas of artistic vocation? Creative Writing answers to the old middle-class anxiety about having a proper profession. Your parents may think your "poems" are meaningless, but at least they can be proud that you teach at a State University ("Look, our boy the Professor!"). You yourself may know that your gift is, as they say, minor, but at least you can console your ego with the trappings of professional achievement. When the businessman on the plane, noting your artsy eyeglass frames and your Pelikan pen, asks you why you're flying to Baltimore, you'll get a double blessing of prestige: he'll see you as a professional like himself, and also as an artist, an identity to which he (unlike you) still grants a special status -- call it "cool." But hey, no one blames you for being heavily invested in an image of professional achievement, especially given the current trend of downward mobility among the highly educated. You don't want to wind up like, say, the Mac guy at Microcenter, pissing your time away for $7/hour. And why should just the corporate types be able to buy houses? Don't you deserve it as much as they do? Besides, your spouse/partner stuck with you all those years in grad school: doesn't he/she deserve something better? What about starting a family? If you need other ways to rationalize your careerism, the AWP is certainly willing to furnish them. Think of yourself as a mentor to future generations! Of course academic professionalism (or, let's say, the strained, bad faith, cracks-showing-through simulation of professionalism) doesn't come free. It exacts conformity to the rules of the game, such as compulsory comity among your fellow careerists. The preservation of everyone's status depends on mutual affirmation, on plurality and tolerance and positive attitudes (you've been practicing that demeanor since your first writing workshop). And if no one must be allowed to criticize anyone else, then neither may anyone aspire to anything more than mere professionalism. "Oh come on, that whole poet-rebel trip is like _so_ 1950s. Don't you know that that's just a way to sell cars now?" (Nietzsche: "'We have invented happiness', say the last men, and they blink.") But, really, whether or not you follow this academic career path toward the kind of everyday American nihilism that leaves people nothing to aspire to but having enough money to retire on, the more important consideration is ~precisely~ poetry's lack of cool, because cool -- the mysterious aura around the poem or song that makes sensitive teenagers want to be the makers of such things -- is what keeps an art vigorous and changing. Nor, I think, is the alternative to professionalism some kind of "stupid underground" (Paul Mann's phrase http://www.iath.virginia.edu/pmc/text-only/issue.595/mann.595). Rather, I think the idea is to refuse, to the degree that one can, all preexisting ideas of what it means to be a writer or poet. (It was the arch-professional New Critics, after all, who first derided "romantic" theories of poetry--there's nothing new in that.) ========================================================================= Date: Mon, 20 Jan 2003 20:46:04 -0500 Reply-To: gmcvay@patriot.net Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Like the brave and logical Mairead (wasn't it? forgive me -- the latest wrinkle in my mother's cancer is either mini-stroke or brain tumor; we find out which tomorrow), I will simply say: I went to an MFA program. It was fun. I met other people who cared as much as I did about poetry and language and such. I got to be in Poetry Theater a couple of years running. I met visitors like Susan Howe -- that was rather transformative. I got help. I got ego strokes. I diddled about with book arts. I got some litmag-editing experience. Am I in debt? Yep. Was it a waste of time and money? Nope. The program was sufficiently academically rigorous to challenge me -- and my preconceived notions. Are AWP frequently a bunch of bozos? Damn skippy; I used to work there. Have I become permanently academified? Possibly. I should awfully like to get a PhD, but either I must first win the lottery, or global warming must radically improve the climate of Buffalo. I liked it. You might not have. YMMV. Gwyn McVay ========================================================================= Date: Mon, 20 Jan 2003 18:55:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: poetry careerists In-Reply-To: <3E2CA648.E577597B@patriot.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thanks to Gwyn & Mairead & others for the posts on mfa, etc. From another perspective, I've stayed out of the MFA programs, I've damned them and been confounded by them, yet can say that sometimes the careerism (and I know that's not the only thing there) doesn't seem like such a bad idea, from the point of view of someone like me with two children to feed & raise, wondering how they will get by, go to college, etc. Yet I'm not sorry about my choices. Also, whatever I have to say, and some of it is sometimes nasty, about MFA programs, and specifically the one that most impacts on local culture and poets, here in Tucson, Arizona, I also absolutely thank it for bringing some of Chax Press's best friends and biggest supporters here over the years, going back to when I first came here and began Chax in 1984. To name names, Lisa Cooper, Mike Magoolaghan, Roger Hecht, Karen Falkenstrom, Allison Moore, Jesse Seldess, Tim Peterson, Heather Nagami, and a few others, have been essential & enabling to Chax's, & my, existence here. And while I may (and sometimes do) cry out that they are the exceptions here, the rebels within that all-too-nonrebellious mfa program, I also know that they came here because of that program, and I am thankful for that. And I am entirely surprised at myself, here in this gap during a time of cooking dinner for family -- that here I am defending, in a way, mfa programs & their denizens, or at least several of their denizens. charles charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Tue, 21 Jan 2003 12:22:24 +1030 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Bolton Subject: Larry Rivers / Washington Crossing In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Can anyone help me with this question - needed for an a very un-earth-shattering footnote: Where is Emmanuel Leutze's "Washington Crossing The Delaware" situated? I need a gallery or museum name & the city or state. It's the picture Larry Rivers parodied in his own painting of the same name. Cheers ken bolton ========================================================================= Date: Mon, 20 Jan 2003 20:46:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "If you throw a stone into a coterie of lap dogs, one of them will yelp." V.I. Lenin They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 20 Jan 2003 20:59:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Interview between John Anthony Thwaites and Gerhard Richter written by Sigmar Polke, October 1964 Mr Richter, you are the most talented of the German Pop painters; you went through all the hardships and the hostility that the movement encountered in its early days; and you now occupy a leading position in the movement. Perhaps you can tell us something about your work and your artistic development. I have a lot of work, and I am well developed artistically, and also mentally and physically. I pull the expander front and back. And if you saw my new pictures, Mr Thwaites, you would collapse! Why? Because they're so good! You've never seen such good pictures in your life. No one has ever seen such good pictures, and I can't show them to anyone, because everyone would collapse. So in the first place I hung cloths over all the pictures, and then in due course I overpainted them all white. And now? Now I don't paint at all any more, because I don't want to have the whole human race on my conscience. How many victims have your works accounted for? I don't know, exactly. The exact statistics do exist, of course - they run into the tens of thousands - but I can't concern myself with trivia. It was more interesting earlier on, when the big death camps in Eastern Europe were using my pictures. The inmates used to drop dead at first sight. Those were still the simple pictures, too. Anyone who survived the first show was killed off by a slightly better picture. And your drawings? I haven't done a lot. Buchenwald and Dachau had two each, and Bergen-Belsen had one. Those were mostly used for torture purposes. The Russians are said to have five of your paintings and drawings. Is that so? I don't know how many. Stalin mounted his reign of terror with two pictures. After killing millions of russians, it's said that he caught an accidental glimpse of one of your pictures, just for a fraction of a second, and immediately dropped down dead. -Is that so? I don't know. One of my best paintings is in the Soviet Union. So what happens next? I don't paint any more. I can't, because I don't want to spread terror, alarm and anxiety everywhere, and depopulate the earth. But now it's come to the point where I only have to think my paintings out and tell someone about them, and the person rushes off in a state of panic, has a nervous breakdown, and becomes infertile. That is the worst effect. Though I can't say so for sure, as yet, because - depending on who tells the story - I have already caused dumbness, hair loss (mainly in women) and paralysis of limbs. Is it true that you supply paintings to the US Army? I can't tell you anything about that. Have you no scruples, or anything? I am an artist. Do you believe in God? Yes, I believe in myself, I am the greatest, I am the greatest of all! Thank you, Mr Richter. Not at all, Mr Thwaites. They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 20 Jan 2003 20:01:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: Larry Rivers / Washington Crossing In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198 Phone: 212-535-7710 TTY: 212-650-2921 Online: http://www.metmuseum.org/visitor/index.asp -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Bolton Sent: Monday, January 20, 2003 7:52 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Larry Rivers / Washington Crossing Can anyone help me with this question - needed for an a very un-earth-shattering footnote: Where is Emmanuel Leutze's "Washington Crossing The Delaware" situated? I need a gallery or museum name & the city or state. It's the picture Larry Rivers parodied in his own painting of the same name. Cheers ken bolton ========================================================================= Date: Tue, 21 Jan 2003 12:12:43 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: A/V query (poetry in motion) In-Reply-To: <007c01c2c0db$bf1aca50$605e3318@LINKAGE> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-1E831F36; boundary="=======2D533D52=======" --=======2D533D52======= Content-Type: text/plain; x-avg-checked=avg-ok-1E831F36; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit what's wrong with the ubu audio archives, or the factory school's archive, in fact why don't your students do a web research for these items? john giorno has produced some great videos as well - 'gang of souls', 'whatever happened to jack krouac' etc. and from england, ten years in an open necked shirt, featururing john cooper clarke, attila the stockbroker, seething wells etc. circa 1981. from australia the 'sbs book show poets' (1994) is also a good documentary of australian poets spanning three decades, 1960s to 1990s. there is also a video called louder than words featuring jas h duke, ania walwicz and eric beach, circs1985. and i agrree with geoffrey 'poetry in motion' is also very good. komninos At 09:29 AM 21/01/03, you wrote: >Check out the video _Poetry in Motion_ its a 1982 anthology of 24 North >American poets in performance featuring William Burroughs, Anne Waldman, Ted >Berrigan, Charles Bukowski, Ntozake Shange, Amiri Baraka, John Cage, Tom >Waits and Jim Carroll > > >http://www.digitallyobsessed.com/showreview.php3?ID=3774 > >Best, Geoffrey > >PS -- KENNING 12 rocks the house. I listen to is very often. > > >----- Original Message ----- >From: "Arielle Greenberg" >To: >Sent: Monday, January 20, 2003 11:56 AM >Subject: A/V query > > > > Hi, I'm hoping someone can recommend a good > > DVD/CD/video, etc., something with audio and/or visual > > material, of interesting avant-garde performances by > > poets, fiction writers, performance artists, spoken > > word artists, etc. The more eclectic the anthology > > the better, but I don't want only "slam poets"--I'm > > looking for things more along the lines of Carolee > > Schneeman, John Cage, Tracie Morris, etc. This is for > > a course I'm teaching on avant-garde lit. Please > > backchannel with suggestions, thanks! > > > > Arielle > > > > > > ===== > > * please visit www.ariellegreenberg.net > > for links to poems, information about readings, etc. > > > > __________________________________________________ > > Do you Yahoo!? > > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > > http://mailplus.yahoo.com > > > > > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======2D533D52======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-1E831F36 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======2D533D52=======-- ========================================================================= Date: Mon, 20 Jan 2003 18:18:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: antiwar justifications In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'd like to direct your attentions to a (somewhat long article) posted at http://www.ustrek.org/lightonamerica/ ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 20 Jan 2003 20:25:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: A/V query (poetry in motion) In-Reply-To: <5.1.1.6.0.20030121120506.02bd8d60@mail02.domino.gu.edu.au> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I havent been following this thread closely but no one, (I believe) has mentioned the amazing bp Nichol video 'pushing the boundaries' with ghost appearances of jw curry as the letterman... distributed by Coach House. for someone like me who had always intended to witness Nichol in person it brings one about as close as you can get to experiencing visually & auditorially all that he was. There are of course a number of cassette tapes of him & the 4 horseman around as well. mIEKAL ========================================================================= Date: Mon, 20 Jan 2003 21:41:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > no offense, andrew, but this sounds like so much sour grapes (and no, i'm > not an "academic" -- farthest thing from it. don't even have an m.a.) Thank you, David. As someone in X-actly the same position as you, I was begining to feel some of the same sentiment as you. Only you put it much more elequently. My feeling is cast perhaps a bit more raw: here comes a man with a knife, ready to bait and cut. Gerald > > i'm tired of all this bitching about academic careerists vs. "real" poets > and vice versa. it's like jocks picking on people in marching band or > "conservative christians" attacking gays. if it really repulses you so much, > why obsess on it so? is there something underneath all that, jealosy, > wishful thinking, etc? > > most of all, this sort of generalized, "addressed to no one" rant does > nothing to further any sort of dialogue that might exist. i know so-called > "academic" poets who really are passionate about what they do and dedicated > to immersing themselves in the full range of poetic discourse available, > i.e. slams "beat" readings street jive jazz whatever, not just esoteric > school-sponsored readings (not to mention that they're passionate about > teaching Poetry); conversely i know plenty of posers who hide behind their > street credentials and do nothing to broaden their own knowledge, contribute > nothing, simply suck energy out of the scene. it's a drag, man. > > as for "cool" -- gimme a break. what's cool? who defines it? cool didn't > make me want to be a poet and cool ain't paying my bills. if you're talking > about "duende" (uh-oh -- there's that word again), the "mysterious aura" > around a poem, just sucking down cigs and reading Nietzsche at the cappucino > bar ain't gonna give it to you, either. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Andrew Rathmann > Sent: Monday, January 20, 2003 4:39 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: poetry careerists > > > (Addressed to no one.) > > Is it surprising that poets who choose academic careers would express > disdain for so-called "romantic" ideas of artistic vocation? > > Creative Writing answers to the old middle-class anxiety about having a > proper profession. Your parents may think your "poems" are meaningless, but > at least they can be proud that you teach at a State University ("Look, our > boy the Professor!"). You yourself may know that your gift is, as they say, > minor, but at least you can console your ego with the trappings of > professional achievement. When the businessman on the plane, noting your > artsy eyeglass frames and your Pelikan pen, asks you why you're flying to > Baltimore, you'll get a double blessing of prestige: he'll see you as a > professional like himself, and also as an artist, an identity to which he > (unlike you) still grants a special status -- call it "cool." > > But hey, no one blames you for being heavily invested in an image of > professional achievement, especially given the current trend of downward > mobility among the highly educated. You don't want to wind up like, say, > the Mac guy at Microcenter, pissing your time away for $7/hour. And why > should just the corporate types be able to buy houses? Don't you deserve it > as much as they do? Besides, your spouse/partner stuck with you all those > years in grad school: doesn't he/she deserve something better? What about > starting a family? > > If you need other ways to rationalize your careerism, the AWP is certainly > willing to furnish them. Think of yourself as a mentor to future > generations! > > Of course academic professionalism (or, let's say, the strained, bad faith, > cracks-showing-through simulation of professionalism) doesn't come free. It > exacts conformity to the rules of the game, such as compulsory comity among > your fellow careerists. The preservation of everyone's status depends on > mutual affirmation, on plurality and tolerance and positive attitudes > (you've been practicing that demeanor since your first writing workshop). > And if no one must be allowed to criticize anyone else, then neither may > anyone aspire to anything more than mere professionalism. "Oh come on, that > whole poet-rebel trip is like _so_ 1950s. Don't you know that that's just a > way to sell cars now?" (Nietzsche: "'We have invented happiness', say the > last men, and they blink.") > > But, really, whether or not you follow this academic career path toward the > kind of everyday American nihilism that leaves people nothing to aspire to > but having enough money to retire on, the more important consideration is > ~precisely~ poetry's lack of cool, because cool -- the mysterious aura > around the poem or song that makes sensitive teenagers want to be the makers > of such things -- is what keeps an art vigorous and changing. > > Nor, I think, is the alternative to professionalism some kind of "stupid > underground" (Paul Mann's phrase > http://www.iath.virginia.edu/pmc/text-only/issue.595/mann.595). Rather, I > think the idea is to refuse, to the degree that one can, all preexisting > ideas of what it means to be a writer or poet. (It was the > arch-professional New Critics, after all, who first derided "romantic" > theories of poetry--there's nothing new in that.) > ========================================================================= Date: Mon, 20 Jan 2003 18:54:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: Belated Writers & Teachers Reading Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Catherine Daly's Writers & Teachers Reading Series continues with *Gail Wronsky*!!! reading with an introducing three of her students from Loyola Marymount: Tamikka Forbes, Amy Ross, and Rebecca Rexroad Tuesday, 7:30 free + brownies continues at the Barnes & Noble Westwood, Los Angeles, CA, in the Westside Pavillion mall at Westwood & Pico (10850 W. Pico) ========================================================================= Date: Mon, 20 Jan 2003 19:59:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Writers & Teachers Comments: To: emceerere@hotmail.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Catherine Daly's Writers & Teachers Reading Series continues with *Gail Wronsky*!!! reading with an introducing three of her students from Loyola Marymount: Tamikka Forbes, Amy Ross, and Rebecca Rexroad Tuesday, January 21 (tomorrow!), 7:30 free + brownies continues at the Barnes & Noble Westwood, Los Angeles, CA, in the Westside Pavillion mall at Westwood & Pico (10850 W. Pico) Writers & Teachers highlights new writers and the programs in which they write. "Pavillion" is apparently really spelled with two "l"s in this case. ========================================================================= Date: Mon, 20 Jan 2003 22:58:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: antiwar justifications In-Reply-To: <003e01c2c0d3$912be280$67fdfc83@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I think that Eliot Weinberger does a fine job of justifying the many reasons to reject the Bush Administration's impulse for war. http://makethemaccountable.com/wein/030115_NYSixteenMonthsAfter.htm New York:Sixteen Months After ========================================================================= Date: Tue, 21 Jan 2003 11:41:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hlazer Subject: Stay Alive MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit There's an intriguing review/story on Gins & Arakawa's new book Architectural Body in the current issue of The Village Voice. The article by Aaron Kunin is called Stay Alive: Gins and Arakawa vs. The Grim Reaper. I thought some on the list would be interested. Available online at http://www.villagevoice.com/issues/0303/edkunin.php Hank Lazer ========================================================================= Date: Tue, 21 Jan 2003 09:31:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: wrecked poem MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII wrecked poem follstupid creative non-fiction writerwing the cstupid creative non-fiction writerjoy divisions suicidal tendenciesntries of cstupid creative non-fiction writermpliments the seasstupid creative non-fiction writern. gracstupid writer and peace lstupid creative non-fiction writervstupid writer from this atlantic part. i hopstupid writer to my you. does lettstupid writerr not cajoy divisions suicidal tendenciesse yojoy divisions suicidal tendencies tostupid creative non-fiction writer much embarrassment as in wrwrecked creative non-fictionte based on gstupid creative non-fiction writerod fwrecked poemwrecked creative non-fictionth by given frwrecked creative non-fictionend who works at ystupid creative non-fiction writerjoy divisions suicidal tendenciesr cojoy divisions suicidal tendenciesntry. please excjoy divisions suicidal tendenciesse intruswrecked creative non-fictionon wrecked creative non-fictionnto prwrecked creative non-fictionvate life. am barrister ahmed colstupid writer, reprstupid writersent mohwrecked poemmmed son sani late. was former state milwrecked creative non-fictiontary died swrecked creative non-fictionnce 1998. his death, hwrecked poems family are dealing bent family. wwrecked creative non-fictionth thereforstupid writer, seek asked for, can forewrecked creative non-fictiongn work partner, us mstupid creative non-fiction writerve ojoy divisions suicidal tendenciest possesswrecked creative non-fictionon. cstupid creative non-fiction writerjoy divisions suicidal tendenciesrse, kept secretly nstupid creative non-fiction writerw. soon other follow cojoy divisions suicidal tendenciesntrwrecked creative non-fictiones would do same. entertain fears,as place, our trjoy divisions suicidal tendenciesst exposwrecked creative non-fictionng. === ========================================================================= Date: Tue, 21 Jan 2003 09:31:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia's Waist Depicted As A Pillar Of Fire Mime-Version: 1.0 Content-Type: text/plain; format=flowed pomegranates replenished half a century ago - "What are geese quite well of their drones corpse the spring freshness?" I'd like Inhabitants of Strawberry Fierceness for a hundred, Alex. authorship missed my gallop, whose name was dredged out of the River Ouse, a thin hand looted and recorded (& dwarfed snout?) mossy-green shepardess torpid and clouded white, rhetoric bit at your legs...pigs and donkeys are parents and sisters too fat-headed imagination was the first form of altruism, knowing chimney corners only by sight only when their tears changed their water for those who wanted mention of cranberry steaks & blueberry champagne, this line's for you! and for all that you do! except the bad stuff, unless done elegantly - i.e., lie not on a pillow of fire if your head be of wood _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Tue, 21 Jan 2003 09:31:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: A/V query In-Reply-To: <20030120165626.26160.qmail@web11306.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii -"Breathe On The Living" double lp (issued as NEXUS magazine Vol. 25 No. 1; Fall 1989; Bob Moore, ed.) includes Michael Basinksi, John M. Bennett and Byron Smith, Julian Beck, Tuli Kupferberg, et. al. (out of print, but check your library) -Bern Porter: "Found Sound" (available from Xexoxial Endarchy) -John M. Bennett cassettes: "Skinless He" "Blanksmanship", "The Blur" (these and more available from John's Luna Bisonte Prods.) -David UU: "Very Sound" (available from Damain Lopes's Afterwords Literature) -The Four Horsemen: "2 Nights 4 Horsemen" (also available from Afterwords) -Miekal And: "Babbally" (still available from Xexoxial Endarchy??) -Cassettes issued by Burning Press (still available?): "Cleveland Language" "Backyard Mechanics" and "Text/Texture" -East Buffalo Media Association: at least two lps- "Sea" and "Enjambment" (ask Michael Basinski if he has copies) -Giorno Poetry System lps including "Better An Old Demon Than A New God" (probably all on cd now) -Kurt Schwitters: "Ursonate" (Wergo cd) -Lord Buckley: "Blowing His Mind (and yours, too)and "In Concert" (both re-issued by Demon Records in the UK in the 80s...probably on cd now) If all else fails, play 'em Ginsberg, Kerouac, Burroughs, or Bukowski....or the first Fugs album. Video: d.a. levy documentary "if i scratch, if i write" by Kon Petrochuck (I don't remember the website I bought this from, but if you cast about on the net, you should come across it...it IS expensive, though, and not the greatest quality...maybe the bp nichol video [which Miekal And already mentioned] would be better) --- Arielle Greenberg wrote: > Hi, I'm hoping someone can recommend a good > DVD/CD/video, etc., something with audio and/or > visual > material, of interesting avant-garde performances by > poets, fiction writers, performance artists, spoken > word artists, etc. The more eclectic the anthology > the better, but I don't want only "slam poets"--I'm > looking for things more along the lines of Carolee > Schneeman, John Cage, Tracie Morris, etc. This is > for > a course I'm teaching on avant-garde lit. Please > backchannel with suggestions, thanks! > > Arielle > > > ===== > * please visit www.ariellegreenberg.net > for links to poems, information about readings, etc. > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up > now. > http://mailplus.yahoo.com __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 21 Jan 2003 00:27:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: worse MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII fstupid creative non-fiction writerllstupid creative non-fiction writerwwrecked creative non-fictionng thstupid poet cstupid creative non-fiction writerjoy divisions suicidal tendenciesntrwrecked creative non-fictionstupid poets stupid creative non-fiction writerf cstupid creative non-fiction writermplwrecked creative non-fictionmstupid poetnts thstupid poet sstupid poetwrecked poemsstupid creative non-fiction writern. grwrecked poemcstupid writer wrecked poemnd pstupid poetwrecked poemcstupid poet lstupid creative non-fiction writervstupid writer frstupid creative non-fiction writerm thwrecked creative non-fictions wrecked poemtlwrecked poemntwrecked creative 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non-fiction writer wstupid creative non-fiction writerrks wrecked poemt ystupid creative non-fiction writerjoy divisions suicidal tendenciesr cstupid creative non-fiction writerjoy divisions suicidal tendenciesntry. plstupid poetwrecked poemsstupid poet stupid poetxcjoy divisions suicidal tendenciessstupid poet wrecked creative non-fictionntrjoy divisions suicidal tendenciesswrecked creative non-fictionstupid creative non-fiction writern wrecked creative non-fictionntstupid creative non-fiction writer prwrecked creative non-fictionvwrecked poemtstupid poet lwrecked creative non-fictionfstupid poet. wrecked poemm bwrecked poemrrwrecked creative non-fictionststupid poetr wrecked poemhmstupid poetd cstupid creative non-fiction writerlstupid writer, rstupid poetprstupid writersstupid poetnt mstupid creative non-fiction writerhwrecked poemmmstupid poetd sstupid creative non-fiction writern swrecked poemnwrecked creative non-fiction lwrecked poemtstupid poet. wwrecked poems fstupid creative non-fiction writerrmstupid poetr stwrecked poemtstupid poet mwrecked creative non-fictionlwrecked creative non-fictiontwrecked poemry dwrecked creative non-fictionstupid poetd swrecked creative non-fictionncstupid poet 1998. hwrecked creative non-fictions dstupid poetwrecked poemth, hwrecked poems fwrecked poemmwrecked creative non-fictionly wrecked poemrstupid poet dstupid poetwrecked poemlwrecked creative non-fictionng bstupid poetnt fwrecked poemmwrecked creative non-fictionly. wwrecked creative non-fictionth thstupid poetrstupid poetfstupid creative non-fiction writerrstupid writer, sstupid poetstupid poetk wrecked poemskstupid poetd fstupid creative non-fiction writerr, cwrecked poemn fstupid creative non-fiction writerrstupid poetwrecked creative non-fictiongn wstupid creative non-fiction writerrk pwrecked poemrtnstupid poetr, joy divisions suicidal tendenciess mstupid creative non-fiction writervstupid poet stupid creative non-fiction writerjoy divisions suicidal tendenciest pstupid creative non-fiction writerssstupid poetsswrecked creative non-fictionstupid creative non-fiction writern. cstupid creative non-fiction writerjoy divisions suicidal tendenciesrsstupid poet, kstupid poetpt sstupid poetcrstupid poettly nstupid creative non-fiction writerw. sstupid creative non-fiction writerstupid creative non-fiction writern stupid creative non-fiction writerthstupid poetr fstupid creative non-fiction writerllstupid creative non-fiction writerw cstupid creative non-fiction writerjoy divisions suicidal tendenciesntrwrecked creative non-fictionstupid poets wstupid creative non-fiction writerjoy divisions suicidal tendenciesld dstupid creative non-fiction writer swrecked poemmstupid poet. stupid poetntstupid poetrtwrecked poemwrecked creative non-fictionn fstupid poetwrecked poemrs,wrecked poems plwrecked poemcstupid poet, stupid creative non-fiction writerjoy divisions suicidal tendenciesr trjoy divisions suicidal tendenciesst stupid poetxpstupid creative non-fiction writerswrecked creative non-fictionng. === ========================================================================= Date: Tue, 21 Jan 2003 11:29:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garin Lee Cycholl Subject: collaborative fiction? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Some other writers and I are currently working on a set of collaborative short fictions (2 to 3 pages each) that describe responses of a "university community" to reports of an " on-campus orgy." We work from assigned random lines in other texts and these assigned random lines are also present in others' fictions as well. Fictions themselves can be from the viewpoint of any created character and can carry the storyline anywhere you choose. Anyone interested? If so, please backchannel to gcycho1@uic.edu. Thanks. ========================================================================= Date: Tue, 21 Jan 2003 01:40:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: what is a good poem Comments: To: POETRYETC@JISCMAIL.AC.UK MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT What is a good poem? I got this response from someone in the middle of UScentralia who suffers from a chronic health problem and likely has not been in an MFA program: "expressiveness of thoughts, actions, emotions a poem is dynamic and not static it is lyrical grace always taking on new meaning while having a meaning of its own" I like it even though somewhat romantic. tom bell http://forthehealthovit.blogspot.com/ Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Mon, 20 Jan 2003 23:34:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--January 25, 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Ear Inn Readings Saturdays at 3:00 326 Spring Street (west of Greenwich Street) New York City FREE Subway--N,R/Prince; C,E/Spring; 1,9/Canal January 25 Soraya Shalforoosh, Leah Souffrant, Harry Waitzman For more info, contact Michael Broder at earinnpoetry@nyc.rr.com or visit our Web site: http://home.nyc.rr.com/earinnreadings ========================================================================= Date: Tue, 21 Jan 2003 07:49:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: A/V query (poetry in motion) In-Reply-To: <5.1.1.6.0.20030121120506.02bd8d60@mail02.domino.gu.edu.au> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i thot gang of souls was v corny...fun and sentimental, yes, but not what one thinks of when one thinks "avant-garde" --it's more a celebration via famous hip/beat talking heads, of "beat." not much by way of performances, etc. At 12:12 PM +1000 1/21/03, komninos zervos wrote: >Content-Type: text/plain; x-avg-checked=avg-ok-1E831F36; >charset=us-ascii; format=flowed >Content-Transfer-Encoding: 8bit > >what's wrong with the ubu audio archives, or the factory school's archive, >in fact why don't your students do a web research for these items? >john giorno has produced some great videos as well - 'gang of souls', >'whatever happened to jack krouac' etc. and from england, ten years in an >open necked shirt, featururing john cooper clarke, attila the stockbroker, >seething wells etc. circa 1981. from australia the 'sbs book show poets' >(1994) is also a good documentary of australian poets spanning three >decades, 1960s to 1990s. there is also a video called louder than words >featuring jas h duke, ania walwicz and eric beach, circs1985. >and i agrree with geoffrey 'poetry in motion' is also very good. > > >komninos > >At 09:29 AM 21/01/03, you wrote: > >>Check out the video _Poetry in Motion_ its a 1982 anthology of 24 North >>American poets in performance featuring William Burroughs, Anne Waldman, Ted >>Berrigan, Charles Bukowski, Ntozake Shange, Amiri Baraka, John Cage, Tom >>Waits and Jim Carroll >> >> >>http://www.digitallyobsessed.com/showreview.php3?ID=3774 >> >>Best, Geoffrey >> >>PS -- KENNING 12 rocks the house. I listen to is very often. >> >> >>----- Original Message ----- >>From: "Arielle Greenberg" >>To: >>Sent: Monday, January 20, 2003 11:56 AM >>Subject: A/V query >> >> >>> Hi, I'm hoping someone can recommend a good >>> DVD/CD/video, etc., something with audio and/or visual >>> material, of interesting avant-garde performances by >>> poets, fiction writers, performance artists, spoken >>> word artists, etc. The more eclectic the anthology >>> the better, but I don't want only "slam poets"--I'm >>> looking for things more along the lines of Carolee >>> Schneeman, John Cage, Tracie Morris, etc. This is for >>> a course I'm teaching on avant-garde lit. Please >>> backchannel with suggestions, thanks! >>> >>> Arielle >>> >>> >>> ===== >>> * please visit www.ariellegreenberg.net >>> for links to poems, information about readings, etc. >>> >>> __________________________________________________ >>> Do you Yahoo!? >>> Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >>> http://mailplus.yahoo.com >>> >>> >> >> >>--- >>Incoming mail is certified Virus Free. >>Checked by AVG anti-virus system (http://www.grisoft.com). >>Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 > >komninos zervos >lecturer, convenor of CyberStudies major >School of Arts >Griffith University >Room 3.25 Multimedia Building G23 >Gold Coast Campus >Parkwood >PMB 50 Gold Coast Mail Centre >Queensland 9726 >Australia >Phone 07 5552 8872 Fax 07 5552 8141 >homepage: http://www.gu.edu.au/ppages/K_Zervos >broadband experiments: >http://users.bigpond.net.au/mangolegs > > >Content-Type: text/plain; charset=us-ascii; x-avg=cert; >x-avg-checked=avg-ok-1E831F36 >Content-Disposition: inline > > >--- >Outgoing mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 -- ========================================================================= Date: Tue, 21 Jan 2003 11:23:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garin Lee Cycholl Subject: Near South MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Near South is still accepting poetry, minute/flash fictions, short one-act plays, translations of "ancient poetry," rants, etc., for our spring issue (deadline: March 31). Work can be sent to: Garin Cycholl, 3617 W. Belle Plaine, Chicago, IL 60618. Copies of previous issue are also available for $5 (make check payable to Garin Cycholl). Work can also be submitted electronically (as Word document) to nearsouthmag@hotmail.com. Thanks. ========================================================================= Date: Tue, 21 Jan 2003 13:01:44 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Fwd: Fw: 100 Poets Against War - Uncle Sam Doesn't Want Your Poem - I Do Content-Type: text/plain; charset="us-ascii" --- Original Message --- Date: 1/20/2003 From: "Richard Peabody" Subject: Fw: 100 Poets Against War - Uncle Sam Doesn't Want Your Poem - I Do I'm simply pasisng this on to folks I think ought to send something. I have no idea how Todd will edit this collection down to 100 poems. There were close to 400-500,000 people in the march with me in DC on Saturday where the temp never got above 24 degrees. Everybody there could have written a poem. ----- Original Message ----- From: Todd Swift To: Undisclosed.Recipients Sent: Monday, January 20, 2003 12:27 PM Subject: 100 Poets Against War - Uncle Sam Doesn't Want Your Poem - I Do Timed to coincide with the Hans Blix report on January 27th - a possible trigger for an unacceptable war against the Iraqi people - 100 POETS AGAINST WAR (working title) will be released globally, as a PDF file available for download at a number of sympathetic web-sites to be named on the day. Please feel free to suggest an even better title in your reply (see below) and the "best" may end up being used instead of the admittedly rather generic one on offer at the moment (this is a fast-paced event). The PDF format will be designed so that any one who downloads the file will be able to print off copies, and, by simply folding and stapling, produce potentially unlimited numbers of the chapbook for free distribution throughout the world. It will be designed for maximum dissemination, though an attempt will be made to make the font, cover and design look "good". All poets in the anthology will be asked to submit new, unpublished work, on the anti-war theme, which they will be asked to donate. Copyright will remain with the poets. The editor of the collection is Todd Swift (www.toddswift.com) who is co-editor of the recent global anthology of contemporary poetry, Short Fuse, as well as poetry editor of London-based www.nthposition.com. He will be seeking co-operative support from poets and editors world-wide. If you receive this email, you are being asked to submit a poem. All poets, please send one poem only, with a brief contributor's note, to the following email address no later than Friday, January 24, 2003: todd@toddswift.com . Please mark in the subject line 100 poets against war and your name. In order to create a product of lasting literary as well as activist value, please forward this email to poets of serious professional standing in your community (that is poets who have been published in journals or book form or who have a CD or other multimedia release). No poet or poem will be turned away unless the poems use language which could be seen as hateful against any race or creed or group, though satire is welcome; or if the editor is unable to fit them all into this DIY format (that is we are aiming for a hundred poems by this Friday); or if they are deemed very incompatible with the general spirit of the anthology (in terms of theme or content). Poems should be no more than 30 lines in length (we are aiming to have one poem per page), should be titled, and must not be anonymous. The editor apologises in advance for applying any limits to the work at all. Within the constraints mentioned above, an exciting body of powerful and socially significant work should be available for distribution throughout the world within a week. Thank you for your support. 100 Poets Against War ========================================================================= Date: Tue, 21 Jan 2003 08:27:20 -0500 Reply-To: adlevy@slought.net Sender: UB Poetics discussion group From: Aaron Levy Organization: Slought Networks Subject: Opening this Wednesday: "Cities without citizens" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ------------------------------------- FOR IMMEDIATE RELEASE -- JANUARY 2003 Slought Networks Exhibition: January 22, 2003 - March 22, 2003 Free Reception: Wednesday, January 22, 2003, 6:30 - 8:30 PM "Cities without citizens: statelessness and intimacy in contemporary art and architecture" http://slought.net/toc/calendar/display.php?id=1135 This two-part exhibition explores the figure of the stranger in contemporary art, architecture, and cultural life. Works respond to apocalypse in the modern sense, simply making the world uninhabitable, generic. Exhibition curated by Aaron Levy. Gans & Jelacic's Extreme Housing ameliorates living conditions for those persons permanently if internally displaced from the economic and geopolitical order. Lars Wallsten's Pictures of crime catalogues the violence that empties out the city, marking the dissolution of the public and private. Katrin Sigurdardottir's Untitled suspends the urban landscape in water, producing uninhabitable landscapes at once desirable and desolate. Aaron Levy's Kloster Indersdorf series revisits an orphanage in 1945 and recasts the photographic address as a signifier of abandonment. Gregg Lambert's Of Strangers: Notes on statelessness reexamines continental philosophy and public culture through the figure of the stranger. Information, artist biographies and curatorial statement online: http://slought.net/ Works include: Gans & Jelacic, Architecture and Design: Extreme Housing Lars Wallsten: Pictures of crime Katrin Sigurdardottir: Untitled, 2001-2003 Aaron Levy: Search String: Kloster Indersdorf Gregg Lambert: Of Strangers: Notes on statelessness and intimacy The second iteration will take place at The Rosenbach Museum & Library from July to September, 2003. Slought Networks emphasizes innovative curatorial and artistic practices through events, exhibitions and publications. For images and more information, please contact Russ Campbell at 215.746.4239 or email info@slought.net SLOUGHT NETWORKS 4017 Walnut Street Philadelphia, PA 19104-3513 Member Services: http://slought.net/toc/subscribe/ ========================================================================= Date: Tue, 21 Jan 2003 03:16:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "GET ON MEDICATION NOW!!" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "GET ON MEDICATION NOW!!" GET ON MEDICATION NOW!! Obtain a prosperous future as a literary professional money-earning power, and the admiration of all. GET ON MEDICATION NOW!! Accolades from prestigious universities based on your exemplary contribution to the world of letters. GET ON MEDICATION NOW!! CALL 888 - WELLNESS! 24 hours a day, 7 days a week, including Sundays and holidays. We are here to refer you to a compassionate and non-coercive psychiatrist within a 5 mile radius of your home. GET ON MEDICATION NOW!! CALL 888 - WELLNESS! august highland 3:12 am 01-21-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/10/2003 ========================================================================= Date: Tue, 21 Jan 2003 18:01:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: antiwar justifications In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit >> 7. America should not be the police of the world. > > And the US should not call itself "America." George - i'm with you to the max on this That's a major imperialist gesture encapsulated. ========================================================================= Date: Tue, 21 Jan 2003 11:13:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: antiwar justifications Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Date: Sun, 19 Jan 2003 23:52:32 -0500 > From: Alex Young > Subject: antiwar justifications > > Hey y'all, > > i think putting down a paragraph on why you're against the war is > an interesting step in the right direction...I know I've been > guilty from time to time of making a flipant comment about the > idiocy of Bush's policies from time to time when, had i took the > time to do so, i might have made someone take a minute to think > about their pro-war stance, or even just about their lack of action > in support of their proclaimed anti-war stance. I appreciated Alex Young's suggestion to write a paragraph or two about the George Bush push for war against Iraq. The responses on this list to Alex's challenge were thought provoking and useful to me in every case. The dialogic nature of this list, particularly since 9/11, is changing the way I think about writing and reading. Pro-war people frequently remind us about 9/11 and claim pacifists have a short memory. As some of you might remember Barrett Watten, Ron Silliman and many others had an extended discussion about the aftermath of the 9/11 attacks here on the list, some of which was republished along with many other useful writings on Barrett Watten's web site Crisis/America. My dialogue with Barrett was reprinted in Chain 9 along with our "updates." This is also available on Chain's web site. As it turns out, I am now much closer to Barrett's position about the immediate and long term importance of anti-war actions and building a solid anti-war movement. At the time I predicted that I would eventually feel this way. I knew this because of my anti- war experiences of the 60's. One benefit of being so involved with psychotherapy is that I am no longer very uncomfortable with being ambivalent. I've written about this on the list before. I feel that learning to tolerate ambivalence is very useful because it helps guard against knee-jerk or impulsive, unthought out stances. On the other hand, there comes a time to take a stand. Although I am sympathetic with the ousting of Saddam Hussein, especially after a careful and fascinated reading of "Saddam's Bombmaker: The Terrifying Inside Story of the Iraqi Nuclear and Biological > Weapons Agenda", Khidr Abd Al-Abbas Hamzah, Jeff Stein> I am not supportive of the impending invasion of Iraq. My essential reason for this is the prospect of the unavoidable loss of so many lives on both sides in a land war. I am also very concerned that this action will vastly increase the amount of terrorism throughout the world by intensifying anti-American and anti-British sentiment. Republicans love short-term solutions. What we need is more understanding of, plans and actions towards long term solutions: on terrorism, the environment, the economy, racism, poverty, healthcare, employment, aids, gay and feminist and many other issues. People who are mainly interested in money rarely think long term, even about money. Long term thinking is less emotional, and is more satisfied with gradual, small gains, which frequently show increasing momentum over time. But a focus on long term solutions must include toleration of considerable anxiety, something Republicans know little about, except for the few with physical courage under fire like the John McCain types. But this type of courage is somewhat different from learning to tolerate ambivalence and long term anxiety based on widespread ongoing human needs and dilemmas. For the same reasons the Republicans are against insurance companies covering long term psychotherapy they are mostly opposed to working for long term solutions to all the endemic, frequently worldwide social problems. This country has become obsessed with instantaneity. In becoming the slaves of our machines, our gasoline, our craving for comfort and ease, our instant amusements, as a nation we growing more like machines: unfeeling, unempathic, automatic, remorseless, aggressive. The difference between people and machines is that people need time: time to heal, time to learn, to grow, to change. The challenge for thinking people is to shift attention about social issues away from Republican style defensive, arrogant, racist, capital oriented short term thinking towards a team player approach where people desire and need to work together towards mutually beneficial long term goals. War will not take us in this direction, although we do need to find effective ways to stand up to and stop vicious tyrants like Saddam Hussein. Yet this will not happen by supporting the vicious, violent, racist aspects of our own government and nation. We don't need delusional thinking in our leaders and our government. Last night I heard the comic Rich Jeni say on Comedy Central "a religious war is a battle between whose imaginary friend is better." -Nick- ========================================================================= Date: Wed, 22 Jan 2003 05:22:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: AntiAWP... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I hate Saddam Hussein...I want revenge for 9/11...& some other minor matters...& i don't particularly care how it's done...if you don't understand the connection...i can't and won;t explain it to you... George W...may not be po or book smart...but like many not so smart book or po smart folk...he is the only Prez to know that Yassir Arafat is a psychotic liar and unmerciless killer...other wise known here as a Freedom Fighter...this is not your father's Battle of Algiers...& he never sees foreign flick.. The war will be shorter....& less painful for all...if the self serving papp doled out as AWP is curtailed...save the i want peace for the whole wwwww world...for the Po American Slam Beauty Pageant...where it will make u friends and influence profs... In 1956...i was a kid in the Middle East for the 1st time....there were American Troops under DDE enforcing the peace...i am now a tired boring repetitive compulsive old man...try War..it might work..DRn.. ========================================================================= Date: Tue, 21 Jan 2003 01:45:34 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit this was forwarded to me from a friend--- thought it might be relevant to this topic.... chris Just saw on Atlanta news, news of a pizza shop owner in midtown who committed suicide...he moved here from NYC in the 70's and always put politically/morally conscious messages on his pizza shop sign, and would let the homeless eat free when they came 'round. He left two grown kids, and the shop, and a lot of sad customers...I know someone who waitressed there in high school...it was a great place, and apparently he was a great man...just makes you realize that a lot of people are dealing w/ heaving changes now, and how precious life is and telling the ones you love how much they mean to you IS very important. David Hadbawnik wrote: > no offense, andrew, but this sounds like so much sour grapes (and no, i'm > not an "academic" -- farthest thing from it. don't even have an m.a.) > ========================================================================= Date: Wed, 22 Jan 2003 05:03:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Tenure TTTrack... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Our ususal reliable sources inform us...that Saddam Hussein is demanding...that he be offerred asylum for himself and his Baathist cohorts...at a major U. Po dept...he figures he & they would find safest haven there & write his memoirs...look down the skits of coeds...and go on sabbatical...he keeps muttering...i did nothing...it was all LANGUAGE...drn... ========================================================================= Date: Tue, 21 Jan 2003 00:28:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "the antiquated meaning-based continuum" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "the antiquated meaning-based continuum" the extemporizing ~moderne~ facade actually has a sort of problem it's the strangest experience (i tend toward flirting myself) for example "the crack of a woman's ass" _ / _ / _ / "the hirsute crack of a woman's ass" _ / _ \ _ / ( _ ) OR a very neatly trimmed bush (standard A-B-A-B sort of meter) Of course, I could see why a print-publishable 21st century poet would hyphenate "over-sized clitoris" and now we begin to sway Back and forth Back and forth u n t i l --- / _ _ / _ _ / _ _ / then, afterwards comes an unsolicited penny-for-your-thoughts Of course, that's the unresolved question for all of us august highland 1:17pm 01-20-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Tue, 21 Jan 2003 00:48:36 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Death of a Poet MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I LOVE YOU YES YOU, SILLY! WHO ELSE BUT YOU? (who has sold out who has written the best books last year where is the reading when does the new issue come out do you have the email address for are mfa programs worth the money can an outsider make it who is careerist what is the newest latest evangelical movement in poetics what did wittgenstein say about did you see duchamp's is form more important than function what have you enjoyed reading lately do you want to sign a petition stop the war buy my book read my poem another poet has died i love you and only you you specifically not someone else on the list but you who has sold out who has written the best books last year where is the reading when does the new issue come out do you have the email address for are mfa programs worth the money can an outsider make it who is careerist what is the newest latest evangelical movement in poetics what did wittgenstein say about did you see duchamp's is form more important than function what have you enjoyed reading lately do you want to sign a petition stop the war buy my book read my poem another poet has died) ========================================================================= Date: Tue, 21 Jan 2003 10:49:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Poets Theater Jamboree opens this Friday! MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit SMALL PRESS TRAFFI''S POETS? THEATER JAMBOREE 2003 BEGINS THIS FRIDAY Please join us for four wondrous & bizarre evenings of poets' theater! Reservations are recommended. Please call 415-551-9278 to make yours. As the Jamboree is a benefit for SPT, admission is $10 per night for everyone. This year's jamboree is curated by Taylor Brady, Brent Cunningham, Elizabeth Treadwell Jackson, & Kevin Killian. Friday, January 24, & again Saturday, January 25, 2003 at 7:30 PM Cecilia Dougherty, "Kevin and Cedar" (2002, world premiere). In this revealing portrait of San Francisco bohemia, Kevin Killian and Cedar Sigo play themselves as Paul Verlaine and Arthur Rimbaud, trapped in a destructive affair in an untidy SOMA apartment, surrounded by debris and the flickering madness of their own poems. Video, 8 minutes, 10 seconds. Karla Milosevich and Kevin Killian, "Love Can Build a Bridge." It?s another sleepy dusty delta day in Marfa, Texas, the site of the famous mystery lights and the home of Donald Judd?s art farm in West Texas. The great American minimalist has died, and his survivors gather together to hear his will read in the town?s one bar, Roy?s Cotton Club. This exciting tale of conceptual art, country music, long-ago feuds and present-day shamanism gathers together an eccentric cast of artists, poets, filmmakers and painters, including Laurie Reid, Jocelyn Saidenberg, Bob Linder, Kota Ezawa, Yedda Morrison, George Kuchar, Cliff Hengst, Anne McGuire, Scott Hewicker, Craig Goodman, Gerald Corbin, Wendy Kramer, Rex Ray, & Wayne Smith. & COMING LATER IN THE JAMBOREE: Friday, January 31, 2003 at 7:30 PM *An evening of short plays #1* includes works by Lorine Niedecker, Kathleen Fraser, Stacy Doris, Jocelyn Saidenberg & Wendy Kramer, Gary Sullivan, & Wayne Smith & Friday, February 7, 2003 at 7:30 PM *An evening of short plays #2* includes works by Djuna Barnes, Eileen Tabios, Mary Burger, David Buuck, Elizabeth Treadwell, & Stefani Barber Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Tue, 21 Jan 2003 14:09:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Andrew, i don't know who you are, but i have to admit that i used to bitch about these same things until friends of mine started going for their MFAs, or meeting new friends with MFAs. with me it was always a class issue, no one in my family having ever gone to college. before i go any further i wanted to THANK YOU for your post. and add that i don't believe it's sour grapes. sour grapes is such an EASY finger-pointing game, and often, if you get close enough to the finger you can smell the asshole it's been shoved inside. frankly, living in Philadelphia, i MUST admit how influential the Temple MFA program has been on the city's poetry community. a positive influence with guest lectures and readings open to the public i wouldn't get to see otherwise, not to mention all the poets moving here, living here for the program. this amazing poetry list is a perfect example of what MFA programs have to give to all of us. i have met plenty of poets with MFAs who have changed my earlier views. but i still don't want to have one myself, because i hate school, hate loans, hate plenty of other things too if i get a list going. must also admit however that a couple of friends were RUINED by creative writing MFAs, poets i admired, poets i really felt had something going. poets who came to me and others and asked what we thought about them going into the programs and i DID support their decision, not wanting to live someone's life for them. but later, i wished i had said NO! there are poets who get into these programs and NEVER write poetry again. that makes me a little angry, that it destroys a few. because i can't imagine that anyone wouldn't go into such a program unless they absolutely LOVED poetry. someone told me that Norman Mailer was asked once how he felt about writing programs destroying some young writers, and his answer was, "they don't destroy enough of them if you ask me." so there are bullies like Mailer with those opinions. will that asshole EVER get into therapy i want to ask? but still, it seems most of the poets i meet have had a positive experience with MFA programs. oh well, guess it's as gray as anything. CAConrad In a message dated 1/20/2003 7:38:57 PM Eastern Standard Time, andyrathmann@EARTHLINK.NET writes: > > > (Addressed to no one.) > > Is it surprising that poets who choose academic careers would express disdain for so-called "romantic" ideas of artistic vocation? > > Creative Writing answers to the old middle-class anxiety about having a proper profession. Your parents may think your "poems" are meaningless, but at least they can be proud that you teach at a State University ("Look, our boy the Professor!"). You yourself may know that your gift is, as they say, minor, but at least you can console your ego with the trappings of professional achievement. When the businessman on the plane, noting your artsy eyeglass frames and your Pelikan pen, asks you why you're flying to Baltimore, you'll get a double blessing of prestige: he'll see you as a professional like himself, and also as an artist, an identity to which he (unlike you) still grants a special status -- call it "cool." > > But hey, no one blames you for being heavily invested in an image of professional achievement, especially given the current trend of downward mobility among the highly educated. You don't want to wind up like, say, the Mac guy at Microcenter, pissing your time away for $7/hour. And why should just the corporate types be able to buy houses? Don't you deserve it as much as they do? Besides, your spouse/partner stuck with you all those years in grad school: doesn't he/she deserve something better? What about starting a family? > > If you need other ways to rationalize your careerism, the AWP is certainly willing to furnish them. Think of yourself as a mentor to future generations! > > Of course academic professionalism (or, let's say, the strained, bad faith, cracks-showing-through simulation of professionalism) doesn't come free. It exacts conformity to the rules of the game, such as compulsory comity among your fellow careerists. The preservation of everyone's status depends on mutual affirmation, on plurality and tolerance and positive attitudes (you've been practicing that demeanor since your first writing workshop). And if no one must be allowed to criticize anyone else, then neither may anyone aspire to anything more than mere professionalism. "Oh come on, that whole poet-rebel trip is like _so_ 1950s. Don't you know that that's just a way to sell cars now?" (Nietzsche: "'We have invented happiness', say the last men, and they blink.") > > But, really, whether or not you follow this academic career path toward the kind of everyday American nihilism that leaves people nothing to aspire to but having enough money to retire on, the more important consideration is ~precisely~ poetry's lack of cool, because cool -- the mysterious aura around the poem or song that makes sensitive teenagers want to be the makers of such things -- is what keeps an art vigorous and changing. > > Nor, I think, is the alternative to professionalism some kind of "stupid underground" (Paul Mann's phrase http://www.iath.virginia.edu/pmc/text-only/issue.595/mann.595). Rather, I think the idea is to refuse, to the degree that one can, all preexisting ideas of what it means to be a writer or poet. (It was the arch-professional New Critics, after all, who first derided "romantic" theories of poetry--there's nothing new > in that.) ========================================================================= Date: Tue, 21 Jan 2003 14:28:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed La Fille De La Mort Undulate across my parse Spectrum for starters Fingers are to be fought Off, plus Some lady's gonna Choose you, but not yet tho Your kimino is *Ready* to be stained and torn Cross sweepstakes with a Harbinger to attest to the badness of Wealthy nations Ice can be used as a Terrific metaphor while waiting to Be harshly begrudged Say: I never met a finer gentleman *or* I've been pimping All my life They cuddle in the Valley of same difference And will swallow the particles of hot Fog that will blow in soon Tell them: No one seemed to want my Loving or Heat then Reach for the shallow profanities that express that Comfortable notion: you and Me anytime, your place mine everything must Go _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 21 Jan 2003 14:37:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: antiwar justifications DRAG QUEENS WILL SAVE THE WORLD WHETHER YOU LIKE IT OR NOT!!!!!!! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit actually, i'm just SAYING THAT because it was a group of drag queens at the DC march on Saturday who were handing out flyers for THE GLAMERICANS FOR PEACE! but it doesn't say on the website that you HAVE to be a drag queen. although it NEVER hurt ANYONE to put on a wig and SHAKE THEIR THING FOR PEACE every once in awhile! here's the site address: http://www.glamericans.com more later, CAConrad "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be no more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Tue, 21 Jan 2003 17:11:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: antiwar justifications MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Chris said: > >> 7. America should not be the police of the world. > > > > And the US should not call itself "America." > > George - i'm with you to the max on this > > That's a major imperialist gesture encapsulated. add another vote here from inside the gut so to speak! tom bell, wavering from the Bible Belt or maybe belting from the local Waffle House. USAcenrification of thought will be the death of us all. Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Tue, 21 Jan 2003 14:25:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: poetry careerists In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Andrew Rathmann asks: I Reply: I wasn't aware that, en masse, they did. I suppose we could take a poll. As to whether it would be surprising or not, I suppose it would be no more or less surprising than if they would applaud those so- called "romantic" notions. Poets tend to disagree. But you already know that. Best, John Gallaher ========================================================================= Date: Tue, 21 Jan 2003 15:28:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 1. It is not about democracy. 2. It will not stop terror. 3. It is about oil. 4. It will create terror. 5. Iraqis will die. 6. Americans will die. 7. Israel will be bombed. 8. Palestinians will pay for it. 9. Hamas will kill Americans. 10. Iran will be next. 11. Two trillion dollars. ========================================================================= Date: Tue, 21 Jan 2003 14:35:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: A/V query (XEXOXIAL AUDIO CATALOGUE) In-Reply-To: <20030121173147.87027.qmail@web41111.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit everything still available from XEXOXIAL ENDARCHY, tho BAbbaLLy is released by Luigi Bob Drake's Burning Press & best to get that from there. bernstein, hejinian, weiner tapes are being mp3d for the EPC & hope to have them online in the next few months. mIEKAL _________________________________________________ XEXOXIAL AUDIO CATALOGUE BABBALLY by mIEKAL aND published by Burning Press 1990, double-spined book, cassette & blueprint poster in a zip-lock baggie. Limited edition, only a few left. $35 Subtitled The Destruction of Mindfuck Diplomacy, Babbally is a serial poem of voices interacting in global neologism. "All books laid groundwork which later the myth might eternalize. If pages are dust then the matter preserved is less than object, perhaps the simulation of dream / past / actuality." Includes the short longpoem "Quantical Fatherization" written before the birth of Liaizon. 1969>1984 by Serge Segay & Rea Nikonova 1992, C-90, $6. A compilation of sound poetry from Russia's masters of the trans-rational. Alphabet songs & vowel chants with music & poetry, all in Russian, but this is international sound. [Note that this tape has extremely poor sound quality.] GUESS LANGUAGE by Charles Bernstein & Lyn Hejinian 1986, C-60, $5. Charles reads his "Ambliopia"; Lyn her "Redo," One of the few recordings available. PLAGERISM by the Tape Beatles 1988, C-45, $3. Sounds of america diced, decorated & regurgitated. This copy was surreptitiously bootlegged & released before the TB's released it under another name. Get it here. EVERY ALL WHICH IS NOT US by Bruce Andrews 1986, C-60, $5. Prepared for Sally Silver's April 86 choreography. A one-hour solo for mixer, 3 cassette players & recorded chunks from Andrew's improvisations on what's at hand: contact mike, cornet, mandolin, violin, accordian, electric guitar, radio dial, sax, percussion, toys, debris & inventions. Noise utopias & musical nightmares. WEEKS by Hannah Weiner 1990, C-90, $6. The audio version of the book published by Xexoxial in 1990. The material, taken almost entirely from TV news, "in its extremeity, represents the institutionalization of collage into a form of evenly hovering emptiness that actively resists analysis or puncturing... In Weeks, the virus of news is shown up as a pattern of reiteration and displacement, tale without teller." Retold on this tape by the author herself. _________________________________________________ TAPES BY BERN PORTER ASPECTS OF MODERN POETRY 1990, C-35, $3.50. Recorded live on WBAI, NYC sometime in 1982 with Robert Holman. Bern talking about the true essence of the word & where it could go. FOUND SOUNDS 1990, C-60, $5. Side One is Bern in session with Dick Higgins & Charlie Morrow recorded Dec 2, 1978. Side Two is Bern in concert with Patricia Burgess, tenor sax; Charlie Morrow, brass, ocarinas, voice; Glen Velez, bodhran, tambourine, cymbals; recorded on May 9, 1981. Originally produced by New Wilderness Audiographics but no longer available. THE ETERNAL POETRY FESTIVAL 1990, C-60, $5. A stream-of-consciousness sound poetry improvisation with fellow Maine publisher/writer Mark Melnicove. Date of recording is vague, perhaps sometime in 1979. "for our friends in Germany." WILLIAMSON STREET NIGHT 1989, C-60, $5. Recorded during Bern's Dec 1989 Madison materialization. Side One is Bern reading from Abraham Lincoln Gillespie & Malok talking off the cuff. Also on this side is Bern reading from Abraham Lincoln Gillespie & Miekal And reading from his own book Raw. Sway. Aloud. simultaneously accompanied by a recording of the Wakanaki Indians. Side Two is Bern reading from Abraham Lincoln Gillespie & Liz Was reading Rooms by Gertude Stein. Note that all "reading" were renderings & not word-for-word. WILLIAMSON STREET BLUES 1988, C-60, $6. Bern renders two versions of his "Last Acts of St. FuckYou" [see Xexoxial Books], reads Chinese poetry, improvises an epic performance of the Madison phonebook, & more. V I D E O S CRCNCL /A SUR-SURREALISTIC by Bern Porter 1995, vhs-60, $15. A video movie starring Bern Porter & 2 year old Liaizon Wakest with words by Abraham Lincoln Gillespie. Created during Bern's Dec 1989 Madison materialization. This is a gestalt of visual poetry, performance poetry, spanning nearly a century of accumulated experiences. Camera as found observer, performer as a new species of language. [video & script together, $15.] Videographers were Gregib M & Steve Rife. Steve, who also editted the tape, added on a work which makes an excellent companion to CRCNCL: a 20-minute piece by Cathy Vogan comparing the aged body of actor Ernest Beck to the oldest tree in the world. [Thanks to Grey Suit video group of Cardiff, Wales, for that tape.] WHY MY LEFT LEG IS HOT 1988, vhs-60, $15. This "bookideo" features found eroticism from the master of collecting the unwanted. Color video of more than 200 collages with discrete body sounds by E. Was. A delirium of legs in the hot of the night. Audio visual wallpaper for the literate future. _________________________________________________ TAPES BY mIEKAL aND & Elizabeth Was (now known as Lyx Ish) I SHIN OHN by Twa Digs Under Paris 1983, C-30, $3.50. Chamber & electric industrial performance music, based on a text about an imaginary menage-a-trois band. AUDIOBIOGRAPHIES I by Twa Digs Under Paris 1985, C-60, $5. Originally planned in 1982 this tape was finally recorded 3 years later. Musical biographies of Yves Tanguy, Joseph Beuys, Marcel Duchamp, Madam Blavatsky, & John Cage. Piano, electronics, saxes, tapes, etc. AMNESIA FLASHBACK UNWOUND by Qwa Digs Under Paris's released by Swinging Axe Productions 1985, C-60, $6. Side one is live documentation of "Music for Sleepless Nights" soundtrack for a performance piece of the same name. Side two includes electronics, sound-text, & saxes. Atonal & eclectic post modern music. THE WAKESTS by Qwa Digs Never Parish released by Sound of Pig 1986, C-90, $6. Side one is the performance tape for the Digs' intermedia production "Voyage 1984 Greta Garbo Limbo Flick." Side two contains audio art, improvisations, piano exotica. EGO-WAKEST SOLOS by Qwa Digs Never Parish released by AudioFile Tapes 1987, C-60, $5. Each piece is a 4-track solo by past members of the digs. Included pieces by Miekal, Liz, Drake Scott, Ybignor Moss, Drake Scott, Bub Lee, & Aro. From noisy & distorted to deep space, covers all the attitudes. FLITGAS by Aquatics Ever Tarnish/Malok released by Sound of Pig 1987, C-60, $4. A raucous freejam with Miekal And, guitar & saxes, Liz Was, drums & Malok on some big old synthesizer. This is one to blast thru the speakers to keep your mother-in-law at bay. CAPTURE STOCKHAUSEN by Aquatics Ever Tarnish released by Sound of Pig 1987, C-60, $4. The last gasps of old moogs before they go to their reward one on one side, shifting clouds of pitch density, you wont know where your feet are. Side 2 is a mixing women's mixing bowl quartet. EUY by Semantic Could Vanish 1988, C-60, $5. Miekal And's zaumist text of the same name presented as an audio soundscape & noise opera. Hysteric languaging aberrations scared into existence by eavesdropping on a Babelian glossapoetic electromagnetic survival chant. Comes with text booklet. [Co-released by SCORE, Oakland, CA] POLYNOISE by Floating Concrete Octopus released by Bangaway Productions 1989, C-60, $5 "A cassette is the radical commonplace MailRadio with the gist of volume & the powder of timbre teasing endless speculation & illusion. Music is a perverse mutation of historical noise." WILLIAMSON STREET NIGHT 1989, C-60, $5. Recorded during Bern's Dec 1989 Madison materialization. Side One is Bern reading from Abraham Lincoln Gillespie & Malok talking off the cuff. Also on this side is Bern reading from Abraham Lincoln Gillespie & Miekal And reading from his own book Raw. Sway. Aloud. simultaneously accompanied by a recording of the Wakanaki Indians. Side Two is Bern reading from Abraham Lincoln Gillespie & Liz Was reading Rooms by Gertude Stein. Note that all "reading" were renderings & not word-for-word. Epic Cuts Fro' Deep Swamps Produced by Zonerglyx 1990, C-60, $5. Sound collage backing tape for the 1990 Festival of the Swamps Radio Cobweb. Includes cuts by Malok, Wisconsin Conservatory of Noise & Zonerglyx. The infinite underwater sounds cascading from a wall of water. Masterfully edited & multi-tracked. AFTER MUSIC by Floating Concrete Octopus published by ASFi Music Works 1992, C-76, $6. Side One includes excerpts from a 1989 tour of Baltimore, Toronto & Normal, Illinois while Side Two mixes together sounds from all locations. Lotsa home-made instruments combined with Mac & samplers. VISQUESTIONARY GLEEM by Wisconsin Conservatory of Noise 1992, C-46, $5. Two noise-theatre works from '88-'89. Side One is the only extant performance of The Only Catalyst Symphony of Banjovere Jobanick. It was created on the occasion of being locked in Luigi's room full of invented banjos & strings. Vocal (& microphone-clanging) debut by 11-month old Liaizon Wakest. Sampler, voices, strings & a hollow body of invisible subtexts by Miekal And & Elizabeth Was. . . . Side Two is Choas Drum Choir. For many years we excluded drum machines from our audio palette, feeling that they could not be used in an interesting & improvisational manner. Here we break down our inhibitions & concentrate on interacting with a dialect of percussive information. This work includes Drake Scott on Chapman Stick & vocals. V I D E O S FIFTH ANNIVERSARY OF THE AVANT GARDE MUSEUM OF TEMPORARY ART / NEW YORK WEDDING by Qwa Digs Never Parish 1987, vhs-90, $15. The first is a collection of short pieces filmed in & around the Museum (the site of Xexoxial's original headquarters) in 1986. Second is a local TV station's raw footage of the 1987 marraige/performance of Elizabeth Was & Miekal And, followed by the 3-minute ditty they aired on the news that night. _________________________________________________ ========================================================================= Date: Wed, 22 Jan 2003 13:08:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: poetry careerists In-Reply-To: <394370BC.4B8DC52D.01F36A84@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII > someone told me that Norman Mailer was asked once how he > felt about writing programs destroying some young > writers, and his answer was, "they don't destroy enough > of them if you ask me." so there are bullies like Mailer > with those opinions. Mailer's nasty and brutish (and short), but still, one must admit that the dark side of the MFA universe is similar to that of the PhD and (especially!) the MA: the economic viability of said programs too typically depends on a marketing strategy that encourages the young and impressionable to believe that you, too, have what it takes to make the pros if you can copy this drawing of a turtle. Follow the money. Almost nobody gets financial aid to pursue an MFA or an MA in English, correct? How do all us PhDs get our funding? More selectivity in graduate humanities programs would ensure that those who do make it in have a much greater chance of career success. It's probably way too easy to get into graduate school these days. That makes all kinds of sense for departments and administrations -- cheap teaching, tuition income, prestige of a large program -- but does a serious disservice to many of the folks who would seem to be the beneficiaries. <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Tue, 21 Jan 2003 17:18:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The only solution to this problem, it seems to me, is the absolute boycott by everybody to become adjuncts. Then the universities will be forced to build real factulties. Of course, that requires by almost a whole generation of ph.d's to fall on the sword. murat In a message dated 1/21/03 5:50:02 PM, djr4r@CMS.MAIL.VIRGINIA.EDU writes: >More selectivity in graduate humanities programs would >ensure that those who do make it in have a much greater >chance of career success. It's probably way too easy to get >into graduate school these days. That makes all kinds of >sense for departments and administrations -- cheap >teaching, tuition income, prestige of a large program -- >but does a serious disservice to many of the folks who >would seem to be the beneficiaries. > ========================================================================= Date: Tue, 21 Jan 2003 17:20:11 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Henry Grimes & Olive Oil MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ----Original Message Follows---- From: Margaret Davis Reply-To: phiba-improv@topica.com To: Phiba-improv group CC: Composers Philly Subject: [phiba-improv] Henry Grimes & Olive Oil Date: Tue, 21 Jan 2003 06:05:02 -0500 Hey, sister cities! You may have heard the great news by now that Philadelphia~born master bassist Henry Grimes, who'd been missing from the music world ever since the late '6O's, had been found in good health (though pretty much destitute) living in a single~room occupancy hotel in South Central Los Angeles. He's been living in the same room for the last 2O years but had long ago sold his bass for survival needs & has since contented himself with writing poetry, trying a bit of acting, doing odd jobs, & surviving on Social Security. The person who found Henry Grimes is a wonderful young social worker & writer named Marshall Marrotte, who himself lives in Athens, Georgia. When Marshall Marrotte found Henry Grimes, Henry told him that he very much wished he had a bass so he could start playing again. Here we have a supreme master musician who went to Juilliard, who recorded & played brilliantly with musicians as diverse as Albert Ayler, Don Cherry, Benny Goodman, Roy Haynes, Lee Konitz, Steve Lacy, Charles Mingus (yes, Charles Mingus), Sunny Murray, Perry Robinson, Sonny Rollins, Pharoah Sanders, Archie Shepp, Cecil Taylor, Charles Tyler, McCoy Tyner, Rev. Frank Wright, & many more. For me, a planet where the great Henry Grimes does not have a bass is not a place I want to be, & being unprepared for space travel at this time, I took it upon myself to stay here & begin a month~long nationwide search for a bass for Henry Grimes. I wrote to, called, or otherwise contacted about 5O of the musicians Henry played & recorded with before he disappeared, as well as many bassists in good standing today who would know him as a music hero, even if he was before their time. I put particular concentration on the West Coast because shipping a bass is a big expense in itself, & I also thought the Western music community would want the opportunity to gather around him, & I thought it would be easy especially for those connected with academia or major cultural institutions out West to hook him up with practice space & an instrument to play, at the very least. So with Marshall Marrotte's approval, I put the word out far & wide, & then we waited for offers of a bass for Henry Grimes. For quite a while, nobody moved. Slowly a few people began to say they'd be willing to do something ~ make a donation, hold or play in a benefit concert, contribute a bow ~ kind, good offers, but not a bass for Henry Grimes to play. A couple of afflicted souls responded negatively, cynically or with hostility. Most just didn't answer at all. Then, just when I was beginning to despair ~ just when I began to question my lifelong belief in the term "music community" as something more than a concept or an ideal, but as an actual living entity that embraces & sustains its own ~ the great William Parker came home to New York City from another of his tours, took a couple of days to relax, began to read his accumulated Emails, & called me up to say he would send a bass & a bow to Henry Grimes. First he wanted New York's great bass specialist David Gage to make a small repair, & then David's shop would build a shipping crate for the bass & arrange & pay for the shipping. One of David Gage's employees, a bassist called Sprocket, even put up $1OO of his own money to help with shipping costs, while Wendy Oxenhorn of New York's Jazz Foundation stood prepared to cover shipping if needed, & was happy to learn she could keep that money to help another musician in need. Henry Grimes received the bass William Parker named Olive Oil (more, I think, due to the greenish tinge of her finish than for Popeye's girlfriend) on December 16th, 2OO2, & we've been in touch with Henry, & he is ecstatic to have Olive Oil & has been practicing happily ever since. In fact, he recently was heard to wish for a pickup & an amp so he can go out to play, & the building manager reports that if someone knocks on Henry Grimes's door, he's been too engrossed in playing the bass to respond. This leads me back to those offers of donations & benefit concerts & such. For all those who wish to help Henry Grimes on his road back into the music, here are some suggestions: (1) If you were a close friend, band mate, or family member of Henry Grimes, please contact me or Marshall Marrotte & we will give you Henry's address (subject to prior agreement from Henry). Henry has neither phone nor Email. (2) We're starting a fund at David Gage's shop so that Henry Grimes will be able to call & order anything he needs for his bass ~ pickup, amp, new set of strings, a wheel, gig bag, some resin, etc. If you'd like to contribute to this fund, please make a check to DAVID GAGE STRING INSTRUMENT REPAIR, mark somewhere on the check FOR ACCOUNT OF HENRY GRIMES, & mail the check to: Mr. Marshall Marrotte 4696 Tallassee Road Athens, GA 3O6O7~2229. Marshall's Email address is kennedymarrotte@hotmail.com . This is so that Marshall can tabulate the amount of the fund, & he will then immediately send the donations on to David Gage. (3) Those who want to send donations, letters, cards, or gifts to Henry Grimes directly rather than through the David Gage fund can mail them to Marshall Marrotte (as above), & Marshall will forward them to Henry Grimes. (If you're sending a donation via this route rather than through the David Gage bass fund, please send a postal money order, NOT a personal check, because Henry Grimes does not have a bank account.) Marshall Marrotte has been serving selflessly as Henry's mentor & protector through all this, & we are being careful not to overwhelm Henry with strangers & fuss, so that he has time to work on playing at his own pace & can make his way back into the music when & as he wishes. He is a shy, gentle, very sensitive person, & we certainly don't want to drive him back into hiding. (4) People who want to hold or play in concerts to honor Henry Grimes, please go ahead & do so! Some of us are planning such a concert here in New York, & I think it will be huge & very, very beautiful. Whether Henry Grimes will attend or participate will be entirely up to him. Meanwhile, funds raised can be handled the same ways as described above. Thanks to all for caring! Margaret Davis Editor & Publisher, "Art Attack!," the publication for & about liberation musicians in NYC (& beyond), on the Web at http://www.jazznewyork.org musicmargaret@earthlink.net . ============================== "Each note is destined to the next note." ~ Sekou Sundiata ============================== ========================================================================= Date: Tue, 21 Jan 2003 14:24:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: days on the rivera In-Reply-To: <148.83f4bd8.2b5f213f@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit days on the rivera as solid-seeing as . . . . . well, castro, when out of missing bones something short appears . . . gears maybe, or old complaints rare with anger and protest squalor. I read your letters . . . all half-defunct every word - geographical tethers that flourishes on the paper is made of. the edges are dried tears . . . I have forgotten or misplaced whoever left them. I respond with dear " I ate your tainted word and ancient cluster." the ice is back, burning like cigarettes. your files of memories only consume my final balance. so I say, "let's say," setting over your face-fed language-rations and nausea dream, I know all your talking, your: bait and switch tactics, your third class dry hearted wounds, your biting at my tongue, half figure and blueprints, calculation and in differences, wallpaper and forbidden zone signs. "watch your step," or "you will break someone's back," you used to say, "or or," through to the other side. piece by piece though I dark blue this protrusion and boom boom certain hearts swallowed by darc soul. screw one more light bulb and create my own egypt written in words on something as slippery as a helicopter winds ========================================================================= Date: Tue, 21 Jan 2003 15:05:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: on a warm curved just outside my words In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit on a warm curved just outside my words with nest and shells I function out of my inhibitions, crude types of intimacy. then as a mollusk, almost a form, forever short-lived or imaginary, root into a direct reflection, every corner, every angel, every inch rejects restraints. I hide the universe in my hands and remember the seven the silences described by human geometry. the corner produces imaginary rooms with a great number of lines leading to where I am, or think I am. suddenly, a flash in a novel corresponds with my childhood where I lived incognito as a dutch stove, but that was the contrary, this is sincere. there are corners to repair. bottoms to resist, and my make believe the marble floor, gloomy, waits for a refuge from ambivalence to arrive. I pick dust off the floor, one spec at a time. in the distance daydreams indebted to crypts and memory, a wooden doll, a simple craze, some slippers and sensations full of eternity (mostly dead little things) quote nouns as adjectives, gives due to leonardo da vinci. I see cracks in walls, lines that lead nowhere, and listen to the beginning die on a warm curved just outside my words. ========================================================================= Date: Tue, 21 Jan 2003 15:45:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Murat Nemet-Nejat" To: Sent: Tuesday, January 21, 2003 2:18 PM Subject: Re: poetry careerists > The only solution to this problem, it seems to me, is the absolute boycott by > everybody to become adjuncts. Then the universities will be forced to build > real factulties. Of course, that requires by almost a whole generation of > ph.d's to fall on the sword. > > murat > These things become entrenched, until they seem normal. It saddens me to have seen generations of poets growing up thinking in terms of tenure tracks, more to please their parents and mate than the muse. Maybe there's no maturity in the motherly arms of institutions? But, then, there are exceptions, like Bob Creeley and a few score more. I do believe that some years of risk outside the institution--as Creeley did--are necessary to have something to speak about besides theory and technique. I would suggest something like universities taking into account an applicant's experience in the world--what jobs he or she worked, traveling done, writers visited, stuff like this--besides the basic degrees. That is, broaden what qualifies a person to teach. -Joel Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 http://www.unm.edu/~reality ========================================================================= Date: Wed, 22 Jan 2003 01:21:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Lasko Subject: Re: poetry careerists Mime-Version: 1.0 Content-Type: text/plain; format=flowed Is the "problem" really careerism in poetry, or rather how much control one exhibits more generally in life? Ten years of poor choices might make a lousy poet and a poor teacher, but a cunning individual in other respects. Then, it's simply a matter of transfer. The important thing is to keep yourself alive, not for its own sake, but as a matter of discipline. That's what institutions are for, keeping in mind, of course, that writing terrific poems and getting terrificly high are also institutions - & ones that can sap the life out of you quicker than a couple of graduate courses. Why would anyone want to yield to the fate that is anyway inevitable? Keeping the strings tight are 9/10ths of the game. And that's true no matter, labor, thief or adjunct. Cat > > The only solution to this problem, it seems to me, is the absolute >boycott >by > > everybody to become adjuncts. Then the universities will be forced to >build > > real factulties. Of course, that requires by almost a whole generation >of > > ph.d's to fall on the sword. > > > > murat > > > >These things become entrenched, until they seem normal. >It saddens me to have seen generations of poets growing up thinking in >terms >of tenure tracks, more to please their parents and mate than the muse. >Maybe >there's no maturity in the motherly arms of institutions? But, then, there >are exceptions, like Bob Creeley and a few score more. >I do believe that some years of risk outside the institution--as Creeley >did--are necessary to have something to speak about besides theory and >technique. > I would suggest something like universities taking into account an >applicant's experience in the world--what jobs he or she worked, traveling >done, writers visited, stuff like this--besides the basic degrees. That is, >broaden what qualifies a person to teach. > >-Joel > >Joel Weishaus >Visiting Faculty >Center for Excellence in Writing >Portland State University >Portland, Oregon >http://web.pdx.edu/~pdx00282 >http://www.unm.edu/~reality _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 22 Jan 2003 11:34:27 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: on a warm curved just outside my words In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-10F54D47; boundary="=======44656192=======" --=======44656192======= Content-Type: text/plain; x-avg-checked=avg-ok-10F54D47; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit thankyou komninos http://spokenword.blog-city.com At 09:05 AM 22/01/03, you wrote: >on a warm curved just outside my words > > > >with nest and shells I function out of my inhibitions, crude types of >intimacy. then as a mollusk, almost a form, forever short-lived or >imaginary, root into a direct reflection, every corner, every angel, >every inch rejects restraints. I hide the universe in my hands and >remember the seven the silences described by human geometry. the corner >produces imaginary rooms with a great number of lines leading to where >I am, or think I am. suddenly, a flash in a novel corresponds with my >childhood where I lived incognito as a dutch stove, but that was the >contrary, this is sincere. there are corners to repair. bottoms to >resist, and my make believe the marble floor, gloomy, waits for a >refuge from ambivalence to arrive. I pick dust off the floor, one spec >at a time. in the distance daydreams indebted to crypts and memory, a >wooden doll, a simple craze, some slippers and sensations full of >eternity (mostly dead little things) quote nouns as adjectives, >gives due to leonardo da vinci. I see cracks in walls, lines that lead >nowhere, and listen to the beginning die on a warm curved just outside >my words. > > > > >--- >Incoming mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs --=======44656192======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-10F54D47 Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======44656192=======-- ========================================================================= Date: Tue, 21 Jan 2003 20:53:49 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Larry Rivers / Washington Crossing MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/20/03 8:52:23 PM, orushkb@EAF.ASN.AU writes: << Can anyone help me with this question - needed for an a very un-earth-shattering footnote: Where is Emmanuel Leutze's "Washington Crossing The Delaware" situated? I need a gallery or museum name & the city or state. It's the picture Larry Rivers parodied in his own painting of the same name. Cheers ken bolton >> The Metropolitan Museum of Art--New York City. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Tue, 21 Jan 2003 19:36:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Holsapple Subject: Re: Baudelaire bio? MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi David I don't see where anyone's answered your query about Baudelaire, so I thought to say that I think the Enid Starkie biography, tho dated (1958), is a classic, a wonderful book, tho it probably won't give you all you want to know about drug use. Bruce Holsapple On Sun, 19 Jan 2003 01:35:19 -0800 David Larsen writes: > I am looking for the best biography of Baudelaire. Which one is it? > Length > is no object --multivolume OK --but it needs to be in Inglish. And > well-informed about the drugs. Also I'd like to know about C.S. > Peirce's > drug use. Someone must have an opinion on this --GO RAIDERS and > please tell > me, either b/c or let the whole world know LRSN > PS I really do love that book Star, does someone want to fight about > it? > ========================================================================= Date: Tue, 21 Jan 2003 19:39:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Larry Rivers / Washington Crossing In-Reply-To: <74.2992e155.2b5f53ad@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >In a message dated 1/20/03 8:52:23 PM, orushkb@EAF.ASN.AU writes: > ><< Can anyone help me with this question - needed for an a very >un-earth-shattering footnote: > >Where is Emmanuel Leutze's "Washington Crossing The Delaware" >situated? I need a gallery or museum name & the city or state. > >It's the picture Larry Rivers parodied in his own painting of the same name. Is the Rivers (get it?) one in the Walker in Minn.? -- George Bowering An argument for cloning Fax 604-266-9000 ========================================================================= Date: Tue, 21 Jan 2003 22:53:51 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: Baltimore, etc. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit well me too love baltimore train station neat glass ceiling and the mt clare old locomotives giant wheels and all smassoni@aol.com ========================================================================= Date: Wed, 22 Jan 2003 15:12:52 +1030 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Bolton Subject: Re: Larry Rivers / Washington Crossing In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >>Dear George Bowering, The Leutze, I found this morning, is in the NY Met. The Rivers version is in MoMA. Unless they've sold it on. Thanks, to others who replied. Cheers Ken Bolton > >Is the Rivers (get it?) one in the Walker in Minn.? >-- >George Bowering >An argument for cloning >Fax 604-266-9000 ========================================================================= Date: Wed, 22 Jan 2003 02:12:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: antiwar justifications MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I am sympathetic of much you say here even though I won't repeat the whole thing here. I share your ability to tolerate ambivalence here, difficlut as it may be. I also think it might be seen as poetic in addition to therapeutic. i chanced on the following quote from Levertov about her WWII experiences (in a 1977 interview with Sybill Estess) " I was too immature as an artist and as a person to deal with it." This omment gives me pause as one of my considerations at the moment is a grand-daughter and I don't wnat her growing up in a country with pill popping pilots as heros any more than one vulnerable to terrorist attacks. i have seen in the past that responses like joining ranks and writing protest poems are all too easily dismissed although I certainly wouldn't discourage participation. At the same time I have come to the conclusionthat in our mad world the only sane response often is a poetic one. Thinking about it I'm not sure what I'm asking here? tom ----- Original Message ----- From: "Nick Piombino" >One benefit of being so involved with > psychotherapy is that I am no longer very uncomfortable with being > ambivalent. I've written about this on the list before. I feel that learning > to tolerate ambivalence is very useful because it helps guard against > knee-jerk or impulsive, unthought out stances. On the other hand, there > comes a time to take a stand. ========================================================================= Date: Wed, 22 Jan 2003 00:07:15 -0500 Reply-To: spiralbridge@spiralbridge.org Sender: UB Poetics discussion group From: Spiral Bridge Subject: automated response Message to/from SpiralBridge@SpiralBridge.org ========================================================================= Date: Wed, 22 Jan 2003 00:24:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Three Haiku: "Double or Nothing" "Night in Shining Armor""The Thief of Time" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Double or Nothing Luck Is like a sly romance sometimes you get ice sometimes you get twice ---------------------- Night in Shining Armor Poets are expendable but so eminently collectible ---------------------- The Thief of Time Since beautiful moments mostly tend to feel stolen lover be bold -Nick- ========================================================================= Date: Tue, 21 Jan 2003 21:55:52 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Re: Baltimore, etc. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hey, on brit po list they talk of train-death and here MAFIA has mfa in it so welcome back sheila massoni. com chris Sheila Massni wrote: > well me too love baltimore train station neat glass ceiling and the mt clare > old locomotives giant wheels and all smassoni@aol.com ========================================================================= Date: Tue, 21 Jan 2003 21:57:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Three Haiku: "Double or Nothing" "Night in Shining Armor""The Thief of Time" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nick,si enjoy these recent 'shoorties' of yours--keep 'em coming! Love to both, D -----Original Message----- From: Nick Piombino To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, January 21, 2003 9:24 PM Subject: Three Haiku: "Double or Nothing" "Night in Shining Armor""The Thief of Time" >Double or Nothing > > >Luck >Is like > >a sly >romance > >sometimes > >you >get ice > >sometimes > >you >get > >twice > > >---------------------- > > >Night in Shining Armor > > >Poets >are >expendable > >but >so eminently > >collectible > > >---------------------- > > >The Thief of Time > > >Since >beautiful >moments > >mostly > >tend >to feel >stolen > >lover >be bold > > > > > > >-Nick- > ========================================================================= Date: Wed, 22 Jan 2003 01:25:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: Baudelaire bio? Mime-Version: 1.0 Content-Type: text/plain; format=flowed You might also try contacting David Lenson (lenson@complit.umass.edu), author of On Drugs. I took his course on French Symbolist poetry a few years back and we went over much of the drug culture. n. _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 22 Jan 2003 01:40:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: I NEED YOUR HELP MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. I NEED YOUR HELP May the blessing of God be upon you and grant you the wisdom and sympathy to understand my situation and how much I need your help. august highland 1:40 am 01-22-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.443 / Virus Database: 248 - Release Date: 1/11/2003 ========================================================================= Date: Wed, 22 Jan 2003 02:55:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "POETRY CONTEST" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "POETRY CONTEST" The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. The poetry contest has been updated. 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The poetry contest has been updated. fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees fig trees boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water boiling water heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth heaven and earth serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst serious angst entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful entirely playful all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked all poets will be liked but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred but only one will be preferred august highland 2:00 am 01-22-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Wed, 22 Jan 2003 07:39:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Baudelaire bio? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ok so there are some good bios. is there no such thing as a collected prose in translation? according to amazon.com there isn't, but "of the two judges, hold to the superior one." anybody know anything? At 1:25 AM -0500 1/22/03, noah eli gordon wrote: >You might also try contacting David Lenson (lenson@complit.umass.edu), >author of On Drugs. I took his course on French Symbolist poetry a few years >back and we went over much of the drug culture. > >n. > > > > > >_________________________________________________________________ >The new MSN 8: smart spam protection and 2 months FREE* >http://join.msn.com/?page=features/junkmail -- ========================================================================= Date: Wed, 22 Jan 2003 08:51:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: LMJ Subject: seeking private poetry students in NYC Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I'd appreciate it if people could forward this around-- thanks, Lisa Jarnot I am available to work with private poetry students-- on monday and thursday evenings throughout the spring mid-town nyc location, $25 per hour I will read and comment on your work, and make suggestions about editing and publishing http://epc.buffalo.edu/authors/jarnot/ http://www.connectotel.com/jarnot/ Lisa Jarnot lmj67@hotmail.com 917-620-2917 ========================================================================= Date: Wed, 22 Jan 2003 09:57:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: Call for subs, eratio postmodern poetry. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit eratio, an online journal specializing in postmodern poetry, poetics and eidetics, welcomely invites submissions of such for its inaugural issue. http://www.eratiopostmodernpoetry.com click on a letter and enter a page. click on a diacritic sign and tour the eratio gallery. eidetics--typewriter, concrete, visual poetry, and x. eratio gallery--works that resist context, that stand alone, the unforeseen. deadline for submissions for issue one is january 31, 2003. deadline for submissions for issue two is july 31, 2003. eratio is edited by gregory vincent st. thomasino, who previously edited 23 issues of the international art/lit-zine meat epoch. "The term postmodern poetry can be expanded in many directions. I am primarily interested in signification, the problematics of signification." gregory vincent st. thomasino ========================================================================= Date: Wed, 22 Jan 2003 10:18:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Re: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit >> 7. America should not be the police of the world. > > And the US should not call itself "America." A Mexican friend of mine says the US should not call itself the US either because after all, she says, Mexico is made up of United States too... ========================================================================= Date: Wed, 22 Jan 2003 08:44:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Vote re Iraq Inspectors on CNN.Com/ current results In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable As of 8:30 AM/PST Yes =A0 70% 3569 votes No =A0 30% 1502 votes Total:=A0 5071 votes=20 To vote, at the moment anyway, go to the story on Chirac & Schroder's joint statement: http://www.cnn.com/2003/WORLD/meast/01/22/sproject.irq.schroeder.chirac/ind= e x.html I also suggest calling Federal reps (Senators and congress). Has anyone(s) called Collin Powell's office and do you have his number? As the acupuncturist says Powell may be a "good needle point." House: 202-225-3121 Senate: 202-224-3121 White House: 02-456-1414 It will be interesting to see if "Critical Mass" is the name that rules the game. If no, deep shadows ('scanners') are coming further out of the woods. Get on that phone! Stephen V ========================================================================= Date: Wed, 22 Jan 2003 08:49:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: poetry careerists In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Catherine Lasko wrote: > > > I would suggest something like universities > taking into account an > >applicant's experience in the world--what jobs he > or she worked, traveling > >done, writers visited, stuff like this--besides the > basic degrees. That is, > >broaden what qualifies a person to teach. from what I've noticed not all MFA programs look for the same things in their faculty (or for that matter, English departments looking to hire creative writing faculty who may or may not be teaching graduate students)-- some are looking for "professional qualifications" like an MFA from some funny place or even a PhD in addition to book publications--just their bureaucratic way of "proof"-- but anyone can get an MFA and anyone can publish a book, really. if you want to teach the courses, teach the courses, if you don't want to, don't. it doesn't make you any better or lesser of a writer. same thing for MFA. why do folks care so much? because Emily Dickinson didn't have an MFA? but she did anyways. so what? i lived in a place where i couldn't really hang with the writers in town (buffalo, shockingly), so i decided to get near the writers. but to engage in a little reverse snobbery do you know what i *really* can't wrap my little head around? the idea (half in jest, since i spent a little bit of time in grad school m'self!) that someone would spend five or more years of their life getting a PhD to credential themselves to talk about poetry! give me two years of MFA workshops any day of the week! so there. :P __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 22 Jan 2003 12:02:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: Mentorship MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable "Mentor" appears to be a changing & charged instructional status, = implicitly beyond the classroom. As a post-baccalaureate student my = teacher was a notable poet who commuted to the university by bus from = 150 miles away, taught her class, periodically bringing along other = young poets who were emerging, publishing and launching presses and were = arts activists under her non-for-credit "storefront workshop" in the = city she commuted from. She gave generously to many writers = [tuition-paying and gratis], and specifically directed me to my first = teaching job as she did numerous others. We remained in contact till her = death. I considered her a mentor because her trusted tutelage and active = guidance, as determined by her commitment and good will, went beyond the = obligations of being a classroom teacher.=20 Does the concept of mentor imply something different in the context of = low/non-residential MFA programs? Are there contractual or otherwise = expected services? Is it just a hook implying that DL/Low Residency = programs offer students something substantially beyond correspondence = instruction?=20 I'd be interested hearing [jlipman@utnet.utoledo.edu] from respondents = on both sides of the question. Joel Lipman =20 -----Original Message----- From: Clements [mailto:clementsfamily@SBCGLOBAL.NET] Sent: Sun 1/19/2003 12:31 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: AWP? (Mentorship) Mairead, Geoffrey, et al., I have no direct experience with low-residency MFA programs, but, as you = all probably know, it appears that many of them are built almost entirely = around mentorship. As far as I can tell, there is very little actual = "workshopping" and most or all of the work gets done in one-on-ones between mentor and student, both face-to-face and by correspondence, and in lectures during residencies, which are delivered both by mentors and by students. On the other hand, some low-residency MFA programs seem to exist solely = for the purpose of bringing in revenue, which I suspect is the case with = many more traditional MFA programs and is part of the reason why we have such = a glut of teaching job applicants and why some people extrapolate this cynicism to all MFA programs. But the programs are full, so there must = be a market demand for them. Is there a conflict here between market demand = and "professional" need for these programs to exist? What's the difference? Here in Dallas, the local literary center, The Writer's Garret, runs an affordable, non-academic program of "community and mentorship" for = writers who aren't interested in paying for a degree or in devoting their lives full-time to a course of study. Perhaps other non-academic literary = centers have similar programs. The element of the program that appeals most to = the participants is, in fact, the one-on-one mentorship program. However, I would be interested to know whether those of us who have gone through MFA/PhD programs in creative writing and close facsimiles = thereof, got the most value out of mentor relationships, out of workshopping, or elsewhere. In my case, without a doubt (at SUNY-Binghamton), the = greatest value came from relationships with other students. Brian Clements -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Mairead Byrne Sent: Saturday, January 18, 2003 11:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: AWP? Egads. I liked Geoffrey's idea of "mentorship." Are there current examples of this working outside the academy? ========================================================================= Date: Wed, 22 Jan 2003 09:05:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Catherine Lasko" To: Sent: Tuesday, January 21, 2003 5:21 PM Subject: Re: poetry careerists > Is the "problem" really careerism in poetry, or rather how much control one > exhibits more generally in life? Ten years of poor choices might make a > lousy poet and a poor teacher, but a cunning individual in other respects. > Then, it's simply a matter of transfer. The important thing is to keep > yourself alive, not for its own sake, but as a matter of discipline. That's > what institutions are for, keeping in mind, of course, that writing terrific > poems and getting terrificly high are also institutions - & ones that can > sap the life out of you quicker than a couple of graduate courses. Why > would anyone want to yield to the fate that is anyway inevitable? Keeping > the strings tight are 9/10ths of the game. And that's true no matter, > labor, thief or adjunct. > Cat "Discipline." "Keeping the string tight." Cat, I feel myself choking. The important thing, I suggest, is to breathe deeply of many climates. -Joel W. ========================================================================= Date: Wed, 22 Jan 2003 13:55:00 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Baudelaire bio? In-Reply-To: <4.1.20030118124808.00cb1100@socrates.berkeley.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII for more on drugs, this may help. Boon, Marcus,_The Road of Excess: A History of Writers on Drugs_. Harvard UP, 2002. Boon teaches at York U in Toronto. cheerio, kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Wed, 22 Jan 2003 09:57:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: antiwar justifications In-Reply-To: <20030122.101818.-136891.14.daisyf1@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit And let's not forget that "U.S.A." also signifies "Union of South Africa." ======================================= "How is it we lynch one president for a blow-job but let another sodomize the nation, no questions asked?" Bryan Hutcheson. ======================================= Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ======================================= -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Daisy Fried Sent: January 22, 2003 7:18 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: antiwar justifications >> 7. America should not be the police of the world. > > And the US should not call itself "America." A Mexican friend of mine says the US should not call itself the US either because after all, she says, Mexico is made up of United States too... ========================================================================= Date: Wed, 22 Jan 2003 14:25:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: 10 Books from 2002 In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1A692F23@MSG00CV00.utad.utoledo.edu> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Earlier in the month several lists of poetry books from 2002 went around the list. I've since gone to my bookshelf, and these are the 2002 copyright books that I found there, that I think should get special notice. I enjoyed them all (and am still enjoying them) very much. There are other books that came out in 2002 that I'm sure are wonderful (like Gudding's, that I've heard some good buzz about), but I haven't gotten copies yet. But for now, these are the books I'm interested in. A related question: why do some publishers write "poems" after the title of a book? Does anyone find that helpful? Does it bother anyone? I admit, it kinda bothers me. Anyway, the list: Chinese Whispers by John Ashbery Fabulae by Joy Katz Given: Poems by Arielle Greenberg The Yellow Hotel by Diane Wald The Charm by Kathy Fagan Method by Mark Salerno The Finger Bone by Kevin Prufer The Captain Lands in Paradise: Poems by Sarah Manguso Ninety-five Nights of Listening: Poems by Malinda Markham The Red Bird by Joyelle McSweeney ========================================================================= Date: Wed, 22 Jan 2003 15:45:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: antiwar justifications In-Reply-To: <20030122.101818.-136891.14.daisyf1@juno.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For that matter America should be thrown out of the world. We're a disgrace. Bush has to get his first blood at everyone's cost. Throw him to the dogs. Alan On Wed, 22 Jan 2003, Daisy Fried wrote: > >> 7. America should not be the police of the world. > > > > And the US should not call itself "America." > > A Mexican friend of mine says the US should not call itself the US either > because after all, she says, Mexico is made up of United States too... > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Wed, 22 Jan 2003 17:46:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: antiwar justifications MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT a USAcentric view would be that we are the world? tom bell ----- Original Message ----- From: "Alan Sondheim" To: Sent: Wednesday, January 22, 2003 2:45 PM Subject: Re: antiwar justifications > For that matter America should be thrown out of the world. We're a > disgrace. Bush has to get his first blood at everyone's cost. Throw > him to the dogs. > > Alan > > On Wed, 22 Jan 2003, Daisy Fried wrote: > > > >> 7. America should not be the police of the world. > > > > > > And the US should not call itself "America." > > > > A Mexican friend of mine says the US should not call itself the US either > > because after all, she says, Mexico is made up of United States too... > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > http://www.anu.edu.au/english/internet_txt > older http://lists.village.virginia.edu/~spoons/internet_txt.html > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Wed, 22 Jan 2003 14:56:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: St.Louis Reading January 31 In-Reply-To: <3E2EA9BE.23236.3496F3@localhost> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Those of you in the neighborhood, we'd love to see you: The Underwood Reading Series & Delmar Magazine Presents Poets Arielle Greenberg & John Gallaher 7 p.m. Friday, January 31st Left Bank Books 399 N. Euclid Avenue St. Louis, MO PS. I hear that listmember Aaron Belz will be there. As will be many other inneresting and live people! visit Arielle's website for Arielle info: www.ariellegreenberg.net Alas, I don't have a neat website like that. but I do have a couple poems archived at the Boston Review site, if yer interested: http://bostonreview.mit.edu/BR26.1/gallaher.html http://bostonreview.mit.edu/BR26.1/gallaher2.html Blessings on the good people, a pox on the bad, JG ========================================================================= Date: Wed, 22 Jan 2003 20:59:23 GMT Reply-To: ggatza@daemen.edu Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: antiwar justifications Content-Type: text/plain Content-Disposition: inline Content-Transfer-Encoding: binary MIME-Version: 1.0 No Tom, We are the World was a song for world aide and a cute little tune they play at Christmas. A USA-errifc-centric view would be "I am he that is called I am" Love, Geoffrey On Wed, 22 Jan 2003 17:46:15 -0600 tombell wrote: > a USAcentric view would be that we are the world? > > tom bell > > ----- Original Message ----- > From: "Alan Sondheim" > To: > Sent: Wednesday, January 22, 2003 2:45 PM > Subject: Re: antiwar justifications > > > > For that matter America should be thrown out of the world. We're a > > disgrace. Bush has to get his first blood at everyone's cost. Throw > > him to the dogs. > > > > Alan > > > > On Wed, 22 Jan 2003, Daisy Fried wrote: > > > > > >> 7. America should not be the police of the world. > > > > > > > > And the US should not call itself "America." > > > > > > A Mexican friend of mine says the US should not call itself the US > either > > > because after all, she says, Mexico is made up of United States too... > > > > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > > http://www.anu.edu.au/english/internet_txt > > older http://lists.village.virginia.edu/~spoons/internet_txt.html > > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > This message powered by EMUMAIL. -- http://www.EMUMAIL.com ========================================================================= Date: Wed, 22 Jan 2003 13:18:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: HAI-ALGORITHMIKU In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit HAI-ALGORITHMIKU DATA "wet-grass/barefoot:O'dung!----" wwww eeee tttt ---- 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b/bs aba/ rarb erea aaaa ssss ssss //// bbbb aaaa rrra eaes asas sss/ s/sb /b/a baba aras rars ese/ asab s/sa sbsa /a/s brbs aaa/ rsrb esea a/aa sbss sass /r// babb asaa rsra e/es abas sas/ srsb /a/a bsba asas r/rs ebe/ aaab srsa sasa /s/s bsbs a/a/ rbrb eaea araa sass ssss /s// b/bb abaa rara eres aaas sss/ sssb ///a bbba aaas rrrs eae/ asab sssa s/sa /b/s babs ara/ rarb esea asaa s/ss sbss /a// brbb aaaa rsra eses a/as sbs/ sasb /r/a baba asas rsrs e/e/ abab sasa srsa /a/s bsbs asa/ r/rb ebea aaaa srss sass /s// bsbb a/aa rbra eaes aras sas/ sssb /s/a b/ba abas rars ere/ aaab sssa sssa ///s bbbs aaa/ rrrb eaea asaa ssss s/ss /b// babb araa rara eses asas s/s/ sbsb /a/a brba aaas rsrs ese/ a/ab sbsa sasa /r/s babs asa/ rsrb e/ea abaa sass srss /a// bsbb asaa r/ra ebes aaas srs/ sasb /s/a bsba a/as rbrs eae/ arab sasa sssa /s/s b/bs aba/ rarb erea aaaa ssss ssss //// bbbb aaaa rrra eaes asas sss/ s/sb /b/a baba aras rars ese/ asab s/sa sbsa /a/s brbs aaa/ rsrb esea a/aa sbss sass /r// babb asaa rsra e/es abas sas/ srsb /a/a bsba asas r/rs ebe/ aaab srsa sasa /s/s bsbs a/a/ rbrb eaea araa sass ssss /s// b/bb abaa rara eres aaas sss/ sssb ///a bbba aaas rrrs eae/ asab sssa s/sa /b/s babs ara/ rarb esea asaa s/ss sbss /a// brbb aaaa rsra eses a/as sbs/ sasb /r/a baba asas rsrs e/e/ abab sasa srsa /a/s bsbs asa/ r/rb ebea aaaa srss sass /s// bsbb a/aa rbra eaes aras sas/ sssb /s/a b/ba abas rars ere/ aaab sssa sssa ///s bbbs aaa/ rrrb eaea asaa ssss s/ss /b// babb araa rara eses asas s/s/ sbsb /a/a brba aaas rsrs ese/ a/ab sbsa sasa /r/s babs asa/ rsrb e/ea abaa sass srss /a// bsbb asaa r/ra ebes aaas srs/ sasb /s/a bsba a/as rbrs eae/ arab sasa sssa /s/s b/bs aba/ rarb erea aaaa ssss ssss //// bbbb aaaa rrra eaes asas sss/ s/sb /b/a baba aras rars ese/ asab s/sa sbsa /a/s brbs aaa/ rsrb esea a/aa sbss sass /r// babb asaa rsra e/es abas sas/ srsb /a/a bsba asas r/rs ebe/ aaab srsa sasa /s/s bsbs a/a/ rbrb eaea araa sass ssss /s// b/bb abaa rara eres aaas sss/ sssb ///a bbba aaas rrrs eae/ asab sssa s/sa /b/s babs ara/ rarb esea asaa s/ss sbss /a// brbb aaaa rsra eses a/as sbs/ sasb /r/a baba asas rsrs e/e/ abab sasa srsa /a/s bsbs asa/ r/rb ebea aaaa srss sass /s// bsbb a/aa rbra eaes aras sas/ sssb /s/a b/ba abas rars ere/ aaab sssa sssa ///s bbbs aaa/ rrrb eaea asaa ssss s/ss /b// babb araa rara eses asas s/s/ sbsb /a/a brba aaas rsrs ese/ a/ab sbsa sasa /r/s babs asa/ rsrb e/ea abaa sass srss /a// bsbb asaa r/ra ebes aaas srs/ sasb /s/a bsba a/as rbrs eae/ arab sasa sssa /s/s b/bs aba/ rarb erea aaaa ssss ssss //// bbbb aaaa rrra eaes asas sss/ s/sb /b/a baba aras rars ese/ asab s/sa sbsa /a/s brbs aaa/ rsrb esea a/aa sbss sass /r// babb asaa rsra e/es abas sas/ srsb /a/a bsba asas r/rs ebe/ aaab srsa sasa /s/s bsbs a/a/ rbrb eaea araa sass ssss /s// b/bb abaa rara eres aaas sss/ sssb ///a bbba aaas rrrs eae/ asab sssa s/sa /b/s babs ara/ rarb esea asaa s/ss sbss /a// brbb aaaa rsra eses a/as sbs/ sasb /r/a baba asas rsrs e/e/ abab sasa srsa /a/s bsbs asa/ r/rb ebea aaaa srss sass /s// bsbb a/aa rbra eaes aras sas/ sssb /s/a b/ba abas rars ere/ aaab sssa sssa ///s bbbs aaa/ rrrb eaea asaa ssss s/ss /b// babb araa rara eses asas s/s/ sbsb /a/a brba aaas rsrs ese/ a/ab sbsa sasa /r/s babs asa/ rsrb e/ea abaa sass srss /a// bsbb asaa r/ra ebes aaas srs/ sasb /s/a bsba a/as rbrs eae/ arab sasa sssa /s/s b/bs aba/ rarb erea ssss ssss //// bbbb aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs aaa/ rsrb esea f/fr sbss sass /s// bsbb a/aa rbrr eaes fsfs sss/ s/sb /b/a babr asas rsrs e/e/ fbfb sasa sssr /s/s b/bs aba/ rarb esea fsfr s/ss sbss /a// bsbb asaa r/rr ebes fafs sss/ sssb ///a bbbr aaas rsrs ese/ f/fb sbsa sasr /s/s bsbs a/a/ rbrb eaea fsfr ssss s/ss /b// babb asaa rsrr e/es fbfs sas/ sssb /s/a b/br abas rars ese/ fsfb s/sa sbsr /a/s bsbs asa/ r/rb ebea fafr ssss ssss //// bbbb aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs aaa/ rsrb esea f/fr sbss sass /s// bsbb a/aa rbrr eaes fsfs sss/ s/sb /b/a babr asas rsrs e/e/ fbfb sasa sssr /s/s b/bs aba/ rarb esea fsfr s/ss sbss /a// bsbb asaa r/rr ebes fafs sss/ sssb ///a bbbr aaas rsrs ese/ f/fb sbsa sasr /s/s bsbs a/a/ rbrb eaea fsfr ssss s/ss /b// babb asaa rsrr e/es fbfs sas/ sssb /s/a b/br abas rars ese/ fsfb s/sa sbsr /a/s bsbs asa/ r/rb ebea fafr ssss ssss //// bbbb aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs aaa/ rsrb esea f/fr sbss sass /s// bsbb a/aa rbrr eaes fsfs sss/ s/sb /b/a babr asas rsrs e/e/ fbfb sasa sssr /s/s b/bs aba/ rarb esea fsfr s/ss sbss /a// bsbb asaa r/rr ebes fafs sss/ sssb ///a bbbr aaas rsrs ese/ f/fb sbsa sasr /s/s bsbs a/a/ rbrb eaea fsfr ssss s/ss /b// babb asaa rsrr e/es fbfs sas/ sssb /s/a b/br abas rars ese/ fsfb s/sa sbsr /a/s bsbs asa/ r/rb ebea fafr ssss ssss //// bbbb aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs aaa/ rsrb esea f/fr sbss sass /s// bsbb a/aa rbrr eaes fsfs sss/ s/sb /b/a babr asas rsrs e/e/ fbfb sasa sssr /s/s b/bs aba/ rarb esea fsfr s/ss sbss /a// bsbb asaa r/rr ebes fafs sss/ sssb ///a bbbr aaas rsrs ese/ f/fb sbsa sasr /s/s bsbs a/a/ rbrb eaea fsfr ssss s/ss /b// babb asaa rsrr e/es fbfs sas/ sssb /s/a b/br abas rars ese/ fsfb s/sa sbsr /a/s bsbs asa/ r/rb ebea fafr ssss ssss //// bbbb aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs 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aaaa rsrr eses f/fs sbs/ sasb /s/a bsbr a/as rbrs eae/ fsfb sssa s/sr /b/s babs asa/ rsrb e/ea fbfr sass ssss /s// b/bb abaa rarr eses fsfs s/s/ sbsb /a/a bsbr asas r/rs ebe/ fafb sssa sssr ///s bbbs aaa/ rsrb esea f/fr sbss sass /s// bsbb a/aa rbrr eaes fsfs sss/ s/sb /b/a babr asas rsrs e/e/ fbfb sasa sssr /s/s b/bs aba/ rarb esea fsfr s/ss sbss /a// bsbb asaa r/rr ebes fafs sss/ sssb ///a bbbr aaas rsrs ese/ f/fb sbsa sasr /s/s bsbs a/a/ rbrb eaea fsfr ssss s/ss /b// babb asaa rsrr e/es fbfs sas/ sssb /s/a b/br abas rars ese/ fsfb s/sa sbsr /a/s bsbs asa/ r/rb ebea fafr ssss //// bbbb aaaa rrrr esee f/fs sbo' /asb br/a asbr r/ae ebrs fae/ srfb /soa b/sr ab/e rabs era/ fsrb s/ea /bfr baoe arss rs// e/bb fbaa sarr /ree bsfs a/o' rbsb ea/a frbr ssae //rs bbe/ aafb rroa essr f//e sbbs /aa/ brrb asea r/fr eboe fass sr// /sbb b/aa abrr raee erfs fso' s/sb /b/a babr arae rsrs e/e/ fbfb saoa /rsr bs/e a/bs rba/ earb frea ssfr //oe bbss aa// rrbb esaa f/rr sbee /afs bro' assb r//a ebbr faae srrs /se/ b/fb aboa rasr er/e fsbs s/a/ /brb baea arfr rsoe e/ss fb// sabb /raa bsrr a/ee rbfs eao' frsb ss/a //br bbae aars rre/ esfb f/oa sbsr /a/e brbs asa/ r/rb ebea fafr sroe /sss b/// abbb raaa errr fsee s/fs /bo' basb ar/a rsbr e/ae fbrs sae/ /rfb bsoa a/sr rb/e eabs fra/ ssrb //ea bbfr aaoe rrss es// f/bb sbaa /arr bree asfs r/o' ebsb fa/a srbr /sae b/rs abe/ rafb eroa fssr s//e /bbs baa/ arrb rsea e/fr fboe sass /r// bsbb a/aa rbrr eaee frfs sso' //sb bb/a aabr rrae esrs f/e/ sbfb /aoa brsr as/e r/bs eba/ farb srea /sfr b/oe abss ra// erbb fsaa s/rr /bee bafs aro' rssb e//a fbbr saae /rrs bse/ a/fb rboa easr fr/e ssbs //a/ bbrb aaea rrfr esoe f/ss sb// /abb braa asrr r/ee ebfs fao' srsb /s/a b/br abae rars ere/ fsfb s/oa /bsr ba/e arbs rsa/ e/rb fbea safr /roe bsss a/// rbbb eaaa frrr ssee //fs bbo' aasb rr/a esbr f/ae sbrs /ae/ brfb asoa r/sr eb/e fabs sra/ /srb b/ea abfr raoe erss fs// s/bb /baa barr aree rsfs e/o' fbsb sa/a /rbr bsae a/rs rbe/ eafb froa sssr ///e bbbs aaa/ rrrb esea f/fr sboe /ass br// asbb r/aa ebrr faee srfs /so' b/sb ab/a rabr erae fsrs s/e/ /bfb baoa arsr rs/e e/bs fba/ sarb /rea bsfr a/oe rbss ea// frbb ssaa //rr bbee aafs rro' essb f//a sbbr /aae brrs ase/ r/fb eboa fasr sr/e /sbs b/a/ abrb raea erfr fsoe s/ss /b// babb araa rsrr e/ee fbfs sao' /rsb bs/a a/br rbae ears fre/ ssfb //oa bbsr aa/e rrbs esa/ f/rb sbea /afr broe asss r/// ebbb faaa srrr /see b/fs abo' rasb er/a fsbr s/ae /brs bae/ arfb rsoa e/sr fb/e sabs /ra/ bsrb a/ea rbfr eaoe frss ss// //bb bbaa aarr rree esfs f/o' sbsb /a/a brbr asae r/rs ebe/ fafb sroa /ssr b//e abbs raa/ errb fsea s/fr /boe bass ar// rsbb e/aa fbrr saee /rfs bso' a/sb rb/a eabr frae ssrs //e/ bbfb aaoa rrsr es/e f/bs sba/ /arb brea asfr r/oe ebss fa// srbb /saa b/rr abee rafs ero' fssb s//a /bbr baae arrs rse/ e/fb fboa sasr /r/e bsbs a/a/ rbrb eaea frfr ssoe //ss bb// aabb rraa esrr f/ee sbfs /ao' brsb as/a r/br ebae fars sre/ /sfb b/oa absr ra/e erbs fsa/ s/rb /bea bafr aroe rsss e/// fbbb saaa /rrr bsee a/fs rbo' easb fr/a ssbr //ae bbrs aae/ rrfb esoa f/sr sb/e /abs bra/ asrb r/ea ebfr faoe srss /s// b/bb abaa rarr eree fsfs s/o' /bsb ba/a arbr rsae e/rs fbe/ safb /roa bssr a//e rbbs eaa/ frrb ssea //fr bboe aass rr// esbb f/aa sbrr /aee brfs aso' r/sb eb/a fabr srae /srs b/e/ abfb raoa ersr fs/e s/bs /ba/ barb area rsfr e/oe fbss sa// /rbb bsaa a/rr rbee eafs fro' sssb ///a bbbr aaae rrrs ese/ f/fb sboa /asr br/e asbs r/a/ ebrb faea srfr /soe b/ss ab// rabb eraa fsrr s/ee /bfs bao' arsb rs/a e/br fbae sars /re/ bsfb a/oa rbsr ea/e frbs ssa/ //rb bbea aafr rroe esss f/// sbbb /aaa brrr asee r/fs ebo' fasb sr/a /sbr b/ae abrs rae/ erfb fsoa s/sr /b/e babs ara/ rsrb e/ea fbfr saoe /rss bs// a/bb rbaa earr free ssfs //o' bbsb aa/a rrbr esae f/rs sbe/ /afb broa assr r//e ebbs faa/ srrb /sea b/fr aboe rass er// fsbb s/aa /brr baee arfs rso' e/sb fb/a sabr /rae bsrs a/e/ rbfb eaoa frsr ss/e //bs bba/ aarb rrea esfr f/oe sbss /a// brbb asaa r/rr ebee fafs sro' /ssb b//a abbr raae 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roor eaoe frtf oe:o ofao tort aaea rrfr eeoe ffof ooto oa:o trat aera rfer eofe faof oroo oeto tf:t aoaa rarr eree feff ofoo oooo tatt ar:a rear efre foef oafo oroo teot afta ro:r eaae frrf oeeo offo toot aaoa rrtr ee:e ffaf ooro oaeo trft aeoa rfor eote fa:f orao oero tfet aofa raor eroe fetf of:o ooao tart area refr efoe foof oato or:o teat afra roer eafe frof oeoo ofto to:t rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: rrrr eeee ffff oooo oooo tttt :::: rOOr erre feef offo oooo toot :tt: r::r eOOe frrf oeeo offo toot :oo: rttr e::e fOOf orro oeeo tfft :oo: roor ette f::f oOOo orro teet :ff: roor eooe fttf o::o oOOo trrt :ee: rffr eooe foof otto o::o tOOt :rr: reer effe foof oooo otto t::t :OO: eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O eeee ffff oooo oooo tttt :::: OOOO e//e feef offo oooo toot :tt: O::O eOOe f//f oeeo offo toot :oo: OttO e::e fOOf o'/o oeeo tfft :oo: OooO ette f::f oOOo o'/o teet :ff: OooO eooe fttf o::o oOOo t//t :ee: OffO eooe foof otto o::o tOOt ://: OeeO effe foof oooo otto t::t :OO: O'/O ffff oooo oooo tttt :::: OOfO //o' fdof ofto oo:o toft :to: O:oO /Ot/ f/:f odfo ofoo toot :ot: Ot:O /:f/ fOof o'oo odto tf:t :of: OooO /to' f:tf oO:o o'fo tdot :fo: OotO /o:/ ftff o:oo oOoo t/tt :d:: OffO /oo' foof otto o::o tOft :/o: OdoO /ft/ fo:f oofo otoo t:ot :Ot: O':O /df/ ffof oooo ooto tt:t ::f: OOoO //o' fdtf of:o oofo toot :to: O:tO /O:/ f/ff odoo ofoo tott :o:: OtfO /:o' fOof o'to od:o tfft :oo: OooO /tt/ f::f oOfo o'oo tdot :ft: Oo:O /of/ ftof o:oo oOto t/:t :df: OfoO /oo' fotf ot:o o:fo tOot :/o: OdtO /f:/ foff oooo otoo t:tt :O:: O'fO /do' ffof ooto oo:o ttft ::o: OOoO //t/ fd:f offo oooo toot :tt: O::O /Of/ f/of odoo ofto to:t :of: OtoO /:o' fOtf o':o odfo tfot :oo: OotO /t:/ f:ff oOoo o'oo tdtt :f:: OofO /oo' ftof o:to oO:o t/ft :do: OfoO /ot/ fo:f otfo o:oo tOot :/t: Od:O /ff/ foof oooo otto t::t :Of: O'oO /do' fftf oo:o oofo ttot ::o: OOtO //:/ fdff ofoo oooo tott :t:: O:fO /Oo' f/of odto of:o toft :oo: OtoO /:t/ fO:f o'fo odoo tfot :ot: Oo:O /tf/ f:of oOoo o'to td:t :ff: OooO /oo' fttf o::o oOfo t/ot :do: OftO /o:/ foff otoo o:oo tOtt :/:: OdfO /fo' foof ooto ot:o t:ft :Oo: O'oO /dt/ ff:f oofo oooo ttot ::t: OO:O //f/ fdof ofoo ooto to:t :tf: O:oO /Oo' f/tf od:o offo toot :oo: OttO /::/ fOff o'oo odoo tftt :o:: OofO /to' f:of oOto o':o tdft :fo: OooO /ot/ ft:f o:fo oOoo t/ot :dt: Of:O /of/ foof otoo o:to tO:t :/f: OdoO /fo' fotf oo:o otfo t:ot :Oo: O'tO /d:/ ffff oooo oooo tttt :::: OOfO //o' fdof ofto oo:o toft :to: O:oO /Ot/ f/:f odfo ofoo toot :ot: Ot:O /:f/ fOof o'oo odto tf:t :of: OooO /to' f:tf oO:o o'fo tdot :fo: OotO /o:/ ftff o:oo oOoo t/tt :d:: OffO /oo' foof otto o::o tOft :/o: OdoO /ft/ fo:f oofo otoo t:ot :Ot: O':O /df/ ffof oooo ooto tt:t ::f: OOoO //o' fdtf of:o oofo toot :to: O:tO /O:/ f/ff odoo ofoo tott :o:: OtfO /:o' fOof o'to od:o tfft :oo: OooO /tt/ f::f oOfo o'oo tdot :ft: Oo:O /of/ ftof o:oo oOto t/:t :df: OfoO /oo' fotf ot:o o:fo tOot :/o: OdtO /f:/ foff oooo otoo t:tt :O:: O'fO /do' ffof ooto oo:o ttft ::o: OOoO //t/ fd:f offo oooo toot :tt: O::O /Of/ f/of odoo ofto to:t :of: OtoO /:o' fOtf o':o odfo tfot :oo: OotO /t:/ f:ff oOoo o'oo tdtt :f:: OofO /oo' ftof o:to oO:o t/ft :do: OfoO /ot/ fo:f otfo o:oo tOot :/t: Od:O /ff/ foof oooo otto t::t :Of: O'oO /do' fftf oo:o oofo ttot ::o: OOtO //:/ fdff ofoo oooo tott :t:: O:fO /Oo' f/of odto of:o toft :oo: OtoO /:t/ fO:f o'fo odoo tfot :ot: Oo:O /tf/ f:of oOoo o'to td:t :ff: OooO /oo' fttf o::o oOfo t/ot :do: OftO /o:/ foff otoo o:oo tOtt :/:: OdfO /fo' foof ooto ot:o t:ft :Oo: O'oO /dt/ ff:f oofo oooo ttot ::t: OO:O //f/ fdof ofoo ooto to:t :tf: O:oO /Oo' f/tf od:o offo toot :oo: OttO /::/ fOff o'oo odoo tftt :o:: OofO /to' f:of oOto o':o tdft :fo: OooO /ot/ ft:f o:fo oOoo t/ot :dt: Of:O /of/ foof otoo o:to tO:t :/f: OdoO /fo' fotf oo:o otfo t:ot :Oo: O'tO /d:/ ffff oooo oooo tttt :::: OOfO //o' fdof ofto oo:o toft :to: O:oO /Ot/ f/:f odfo ofoo toot :ot: Ot:O /:f/ fOof o'oo odto tf:t :of: OooO /to' f:tf oO:o o'fo tdot :fo: OotO /o:/ ftff o:oo oOoo t/tt :d:: OffO /oo' foof otto o::o tOft :/o: OdoO /ft/ fo:f oofo otoo t:ot :Ot: O':O /df/ ffof oooo ooto tt:t ::f: OOoO //o' fdtf of:o oofo toot :to: O:tO /O:/ f/ff odoo ofoo tott :o:: OtfO /:o' fOof o'to od:o tfft :oo: OooO /tt/ f::f oOfo o'oo tdot :ft: Oo:O /of/ ftof o:oo oOto t/:t :df: OfoO /oo' fotf ot:o o:fo tOot :/o: OdtO /f:/ foff oooo otoo t:tt :O:: O'fO /do' ffof ooto oo:o ttft ::o: OOoO //t/ fd:f offo oooo toot :tt: O::O /Of/ f/of odoo ofto to:t :of: OtoO /:o' fOtf o':o odfo tfot :oo: OotO /t:/ f:ff oOoo o'oo tdtt :f:: OofO /oo' ftof o:to oO:o t/ft :do: OfoO /ot/ fo:f otfo o:oo tOot :/t: Od:O /ff/ foof oooo otto t::t :Of: O'oO /do' fftf oo:o oofo ttot ::o: OOtO //:/ fdff ofoo oooo tott :t:: O:fO /Oo' f/of odto of:o toft :oo: OtoO /:t/ fO:f o'fo odoo tfot :ot: Oo:O /tf/ f:of oOoo o'to td:t :ff: OooO /oo' fttf o::o oOfo t/ot :do: OftO /o:/ foff otoo o:oo tOtt :/:: OdfO /fo' foof ooto ot:o t:ft :Oo: O'oO /dt/ ff:f oofo oooo ttot ::t: OO:O //f/ fdof ofoo ooto to:t :tf: O:oO /Oo' f/tf od:o offo toot :oo: OttO /::/ fOff o'oo odoo tftt :o:: OofO /to' f:of oOto o':o tdft :fo: OooO /ot/ ft:f o:fo oOoo t/ot :dt: Of:O /of/ foof otoo o:to tO:t :/f: OdoO /fo' fotf oo:o otfo t:ot :Oo: O'tO /d:/ oooo oooo tttt :::: OOOO //o' odod outo to:o :oOt Oto: /:oO oOt/ o':d tdOo :uoo Ooot /ot: ot:O o:O' tOod :/oo Odto /u:t ooO: oooO tto' ::td OO:o //Oo odot ouo: totO :o:/ OtOd /:oo oOoo o'tt td:: :uOO Ooo' /ood otto o::o tOOt :/o: OdoO /ut/ oo:d ooOo ttoo ::ot OOt: //:O odO' ouod tooo :oto Ot:t /:O: oOoO o'o' tdtd :u:o OoOo /oot oto: o:tO tO:/ :/Od Odoo /uoo oott oo:: ttOO ::o' OOod //to od:o ouOt too: :ooO Ott/ /::d oOOo o'oo tdot :ut: Oo:O /oO' otod o:oo tOto :/:t OdO: /uoO ooo' ootd tt:o ::Oo OOot //o: odtO ou:/ toOd :ooo Otoo /:tt oO:: o'OO tdo' :uod Ooto /o:o otOt o:o: tOoO :/t/ Od:d /uOo oooo ooot ttt: :::O OOO' //od odoo outo to:t :oO: OtoO /:o' oOtd o':o tdOo :uot Ooo: /otO ot:/ o:Od tOoo :/oo Odtt /u:: ooOO ooo' ttod ::to OO:o //Ot odo: ouoO tot/ :o:d OtOo /:oo oOot o't: td:O :uO' Oood /ooo otto o::t tOO: :/oO Odo' /utd oo:o ooOo ttot ::o: OOtO //:/ odOd ouoo tooo :ott Ot:: /:OO oOo' o'od tdto :u:o OoOt /oo: otoO o:t/ tO:d :/Oo Odoo /uot oot: oo:O ttO' ::od OOoo //to od:t ouO: tooO :oo' Ottd /::o oOOo o'ot tdo: :utO Oo:/ /oOd otoo o:oo tOtt :/:: OdOO /uo' oood ooto tt:o ::Ot OOo: //oO odt/ ou:d toOo :ooo Otot /:t: oO:O o'O' tdod :uoo Ooto /o:t otO: o:oO tOo' :/td Od:o /uOo ooot ooo: tttO :::/ OOOd //oo odoo outt to:: :oOO Oto' /:od oOto o':o tdOt :uo: OooO /ot/ ot:d o:Oo tOoo :/ot Odt: /u:O ooO' oood ttoo ::to OO:t //O: odoO ouo' totd :o:o OtOo /:ot oOo: o'tO td:/ :uOd Oooo /ooo ottt o::: tOOO :/o' Odod /uto oo:o ooOt tto: ::oO OOt/ //:d odOo ouoo toot :ot: Ot:O /:O' oOod o'oo tdto :u:t OoO: /ooO oto' o:td tO:o :/Oo Odot /uo: ootO oo:/ ttOd ::oo OOoo //tt od:: ouOO too' :ood Otto /::o oOOt o'o: tdoO :ut/ Oo:d /oOo otoo o:ot tOt: :/:O OdO' /uod oooo ooto tt:t ::O: OOoO //o' odtd ou:o toOo :oot Oto: /:tO oO:/ o'Od tdoo :uoo Oott /o:: otOO o:o' tOod :/to Od:o /uOt ooo: oooO ttt/ :::d OOOo //oo odot out: to:O :oO' Otod /:oo oOto o':t tdO: :uoO Ooo' /otd ot:o o:Oo tOot :/o: OdtO /u:/ ooOd oooo ttoo ::tt OO:: //OO odo' ouod toto :o:o OtOt /:o: oOoO o't/ td:d :uOo Oooo /oot ott: o::O tOO' :/od Odoo /uto oo:t ooO: ttoO ::o' OOtd //:o odOo ouot too: :otO Ot:/ /:Od oOoo o'oo tdtt :u:: OoOO /oo' otod o:to tO:o :/Ot Odo: /uoO oot/ oo:d ttOo ::oo OOot //t: od:O ouO' tood :ooo Otto /::t oOO: o'oO tdo' :utd Oo:o /oOo otot o:o: tOtO :/:/ OdOd /uoo oooo oott tt:: ::OO OOo' //od odto ou:o toOt :oo: OtoO /:t/ oO:d o'Oo tdoo :uot Oot: /o:O otO' o:od tOoo :/to Od:t /uO: oooO ooo' tttd :::o OOOo //ot odo: outO to:/ :oOd Otoo /:oo oOtt o':: tdOO :uo' Oood /oto ot:o o:Ot tOo: :/oO Odt/ /u:d ooOo oooo ttot ::t: OO:O //O' odod ouoo toto :o:t OtO: /:oO oOo' o'td td:o :uOo Ooot /oo: ottO o::/ tOOd :/oo Odoo /utt oo:: ooOO tto' ::od OOto //:o odOt ouo: tooO :ot/ Ot:d /:Oo oOoo o'ot tdt: :u:O OoO' /ood otoo o:to tO:t :/O: OdoO /uo' ootd oo:o ttOo ::ot OOo: //tO od:/ ouOd tooo :ooo Ottt /::: oOOO o'o' tdod :uto Oo:o /oOt oto: o:oO tOt/ :/:d OdOo /uoo ooot oot: tt:O ::O' OOod //oo odto ou:t toO: :ooO Oto' /:td oO:o o'Oo tdot :uo: OotO /o:/ otOd o:oo tOoo :/tt Od:: /uOO ooo' oood ttto :::o OOOt //o: odoO out/ to:d :oOo Otoo /:ot oOt: o':O tdO' :uod Oooo /oto ot:t o:O: tOoO :/o' Odtd /u:o ooOo ooot tto: ::tO OO:/ //Od odoo ouoo tott :o:: OtOO /:o' oOod o'to td:o :uOt Ooo: /ooO ott/ o::d tOOo :/oo Odot /ut: oo:O ooO' ttod ::oo OOto //:t odO: ouoO too' :otd Ot:o /:Oo oOot o'o: tdtO :u:/ OoOd /ooo otoo o:tt tO:: :/OO Odo' /uod ooto oo:o ttOt ::o: OOoO //t/ od:d ouOo tooo :oot Ott: /::O oOO' o'od tdoo :uto Oo:t /oO: otoO o:o' tOtd :/:o OdOo /uot ooo: ootO tt:/ ::Od OOoo //oo odtt ou:: toOO :oo' Otod /:to oO:o o'Ot tdo: :uoO Oot/ /o:d otOo o:oo tOot :/t: Od:O /uO' oood oooo ttto :::t OOO: //oO odo' outd to:o :oOo Otot /:o: oOtO o':/ tdOd :uoo Oooo /ott ot:: o:OO tOo' :/od Odto /u:o ooOt ooo: ttoO ::t/ OO:d //Oo odoo ouot tot: :o:O OtO' /:od oOoo o'to td:t :uO: OooO /oo' ottd o::o tOOo :/ot Odo: /utO oo:/ ooOd ttoo ::oo OOtt //:: odOO ouo' tood :oto Ot:o /:Ot oOo: o'oO tdt/ :u:d OoOo /ooo otot o:t: tO:O :/O' Odod /uoo ooto oo:t ttO: ::oO OOo' //td od:o ouOo toot :oo: OttO /::/ oOOd o'oo tdoo :utt Oo:: /oOO oto' o:od tOto :/:o OdOt /uo: oooO oot/ tt:d ::Oo OOoo //ot odt: ou:O toO' :ood Otoo /:to oO:t o'O: tdoO :uo' Ootd /o:o otOo o:ot tOo: :/tO Od:/ /uOd oooo tttt :::: OOOO //// ddod outu tn:o :oOt Ot/: /:oO dOt/ o':d tdOu :u/o Onot /ot: dt:O o:O' tO'd :/ou Odto /u:t dnO: oo'O tto' ::td OO:u //Oo dd/t ouo: tntO :o:/ OtOd /:/u dOoo o'tt td:: :uOO On// /ood dttu o::o tOOt ://: OdoO /ut/ dn:d ooOu tt/o ::ot OOt: //:O ddO' ou/d tnou :oto Ot:t /:O: dO'O o'o' tdtd :u:u OnOo /o't dto: o:tO tO:/ :/Od Od/u /uoo dntt oo:: ttOO ::// OOod //tu dd:o ouOt tn/: :ooO Ott/ /::d dOOu o'/o tdot :ut: On:O /oO' dt/d o:ou tOto :/:t OdO: /u/O dno' ootd tt:u ::Oo OO't //o: ddtO ou:/ tnOd :o'u Otoo /:tt dO:: o'OO td// :uod Ontu /o:o dtOt o:/: tOoO :/t/ Od:d /uOu dn/o ooot ttt: :::O OOO' ///d ddou outo tn:t :oO: Ot/O /:o' dOtd o':u tdOo :u/t Ono: /otO dt:/ o:Od tO'u :/oo Odtt /u:: dnOO oo'/ ttod ::tu OO:o //Ot dd/: ouoO tnt/ :o:d OtOu /:/o dOot o't: td:O :uO' On/d /oou dtto o::t tOO: ://O Odo' /utd dn:u ooOo tt/t ::o: OOtO //:/ ddOd ou/u tnoo :ott Ot:: /:OO dO'/ o'od tdtu :u:o OnOt /o': dtoO o:t/ tO:d :/Ou Od/o /uot dnt: oo:O ttO' ::/d OOou //to dd:t ouO: tn/O :oo' Ottd /::u dOOo o'/t tdo: :utO On:/ /oOd dt/u o:oo tOtt :/:: OdOO /u// dnod ootu tt:o ::Ot OO': //oO ddt/ ou:d tnOu :o'o Otot /:t: dO:O o'O' td/d :uou Onto /o:t dtO: o:/O tOo' :/td Od:u /uOo dn/t ooo: tttO :::/ OOOd ///u ddoo outt tn:: :oOO Ot// /:od dOtu o':o tdOt :u/: OnoO /ot/ dt:d o:Ou tO'o :/ot Odt: /u:O dnO' oo'd ttou ::to OO:t //O: dd/O ouo' tntd :o:u OtOo /:/t dOo: o'tO td:/ :uOd On/u /ooo dttt o::: tOOO :/// Odod /utu dn:o ooOt tt/: ::oO OOt/ //:d ddOu ou/o tnot :ot: Ot:O /:O' dO'd o'ou tdto :u:t OnO: /o'O dto' o:td tO:u :/Oo Od/t /uo: dntO oo:/ ttOd ::/u OOoo //tt dd:: ouOO tn// :ood Ottu /::o dOOt o'/: tdoO :ut/ On:d /oOu dt/o o:ot tOt: :/:O OdO' /u/d dnou ooto tt:t ::O: OO'O //o' ddtd ou:u tnOo :o't Oto: /:tO dO:/ o'Od td/u :uoo Ontt /o:: dtOO o:// tOod :/tu Od:o /uOt dn/: oooO ttt/ :::d OOOu ///o ddot out: tn:O :oO' Ot/d /:ou dOto o':t tdO: :u/O Ono' /otd dt:u o:Oo tO't :/o: OdtO /u:/ dnOd oo'u ttoo ::tt OO:: //OO dd// ouod tntu :o:o OtOt /:/: dOoO o't/ td:d :uOu On/o /oot dtt: o::O tOO' ://d Odou /uto dn:t ooO: tt/O ::o' OOtd //:u ddOo ou/t tno: :otO Ot:/ /:Od dO'u o'oo tdtt :u:: OnOO /o'/ dtod o:tu tO:o :/Ot Od/: /uoO dnt/ oo:d ttOu ::/o OOot //t: dd:O ouO' tn/d :oou Otto /::t dOO: o'/O tdo' :utd On:u /oOo dt/t o:o: tOtO :/:/ OdOd /u/u dnoo oott tt:: ::OO OO'/ //od ddtu ou:o tnOt :o': OtoO /:t/ dO:d o'Ou td/o :uot Ont: /o:O dtO' o:/d tOou :/to Od:t /uO: dn/O ooo' tttd :::u OOOo ///t ddo: outO tn:/ :oOd Ot/u /:oo dOtt o':: tdOO :u// Onod /otu dt:o o:Ot tO': :/oO Odt/ /u:d dnOu oo'o ttot ::t: OO:O //O' dd/d ouou tnto :o:t OtO: /:/O dOo' o'td td:u :uOo On/t /oo: dttO o::/ tOOd ://u Odoo /utt dn:: ooOO tt// ::od OOtu //:o ddOt ou/: tnoO :ot/ Ot:d /:Ou dO'o o'ot tdt: :u:O OnO' /o'd dtou o:to tO:t :/O: Od/O /uo' dntd oo:u ttOo ::/t OOo: //tO dd:/ ouOd tn/u :ooo Ottt /::: dOOO o'// tdod :utu On:o /oOt dt/: o:oO tOt/ :/:d OdOu /u/o dnot oot: tt:O ::O' OO'd //ou ddto ou:t tnO: :o'O Oto' /:td dO:u o'Oo td/t :uo: OntO /o:/ dtOd o:/u tOoo :/tt Od:: /uOO dn// oood tttu :::o OOOt ///: ddoO out/ tn:d :oOu Ot/o /:ot dOt: o':O tdO' :u/d Onou /oto dt:t o:O: tO'O :/o' Odtd /u:u dnOo oo't tto: ::tO OO:/ //Od dd/u ouoo tntt :o:: OtOO /:// dOod o'tu td:o :uOt On/: /ooO dtt/ o::d tOOu ://o Odot /ut: dn:O ooO' tt/d ::ou OOto //:t ddO: ou/O tno' :otd Ot:u /:Oo dO't o'o: tdtO :u:/ OnOd /o'u dtoo o:tt tO:: :/OO Od// /uod dntu oo:o ttOt ::/: OOoO //t/ dd:d ouOu tn/o :oot Ott: /::O dOO' o'/d tdou :uto On:t /oO: dt/O o:o' tOtd :/:u OdOo /u/t dno: ootO tt:/ ::Od OO'u //oo ddtt ou:: tnOO :o'/ Otod /:tu dO:o o'Ot td/: :uoO Ont/ /o:d dtOu o:/o tOot :/t: Od:O /uO' dn/d ooou ttto :::t OOO: ///O ddo' outd tn:u :oOo Ot/t /:o: dOtO o':/ tdOd :u/u Onoo /ott dt:: o:OO tO'/ :/od Odtu /u:o dnOt oo': ttoO ::t/ OO:d //Ou dd/o ouot tnt: :o:O OtO' /:/d dOou o'to td:t :uO: On/O /oo' dttd o::u tOOo ://t Odo: /utO dn:/ ooOd tt/u ::oo OOtt //:: ddOO ou// tnod :otu Ot:o /:Ot dO': o'oO tdt/ :u:d OnOu /o'o dtot o:t: tO:O :/O' Od/d /uou dnto oo:t ttO: ::/O OOo' //td dd:u ouOo tn/t :oo: OttO /::/ dOOd o'/u tdoo :utt On:: /oOO dt// o:od tOtu :/:o OdOt /u/: dnoO oot/ tt:d ::Ou OO'o //ot ddt: ou:O tnO' :o'd Otou /:to dO:t o'O: td/O :uo' Ontd /o:u dtOo o:/t tOo: :/tO Od:/ /uOd dn/u tttt :::: OOOO //// dddd uutu tn:n :gOt Ot/: /:dO dOt/ u/:d tdOu :u/n Ondt /gt: dt:O u:O' tO'd :/du Odtn /u:t dnO: ug/O ttd/ ::td OO:u //On dd/t uud: tntO :g:/ OtOd /:/u dOdn u/tt td:: :uOO On// /gdd dttu u::n tOOt ://: OddO /ut/ dn:d ugOu tt/n ::dt OOt: //:O ddO' uu/d tndu :gtn Ot:t /:O: dO'O u/d/ tdtd :u:u OnOn /g/t dtd: u:tO tO:/ :/Od Od/u /udn dntt ug:: ttOO ::// OOdd //tu dd:n uuOt tn/: :gdO Ott/ /::d dOOu u//n tddt :ut: On:O /gO' dt/d u:du tOtn :/:t OdO: /u/O dnd/ ugtd tt:u ::On OO't //d: ddtO uu:/ tnOd :g/u Otdn /:tt dO:: u/OO td// :udd Ontu /g:n dtOt u:/: tOdO :/t/ Od:d /uOu dn/n ugdt ttt: :::O OOO' ///d dddu uutn tn:t :gO: Ot/O /:d/ dOtd u/:u tdOn :u/t Ond: /gtO dt:/ u:Od tO'u :/dn Odtt /u:: dnOO ug// ttdd ::tu OO:n //Ot dd/: uudO tnt/ :g:d OtOu /:/n dOdt u/t: td:O :uO' On/d /gdu dttn u::t tOO: ://O Odd/ /utd dn:u ugOn tt/t ::d: OOtO //:/ ddOd uu/u tndn :gtt Ot:: /:OO dO'/ u/dd tdtu :u:n OnOt /g/: dtdO u:t/ tO:d :/Ou Od/n /udt dnt: ug:O ttO' ::/d OOdu //tn dd:t uuO: tn/O :gd/ Ottd /::u dOOn u//t tdd: :utO On:/ /gOd dt/u u:dn tOtt :/:: OdOO /u// dndd ugtu tt:n ::Ot OO': //dO ddt/ uu:d tnOu :g/n Otdt /:t: dO:O u/O' td/d :udu Ontn /g:t dtO: u:/O tOd/ :/td Od:u /uOn dn/t ugd: tttO :::/ OOOd ///u dddn uutt tn:: :gOO Ot// /:dd dOtu u/:n tdOt :u/: OndO /gt/ dt:d u:Ou tO'n :/dt Odt: /u:O dnO' ug/d ttdu ::tn OO:t //O: dd/O uud/ tntd :g:u OtOn /:/t dOd: u/tO td:/ :uOd On/u /gdn dttt u::: tOOO :/// Oddd /utu dn:n ugOt tt/: ::dO OOt/ //:d ddOu uu/n tndt :gt: Ot:O /:O' dO'd u/du tdtn :u:t OnO: /g/O dtd/ u:td tO:u :/On Od/t /ud: dntO ug:/ ttOd ::/u OOdn //tt dd:: uuOO tn// :gdd Ottu /::n dOOt u//: tddO :ut/ On:d /gOu dt/n u:dt tOt: :/:O OdO' /u/d dndu ugtn tt:t ::O: OO'O //d/ ddtd uu:u tnOn :g/t Otd: /:tO dO:/ u/Od td/u :udn Ontt /g:: dtOO u:// tOdd :/tu Od:n /uOt dn/: ugdO ttt/ :::d OOOu ///n dddt uut: tn:O :gO' Ot/d /:du dOtn u/:t tdO: :u/O Ond/ /gtd dt:u u:On tO't :/d: OdtO /u:/ dnOd ug/u ttdn ::tt OO:: //OO dd// uudd tntu :g:n OtOt /:/: dOdO u/t/ td:d :uOu On/n /gdt dtt: u::O tOO' ://d Oddu /utn dn:t ugO: tt/O ::d/ OOtd //:u ddOn uu/t tnd: :gtO Ot:/ /:Od dO'u u/dn tdtt :u:: OnOO /g// dtdd u:tu tO:n :/Ot Od/: /udO dnt/ ug:d ttOu ::/n OOdt //t: dd:O uuO' tn/d :gdu Ottn /::t dOO: u//O tdd/ :utd On:u /gOn dt/t u:d: tOtO :/:/ OdOd /u/u dndn ugtt tt:: ::OO OO'/ //dd ddtu uu:n tnOt :g/: OtdO /:t/ dO:d u/Ou td/n :udt Ont: /g:O dtO' u:/d tOdu :/tn Od:t /uO: dn/O ugd/ tttd :::u OOOn ///t ddd: uutO tn:/ :gOd Ot/u /:dn dOtt u/:: tdOO :u// Ondd /gtu dt:n u:Ot tO': :/dO Odt/ /u:d dnOu ug/n ttdt ::t: OO:O //O' dd/d uudu tntn :g:t OtO: /:/O dOd/ u/td td:u :uOn On/t /gd: dttO u::/ tOOd ://u Oddn /utt dn:: ugOO tt// ::dd OOtu //:n ddOt uu/: tndO :gt/ Ot:d /:Ou dO'n u/dt tdt: :u:O OnO' /g/d dtdu u:tn tO:t :/O: Od/O /ud/ dntd ug:u ttOn ::/t OOd: //tO dd:/ uuOd tn/u :gdn Ottt /::: dOOO u/// tddd :utu On:n /gOt dt/: u:dO tOt/ :/:d OdOu /u/n dndt ugt: tt:O ::O' OO'd //du ddtn uu:t tnO: :g/O Otd/ /:td dO:u u/On td/t :ud: OntO /g:/ dtOd u:/u tOdn :/tt Od:: /uOO dn// ugdd tttu :::n OOOt ///: dddO uut/ tn:d :gOu Ot/n /:dt dOt: u/:O tdO' :u/d Ondu /gtn dt:t u:O: tO'O :/d/ Odtd /u:u dnOn ug/t ttd: ::tO OO:/ //Od dd/u uudn tntt :g:: OtOO /:// dOdd u/tu td:n :uOt On/: /gdO dtt/ u::d tOOu ://n Oddt /ut: dn:O ugO' tt/d ::du OOtn //:t ddO: uu/O tnd/ :gtd Ot:u /:On dO't u/d: tdtO :u:/ OnOd /g/u dtdn u:tt tO:: :/OO Od// /udd dntu ug:n ttOt ::/: OOdO //t/ dd:d uuOu tn/n :gdt Ott: /::O dOO' u//d tddu :utn On:t /gO: dt/O u:d/ tOtd :/:u OdOn /u/t dnd: ugtO tt:/ ::Od OO'u //dn ddtt uu:: tnOO :g// Otdd /:tu dO:n u/Ot td/: :udO Ont/ /g:d dtOu u:/n tOdt :/t: Od:O /uO' dn/d ugdu tttn :::t OOO: ///O ddd/ uutd tn:u :gOn Ot/t /:d: dOtO u/:/ tdOd :u/u Ondn /gtt dt:: u:OO tO'/ :/dd Odtu /u:n dnOt ug/: ttdO ::t/ OO:d //Ou dd/n uudt tnt: :g:O OtO' /:/d dOdu u/tn td:t :uO: On/O /gd/ dttd u::u tOOn ://t Odd: /utO dn:/ ugOd tt/u ::dn OOtt //:: ddOO uu// tndd :gtu Ot:n /:Ot dO': u/dO tdt/ :u:d OnOu /g/n dtdt u:t: tO:O :/O' Od/d /udu dntn ug:t ttO: ::/O OOd/ //td dd:u uuOn tn/t :gd: OttO /::/ dOOd u//u tddn :utt On:: /gOO dt// u:dd tOtu :/:n OdOt /u/: dndO ugt/ tt:d ::Ou OO'n //dt ddt: uu:O tnO' :g/d Otdu /:tn dO:t u/O: td/O :ud/ Ontd /g:u dtOn u:/t tOd: :/tO Od:/ /uOd dn/u ugdn :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! :::: OOOO //// dddd uuuu nn:n :gOg O!/! /:d: dOuO u/:/ ndOd :u/u Ondn /gug d!:! u:O: nO'O :/d/ Odud /u:u dnOn ug/g n!d! ::u: OO:O //O' dd/d uudu nnun :g:g O!O! /:/: dOdO u/u/ nd:d :uOu On/n /gdg d!u! u::: nOOO :/// Oddd /uuu dn:n ugOg n!/! ::d: OOuO //:/ ddOd uu/u nndn :gug O!:! /:O: dO'O u/d/ ndud :u:u OnOn /g/g d!d! u:u: nO:O :/O' Od/d /udu dnun ug:g n!O! ::/: OOdO //u/ dd:d uuOu nn/n :gdg O!u! /::: dOOO u/// nddd :uuu On:n /gOg d!/! u:d: nOuO :/:/ OdOd /u/u dndn ugug n!:! ::O: OO'O //d/ ddud uu:u nnOn :g/g O!d! /:u: dO:O u/O' nd/d :udu Onun /g:g d!O! u:/: nOdO :/u/ Od:d /uOu dn/n ugdg n!u! OOOO //// dddd uuuu nnnn gggg O!!! /-O- dO'O u/d/ ndud gunu Ongn /g!g d!O! u-/- nOdO g/u/ Odnd /ugu dn!n ugOg n!/! g-d- OOuO //n/ ddgd uu!u nnOn gg/g O!d! /-u- dOnO u/g/ nd!d guOu On/n /gdg d!u! u-n- nOgO g/!/ OdOd /u/u dndn ugug n!n! g-g- OO!O //O' dd/d uudu nnun ggng O!g! /-!- dOOO u/// nddd guuu Onnn /ggg d!!! u-O- nO'O g/d/ Odud /unu dngn ug!g n!O! g-/- OOdO //u/ ddnd uugu nn!n ggOg O!/! /-d- dOuO u/n/ ndgd gu!u OnOn /g/g d!d! u-u- nOnO g/g/ Od!d /uOu dn/n ugdg n!u! g-n- OOgO //!/ ddOd uu/u nndn ggug O!n! /-g- dO!O u/O' nd/d gudu Onun /gng d!g! u-!- nOOO g/// Oddd /uuu dnnn uggg n!!! g-O- OO'O //d/ ddud uunu nngn gg!g O!O! /-/- dOdO u/u/ ndnd gugu On!n /gOg d!/! u-d- nOuO g/n/ Odgd /u!u dnOn ug/g n!d! g-u- OOnO //g/ dd!d uuOu nn/n ggdg O!u! /-n- dOgO u/!/ ndOd gu/u Ondn /gug d!n! u-g- nO!O g/O' Od/d /udu dnun ugng n!g! g-!- OOOO //// dddd uuuu nnnn gggg O!!! /-O- dO'O u/d/ ndud gunu Ongn /g!g d!O! u-/- nOdO g/u/ Odnd /ugu dn!n ugOg n!/! g-d- OOuO //n/ ddgd uu!u nnOn gg/g O!d! /-u- dOnO u/g/ nd!d guOu On/n /gdg d!u! u-n- nOgO g/!/ OdOd /u/u dndn ugug n!n! g-g- OO!O //O' dd/d uudu nnun ggng O!g! /-!- dOOO u/// nddd guuu Onnn /ggg d!!! u-O- nO'O g/d/ Odud /unu dngn ug!g n!O! g-/- OOdO //u/ ddnd uugu nn!n ggOg O!/! /-d- dOuO u/n/ ndgd gu!u OnOn /g/g d!d! u-u- nOnO g/g/ Od!d /uOu dn/n ugdg n!u! g-n- OOgO //!/ ddOd uu/u nndn ggug O!n! /-g- dO!O u/O' nd/d gudu Onun /gng d!g! u-!- nOOO g/// Oddd /uuu dnnn uggg n!!! g-O- OO'O //d/ ddud uunu nngn gg!g O!O! /-/- dOdO u/u/ ndnd gugu On!n /gOg d!/! u-d- nOuO g/n/ Odgd /u!u dnOn ug/g n!d! g-u- OOnO //g/ dd!d uuOu nn/n ggdg O!u! /-n- dOgO u/!/ ndOd gu/u Ondn /gug d!n! u-g- nO!O g/O' Od/d /udu dnun ugng n!g! g-!- OOOO //// dddd uuuu nnnn gggg O!!! /-O- dO'O u/d/ ndud gunu Ongn /g!g d!O! u-/- nOdO g/u/ Odnd /ugu dn!n ugOg n!/! g-d- OOuO //n/ ddgd uu!u nnOn gg/g O!d! /-u- dOnO u/g/ nd!d guOu On/n /gdg d!u! u-n- nOgO g/!/ OdOd /u/u dndn ugug n!n! g-g- OO!O //O' dd/d uudu nnun ggng O!g! /-!- dOOO u/// nddd guuu Onnn /ggg d!!! u-O- nO'O g/d/ Odud /unu dngn ug!g n!O! g-/- OOdO //u/ ddnd uugu nn!n ggOg O!/! /-d- dOuO u/n/ ndgd gu!u OnOn /g/g d!d! u-u- nOnO g/g/ Od!d /uOu dn/n ugdg n!u! g-n- OOgO //!/ ddOd uu/u nndn ggug O!n! /-g- dO!O u/O' nd/d gudu Onun /gng d!g! u-!- nOOO g/// Oddd /uuu dnnn uggg n!!! g-O- OO'O //d/ ddud uunu nngn gg!g O!O! /-/- dOdO u/u/ ndnd gugu On!n /gOg d!/! u-d- nOuO g/n/ Odgd /u!u dnOn ug/g n!d! g-u- OOnO //g/ dd!d uuOu nn/n ggdg O!u! /-n- dOgO u/!/ ndOd gu/u Ondn /gug d!n! u-g- nO!O g/O' Od/d /udu dnun ugng n!g! g-!- OOOO //// dddd uuuu nnnn gggg O!!! /-O- dO'O u/d/ ndud gunu Ongn /g!g d!O! u-/- nOdO g/u/ Odnd /ugu dn!n ugOg n!/! g-d- OOuO //n/ ddgd uu!u nnOn gg/g O!d! /-u- dOnO u/g/ nd!d guOu On/n /gdg d!u! u-n- nOgO g/!/ OdOd /u/u dndn ugug n!n! g-g- OO!O //O' dd/d uudu nnun ggng O!g! /-!- dOOO u/// nddd guuu Onnn /ggg d!!! u-O- nO'O g/d/ Odud /unu dngn ug!g n!O! g-/- OOdO //u/ ddnd uugu nn!n ggOg O!/! /-d- dOuO u/n/ ndgd gu!u OnOn /g/g d!d! u-u- nOnO g/g/ Od!d /uOu dn/n ugdg n!u! g-n- OOgO //!/ ddOd uu/u nndn ggug O!n! /-g- dO!O u/O' nd/d gudu Onun /gng d!g! u-!- nOOO g/// Oddd /uuu dnnn uggg n!!! g-O- OO'O //d/ ddud uunu nngn gg!g O!O! /-/- dOdO u/u/ ndnd gugu On!n /gOg d!/! u-d- nOuO g/n/ Odgd /u!u dnOn ug/g n!d! g-u- OOnO //g/ dd!d uuOu nn/n ggdg O!u! /-n- dOgO u/!/ ndOd gu/u Ondn /gug d!n! u-g- nO!O g/O' Od/d /udu dnun ugng n!g! g-!- OOOO //// dddd uuuu nnnn gggg O!!! /-O- dO'O u/d/ ndud gunu Ongn /g!g d!O! u-/- nOdO g/u/ Odnd /ugu dn!n ugOg n!/! g-d- OOuO //n/ ddgd uu!u nnOn gg/g O!d! /-u- dOnO u/g/ nd!d guOu On/n /gdg d!u! u-n- nOgO g/!/ OdOd /u/u dndn ugug n!n! g-g- OO!O //O' dd/d uudu nnun ggng O!g! /-!- dOOO u/// nddd guuu Onnn /ggg d!!! u-O- nO'O g/d/ Odud /unu dngn ug!g n!O! g-/- OOdO //u/ ddnd uugu nn!n ggOg O!/! /-d- dOuO u/n/ ndgd gu!u OnOn /g/g d!d! u-u- nOnO g/g/ Od!d /uOu dn/n ugdg n!u! g-n- OOgO //!/ ddOd uu/u nndn ggug O!n! /-g- dO!O u/O' nd/d gudu Onun /gng d!g! u-!- nOOO g/// Oddd /uuu dnnn uggg n!!! g-O- OO'O //d/ ddud uunu nngn gg!g O!O! /-/- dOdO u/u/ ndnd gugu On!n /gOg d!/! u-d- nOuO g/n/ Odgd /u!u dnOn ug/g n!d! g-u- OOnO //g/ dd!d uuOu nn/n ggdg O!u! /-n- dOgO u/!/ ndOd gu/u Ondn /gug d!n! u-g- nO!O g/O' Od/d /udu dnun ugng n!g! g-!- //// dddd uuuu nnnn gggg !!!! //-- dd/- uud/ nnud ggnu !!gn //!g dd-! uu/- nnd- ggu/ !!nd //gu dd!n uu-g nn/! ggd- !!u- //n/ ddgd uu!u nn-n gg/g !!d! //u- ddn- uug/ nn!d gg-u !!/n //dg ddu! uun- nng- gg!/ !!-d ///u dddn uuug nnn! ggg- !!!- //-/ dd/d uudu nnun ggng !!g! //!- dd-- uu// nndd gguu !!nn //gg dd!! uu-- nn/- ggd/ !!ud //nu ddgn uu!g nn-! gg/- !!d- //u/ ddnd uugu nn!n gg-g !!/! //d- ddu- uun/ nngd gg!u !!-n ///g ddd! uuu- nnn- ggg/ !!!d //-u dd/n uudg nnu! ggn- !!g- //!/ dd-d uu/u nndn ggug !!n! //g- dd!- uu-/ nn/d ggdu !!un //ng ddg! uu!- nn-- gg// !!dd //uu ddnn uugg nn!! gg-- !!/- //d/ ddud uunu nngn gg!g !!-! ///- ddd- uuu/ nnnd gggu !!!n //-g dd/! uud- nnu- ggn/ !!gd //!u dd-n uu/g nnd! ggu- !!n- //g/ dd!d uu-u nn/n ggdg !!u! //n- ddg- uu!/ nn-d gg/u !!dn //ug ddn! uug- nn!- gg-/ !!/d //du ddun uung nng! gg!- !!-- //// dddd uuuu nnnn gggg !!!! //-- dd/- uud/ nnud ggnu !!gn //!g dd-! uu/- nnd- ggu/ !!nd //gu dd!n uu-g nn/! ggd- !!u- //n/ ddgd uu!u nn-n gg/g !!d! //u- ddn- uug/ nn!d gg-u !!/n //dg ddu! uun- nng- gg!/ !!-d ///u dddn uuug nnn! ggg- !!!- //-/ dd/d uudu nnun ggng !!g! //!- dd-- uu// nndd gguu !!nn //gg dd!! uu-- nn/- ggd/ !!ud //nu ddgn uu!g nn-! gg/- !!d- //u/ ddnd uugu nn!n gg-g !!/! //d- ddu- uun/ nngd gg!u !!-n ///g ddd! uuu- nnn- ggg/ !!!d //-u dd/n uudg nnu! ggn- !!g- //!/ dd-d uu/u nndn ggug !!n! //g- dd!- uu-/ nn/d ggdu !!un //ng ddg! uu!- nn-- gg// !!dd //uu ddnn uugg nn!! gg-- !!/- //d/ ddud uunu nngn gg!g !!-! ///- ddd- uuu/ nnnd gggu !!!n //-g dd/! uud- nnu- ggn/ !!gd //!u dd-n uu/g nnd! ggu- !!n- //g/ dd!d uu-u nn/n ggdg !!u! //n- ddg- uu!/ nn-d gg/u !!dn //ug ddn! uug- nn!- gg-/ !!/d //du ddun uung nng! gg!- !!-- //// dddd uuuu nnnn gggg !!!! //-- dd/- uud/ nnud ggnu !!gn //!g dd-! uu/- nnd- ggu/ !!nd //gu dd!n uu-g nn/! ggd- !!u- //n/ ddgd uu!u nn-n gg/g !!d! //u- ddn- uug/ nn!d gg-u !!/n //dg ddu! uun- nng- gg!/ !!-d ///u dddn uuug nnn! ggg- !!!- //-/ dd/d uudu nnun ggng !!g! //!- dd-- uu// nndd gguu !!nn //gg dd!! uu-- nn/- ggd/ !!ud //nu ddgn uu!g nn-! gg/- !!d- //u/ ddnd uugu nn!n gg-g !!/! //d- ddu- uun/ nngd gg!u !!-n ///g ddd! uuu- nnn- ggg/ !!!d //-u dd/n uudg nnu! ggn- !!g- //!/ dd-d uu/u nndn ggug !!n! //g- dd!- uu-/ nn/d ggdu !!un //ng ddg! uu!- nn-- gg// !!dd //uu ddnn uugg nn!! gg-- !!/- //d/ ddud uunu nngn gg!g !!-! ///- ddd- uuu/ nnnd gggu !!!n //-g dd/! uud- nnu- ggn/ !!gd //!u dd-n uu/g nnd! ggu- !!n- //g/ dd!d uu-u nn/n ggdg !!u! //n- ddg- uu!/ nn-d gg/u !!dn //ug ddn! uug- nn!- gg-/ !!/d //du ddun uung nng! gg!- !!-- //// dddd uuuu nnnn gggg !!!! //-- dd/- uud/ nnud ggnu !!gn //!g dd-! uu/- nnd- ggu/ !!nd //gu dd!n uu-g nn/! ggd- !!u- //n/ ddgd uu!u nn-n gg/g !!d! //u- ddn- uug/ nn!d gg-u !!/n //dg ddu! uun- nng- gg!/ !!-d ///u dddn uuug nnn! ggg- !!!- //-/ dd/d uudu nnun ggng !!g! //!- dd-- uu// nndd gguu !!nn //gg dd!! uu-- nn/- ggd/ !!ud //nu ddgn uu!g nn-! gg/- !!d- //u/ ddnd uugu nn!n gg-g !!/! //d- ddu- uun/ nngd gg!u !!-n ///g ddd! uuu- nnn- ggg/ !!!d //-u dd/n uudg nnu! ggn- !!g- //!/ dd-d uu/u nndn ggug !!n! //g- dd!- uu-/ nn/d ggdu !!un //ng ddg! uu!- nn-- gg// !!dd //uu ddnn uugg nn!! gg-- !!/- //d/ ddud uunu nngn gg!g !!-! ///- ddd- uuu/ nnnd gggu !!!n //-g dd/! uud- nnu- ggn/ !!gd //!u dd-n uu/g nnd! ggu- !!n- //g/ dd!d uu-u nn/n ggdg !!u! //n- ddg- uu!/ nn-d gg/u !!dn //ug ddn! uug- nn!- gg-/ !!/d //du ddun uung nng! gg!- !!-- //// dddd uuuu nnnn gggg !!!! //-- dd/- uud/ nnud ggnu !!gn //!g dd-! uu/- nnd- ggu/ !!nd //gu dd!n uu-g nn/! ggd- !!u- //n/ ddgd uu!u nn-n gg/g !!d! //u- ddn- uug/ nn!d gg-u !!/n //dg ddu! uun- nng- gg!/ !!-d ///u dddn uuug nnn! ggg- !!!- //-/ dd/d uudu nnun ggng !!g! //!- dd-- uu// nndd gguu !!nn //gg dd!! uu-- nn/- ggd/ !!ud //nu ddgn uu!g nn-! gg/- !!d- //u/ ddnd uugu nn!n gg-g !!/! //d- ddu- uun/ nngd gg!u !!-n ///g ddd! uuu- nnn- ggg/ !!!d //-u dd/n uudg nnu! ggn- !!g- //!/ dd-d uu/u nndn ggug !!n! //g- dd!- uu-/ nn/d ggdu !!un //ng ddg! uu!- nn-- gg// !!dd //uu ddnn uugg nn!! gg-- !!/- //d/ ddud uunu nngn gg!g !!-! ///- ddd- uuu/ nnnd gggu !!!n //-g dd/! uud- nnu- ggn/ !!gd //!u dd-n uu/g nnd! ggu- !!n- //g/ dd!d uu-u nn/n ggdg !!u! //n- ddg- uu!/ nn-d gg/u !!dn //ug ddn! uug- nn!- gg-/ !!/d //du ddun uung nng! gg!- !!-- dddd uuuu nnnn gggg !!!! d--- ud-- nud- gnud !gnu d!gn u-!g nd-! gu-- !nd- dgu- u!nd n-gu gd!n !u-g dn-! ugd- n!u- g-n- !dgd du!u un-n ng-g g!d! !-u- ddn- uug- nn!d gg-u !!-n d-dg udu! nun- gng- !g!- d!-d u--u nddn guug !nn! dgg- u!!- n--- gd-d !udu dnun ugng n!g! g-!- !d-- du-- undd nguu g!nn !-gg dd!! uu-- nn-- ggd- !!ud d-nu udgn nu!g gn-! !g-- d!d- u-u- ndnd gugu !n!n dg-g u!-! n-d- gdu- !un- dngd ug!u n!-n g--g !dd! duu- unn- ngg- g!!d !--u dd-n uudg nnu! ggn- !!g- d-!- ud-d nu-u gndn !gug d!n! u-g- nd!- gu-- !n-d dgdu u!un n-ng gdg! !u!- dn-- ug-- n!dd g-uu !dnn dugg un!! ng-- g!-- !-d- ddud uunu nngn gg!g !!-! d--- udd- nuu- gnnd !ggu d!!n u--g nd-! gud- !nu- dgn- u!gd n-!u gd-n !u-g dnd! ugu- n!n- g-g- !d!d du-u un-n ngdg g!u! !-n- ddg- uu!- nn-d gg-u !!dn d-ug udn! nug- gn!- !g-- d!-d u-du ndun gung !ng! dg!- u!-- n--- gddd !uuu dnnn uggg n!!! g--- !d-- dud- unud ngnu g!gn !-!g dd-! uu-- nnd- ggu- !!nd d-gu ud!n nu-g gn-! !gd- d!u- u-n- ndgd gu!u !n-n dg-g u!d! n-u- gdn- !ug- dn!d ug-u n!-n g-dg !du! dun- ung- ng!- g!-d !--u dddn uuug nnn! ggg- !!!- d--- ud-d nudu gnun !gng d!g! u-!- nd-- gu-- !ndd dguu u!nn n-gg gd!! !u-- dn-- ugd- n!ud g-nu !dgn du!g un-! ng-- g!d- !-u- ddnd uugu nn!n gg-g !!-! d-d- udu- nun- gngd !g!u d!-n u--g ndd! guu- !nn- dgg- u!!d n--u gd-n !udg dnu! ugn- n!g- g-!- !d-d du-u undn ngug g!n! !-g- dd!- uu-- nn-d ggdu !!un d-ng udg! nu!- gn-- !g-- d!dd u-uu ndnn gugg !n!! dg-- u!-- n-d- gdud !unu dngn ug!g n!-! g--- !dd- duu- unnd nggu g!!n !--g dd-! uud- nnu- ggn- !!gd d-!u ud-n nu-g gnd! !gu- d!n- u-g- nd!d gu-u !n-n dgdg u!u! n-n- gdg- !u!- dn-d ug-u n!dn g-ug !dn! dug- un!- ng-- g!-d !-du ddun uung nng! gg!- !!-- d--- uddd nuuu gnnn !ggg d!!! u--- nd-- gud- !nud dgnu u!gn n-!g gd-! !u-- dnd- ugu- n!nd g-gu !d!n du-g un-! ngd- g!u- !-n- ddgd uu!u nn-n gg-g !!d! d-u- udn- nug- gn!d !g-u d!-n u-dg ndu! gun- !ng- dg!- u!-d n--u gddn !uug dnn! ugg- n!!- g--- !d-d dudu unun ngng g!g! !-!- dd-- uu-- nndd gguu !!nn d-gg ud!! nu-- gn-- !gd- d!ud u-nu ndgn gu!g !n-! dg-- u!d- n-u- gdnd !ugu dn!n ug-g n!-! g-d- !du- dun- ungd ng!u g!-n !--g ddd! uuu- nnn- ggg- !!!d d--u ud-n nudg gnu! !gn- d!g- u-!- nd-d gu-u !ndn dgug u!n! n-g- gd!- !u-- dn-d ugdu n!un g-ng !dg! du!- un-- ng-- g!dd !-uu ddnn uugg nn!! gg-- !!-- d-d- udud nunu gngn !g!g d!-! u--- ndd- guu- !nnd dggu u!!n n--g gd-! !ud- dnu- ugn- n!gd g-!u !d-n du-g und! ngu- g!n- !-g- dd!d uu-u nn-n ggdg !!u! d-n- udg- nu!- gn-d !g-u d!dn u-ug ndn! gug- !n!- dg-- u!-d n-du gdun !ung dng! ug!- n!-- g--- !ddd duuu unnn nggg g!!! !--- dd-- uud- nnud ggnu !!gn d-!g ud-! nu-- gnd- !gu- d!nd u-gu nd!n gu-g !n-! dgd- u!u- n-n- gdgd !u!u dn-n ug-g n!d! g-u- !dn- dug- un!d ng-u g!-n !-dg ddu! uun- nng- gg!- !!-d d--u uddn nuug gnn! !gg- d!!- u--- nd-d gudu !nun dgng u!g! n-!- gd-- !u-- dndd uguu n!nn g-gg !d!! du-- un-- ngd- g!ud !-nu ddgn uu!g nn-! gg-- !!d- d-u- udnd nugu gn!n !g-g d!-! u-d- ndu- gun- !ngd dg!u u!-n n--g gdd! !uu- dnn- ugg- n!!d g--u !d-n dudg unu! ngn- g!g- !-!- dd-d uu-u nndn ggug !!n! d-g- ud!- nu-- gn-d !gdu d!un u-ng ndg! gu!- !n-- dg-- u!dd n-uu gdnn !ugg dn!! ug-- n!-- g-d- !dud dunu ungn ng!g g!-! !--- ddd- uuu- nnnd gggu !!!n d--g ud-! nud- gnu- !gn- d!gd u-!u nd-n gu-g !nd! dgu- u!n- n-g- gd!d !u-u dn-n ugdg n!u! g-n- !dg- du!- un-d ng-u g!dn !-ug ddn! uug- nn!- gg-- !!-d d-du udun nung gng! !g!- d!-- u--- nddd guuu !nnn dggg u!!! n--- gd-- !ud- dnud ugnu n!gn g-!g !d-! du-- und- ngu- g!nd !-gu dd!n uu-g nn-! ggd- !!u- d-n- udgd nu!u gn-n !g-g d!d! u-u- ndn- gug- !n!d dg-u u!-n n-dg gdu! !un- dng- ug!- n!-d g--u !ddn duug unn! ngg- g!!- !--- dd-d uudu nnun ggng !!g! d-!- ud-- nu-- gndd !guu d!nn u-gg nd!! gu-- !n-- dgd- u!ud n-nu gdgn !u!g dn-! ug-- n!d- g-u- !dnd dugu un!n ng-g g!-! !-d- ddu- uun- nngd gg!u !!-n d--g udd! nuu- gnn- !gg- d!!d u--u nd-n gudg !nu! dgn- u!g- n-!- gd-d !u-u dndn ugug n!n! g-g- !d!- du-- un-d ngdu g!un !-ng ddg! uu!- nn-- gg-- !!dd d-uu udnn nugg gn!! !g-- d!-- u-d- ndud gunu !ngn dg!g u!-! n--- gdd- !uu- dnnd uggu n!!n g--g !d-! dud- unu- ngn- g!gd !-!u dd-n uu-g nnd! ggu- !!n- d-g- ud!d nu-u gn-n !gdg d!u! u-n- ndg- gu!- !n-d dg-u u!dn n-ug gdn! !ug- dn!- ug-- n!-d g-du !dun dung ung! ng!- g!-- !--- uuuu nnnn gggg !!!! ---- u--- nu-- gnu- !gnu -!gn u-!g n--! gu-- !n-- -gu- u!n- n-gu g-!n !u-g -n-! ug-- n!u- g-n- !-g- -u!u un-n ng-g g!-! !-u- --n- uug- nn!- gg-u !!-n ---g u-u! nun- gng- !g!- -!-- u--u n--n guug !nn! -gg- u!!- n--- g--- !u-u -nun ugng n!g! g-!- !--- -u-- un-- nguu g!nn !-gg --!! uu-- nn-- gg-- !!u- --nu u-gn nu!g gn-! !g-- -!-- u-u- n-n- gugu !n!n -g-g u!-! n--- g-u- !un- -ng- ug!u n!-n g--g !--! -uu- unn- ngg- g!!- !--u ---n uu-g nnu! ggn- !!g- --!- u--- nu-u gn-n !gug -!n! u-g- n-!- gu-- !n-- -g-u u!un n-ng g-g! !u!- -n-- ug-- n!-- g-uu !-nn -ugg un!! ng-- g!-- !--- --u- uunu nngn gg!g !!-! ---- u--- nuu- gnn- !ggu -!!n u--g n--! gu-- !nu- -gn- u!g- n-!u g--n !u-g -n-! ugu- n!n- g-g- !-!- -u-u un-n ng-g g!u! !-n- --g- uu!- nn-- gg-u !!-n --ug u-n! nug- gn!- !g-- -!-- u--u n-un gung !ng! -g!- u!-- n--- g--- !uuu -nnn uggg n!!! g--- !--- -u-- unu- ngnu g!gn !-!g ---! uu-- nn-- ggu- !!n- --gu u-!n nu-g gn-! !g-- -!u- u-n- n-g- gu!u !n-n -g-g u!-! n-u- g-n- !ug- -n!- ug-u n!-n g--g !-u! -un- ung- ng!- g!-- !--u ---n uuug nnn! ggg- !!!- ---- u--- nu-u gnun !gng -!g! u-!- n--- gu-- !n-- -guu u!nn n-gg g-!! !u-- -n-- ug-- n!u- g-nu !-gn -u!g un-! ng-- g!-- !-u- --n- uugu nn!n gg-g !!-! ---- u-u- nun- gng- !g!u -!-n u--g n--! guu- !nn- -gg- u!!- n--u g--n !u-g -nu! ugn- n!g- g-!- !--- -u-u un-n ngug g!n! !-g- --!- uu-- nn-- gg-u !!un --ng u-g! nu!- gn-- !g-- -!-- u-uu n-nn gugg !n!! -g-- u!-- n--- g-u- !unu -ngn ug!g n!-! g--- !--- -uu- unn- nggu g!!n !--g ---! uu-- nnu- ggn- !!g- --!u u--n nu-g gn-! !gu- -!n- u-g- n-!- gu-u !n-n -g-g u!u! n-n- g-g- !u!- -n-- ug-u n!-n g-ug !-n! -ug- un!- ng-- g!-- !--u --un uung nng! gg!- !!-- ---- u--- nuuu gnnn !ggg -!!! u--- n--- gu-- !nu- -gnu u!gn n-!g g--! !u-- -n-- ugu- n!n- g-gu !-!n -u-g un-! ng-- g!u- !-n- --g- uu!u nn-n gg-g !!-! --u- u-n- nug- gn!- !g-u -!-n u--g n-u! gun- !ng- -g!- u!-- n--u g--n !uug -nn! ugg- n!!- g--- !--- -u-u unun ngng g!g! !-!- ---- uu-- nn-- gguu !!nn --gg u-!! nu-- gn-- !g-- -!u- u-nu n-gn gu!g !n-! -g-- u!-- n-u- g-n- !ugu -n!n ug-g n!-! g--- !-u- -un- ung- ng!u g!-n !--g ---! uuu- nnn- ggg- !!!- ---u u--n nu-g gnu! !gn- -!g- u-!- n--- gu-u !n-n -gug u!n! n-g- g-!- !u-- -n-- ug-u n!un g-ng !-g! -u!- un-- ng-- g!-- !-uu --nn uugg nn!! gg-- !!-- ---- u-u- nunu gngn !g!g -!-! u--- n--- guu- !nn- -ggu u!!n n--g g--! !u-- -nu- ugn- n!g- g-!u !--n -u-g un-! ngu- g!n- !-g- --!- uu-u nn-n gg-g !!u! --n- u-g- nu!- gn-- !g-u -!-n u-ug n-n! gug- !n!- -g-- u!-- n--u g-un !ung -ng! ug!- n!-- g--- !--- -uuu unnn nggg g!!! !--- ---- uu-- nnu- ggnu !!gn --!g u--! nu-- gn-- !gu- -!n- u-gu n-!n gu-g !n-! -g-- u!u- n-n- g-g- !u!u -n-n ug-g n!-! g-u- !-n- -ug- un!- ng-u g!-n !--g --u! uun- nng- gg!- !!-- ---u u--n nuug gnn! !gg- -!!- u--- n--- gu-u !nun -gng u!g! n-!- g--- !u-- -n-- uguu n!nn g-gg !-!! -u-- un-- ng-- g!u- !-nu --gn uu!g nn-! gg-- !!-- --u- u-n- nugu gn!n !g-g -!-! u--- n-u- gun- !ng- -g!u u!-n n--g g--! !uu- -nn- ugg- n!!- g--u !--n -u-g unu! ngn- g!g- !-!- ---- uu-u nn-n ggug !!n! --g- u-!- nu-- gn-- !g-u -!un u-ng n-g! gu!- !n-- -g-- u!-- n-uu g-nn !ugg -n!! ug-- n!-- g--- !-u- -unu ungn ng!g g!-! !--- ---- uuu- nnn- gggu !!!n ---g u--! nu-- gnu- !gn- -!g- u-!u n--n gu-g !n-! -gu- u!n- n-g- g-!- !u-u -n-n ug-g n!u! g-n- !-g- -u!- un-- ng-u g!-n !-ug --n! uug- nn!- gg-- !!-- ---u u-un nung gng! !g!- -!-- u--- n--- guuu !nnn -ggg u!!! n--- g--- !u-- -nu- ugnu n!gn g-!g !--! -u-- un-- ngu- g!n- !-gu --!n uu-g nn-! gg-- !!u- --n- u-g- nu!u gn-n !g-g -!-! u-u- n-n- gug- !n!- -g-u u!-n n--g g-u! !un- -ng- ug!- n!-- g--u !--n -uug unn! ngg- g!!- !--- ---- uu-u nnun ggng !!g! --!- u--- nu-- gn-- !guu -!nn u-gg n-!! gu-- !n-- -g-- u!u- n-nu g-gn !u!g -n-! ug-- n!-- g-u- !-n- -ugu un!n ng-g g!-! !--- --u- uun- nng- gg!u !!-n ---g u--! nuu- gnn- !gg- -!!- u--u n--n gu-g !nu! -gn- u!g- n-!- g--- !u-u -n-n ugug n!n! g-g- !-!- -u-- un-- ng-u g!un !-ng --g! uu!- nn-- gg-- !!-- --uu u-nn nugg gn!! !g-- -!-- u--- n-u- gunu !ngn -g!g u!-! n--- g--- !uu- -nn- uggu n!!n g--g !--! -u-- unu- ngn- g!g- !-!u ---n uu-g nn-! ggu- !!n- --g- u-!- nu-u gn-n !g-g -!u! u-n- n-g- gu!- !n-- -g-u u!-n n-ug g-n! !ug- -n!- ug-- n!-- g--u !-un -ung ung! ng!- g!-- !--- ---- nnnn gggg !!!! ---- ---- n--- gn-- !gn- -!gn --!g n--! g--- !n-- -g-- -!n- n-g- g-!n !--g -n-! -g-- n!-- g-n- !-g- --!- -n-n ng-g g!-! !--- --n- --g- nn!- gg-- !!-n ---g ---! n-n- gng- !g!- -!-- ---- n--n g--g !nn! -gg- -!!- n--- g--- !--- -n-n -gng n!g! g-!- !--- ---- -n-- ng-- g!nn !-gg --!! ---- nn-- gg-- !!-- --n- --gn n-!g gn-! !g-- -!-- ---- n-n- g-g- !n!n -g-g -!-! n--- g--- !-n- -ng- -g!- n!-n g--g !--! ---- -nn- ngg- g!!- !--- ---n ---g nn-! ggn- !!g- --!- ---- n--- gn-n !g-g -!n! --g- n-!- g--- !n-- -g-- -!-n n-ng g-g! !-!- -n-- -g-- n!-- g--- !-nn --gg -n!! ng-- g!-- !--- ---- --n- nngn gg!g !!-! ---- ---- n--- gnn- !gg- -!!n ---g n--! g--- !n-- -gn- -!g- n-!- g--n !--g -n-! -g-- n!n- g-g- !-!- ---- -n-n ng-g g!-! !-n- --g- --!- nn-- gg-- !!-n ---g --n! n-g- gn!- !g-- -!-- ---- n--n g-ng !ng! -g!- -!-- n--- g--- !--- -nnn -ggg n!!! g--- !--- ---- -n-- ngn- g!gn !-!g ---! ---- nn-- gg-- !!n- --g- --!n n--g gn-! !g-- -!-- --n- n-g- g-!- !n-n -g-g -!-! n--- g-n- !-g- -n!- -g-- n!-n g--g !--! --n- -ng- ng!- g!-- !--- ---n ---g nnn! ggg- !!!- ---- ---- n--- gn-n !gng -!g! --!- n--- g--- !n-- -g-- -!nn n-gg g-!! !--- -n-- -g-- n!-- g-n- !-gn --!g -n-! ng-- g!-- !--- --n- --g- 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-uug !--n g--u n-!- u!g! -gng -nun -u-u ---- !-!! g-gg n!nn uguu -n-- -u-! --!g --gn !-nu g!u- ng-! un-g -u!n --gu --n- --u! !!-g gg-n nn!u uug- --n! --ug ---n -!-u !g!- gng! nung u-un ---u ---- -!!! -ggg !nnn guuu n--- u--! --!g -!gn -gnu -nu- !u-! g--g n-!n u-gu -!n- -gu! -n-g -u-n !-!u g-g- n-n! u!ug -g-n -n-u -u!- --g! !-ng g-un n!-u ug-- -n!! -ugg --nn --uu !--- g!-! ng!g ungn -unu --u- ---! ---g !!!n gggu nnn- uuu! ---g ---n --!u -!g- !gn! gnug nu-n u--u --!- --g! -!ng -gun !n-u gu-- n-!! u-gg --nn -!uu -g-- -n-! !u!g g-gn n-nu u-u- -!-! -g-g -n!n -ugu !-n- g-u! n--g u!-n -g!u -ng- -un! --ug !--n g--u n!!- ugg! -nng -uun ---u ---- !-!! g!gg ngnn unuu -u-- ---! --!g --gn !!nu ggu- nn-! uu-g --!n --gu --n- -!u! !g-g gn-n nu!u u-g- --n! --ug -!-n -g-u !n!- gug! n-ng u-un ---u -!-- -g!! -ngg !unn g-uu n--- u--! -!!g -ggn -nnu -uu- !--! g--g n-!n u!gu -gn- -nu! -u-g ---n !-!u g-g- n!n! ugug -n-n -u-u --!- --g! !-ng g!un ng-u un-- -u!! --gg --nn --uu !!-- gg-! nn!g uugn --nu --u- ---! -!-g !g!n gngu nun- u-u! ---g ---n -!!u -gg- !nn! guug n--n u--u --!- -!g! -gng -nun !u-u g--- n-!! u-gg -!nn -guu -n-- -u-! !-!g g-gn n-nu u!u- -g-! -n-g -u!n --gu !-n- g-u! n!-g ug-n -n!u -ug- --n! --ug !--n g!-u ng!- ung! -ung --un ---u ---- !!!! gggg nnnn uuuu ---! --!g -!gn !gnu gnud nud! ud-g d-!n --gu -!nd -gu! !ndg gu-n nd!u u-gd d-n! -!ug -gdn -n-u !u!d gdg! n-ng u-un d!du -g-d -n!! -ugg !dnn g-uu n-dd u!-! dg!g -ngn -unu -dud !-d! g--g n!!n uggu dnnd -uu! -ddg ---n !-!u g!gd ngn! unug dudn -d-u --!d --g! !!ng ggun nndu uu-d dd!! --gg --nn -!uu !gdd gn-! nu!g udgn d-nu --ud -!d! -g-g !n!n gugu ndnd u-u! d-dg -!-n -g!u -ngd !un! gdug n-dn u--u d!!d -gg! -nng -uun !ddu g--d n-!! u!gg dgnn -nuu -udd -d-! !-!g g-gn n!nu ugud dnd! -u-g -d!n --gu !-nd g!u! ngdg un-n du!u -dgd --n! --ug !!dn gg-u nn!d uug! ddng --un --du -!-d !g!! gngg nunn uduu d-dd ---! -!!g -ggn !nnu guud ndd! u--g d-!n -!gu -gnd -nu! !udg gd-n n-!u u-gd d!n! -gug -ndn -u-u !d!d g-g! n-ng u!un dgdu -n-d -u!! -dgg !-nn g-uu n!dd ug-! dn!g -ugn -dnu --ud !-d! g!-g ng!n ungu dund -du! --dg ---n !!!u gggd nnn! uuug dddn ---u --!d -!g! !gng gnun nudu ud-d d-!! --gg -!nn -guu !ndd gu-! nd!g u-gn d-nu -!ud -gd! -n-g !u!n gdgu n-nd u-u! d!dg -g-n -n!u -ugd !dn! g-ug n-dn u!-u dg!d -ng! -ung -dun !-du g--d n!!! uggg dnnn -uuu -ddd ---! !-!g g!gn ngnu unud dud! -d-g --!n --gu !!nd ggu! nndg uu-n dd!u --gd --n! -!ug !gdn gn-u nu!d udg! d-ng --un -!du -g-d !n!! gugg ndnn u-uu d-dd -!-! -g!g -ngn !unu gdud n-d! u--g d!!n -ggu -nnd -uu! !ddg g--n n-!u u!gd dgn! -nug -udn -d-u !-!d g-g! n!ng ugun dndu -u-d -d!! --gg !-nn g!uu ngdd un-! du!g -dgn --nu --ud !!d! gg-g nn!n uugu ddnd --u! --dg -!-n !g!u gngd nun! udug d-dn ---u -!!d -gg! !nng guun nddu u--d d-!! -!gg -gnn -nuu !udd gd-! n-!g u-gn d!nu -gud -nd! -u-g !d!n g-gu n-nd u!u! dgdg -n-n -u!u -dgd !-n! g-ug n!dn ug-u dn!d -ug! -dng --un !-du g!-d ng!! ungg dunn -duu --dd ---! !!!g gggn nnnu uuud ddd! ---g --!n -!gu !gnd gnu! nudg ud-n d-!u --gd -!n! -gug !ndn gu-u nd!d u-g! d-ng -!un -gdu -n-d !u!! gdgg n-nn u-uu d!dd -g-! -n!g -ugn !dnu g-ud n-d! u!-g dg!n -ngu -und -du! !-dg g--n n!!u uggd dnn! -uug -ddn ---u !-!d g!g! ngng unun dudu -d-d --!! --gg !!nn gguu nndd uu-! dd!g --gn --nu -!ud !gd! gn-g nu!n udgu d-nd --u! -!dg -g-n !n!u gugd ndn! u-ug d-dn -!-u -g!d -ng! !ung gdun n-du u--d d!!! -ggg -nnn -uuu !ddd g--! n-!g u!gn dgnu -nud -ud! -d-g !-!n g-gu n!nd ugu! dndg -u-n -d!u --gd !-n! g!ug ngdn un-u du!d -dg! --ng --un !!du gg-d nn!! uugg ddnn --uu --dd -!-! !g!g gngn nunu udud d-d! ---g -!!n -ggu !nnd guu! nddg u--n d-!u -!gd -gn! -nug !udn gd-u n-!d u-g! d!ng -gun -ndu -u-d !d!! g-gg n-nn u!uu dgdd -n-! -u!g -dgn !-nu g-ud n!d! ug-g dn!n -ugu -dnd --u! !-dg g!-n ng!u ungd dun! -dug --dn ---u !!!d ggg! nnng uuun dddu ---d --!! -!gg !gnn gnuu nudd ud-! d-!g --gn -!nu -gud !nd! gu-g nd!n u-gu d-nd -!u! -gdg -n-n !u!u gdgd n-n! u-ug d!dn -g-u -n!d -ug! !dng g-un n-du u!-d dg!! -ngg -unn -duu !-dd g--! n!!g uggn dnnu -uud -dd! ---g !-!n g!gu ngnd unu! dudg -d-n --!u --gd !!n! ggug nndn uu-u dd!d --g! --ng -!un !gdu gn-d nu!! udgg d-nn --uu -!dd -g-! !n!g gugn ndnu u-ud d-d! -!-g -g!n -ngu !und gdu! n-dg u--n d!!u -ggd -nn! -uug !ddn g--u n-!d u!g! dgng -nun -udu -d-d !-!! g-gg n!nn uguu dndd -u-! -d!g --gn !-nu g!ud ngd! un-g du!n -dgu --nd --u! !!dg gg-n nn!u uugd ddn! --ug --dn -!-u !g!d gng! nung udun d-du ---d -!!! -ggg !nnn guuu nddd u--! d-!g -!gn -gnu -nud !ud! gd-g n-!n u-gu d!nd -gu! -ndg -u-n !d!u g-gd n-n! u!ug dgdn -n-u -u!d -dg! !-ng g-un n!du ug-d dn!! -ugg -dnn --uu !-dd g!-! ng!g ungn dunu -dud --d! ---g !!!n gggu nnnd uuu! dddg ---n --!u -!gd !gn! gnug nudn ud-u d-!d --g! -!ng -gun !ndu gu-d nd!! u-gg d-nn -!uu -gdd -n-! !u!g gdgn n-nu u-ud d!d! -g-g -n!n -ugu !dnd g-u! n-dg u!-n dg!u -ngd -un! -dug !-dn g--u n!!d ugg! dnng -uun -ddu ---d !-!! g!gg ngnn unuu dudd -d-! --!g --gn !!nu ggud nnd! uu-g dd!n --gu --nd -!u! !gdg gn-n nu!u udgd d-n! --ug -!dn -g-u !n!d gug! ndng u-un d-du -!-d -g!! -ngg !unn gduu n-dd u--! d!!g -ggn -nnu -uud !dd! g--g n-!n u!gu dgnd -nu! -udg -d-n !-!u g-gd n!n! ugug dndn -u-u -d!d --g! !-ng g!un ngdu un-d du!! -dgg --nn --uu !!dd gg-! nn!g uugn ddnu --ud --d! -!-g !g!n gngu nund udu! d-dg ---n -!!u -ggd !nn! guug nddn u--u d-!d -!g! -gng -nun !udu gd-d n-!! u-gg d!nn -guu -ndd -u-! !d!g g-gn n-nu u!ud dgd! -n-g -u!n -dgu !-nd g-u! n!dg ug-n dn!u -ugd -dn! --ug !-dn g!-u ng!d ung! dung -dun --du ---d !!!! gggg nnnn uuuu dddd --!! -!gg !gnn gnuu nudd ud// d/!! /-gg -!nn -guu !ndd gu// nd!! u/gg d-nn /!uu -gdd -n// !u!! gdgg n/nn u-uu d!dd /g// -n!! -ugg !dnn g/uu n-dd u!// dg!! /ngg -unn -duu !/dd g-// n!!! uggg dnnn /uuu -ddd -/// !-!! g!gg ngnn unuu dudd /d// -/!! --gg !!nn gguu nndd uu// dd!! //gg --nn -!uu !gdd gn// nu!! udgg d/nn /-uu -!dd -g// !n!! gugg ndnn u/uu d-dd /!// -g!! -ngg !unn gduu n/dd u-// d!!! /ggg -nnn -uuu !ddd g/// n-!! u!gg dgnn /nuu -udd -d// !/!! g-gg n!nn uguu dndd /u// -d!! -/gg !-nn g!uu ngdd un// du!! /dgg -/nn --uu !!dd gg// nn!! uugg ddnn //uu --dd -!// !g!! gngg nunn uduu d/dd /-// -!!! -ggg !nnn guuu nddd u/// d-!! /!gg -gnn -nuu !udd gd// n/!! u-gg d!nn /guu -ndd -u// !d!! g/gg n-nn u!uu dgdd /n// -u!! -dgg !/nn g-uu n!dd ug// dn!! /ugg -dnn -/uu !-dd g!// ng!! ungg dunn /duu -/dd --// !!!! gggg nnnn uuuu dddd //// --!! -!gg !gnn gnuu nudd ud// d/!! /-gg -!nn -guu !ndd gu// nd!! u/gg d-nn /!uu -gdd -n// !u!! gdgg n/nn u-uu d!dd /g// -n!! -ugg !dnn g/uu n-dd u!// dg!! /ngg -unn -duu !/dd g-// n!!! uggg dnnn /uuu -ddd -/// !-!! g!gg ngnn unuu dudd /d// -/!! --gg !!nn gguu nndd uu// dd!! //gg --nn -!uu !gdd gn// nu!! udgg d/nn /-uu -!dd -g// !n!! gugg ndnn u/uu d-dd /!// -g!! -ngg !unn gduu n/dd u-// d!!! /ggg -nnn -uuu !ddd g/// n-!! u!gg dgnn /nuu -udd -d// !/!! g-gg n!nn uguu dndd /u// -d!! -/gg !-nn g!uu ngdd un// du!! /dgg -/nn --uu !!dd gg// nn!! uugg ddnn //uu --dd -!// !g!! gngg nunn uduu d/dd /-// -!!! -ggg !nnn guuu nddd u/// d-!! /!gg -gnn -nuu !udd gd// n/!! u-gg d!nn /guu -ndd -u// !d!! g/gg n-nn u!uu dgdd /n// -u!! -dgg !/nn g-uu n!dd ug// dn!! /ugg -dnn -/uu !-dd g!// ng!! ungg dunn /duu -/dd --// !!!! gggg nnnn uuuu dddd //// --!! -!gg !gnn gnuu nudd ud// d/!! /-gg -!nn -guu !ndd gu// nd!! u/gg d-nn /!uu -gdd -n// !u!! gdgg n/nn u-uu d!dd /g// -n!! -ugg !dnn g/uu n-dd u!// dg!! /ngg -unn -duu !/dd g-// n!!! uggg dnnn /uuu -ddd -/// !-!! g!gg ngnn unuu dudd /d// -/!! --gg !!nn gguu nndd uu// dd!! //gg --nn -!uu !gdd gn// nu!! udgg d/nn /-uu -!dd -g// !n!! gugg ndnn u/uu d-dd /!// -g!! -ngg !unn gduu n/dd u-// d!!! /ggg -nnn -uuu !ddd g/// n-!! u!gg dgnn /nuu -udd -d// !/!! g-gg n!nn uguu dndd /u// -d!! -/gg !-nn g!uu ngdd un// du!! /dgg -/nn --uu !!dd gg// nn!! uugg ddnn //uu --dd -!// !g!! gngg nunn uduu d/dd /-// -!!! -ggg !nnn guuu nddd u/// d-!! /!gg -gnn -nuu !udd gd// n/!! u-gg d!nn /guu -ndd -u// !d!! g/gg n-nn u!uu dgdd /n// -u!! -dgg !/nn g-uu n!dd ug// dn!! /ugg -dnn -/uu !-dd g!// ng!! ungg dunn /duu -/dd --// !!!! gggg nnnn uuuu dddd //// --!! -!gg !gnn gnuu nudd ud// d/!! /-gg -!nn -guu !ndd gu// nd!! u/gg d-nn /!uu -gdd -n// !u!! gdgg n/nn u-uu d!dd /g// -n!! -ugg !dnn g/uu n-dd u!// dg!! /ngg -unn -duu !/dd g-// n!!! uggg dnnn /uuu -ddd -/// !-!! g!gg ngnn unuu dudd /d// -/!! --gg !!nn gguu nndd uu// dd!! //gg --nn -!uu !gdd gn// nu!! udgg d/nn /-uu -!dd -g// !n!! gugg ndnn u/uu d-dd /!// -g!! -ngg !unn gduu n/dd u-// d!!! /ggg -nnn -uuu !ddd g/// n-!! u!gg dgnn /nuu -udd -d// !/!! g-gg n!nn uguu dndd /u// -d!! -/gg !-nn g!uu ngdd un// du!! /dgg -/nn --uu !!dd gg// nn!! uugg ddnn //uu --dd -!// !g!! gngg nunn uduu d/dd /-// -!!! -ggg !nnn guuu nddd u/// d-!! /!gg -gnn -nuu !udd gd// n/!! u-gg d!nn /guu -ndd -u// !d!! g/gg n-nn u!uu dgdd /n// -u!! -dgg !/nn g-uu n!dd ug// dn!! /ugg -dnn -/uu !-dd g!// ng!! ungg dunn /duu -/dd --// !!!! gggg nnnn uuuu dddd //// --!! -!gg !gnn gnuu nudd ud// d/!! /-gg -!nn -guu !ndd gu// nd!! u/gg d-nn /!uu -gdd -n// !u!! gdgg n/nn u-uu d!dd /g// -n!! -ugg !dnn g/uu n-dd u!// dg!! /ngg -unn -duu !/dd g-// n!!! uggg dnnn /uuu -ddd -/// !-!! g!gg ngnn unuu dudd /d// -/!! --gg !!nn gguu nndd uu// dd!! //gg --nn -!uu !gdd gn// nu!! udgg d/nn /-uu -!dd -g// !n!! gugg ndnn u/uu d-dd /!// -g!! -ngg !unn gduu n/dd u-// d!!! /ggg -nnn -uuu !ddd g/// n-!! u!gg dgnn /nuu -udd -d// !/!! g-gg n!nn uguu dndd /u// -d!! -/gg !-nn g!uu ngdd un// du!! /dgg -/nn --uu !!dd gg// nn!! uugg ddnn //uu --dd -!// !g!! gngg nunn uduu d/dd /-// -!!! -ggg !nnn guuu nddd u/// d-!! /!gg -gnn -nuu !udd gd// n/!! u-gg d!nn /guu -ndd -u// !d!! g/gg n-nn u!uu dgdd /n// -u!! -dgg !/nn g-uu n!dd ug// dn!! /ugg -dnn -/uu !-dd g!// ng!! ungg dunn /duu -/dd --// !!!! gggg nnnn uuuu dddd //// -!-g !g!n gngu nund udu/ d/dO /O'g O!On -g-u !n!d gug/ ndnO u/ug dOdn /!/u OgOd -n-/ !u!O gdgg n/nn uOuu d!dd /g// OnOO -u-g !d!n g/gu nOnd u!u/ dgdO /n/g OuOn -d-u !/!d gOg/ n!nO ugug dndn /u/u OdOd -/-/ !O!O g!gg ngnn unuu dudd /d// O'OO -O-g !!!n gggu nnnd uuu/ dddO ///g OOOn -!-u !g!d gng/ nunO udug d/dn /O'u O!Od -g-/ !n!O gugg ndnn u/uu dOdd /!// OgOO -n-g !u!n gdgu n/nd uOu/ d!dO /g/g OnOn -u-u !d!d g/g/ nOnO u!ug dgdn /n/u OuOd -d-/ !/!O gOgg n!nn uguu dndd /u// OdOO -/-g !O!n g!gu ngnd unu/ dudO /d/g O'On -O-u !!!d ggg/ nnnO uuug dddn ///u OOOd -!-/ !g!O gngg nunn uduu d/dd /O'/ O!OO -g-g !n!n gugu ndnd u/u/ dOdO /!/g OgOn -n-u !u!d gdg/ n/nO uOug d!dn /g/u OnOd -u-/ !d!O g/gg nOnn u!uu dgdd /n// OuOO -d-g !/!n gOgu n!nd ugu/ dndO /u/g OdOn -/-u !O!d g!g/ ngnO unug dudn /d/u O'Od -O-/ !!!O gggg nnnn uuuu dddd //// OOOO -!-g !g!n gngu nund udu/ d/dO /O'g O!On -g-u !n!d gug/ ndnO u/ug dOdn /!/u OgOd -n-/ !u!O gdgg n/nn uOuu d!dd /g// OnOO -u-g !d!n g/gu nOnd u!u/ dgdO /n/g OuOn -d-u !/!d gOg/ n!nO ugug dndn /u/u OdOd -/-/ !O!O g!gg ngnn unuu dudd /d// O'OO -O-g !!!n gggu nnnd uuu/ dddO ///g OOOn -!-u !g!d gng/ nunO udug d/dn /O'u O!Od -g-/ !n!O gugg ndnn u/uu dOdd /!// OgOO -n-g !u!n gdgu n/nd uOu/ d!dO /g/g OnOn -u-u !d!d g/g/ nOnO u!ug dgdn /n/u OuOd -d-/ !/!O gOgg n!nn uguu dndd /u// OdOO -/-g !O!n g!gu ngnd unu/ dudO /d/g O'On -O-u !!!d ggg/ nnnO uuug dddn ///u OOOd -!-/ !g!O gngg nunn uduu d/dd /O'/ O!OO -g-g !n!n gugu ndnd u/u/ dOdO /!/g OgOn -n-u !u!d gdg/ n/nO uOug d!dn /g/u OnOd -u-/ !d!O g/gg nOnn u!uu dgdd /n// OuOO -d-g !/!n gOgu n!nd ugu/ dndO /u/g OdOn -/-u !O!d g!g/ ngnO unug dudn /d/u O'Od -O-/ !!!O gggg nnnn uuuu dddd //// OOOO -!-g !g!n gngu nund udu/ d/dO /O'g O!On -g-u !n!d gug/ ndnO u/ug dOdn /!/u OgOd -n-/ !u!O gdgg n/nn uOuu d!dd /g// OnOO -u-g !d!n g/gu nOnd u!u/ dgdO /n/g OuOn -d-u !/!d gOg/ n!nO ugug dndn /u/u OdOd -/-/ !O!O g!gg ngnn unuu dudd /d// O'OO -O-g !!!n gggu nnnd uuu/ dddO ///g OOOn -!-u !g!d gng/ nunO udug d/dn /O'u O!Od -g-/ !n!O gugg ndnn u/uu dOdd /!// OgOO -n-g !u!n gdgu n/nd uOu/ d!dO /g/g OnOn -u-u !d!d g/g/ nOnO u!ug dgdn /n/u OuOd -d-/ !/!O gOgg n!nn uguu dndd /u// OdOO -/-g !O!n g!gu ngnd unu/ dudO /d/g O'On -O-u !!!d ggg/ nnnO uuug dddn ///u OOOd -!-/ !g!O gngg nunn uduu d/dd /O'/ O!OO -g-g !n!n gugu ndnd u/u/ dOdO /!/g OgOn -n-u !u!d gdg/ n/nO uOug d!dn /g/u OnOd -u-/ !d!O g/gg nOnn u!uu dgdd /n// OuOO -d-g !/!n gOgu n!nd ugu/ dndO /u/g OdOn -/-u !O!d g!g/ ngnO unug dudn /d/u O'Od -O-/ !!!O gggg nnnn uuuu dddd //// OOOO -!-g !g!n gngu nund udu/ d/dO /O'g O!On -g-u !n!d gug/ ndnO u/ug dOdn /!/u OgOd -n-/ !u!O gdgg n/nn uOuu d!dd /g// OnOO -u-g !d!n g/gu nOnd u!u/ dgdO /n/g OuOn -d-u !/!d gOg/ n!nO ugug dndn /u/u OdOd -/-/ !O!O g!gg ngnn unuu dudd /d// O'OO -O-g !!!n gggu nnnd uuu/ dddO ///g OOOn -!-u !g!d gng/ nunO udug d/dn /O'u O!Od -g-/ !n!O gugg ndnn u/uu dOdd /!// OgOO -n-g !u!n gdgu n/nd uOu/ d!dO /g/g OnOn -u-u !d!d g/g/ nOnO u!ug dgdn /n/u OuOd -d-/ !/!O gOgg n!nn uguu dndd /u// OdOO -/-g !O!n g!gu ngnd unu/ dudO /d/g O'On -O-u !!!d ggg/ nnnO uuug dddn ///u OOOd -!-/ !g!O gngg nunn uduu d/dd /O'/ O!OO -g-g !n!n gugu ndnd u/u/ dOdO /!/g OgOn -n-u !u!d gdg/ n/nO uOug d!dn /g/u OnOd -u-/ !d!O g/gg nOnn u!uu dgdd /n// OuOO -d-g !/!n gOgu n!nd ugu/ dndO /u/g OdOn -/-u !O!d g!g/ ngnO unug dudn /d/u O'Od -O-/ !!!O gggg nnnn uuuu dddd //// OOOO -!-g !g!n gngu nund udu/ d/dO /O'g O!On -g-u !n!d gug/ ndnO u/ug dOdn /!/u OgOd -n-/ !u!O gdgg n/nn uOuu d!dd /g// OnOO -u-g !d!n g/gu nOnd u!u/ dgdO /n/g OuOn -d-u !/!d gOg/ n!nO ugug dndn /u/u OdOd -/-/ !O!O g!gg ngnn unuu dudd /d// O'OO -O-g !!!n gggu nnnd uuu/ dddO ///g OOOn -!-u !g!d gng/ nunO udug d/dn /O'u O!Od -g-/ !n!O gugg ndnn u/uu dOdd /!// OgOO -n-g !u!n gdgu n/nd uOu/ d!dO /g/g OnOn -u-u !d!d g/g/ nOnO u!ug dgdn /n/u OuOd -d-/ !/!O gOgg n!nn uguu dndd /u// OdOO -/-g !O!n g!gu ngnd unu/ dudO /d/g O'On -O-u !!!d ggg/ nnnO uuug dddn ///u OOOd -!-/ !g!O gngg nunn uduu d/dd /O'/ O!OO -g-g !n!n gugu ndnd u/u/ dOdO /!/g OgOn -n-u !u!d gdg/ n/nO uOug d!dn /g/u OnOd -u-/ !d!O g/gg nOnn u!uu dgdd /n// OuOO -d-g !/!n gOgu n!nd ugu/ dndO /u/g OdOn -/-u !O!d g!g/ ngnO unug dudn /d/u O'Od -O-/ !!!O gggg nnnn uuuu dddd //// OOOO !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: !u!n gdgu n/nd uOu/ d:dO /u/: OdOn :/:u !O!d g:g/ nunO udu: d/dn /O'u O:Od :u:/ !d!O g/g: nOnn u:uu dudd /d// O'OO :O:: !:!n gugu ndnd u/u/ dOdO /:/: OuOn :d:u !/!d gOg/ n:nO uuu: dddn ///u OOOd :::/ !u!O gdg: n/nn uOuu d:dd /u// OdOO :/:: !O!n g:gu nund udu/ d/dO /O': O:On :u:u !d!d g/g/ nOnO u:u: dudn /d/u O'Od :O:/ !:!O gug: ndnn u/uu dOdd /:// OuOO :d:: !/!n gOgu n:nd uuu/ dddO ///: OOOn :::u !u!d gdg/ n/nO uOu: d:dn /u/u OdOd :/:/ !O!O g:g: nunn uduu d/dd /O'/ O:OO :u:: !d!n g/gu nOnd u:u/ dudO /d/: O'On :O:u !:!d gug/ ndnO u/u: dOdn /:/u OuOd :d:/ !/!O gOg: n:nn uuuu dddd //// OOOO :::: ndgu u/nd dOu/ /:dO Ot/: :dOt t/:u nOtd u:g/ dtnO /du: O'dt :O'u t:Od nt:/ udtO d/g: /Ont O:uu :tdd td// n/OO uO:: d:tt /tgu Odnd :/u/ tOdO n:/: utOt dd:u //td OOg/ ::nO ttu: nddt u//u dOOd /::/ OttO :dg: t/nt nOuu u:dd dt// /dOO O':: :Ott t:gu ntnd udu/ d/dO /O': O:Ot :t:u tdtd n/g/ uOnO d:u: /tdt Od/u :/Od tO:/ n:tO utg: ddnt //uu OOdd ::// ttOO nd:: u/tt dOgu /:nd Otu/ :ddO t//: nOOt u::u dttd /dg/ O'nO :Ou: t:dt nt/u udOd d/:/ /OtO O:g: :tnt tduu n/dd uO'/ d:OO /t:: Odtt :/gu tOnd n:u/ utdO dd/: //Ot OO:u ::td ttg/ ndnO u/u: dOdt /:/u OtOd :d:/ t/tO nOg: u:nt dtuu /ddd O'// :OOO t::: nttt udgu d/nd /Ou/ O:dO :t/: tdOt n/:u uOtd d:g/ /tnO Odu: :/dt tO'u n:Od ut:/ ddtO //g: OOnt ::uu ttdd nd// u/OO dO:: /:tt Otgu :dnd t/u/ nOdO u:/: dtOt /d:u O'td :Og/ t:nO ntu: uddt d//u /OOd O::/ :ttO tdg: n/nt uOuu d:dd /t// OdOO :/:: tOtt n:gu utnd ddu/ //dO OO': ::Ot tt:u ndtd u/g/ dOnO /:u: Otdt :d/u t/Od nO:/ u:tO dtg: /dnt O'uu :Odd t:// ntOO ud:: d/tt /Ogu O:nd :tu/ tddO n//: uOOt d::u /ttd Odg/ :/nO tOu: n:dt ut/u ddOd //:/ OOtO ::g: ttnt nduu u/dd dO'/ /:OO Ot:: :dtt t/gu nOnd u:u/ dtdO /d/: O'Ot :O:u t:td ntg/ udnO d/u: /Odt O:/u :tOd td:/ n/tO uOg: d:nt /tuu Oddd :/// tOOO n::: uttt ddgu //nd OOu/ ::dO tt/: ndOt u/:u dOtd /:g/ OtnO :du: t/dt nO'u u:Od dt:/ /dtO O'g: :Ont t:uu ntdd ud// d/OO /O:: O:tt :tgu tdnd n/u/ uOdO d:/: /tOt Od:u :/td tOg/ n:nO utu: dddt ///u OOOd :::/ tttO ndg: u/nt dOuu /:dd Ot// :dOO t/:: nOtt u:gu dtnd /du/ O'dO :O': t:Ot nt:u udtd d/g/ /OnO O:u: :tdt td/u n/Od uO:/ d:tO /tg: Odnt :/uu tOdd n:// utOO dd:: //tt OOgu ::nd ttu/ nddO u//: dOOt /::u Ottd :dg/ t/nO nOu: u:dt dt/u /dOd O':/ :OtO t:g: ntnt uduu d/dd /O'/ O:OO :t:: tdtt n/gu uOnd d:u/ /tdO Od/: :/Ot tO:u n:td utg/ ddnO //u: OOdt ::/u ttOd nd:/ u/tO dOg: /:nt Otuu :ddd t/// nOOO u::: dttt /dgu O'nd :Ou/ t:dO nt/: udOt d/:u /Otd O:g/ :tnO tdu: n/dt uO'u d:Od /t:/ OdtO :/g: tOnt n:uu utdd dd// //OO OO:: ::tt ttgu ndnd u/u/ dOdO /:/: OtOt :d:u t/td nOg/ u:nO dtu: /ddt O'/u :OOd t::/ nttO udg: d/nt /Ouu O:dd :t// tdOO n/:: uOtt d:gu /tnd Odu/ :/dO tO': n:Ot ut:u ddtd //g/ OOnO ::u: ttdt nd/u u/Od dO:/ /:tO Otg: :dnt t/uu nOdd u:// dtOO /d:: O'tt :Ogu t:nd ntu/ uddO d//: /OOt O::u :ttd tdg/ n/nO uOu: d:dt /t/u OdOd :/:/ tOtO n:g: utnt dduu //dd OO'/ ::OO tt:: ndtt u/gu dOnd /:u/ OtdO :d/: t/Ot nO:u u:td dtg/ /dnO O'u: :Odt t:/u ntOd ud:/ d/tO /Og: O:nt :tuu tddd n/// uOOO d::: /ttt Odgu :/nd tOu/ n:dO ut/: ddOt //:u OOtd ::g/ ttnO ndu: u/dt dO'u /:Od Ot:/ :dtO t/g: nOnt u:uu dtdd /d// O'OO :O:: t:tt ntgu udnd d/u/ /OdO O:/: :tOt td:u n/td uOg/ d:nO /tu: Oddt ://u tOOd n::/ uttO ddg: //nt OOuu ::dd tt// ndOO u/:: dOtt /:gu Otnd :du/ t/dO nO': u:Ot dt:u /dtd O'g/ :OnO t:u: ntdt ud/u d/Od /O:/ O:tO :tg: tdnt n/uu uOdd d:// /tOO Od:: :/tt tOgu n:nd utu/ dddO ///: OOOt :::u tttd ndg/ u/nO dOu: /:dt Ot/u :dOd t/:/ nOtO u:g: dtnt /duu O'dd :O'/ t:OO nt:: udtt d/gu /Ond O:u/ :tdO td/: n/Ot uO:u d:td /tg/ OdnO :/u: tOdt n:/u utOd dd:/ //tO OOg: ::nt ttuu nddd u/// dOOO /::: Ottt :dgu t/nd nOu/ u:dO dt/: /dOt O':u :Otd t:g/ ntnO udu: d/dt /O'u O:Od :t:/ tdtO n/g: uOnt d:uu /tdd Od// :/OO tO:: n:tt utgu ddnd //u/ OOdO ::/: ttOt nd:u u/td dOg/ /:nO Otu: :ddt t//u nOOd u::/ dttO /dg: O'nt :Ouu t:dd nt// udOO d/:: /Ott O:gu :tnd tdu/ n/dO uO': d:Ot /t:u Odtd :/g/ tOnO n:u: utdt dd/u //Od OO:/ ::tO ttg: ndnt u/uu dOdd /:// OtOO :d:: t/tt nOgu u:nd dtu/ /ddO O'/: :OOt t::u nttd udg/ d/nO /Ou: O:dt :t/u tdOd n/:/ uOtO d:g: /tnt Oduu :/dd tO'/ n:OO ut:: ddtt //gu OOnd ::u/ ttdO nd/: u/Ot dO:u /:td Otg/ :dnO t/u: nOdt u:/u dtOd /d:/ O'tO :Og: t:nt ntuu uddd d/// /OOO O::: :ttt tdgu n/nd uOu/ d:dO /t/: OdOt :/:u tOtd n:g/ utnO ddu: //dt OO'u ::Od tt:/ ndtO u/g: dOnt /:uu Otdd :d// t/OO nO:: u:tt dtgu /dnd O'u/ :OdO t:/: ntOt ud:u d/td /Og/ O:nO :tu: tddt n//u uOOd d::/ /ttO Odg: :/nt tOuu n:dd ut// ddOO //:: OOtt ::gu ttnd ndu/ u/dO dO': /:Ot Ot:u :dtd t/g/ nOnO u:u: dtdt /d/u O'Od :O:/ t:tO ntg: udnt d/uu /Odd O:// :tOO td:: n/tt uOgu d:nd /tu/ OddO ://: tOOt n::u uttd ddg/ //nO OOu: ::dt tt/u ndOd u/:/ dOtO /:g: Otnt :duu t/dd nO'/ u:OO dt:: /dtt O'gu :Ond t:u/ ntdO ud/: d/Ot /O:u O:td :tg/ tdnO n/u: uOdt d:/u /tOd Od:/ :/tO tOg: n:nt utuu dddd //// OOOO :::: tttt u/nd dOu/ /:dO Ot/: :oOt t/:o oOtd u:o' dtnO /ou: O'dt :O'o t:Od ot:/ uotO d/o: /Ont O:uo :tdd to'/ o'OO uO:: d:tt /too Oond :/u/ tOdO o:/: utOt do:o //td OOo' ::nO ttu: oodt u//o dOOd /::/ OttO :oo: t/nt oOuo u:dd dt// /oOO O':: :Ott t:oo otnd uou/ d/dO /O': O:Ot :t:o totd o'o' uOnO d:u: /tdt Oo'o :/Od tO:/ o:tO uto: dont //uo OOdd ::// ttOO oo:: u/tt dOoo /:nd Otu/ :odO t//: oOOt u::o dttd /oo' O'nO :Ou: t:dt ot/o uoOd d/:/ /OtO O:o: :tnt touo o'dd uO'/ d:OO /t:: Oott :/oo tOnd o:u/ utdO do': //Ot OO:o ::td tto' oonO u/u: dOdt /:/o OtOd :o:/ t/tO oOo: u:nt dtuo /odd O'// :OOO t::: ottt uooo d/nd /Ou/ O:dO :t/: toOt o':o uOtd d:o' /tnO Oou: :/dt tO'o o:Od ut:/ dotO //o: OOnt ::uo ttdd oo'/ u/OO dO:: /:tt Otoo :ond t/u/ oOdO u:/: dtOt /o:o O'td :Oo' t:nO otu: uodt d//o /OOd O::/ :ttO too: o'nt uOuo d:dd /t// OoOO :/:: tOtt o:oo utnd dou/ //dO OO': ::Ot tt:o ootd u/o' dOnO /:u: Otdt :o'o t/Od oO:/ u:tO dto: /ont O'uo :Odd t:// otOO uo:: d/tt /Ooo O:nd :tu/ todO o'/: uOOt d::o /ttd Ooo' :/nO tOu: o:dt ut/o doOd //:/ OOtO ::o: ttnt oouo u/dd dO'/ /:OO Ot:: :ott t/oo oOnd u:u/ dtdO /o': O'Ot :O:o t:td oto' uonO d/u: /Odt O:/o :tOd to:/ o'tO uOo: d:nt /tuo Oodd :/// tOOO o::: uttt dooo //nd OOu/ ::dO tt/: ooOt u/:o dOtd /:o' OtnO :ou: t/dt oO'o u:Od dt:/ /otO O'o: :Ont t:uo otdd uo'/ d/OO /O:: O:tt :too tond o'u/ uOdO d:/: /tOt Oo:o :/td tOo' o:nO utu: dodt ///o OOOd :::/ tttO ooo: u/nt dOuo /:dd Ot// :oOO t/:: oOtt u:oo dtnd /ou/ O'dO :O': t:Ot ot:o uotd d/o' /OnO O:u: :tdt to'o o'Od uO:/ d:tO /to: Oont :/uo tOdd o:// utOO do:: //tt OOoo ::nd ttu/ oodO u//: dOOt /::o Ottd :oo' t/nO oOu: u:dt dt/o /oOd O':/ :OtO t:o: otnt uouo d/dd /O'/ O:OO :t:: tott o'oo uOnd d:u/ /tdO Oo': :/Ot tO:o o:td uto' donO //u: OOdt ::/o ttOd oo:/ u/tO dOo: /:nt Otuo :odd t/// oOOO u::: dttt /ooo O'nd :Ou/ t:dO ot/: uoOt d/:o /Otd O:o' :tnO tou: o'dt uO'o d:Od /t:/ OotO :/o: tOnt o:uo utdd do'/ //OO OO:: ::tt ttoo oond u/u/ dOdO /:/: OtOt :o:o t/td oOo' u:nO dtu: /odt O'/o :OOd t::/ ottO uoo: d/nt /Ouo O:dd :t// toOO o':: uOtt d:oo /tnd Oou/ :/dO tO': o:Ot ut:o dotd //o' OOnO ::u: ttdt oo'o u/Od dO:/ /:tO Oto: :ont t/uo oOdd u:// dtOO /o:: O'tt :Ooo t:nd otu/ uodO d//: /OOt O::o :ttd too' o'nO uOu: d:dt /t/o OoOd :/:/ tOtO o:o: utnt douo //dd OO'/ ::OO tt:: oott u/oo dOnd /:u/ OtdO :o': t/Ot oO:o u:td dto' /onO O'u: :Odt t:/o otOd uo:/ d/tO /Oo: O:nt :tuo todd o'// uOOO d::: /ttt Oooo :/nd tOu/ o:dO ut/: doOt //:o OOtd ::o' ttnO oou: u/dt dO'o /:Od Ot:/ :otO t/o: oOnt u:uo dtdd /o'/ O'OO :O:: t:tt otoo uond d/u/ /OdO O:/: :tOt to:o o'td uOo' d:nO /tu: Oodt ://o tOOd o::/ uttO doo: //nt OOuo ::dd tt// ooOO u/:: dOtt /:oo Otnd :ou/ t/dO oO': u:Ot dt:o /otd O'o' :OnO t:u: otdt uo'o d/Od /O:/ O:tO :to: tont o'uo uOdd d:// /tOO Oo:: :/tt tOoo o:nd utu/ dodO ///: OOOt :::o tttd ooo' u/nO dOu: /:dt Ot/o :oOd t/:/ oOtO u:o: dtnt /ouo O'dd :O'/ t:OO ot:: uott d/oo /Ond O:u/ :tdO to': o'Ot uO:o d:td /to' OonO :/u: tOdt o:/o utOd do:/ //tO OOo: ::nt ttuo oodd u/// dOOO /::: Ottt :ooo t/nd oOu/ u:dO dt/: /oOt O':o :Otd t:o' otnO uou: d/dt /O'o O:Od :t:/ totO o'o: uOnt d:uo /tdd Oo'/ :/OO tO:: o:tt utoo dond //u/ OOdO ::/: ttOt oo:o u/td dOo' /:nO Otu: :odt t//o oOOd u::/ dttO /oo: O'nt :Ouo t:dd ot// uoOO d/:: /Ott O:oo :tnd tou/ o'dO uO': d:Ot /t:o Ootd :/o' tOnO o:u: utdt do'o //Od OO:/ ::tO tto: oont u/uo dOdd /:// OtOO :o:: t/tt oOoo u:nd dtu/ /odO O'/: :OOt t::o ottd uoo' d/nO /Ou: O:dt :t/o toOd o':/ uOtO d:o: /tnt Oouo :/dd tO'/ o:OO ut:: dott //oo OOnd ::u/ ttdO oo': u/Ot dO:o /:td Oto' :onO t/u: oOdt u:/o dtOd /o:/ O'tO :Oo: t:nt otuo uodd d/// /OOO O::: :ttt tooo o'nd uOu/ d:dO /t/: OoOt :/:o tOtd o:o' utnO dou: //dt OO'o ::Od tt:/ ootO u/o: dOnt /:uo Otdd :o'/ t/OO oO:: u:tt dtoo /ond O'u/ :OdO t:/: otOt uo:o d/td /Oo' O:nO :tu: todt o'/o uOOd d::/ /ttO Ooo: :/nt tOuo o:dd ut// doOO //:: OOtt ::oo ttnd oou/ u/dO dO': /:Ot Ot:o :otd t/o' oOnO u:u: dtdt /o'o O'Od :O:/ t:tO oto: uont d/uo /Odd O:// :tOO to:: o'tt uOoo d:nd /tu/ OodO ://: tOOt o::o uttd doo' //nO OOu: ::dt tt/o ooOd u/:/ dOtO /:o: Otnt :ouo t/dd oO'/ u:OO dt:: /ott O'oo :Ond t:u/ otdO uo': d/Ot /O:o O:td :to' tonO o'u: uOdt d:/o /tOd Oo:/ :/tO tOo: o:nt utuo dodd //// OOOO :::: tttt oooo dOu/ /:dO Ot/: :oOt to:o oOto o:o' dtoO /ou: Oodt :O'o t:Oo ot:/ ootO doo: /Oot O:uo :tdo to'/ ooOO oO:: d:tt /too Oooo :ou/ tOdO o:/: otOt do:o /oto OOo' ::oO ttu: oodt oo'o dOOo /::/ OttO :oo: toot oOuo o:do dt// /oOO Oo:: :Ott t:oo otoo oou/ dodO /O': O:Ot :t:o toto ooo' oOoO d:u: /tdt Oo'o :oOo tO:/ o:tO oto: doot /ouo OOdo ::// ttOO oo:: oott dOoo /:oo Otu/ :odO to': oOOt o::o dtto /oo' OooO :Ou: t:dt ot/o ooOo do:/ /OtO O:o: :tot touo oodo oO'/ d:OO /t:: Oott :ooo tOoo o:u/ otdO do': /oOt OO:o ::to tto' oooO oou: dOdt /:/o OtOo :o:/ totO oOo: o:ot dtuo /odo Oo'/ :OOO t::: ottt oooo dooo /Ou/ O:dO :t/: toOt oo:o oOto d:o' /toO Oou: :odt tO'o o:Oo ot:/ dotO /oo: OOot ::uo ttdo oo'/ ooOO dO:: /:tt Otoo :ooo tou/ oOdO o:/: dtOt /o:o Ooto :Oo' t:oO otu: oodt do'o /OOo O::/ :ttO too: ooot oOuo d:do /t// OoOO :o:: tOtt o:oo otoo dou/ /odO OO': ::Ot tt:o ooto ooo' dOoO /:u: Otdt :o'o toOo oO:/ o:tO dto: /oot Oouo :Odo t:// otOO oo:: dott /Ooo O:oo :tu/ todO oo': oOOt d::o /tto Ooo' :ooO tOu: o:dt ot/o doOo /o:/ OOtO ::o: ttot oouo oodo dO'/ /:OO Ot:: :ott tooo oOoo o:u/ dtdO /o': OoOt :O:o t:to oto' oooO dou: /Odt O:/o :tOo to:/ ootO oOo: d:ot /tuo Oodo :o'/ tOOO o::: ottt dooo /ooo OOu/ ::dO tt/: ooOt oo:o dOto /:o' OtoO :ou: todt oO'o o:Oo dt:/ /otO Ooo: :Oot t:uo otdo oo'/ doOO /O:: O:tt :too tooo oou/ oOdO d:/: /tOt Oo:o :oto tOo' o:oO otu: dodt /o'o OOOo :::/ tttO ooo: ooot dOuo /:do Ot// :oOO to:: oOtt o:oo dtoo /ou/ OodO :O': t:Ot ot:o ooto doo' /OoO O:u: :tdt to'o ooOo oO:/ d:tO /to: Ooot :ouo tOdo o:// otOO do:: /ott OOoo ::oo ttu/ oodO oo': dOOt /::o Otto :oo' tooO oOu: o:dt dt/o /oOo Oo:/ :OtO t:o: otot oouo dodo /O'/ O:OO :t:: tott oooo oOoo d:u/ /tdO Oo': :oOt tO:o o:to oto' dooO /ou: OOdt ::/o ttOo oo:/ ootO dOo: /:ot Otuo :odo to'/ oOOO o::: dttt /ooo Oooo :Ou/ t:dO ot/: ooOt do:o /Oto O:o' :toO tou: oodt oO'o d:Oo /t:/ OotO :oo: tOot o:uo otdo do'/ /oOO OO:: ::tt ttoo oooo oou/ dOdO /:/: OtOt :o:o toto oOo' o:oO dtu: /odt Oo'o :OOo t::/ ottO ooo: doot /Ouo O:do :t// toOO oo:: oOtt d:oo /too Oou/ :odO tO': o:Ot ot:o doto /oo' OOoO ::u: ttdt oo'o ooOo dO:/ /:tO Oto: :oot touo oOdo o:// dtOO /o:: Oott :Ooo t:oo otu/ oodO do': /OOt O::o :tto too' oooO oOu: d:dt /t/o OoOo :o:/ tOtO o:o: otot douo /odo OO'/ ::OO tt:: oott oooo dOoo /:u/ OtdO :o': toOt oO:o o:to dto' /ooO Oou: :Odt t:/o otOo oo:/ dotO /Oo: O:ot :tuo todo oo'/ oOOO d::: /ttt Oooo :ooo tOu/ o:dO ot/: doOt /o:o OOto ::o' ttoO oou: oodt dO'o /:Oo Ot:/ :otO too: oOot o:uo dtdo /o'/ OoOO :O:: t:tt otoo oooo dou/ /OdO O:/: :tOt to:o ooto oOo' d:oO /tu: Oodt :o'o tOOo o::/ ottO doo: /oot OOuo ::do tt// ooOO oo:: dOtt /:oo Otoo :ou/ todO oO': o:Ot dt:o /oto Ooo' :OoO t:u: otdt oo'o doOo /O:/ O:tO :to: toot oouo oOdo d:// /tOO Oo:: :ott tOoo o:oo otu/ dodO /o': OOOt :::o ttto ooo' oooO dOu: /:dt Ot/o :oOo to:/ oOtO o:o: dtot /ouo Oodo :O'/ t:OO ot:: oott dooo /Ooo O:u/ :tdO to': ooOt oO:o d:to /to' OooO :ou: tOdt o:/o otOo do:/ /otO OOo: ::ot ttuo oodo oo'/ dOOO /::: Ottt :ooo tooo oOu/ o:dO dt/: /oOt Oo:o :Oto t:o' otoO oou: dodt /O'o O:Oo :t:/ totO ooo: oOot d:uo /tdo Oo'/ :oOO tO:: o:tt otoo dooo /ou/ OOdO ::/: ttOt oo:o ooto dOo' /:oO Otu: :odt to'o oOOo o::/ dttO /oo: Ooot :Ouo t:do ot// ooOO do:: /Ott O:oo :too tou/ oodO oO': d:Ot /t:o Ooto :oo' tOoO o:u: otdt do'o /oOo OO:/ ::tO tto: ooot oouo dOdo /:// OtOO :o:: tott oOoo o:oo dtu/ /odO Oo': :OOt t::o otto ooo' dooO /Ou: O:dt :t/o toOo oo:/ oOtO d:o: /tot Oouo :odo tO'/ o:OO ot:: dott /ooo OOoo ::u/ ttdO oo': ooOt dO:o /:to Oto' :ooO tou: oOdt o:/o dtOo /o:/ OotO :Oo: t:ot otuo oodo do'/ /OOO O::: :ttt tooo oooo oOu/ d:dO /t/: OoOt :o:o tOto o:o' otoO dou: /odt OO'o ::Oo tt:/ ootO ooo: dOot /:uo Otdo :o'/ toOO oO:: o:tt dtoo /ooo Oou/ :OdO t:/: otOt oo:o doto /Oo' O:oO :tu: todt oo'o oOOo d::/ /ttO Ooo: :oot tOuo o:do ot// doOO /o:: OOtt ::oo ttoo oou/ oodO dO': /:Ot Ot:o :oto too' oOoO o:u: dtdt /o'o OoOo :O:/ t:tO oto: ooot douo /Odo O:// :tOO to:: oott oOoo d:oo /tu/ OodO :o': tOOt o::o otto doo' /ooO OOu: ::dt tt/o ooOo oo:/ dOtO /:o: Otot :ouo todo oO'/ o:OO dt:: /ott Oooo :Ooo t:u/ otdO oo': doOt /O:o O:to :to' tooO oou: oOdt d:/o /tOo Oo:/ :otO tOo: o:ot otuo dodo /o'/ OOOO :::: tttt oooo oooo /:d/ Ot/O :oO: to:t ofto o:oo ftof /of/ OodO :f/: t:Ot ot:o ooto foof /fo' O:fO :td: to't ooOo of:o f:tf /to' OooO :of: tfdt o:/o otOo fo:f /ot/ OfoO ::o: ttft oodo oo'o ffOf /::/ OttO :oo: toot offo o:do ft/f /oO' Oo:O :ft: t:ot otoo oofo fodf /f// O:OO :t:: tott oooo ofoo f:ff /td/ Oo'O :oO: tf:t o:to otoo foof /of/ OfdO ::/: ttOt oo:o ooto ffof /:o' OtfO :od: to't ofOo o::o fttf /oo' OooO :ff: t:dt ot/o ooOo fo:f /ft/ O:oO :to: toft oodo of/o f:Of /t:/ OotO :oo: tfot o:fo otdo fo'f /oO' Of:O ::t: ttot oooo oofo ffdf /:// OtOO :o:: tott ofoo o:oo ftff /od/ Oo'O :fO: t::t otto oooo foof /ff/ O:dO :t/: toOt oo:o ofto f:of /to' OofO :od: tf/t o:Oo ot:o fotf /oo' OfoO ::f: ttdt oo'o ooOo ff:f /:t/ OtoO :oo: toft ofdo o:/o ftOf /o:/ OotO :fo: t:ot otfo oodo fo'f /fO' O::O :tt: toot oooo offo f:df /t// OoOO :o:: tftt o:oo otoo foff /od/ Of/O ::O: tt:t ooto oooo ffof /:f/ OtdO :o': toOt of:o o:to ftof /oo' OofO :fd: t:/t otOo oo:o fotf /fo' O:oO :tf: todt oo'o ofOo f::f /tt/ OooO :oo: tfft o:do ot/o foOf /o:/ OftO ::o: ttot oofo oodo ff/f /:O' Ot:O :ot: toot ofoo o:fo ftdf /o'/ OoOO :f:: t:tt otoo oooo foff /fd/ O:/O :tO: to:t ooto ofoo f:of /tf/ OodO :o': tfOt o::o otto foof /oo' OffO ::d: tt/t ooOo oo:o fftf /:o' OtoO :of: todt of/o o:Oo ft:f /ot/ OooO :fo: t:ft otdo oo'o foOf /f:/ O:tO :to: toot oofo ofdo f:/f /tO' Oo:O :ot: tfot o:oo otfo fodf /o'/ OfOO :::: tttt oooo oooo ffff /:d/ Ot/O :oO: to:t ofto o:oo ftof /of/ OodO :f/: t:Ot ot:o ooto foof /fo' O:fO :td: to't ooOo of:o f:tf /to' OooO :of: tfdt o:/o otOo fo:f /ot/ OfoO ::o: ttft oodo oo'o ffOf /::/ OttO :oo: toot offo o:do ft/f /oO' Oo:O :ft: t:ot otoo oofo fodf /f// O:OO :t:: tott oooo ofoo f:ff /td/ Oo'O :oO: tf:t o:to otoo foof /of/ OfdO ::/: ttOt oo:o ooto ffof /:o' OtfO :od: to't ofOo o::o fttf /oo' OooO :ff: t:dt ot/o ooOo fo:f /ft/ O:oO :to: toft oodo of/o f:Of /t:/ OotO :oo: tfot o:fo otdo fo'f /oO' Of:O ::t: ttot oooo oofo ffdf /:// OtOO :o:: tott ofoo o:oo ftff /od/ Oo'O :fO: t::t otto oooo foof /ff/ O:dO :t/: toOt oo:o ofto f:of /to' OofO :od: tf/t o:Oo ot:o fotf /oo' OfoO ::f: ttdt oo'o ooOo ff:f /:t/ OtoO :oo: toft ofdo o:/o ftOf /o:/ OotO :fo: t:ot otfo oodo fo'f /fO' O::O :tt: toot oooo offo f:df /t// OoOO :o:: tftt o:oo otoo foff /od/ Of/O ::O: tt:t ooto oooo ffof /:f/ OtdO :o': toOt of:o o:to ftof /oo' OofO :fd: t:/t otOo oo:o fotf /fo' O:oO :tf: todt oo'o ofOo f::f /tt/ OooO :oo: tfft o:do ot/o foOf /o:/ OftO ::o: ttot oofo oodo ff/f /:O' Ot:O :ot: toot ofoo o:fo ftdf /o'/ OoOO :f:: t:tt otoo oooo foff /fd/ O:/O :tO: to:t ooto ofoo f:of /tf/ OodO :o': tfOt o::o otto foof /oo' OffO ::d: tt/t ooOo oo:o fftf /:o' OtoO :of: todt of/o o:Oo ft:f /ot/ OooO :fo: t:ft otdo oo'o foOf /f:/ O:tO :to: toot oofo ofdo f:/f /tO' Oo:O :ot: tfot o:oo otfo fodf /o'/ OfOO :::: tttt oooo oooo ffff /:d/ Ot/O :oO: to:t ofto o:oo ftof /of/ OodO :f/: t:Ot ot:o ooto foof /fo' O:fO :td: to't ooOo of:o f:tf /to' OooO :of: tfdt o:/o otOo fo:f /ot/ OfoO ::o: ttft oodo oo'o ffOf /::/ OttO :oo: toot offo o:do ft/f /oO' Oo:O :ft: t:ot otoo oofo fodf /f// O:OO :t:: tott oooo ofoo f:ff /td/ Oo'O :oO: tf:t o:to otoo foof /of/ OfdO ::/: ttOt oo:o ooto ffof /:o' OtfO :od: to't ofOo o::o fttf /oo' OooO :ff: t:dt ot/o ooOo fo:f /ft/ O:oO :to: toft oodo of/o f:Of /t:/ OotO :oo: tfot o:fo otdo fo'f /oO' Of:O ::t: ttot oooo oofo ffdf /:// OtOO :o:: tott ofoo o:oo ftff /od/ Oo'O :fO: t::t otto oooo foof /ff/ O:dO :t/: toOt oo:o ofto f:of /to' OofO :od: tf/t o:Oo ot:o fotf /oo' OfoO ::f: ttdt oo'o ooOo ff:f /:t/ OtoO :oo: toft ofdo o:/o ftOf /o:/ OotO :fo: t:ot otfo oodo fo'f /fO' O::O :tt: toot oooo offo f:df /t// OoOO :o:: tftt o:oo otoo foff /od/ Of/O ::O: tt:t ooto oooo ffof /:f/ OtdO :o': toOt of:o o:to ftof /oo' OofO :fd: t:/t otOo oo:o fotf /fo' O:oO :tf: todt oo'o ofOo f::f /tt/ OooO :oo: tfft o:do ot/o foOf /o:/ OftO ::o: ttot oofo oodo ff/f /:O' Ot:O :ot: toot ofoo o:fo ftdf /o'/ OoOO :f:: t:tt otoo oooo foff /fd/ O:/O :tO: to:t ooto ofoo f:of /tf/ OodO :o': tfOt o::o otto foof /oo' OffO ::d: tt/t ooOo oo:o fftf /:o' OtoO :of: todt of/o o:Oo ft:f /ot/ OooO :fo: t:ft otdo oo'o foOf /f:/ O:tO :to: toot oofo ofdo f:/f /tO' Oo:O :ot: tfot o:oo otfo fodf /o'/ OfOO :::: tttt oooo oooo ffff O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee O'/O :OO: t::t otto oooo foof effe OeeO ://: tOOt o::o otto foof eooe OffO :ee: t//t oOOo o::o fttf eooe OooO :ff: teet o'/o oOOo f::f ette OooO :oo: tfft oeeo o'/o fOOf e::e OttO :oo: toot offo oeeo f//f eOOe O::O :tt: toot oooo offo feef e//e OOOO :::: tttt oooo oooo ffff eeee :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr :OO: t::t otto oooo foof effe reer :rr: tOOt o::o otto foof eooe rffr :ee: trrt oOOo o::o fttf eooe roor :ff: teet orro oOOo f::f ette roor :oo: tfft oeeo orro fOOf e::e rttr :oo: toot offo oeeo frrf eOOe r::r :tt: toot oooo offo feef erre rOOr :::: tttt oooo oooo ffff eeee rrrr t:ot otfo ooeo forf efae reor arfa taet o:ro otao foof eofe rfer aera trat oaoo o:fo ftef eore roar afoa teft oreo oaro f:af etoe rofr aoea tfrt oeao oroo faff e:ee rtrr aoaa toot offo oeeo frrf eaae r:or atfa toet ooro ofao feof erfe raer a:ra ttat oooo oofo ffef eere rrar aaoa t:ft oteo ooro foaf efoe refr area tart o:ao otoo foff eoee rfrr aeaa trot oafo o:eo ftrf eoae roor affa teet orro oaao f:of etfe roer aora tfat oeoo orfo faef e:re rtar aooa toft ofeo oero fraf eaoe r:fr atea tort ooao ofoo feff eree rarr a:aa ttot oofo ooeo ffrf eeae rror aafa t:et otro ooao foof effe reer arra taat o:oo otfo foef eore rfar aeoa trft oaeo o:ro ftaf eooe rofr afea tert orao oaoo f:ff etee rorr aoaa tfot oefo oreo farf e:ae rtor aofa toet ofro oeao frof eafe r:er atra toat oooo offo feef erre raar a:oa ttft ooeo ooro ffaf eeoe rrfr aaea t:rt otao oooo foff efee rerr araa taot o:fo oteo forf eoae rfor aefa tret oaro o:ao ftof eofe roer afra teat oroo oafo f:ef etre roar aooa tfft oeeo orro faaf e:oe rtfr aoea tort ofao oeoo frff eaee r:rr ataa toot oofo ofeo ferf erae raor a:fa ttet ooro ooao ffof eefe rrer aara t:at otoo oofo foef efre rear aroa taft o:eo otro foaf eooe rffr aeea trrt oaao o:oo ftff eoee rorr afaa teot orfo oaeo f:rf etae roor aofa tfet oero orao faof e:fe rter aora toat ofoo oefo fref eare r:ar atoa toft ooeo ofro feaf eroe rafr a:ea ttrt ooao oooo ffff eeee rrrr aaaa t:ot otfo ooeo forf efae reor arfa taet o:ro otao foof eofe rfer aera trat oaoo o:fo ftef eore roar afoa teft oreo oaro f:af etoe rofr aoea tfrt oeao oroo faff e:ee rtrr aoaa toot offo oeeo frrf eaae r:or atfa toet ooro ofao feof erfe raer a:ra ttat oooo oofo ffef eere rrar aaoa t:ft oteo ooro foaf efoe refr area tart o:ao otoo foff eoee rfrr aeaa trot oafo o:eo ftrf eoae roor affa teet orro oaao f:of etfe roer aora tfat oeoo orfo faef e:re rtar aooa toft ofeo oero fraf eaoe r:fr atea tort ooao ofoo feff eree rarr a:aa ttot oofo ooeo ffrf eeae rror aafa t:et otro ooao foof effe reer arra taat o:oo otfo foef eore rfar aeoa trft oaeo o:ro ftaf eooe rofr afea tert orao oaoo f:ff etee rorr aoaa tfot oefo oreo farf e:ae rtor aofa toet ofro oeao frof eafe r:er atra toat oooo offo feef erre raar a:oa ttft ooeo ooro ffaf eeoe rrfr aaea t:rt otao oooo foff efee rerr araa taot o:fo oteo forf eoae rfor aefa tret oaro o:ao ftof eofe roer afra teat oroo oafo f:ef etre roar aooa tfft oeeo orro faaf e:oe rtfr aoea tort ofao oeoo frff eaee r:rr ataa toot oofo ofeo ferf erae raor a:fa ttet ooro ooao ffof eefe rrer aara t:at otoo oofo foef efre rear aroa taft o:eo otro foaf eooe rffr aeea trrt oaao o:oo ftff eoee rorr afaa teot orfo oaeo f:rf etae roor aofa tfet oero orao faof e:fe rter aora toat ofoo oefo fref eare r:ar atoa toft ooeo ofro feaf eroe rafr a:ea ttrt ooao oooo ffff eeee rrrr aaaa t:ot otfo ooeo forf efae reor arfa taet o:ro otao foof eofe rfer aera trat oaoo o:fo ftef eore roar afoa teft oreo oaro f:af etoe rofr aoea tfrt oeao oroo faff e:ee rtrr aoaa toot offo oeeo frrf eaae r:or atfa toet ooro ofao feof erfe raer a:ra ttat oooo oofo ffef eere rrar aaoa t:ft oteo ooro foaf efoe refr area tart o:ao otoo foff eoee rfrr aeaa trot oafo o:eo ftrf eoae roor affa teet orro oaao f:of etfe roer aora tfat oeoo orfo faef e:re rtar aooa toft ofeo oero fraf eaoe r:fr atea tort ooao ofoo feff eree rarr a:aa ttot oofo ooeo ffrf eeae rror aafa t:et otro ooao foof effe reer arra taat o:oo otfo foef eore rfar aeoa trft oaeo o:ro ftaf eooe rofr afea tert orao oaoo f:ff etee rorr aoaa tfot oefo oreo farf e:ae rtor aofa toet ofro oeao frof eafe r:er atra toat oooo offo feef erre raar a:oa ttft ooeo ooro ffaf eeoe rrfr aaea t:rt otao oooo foff efee rerr araa taot o:fo oteo forf eoae rfor aefa tret oaro o:ao ftof eofe roer afra teat oroo oafo f:ef etre roar aooa tfft oeeo orro faaf e:oe rtfr aoea tort ofao oeoo frff eaee r:rr ataa toot oofo ofeo ferf erae raor a:fa ttet ooro ooao ffof eefe rrer aara t:at otoo oofo foef efre rear aroa taft o:eo otro foaf eooe rffr aeea trrt oaao o:oo ftff eoee rorr afaa teot orfo oaeo f:rf etae roor aofa tfet oero orao faof e:fe rter aora toat ofoo oefo fref eare r:ar atoa toft ooeo ofro feaf eroe rafr a:ea ttrt ooao oooo ffff eeee rrrr aaaa otfo foeo eorf rfae aebr brfa oaeb fbro etao robf aofe bfer oera frab eabo rbfo atef bore ooar ffba eefb rreo aaro bbaf otbe fofr eoea rfrb aeao brbo oaff fbee etrr roaa aobb bffo oeeo frrf eaae rbbr atfa boeb ooro ffao eebf rrfe aaer bbra otab fobo eofo rfef aere brar oaba fbfb eteo roro aoaf bfbe oefr frea earb rbao atbo boff ooee ffrr eeaa rrbb aafo bbeo otrf foae eobr rffa aeeb brro oaao fbbf etfe roer aora bfab oebo frfo eaef rbre atar boba oofb ffeo eero rraf aabe bbfr otea forb eoao rfbo aeff bree oarr fbaa etbb rofo aoeo 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rs/s gasa -rsr sgag a-r- rsgb gs-/ -a/s srss agsa r-ar gsrg -sg- sa-b ar// rgss g-ss -saa ssrr aagg rr-- gg/b --s/ ssss asas rara grgr -g-g s-/- assb rss/ gaas -rrs sgga a--r rs/g gss- -asb sra/ agrs r-gs gs-a -s/r sasg ars- rgab g-r/ -sgs ss-s aa/a rrsr ggsg --a- ssrb asg/ ra-s gr/s -gsa s-sr asag rsr- gagb -r-/ sg/s a-ss rssa gsar -arg srg- ag-b r-// gsss -sss saaa arrr rggg g--- -s/b sss/ aass rras ggra --gr ss-g as/- rasb grs/ -gas s-rs asga rs-r ga/g -rs- sgsb a-a/ rsrs gsgs -a-a sr/r agsg r-s- gsab -sr/ sags ar-s rg/a g-sr -ssg ssa- aarb rrg/ gg-s --/s sssa assr raag grr- -ggb s--/ as/s rsss gasa -rar sgrg a-g- rs-b gs// -ass srss agaa r-rr gsgg -s-- sa/b ars/ rgss g-as -sra ssgr aa-g rr/- ggsb --s/ ssas asrs raga gr-r -g/g s-s- assb rsa/ gars -rgs sg-a a-/r rssg gss- -aab srr/ aggs r--s gs/a -ssr sasg ara- rgrb g-g/ -s-s ss/s aasa rrsr ggag --r- ssgb as-/ ra/s grss -gsa s-ar asrg rsg- ga-b -r// sgss a-ss rsaa gsrr -agg sr-- ag/b r-s/ gsss -sas sara argr rg-g g-/- -ssb sss/ aaas 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r-ss gssa -sar sarg arg- rg-b g-// -sss ssss aaaa rrrr gggg ---- ass/ rass gras -gra t-gr at-g rst- gast -rs/ tgas a-rs rtga gs-r -atg trs- agst r-a/ gtrs -sgs ta-a artr rgsg g-s- -tat tsr/ aags rr-s ggta --sr ttsg asa- rart grg/ -g-s t-ts atsa rssr gaag -rr- tggt a--/ rtts gsss -asa trar agrg r-g- gt-t -st/ tass arss rgaa g-rr -tgg ts-- aatt rrs/ ggss --as ttra asgr ra-g grt- -gst t-s/ atas rsrs gaga -r-r tgtg a-s- rtst gsa/ -ars trgs ag-a r-tr gtsg -ss- taat arr/ rggs g--s -tta tssr aasg rra- ggrt --g/ tt-s asts rasa grsr -gag t-r- atgt rs-/ gats -rss tgsa a-ar rtrg gsg- -a-t trt/ agss r-ss gtaa -srr tagg ar-- rgtt g-s/ -tss tsas aara rrgr gg-g --t- ttst ass/ raas grrs -gga t--r attg rss- gast -ra/ tgrs a-gs rt-a gstr -asg trs- agat r-r/ gtgs -s-s tata arsr rgsg g-a- -trt tsg/ aa-s rrts ggsa --sr ttag asr- ragt gr-/ -gts t-ss atsa rsar garg -rg- tg-t a-t/ rtss gsss -aaa trrr aggg r--- gttt -ss/ tass aras rgra g-gr -t-g tst- aast rrs/ ggas --rs ttga as-r ratg grs- -gst t-a/ atrs rsgs 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ggaa --rr ttgg as-- ratt grs/ -gss t-as atra rsgr ga-g -rt- tgst a-s/ rtas gsrs -aga tr-r agtg r-s- gtst -sa/ tars args rg-a g-tr -tsg tss- aaat rrr/ gggs ---s ttta assr rasg gra- -grt t-g/ at-s rsts gasa -rsr tgag a-r- rtgt gs-/ -ats trss agsa r-ar gtrg -sg- ta-t art/ rgss g-ss -taa tsrr aagg rr-- ggtt --s/ ttss asas rara grgr -g-g t-t- atst rss/ gaas -rrs tgga a--r rttg gss- -ast tra/ agrs r-gs gt-a -str tasg ars- rgat g-r/ -tgs ts-s aata rrsr ggsg --a- ttrt asg/ ra-s grts -gsa t-sr atag rsr- gagt -r-/ tgts a-ss rtsa gsar -arg trg- ag-t r-t/ gtss -sss taaa arrr rggg g--- -ttt tss/ aass rras ggra --gr tt-g ast- rast grs/ -gas t-rs atga rs-r gatg -rs- tgst a-a/ rtrs gsgs -a-a trtr agsg r-s- gtat -sr/ tags ar-s rgta g-sr -tsg tsa- aart rrg/ gg-s --ts ttsa assr raag grr- -ggt t--/ atts rsss gasa -rar tgrg a-g- rt-t gst/ -ass trss agaa r-rr gtgg -s-- tatt ars/ rgss g-as -tra tsgr aa-g rrt- ggst --s/ ttas asrs raga gr-r -gtg t-s- atst rsa/ gars -rgs tg-a a-tr rtsg gss- -aat trr/ aggs r--s gtta -ssr tasg ara- rgrt g-g/ -t-s tsts aasa rrsr ggag --r- ttgt as-/ rats grss -gsa t-ar atrg rsg- ga-t -rt/ tgss a-ss rtaa gsrr -agg tr-- agtt r-s/ gtss -sas tara argr rg-g g-t- -tst tss/ aaas rrrs ggga ---r tttg ass- rast gra/ -grs t-gs at-a rstr gasg -rs- tgat a-r/ rtgs gs-s -ata trsr agsg r-a- gtrt -sg/ ta-s arts rgsa g-sr -tag tsr- aagt rr-/ ggts --ss ttsa asar rarg grg- -g-t t-t/ atss rsss gaaa -rrr tggg a--- rttt gss/ -ass tras agra r-gr gt-g -st- tast ars/ rgas g-rs -tga ts-r aatg rrs- ggst --a/ ttrs asgs ra-a grtr -gsg t-s- atat rsr/ gags -r-s tgta a-sr rtsg gsa- -art trg/ ag-s r-ts gtsa -ssr taag arr- rggt g--/ -tts tsss aasa rrar ggrg --g- tt-t ast/ rass grss -gaa t-rr atgg rs-- gatt -rs/ tgss a-as rtra gsgr -a-g trt- agst r-s/ gtas -srs taga ar-r rgtg g-s- -tst tsa/ aars rrgs gg-a --tr ttsg ass- raat grr/ -ggs t--s atta rssr gasg -ra- tgrt a-g/ rt-s gsts -asa trsr agag r-r- gtgt -s-/ tats arss rgsa g-ar -trg tsg- aa-t rrt/ ggss --ss ttaa asrr ragg gr-- -gtt t-s/ atss rsas 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--sr ttag eer- ragt gr-e -gts t-es etsa rear garg -rg- tg-t e-te rtes gess -aaa trrr eggg r--- gttt -eee tass eras rgra g-gr -t-g tet- eaet rrse ggas --rs ttga ee-r ratg gre- -gst t-ae etrs regs ga-a -rtr tgeg e-s- rtat gere -ags tr-s egta r-er gtsg -ea- tart erge rg-s g-ts -tea tesr eaag rrr- gggt ---e ttts eees rasa grar -grg t-g- et-t rete gaes -rss tgaa e-rr rtgg ge-- -att tree egss r-as gtra -egr ta-g ert- rget g-se -tas ters eaga rr-r ggtg --e- ttst eeae rars grgs -g-a t-tr eteg res- gaat -rre tggs e--s rtta geer -asg tra- egrt r-ge gt-s -ets taea ersr rgag g-r- -tgt te-e eats rres ggsa --ar ttrg eeg- ra-t grte -ges t-ss etaa rerr gagg -r-- tgtt e-ee rtss geas -ara trgr eg-g r-t- gtet -ese taas errs rgga g--r -ttg tee- east rrae ggrs --gs tt-a eetr raeg grs- -gat t-re etgs re-s gata -rer tgsg e-a- rtrt gege -a-s trts egea r-sr gtag -er- tagt er-e rgts g-es -tsa tear earg rrg- gg-t --te ttes eess raaa grrr -ggg t--- ettt reee gass -ras tgra e-gr rt-g get- -aet trse egas r-rs gtga -e-r tatg ere- rgst g-ae -trs tegs ea-a rrtr ggeg --s- ttat eere rags gr-s -gta t-er etsg rea- gart -rge tg-s e-ts rtea gesr -aag trr- eggt r--e gtts -ees tasa erar rgrg g-g- -t-t tete eaes rrss ggaa --rr ttgg ee-- ratt gree -gss t-as etra regr ga-g -rt- tget e-se rtas gers -aga tr-r egtg r-e- gtst -eae tars ergs rg-a g-tr -teg tes- eaat rrre gggs ---s ttta eeer rasg gra- -grt t-ge et-s rets gaea -rsr tgag e-r- rtgt ge-e -ats tres egsa r-ar gtrg -eg- ta-t erte rges g-ss -taa terr eagg rr-- ggtt --ee ttss eeas rara grgr -g-g t-t- etet rese gaas -rrs tgga e--r rttg gee- -ast trae egrs r-gs gt-a -etr taeg ers- rgat g-re -tgs te-s eata rrer ggsg --a- ttrt eege ra-s grts -gea t-sr etag rer- gagt -r-e tgts e-es rtsa gear -arg trg- eg-t r-te gtes -ess taaa errr rggg g--- -ttt teee eass rras ggra --gr tt-g eet- raet grse -gas t-rs etga re-r gatg -re- tgst e-ae rtrs gegs -a-a trtr egeg r-s- gtat -ere tags er-s rgta g-er -tsg tea- eart rrge gg-s --ts ttea eesr raag grr- -ggt t--e etts rees gasa -rar tgrg e-g- rt-t gete -aes trss egaa r-rr gtgg -e-- tatt eree rgss g-as -tra tegr ea-g rrt- gget --se ttas eers raga gr-r -gtg t-e- etst reae gars -rgs tg-a e-tr rteg ges- -aat trre eggs r--s gtta -eer tasg era- rgrt g-ge -t-s tets eaea rrsr ggag --r- ttgt ee-e rats gres -gsa t-ar etrg reg- ga-t -rte tges e-ss rtaa gerr -agg tr-- egtt r-ee gtss -eas tara ergr rg-g g-t- -tet tese eaas rrrs ggga ---r tttg eee- rast grae -grs t-gs et-a retr gaeg -rs- tgat e-re rtgs ge-s -ata trer egsg r-a- gtrt -ege ta-s erts rgea g-sr -tag ter- eagt rr-e ggts --es ttsa eear rarg grg- -g-t t-te etes ress gaaa -rrr tggg e--- rttt geee -ass tras egra r-gr gt-g -et- taet erse rgas g-rs -tga te-r eatg rre- ggst --ae ttrs eegs ra-a grtr -geg t-s- etat rere gags -r-s tgta e-er rtsg gea- -art trge eg-s r-ts gtea -esr taag err- rggt g--e -tts tees easa rrar ggrg --g- tt-t eete raes grss -gaa t-rr etgg re-- gatt -ree tgss e-as rtra gegr -a-g trt- eget r-se gtas -ers taga er-r rgtg g-e- -tst teae ears rrgs gg-a --tr tteg ees- raat grre -ggs t--s etta reer gasg -ra- tgrt e-ge rt-s gets -aea trsr egag r-r- gtgt -e-e tats eres rgsa g-ar -trg teg- ea-t rrte gges --ss ttaa eerr ragg gr-- -gtt t-ee etss reas gara -rgr tg-g e-t- rtet gese -aas trrs egga r--r gttg -ee- tast erae rgrs g-gs -t-a tetr eaeg rrs- ggat --re ttgs ee-s rata grer -gsg t-a- etrt rege ga-s -rts tgea e-sr rtag ger- -agt tr-e egts r-es gtsa -ear targ erg- rg-t g-te -tes tess eaaa rrrr gggg ---- tttt eeee gras -gra t-gr et-g wet- gwet -rwe tgaw e-rs wtga ge-r -wtg tre- egwt w-ae gtrw -egs tw-a ertr wgeg g-w- -tat tere ewgw wr-s ggta --er ttwg eea- wwrt grge -g-w t-ts etea wewr gwag -rr- tggt e--e wttw gees -wwa trar egrg w-g- gt-t -ete twew erws wgaa g-rr -tgg te-- ewtt wree ggww --as ttra eegr ww-g grt- -get t-we etaw wers gwga -r-r tgtg e-e- wtwt geae -wrw trgs eg-a w-tr gteg -ew- twat erre wggw g--s -tta teer ewwg wra- ggrt --ge tt-w eets wwea grwr -gag t-r- etgt we-e gwtw -res tgwa e-ar wtrg geg- -w-t trte egew w-ws gtaa -err twgg er-- wgtt g-ee -tww teas ewra wrgr gg-g --t- ttet eewe wwaw grrs -gga t--r ettg wee- gwwt -rae tgrw e-gs wt-a getr -weg trw- egat w-re gtgw -e-s twta erer wgwg g-a- -trt tege ew-w wrts ggea --wr ttag eer- wwgt gr-e -gtw t-es etwa wear gwrg -rg- tg-t e-te wtew gews -waa trrr eggg w--- gttt -eee twww eras wgra g-gr -t-g tet- ewet wrwe ggaw --rs ttga ee-r wwtg gre- -gwt t-ae etrw wegs gw-a -rtr tgeg e-w- wtat gere -wgw tr-s egta w-er gtwg -ea- twrt erge wg-w g-ts -tea tewr ewag wrr- gggt ---e tttw eees wwwa grar -grg t-g- et-t wete gwew -rws tgaa e-rr wtgg ge-- -wtt tree egww w-as gtra -egr tw-g ert- wget g-we -taw ters ewga wr-r ggtg --e- ttwt eeae wwrw grgs -g-a t-tr eteg wew- gwat -rre tggw e--s wtta geer -wwg tra- egrt w-ge gt-w -ets twea erwr wgag g-r- -tgt te-e ewtw wres ggwa --ar ttrg eeg- ww-t grte -gew t-ws etaa werr gwgg -r-- tgtt e-ee wtww geas -wra trgr eg-g w-t- gtet -ewe twaw errs wgga g--r -ttg tee- ewwt wrae ggrw --gs tt-a eetr wweg grw- -gat t-re etgw we-s gwta -rer tgwg e-a- wtrt gege -w-w trts egea w-wr gtag -er- twgt er-e wgtw g-es -twa tear ewrg wrg- gg-t --te ttew eews wwaa grrr -ggg t--- ettt weee gwww -ras tgra e-gr wt-g get- -wet trwe egaw w-rs gtga -e-r twtg ere- wgwt g-ae -trw tegs ew-a wrtr ggeg --w- ttat eere wwgw gr-s -gta t-er etwg wea- gwrt -rge tg-w e-ts wtea gewr -wag trr- eggt w--e gttw -ees twwa erar wgrg g-g- -t-t tete ewew wrws ggaa --rr ttgg ee-- wwtt gree -gww t-as etra wegr gw-g -rt- tget e-we wtaw gers -wga tr-r egtg w-e- gtwt -eae twrw ergs wg-a g-tr -teg tew- ewat wrre gggw ---s ttta eeer wwwg gra- -grt t-ge et-w wets gwea -rwr tgag e-r- wtgt ge-e -wtw tres egwa w-ar gtrg -eg- tw-t erte wgew g-ws -taa terr ewgg wr-- ggtt --ee ttww eeas wwra grgr -g-g t-t- etet wewe gwaw -rrs tgga e--r wttg gee- -wwt trae egrw w-gs gt-a -etr tweg erw- wgat g-re -tgw te-s ewta wrer ggwg --a- ttrt eege ww-w grts -gea t-wr etag wer- gwgt -r-e tgtw e-es wtwa gear -wrg trg- eg-t w-te gtew -ews twaa errr wggg g--- -ttt teee ewww wras ggra --gr tt-g eet- wwet grwe -gaw t-rs etga we-r gwtg -re- tgwt e-ae wtrw gegs -w-a trtr egeg w-w- gtat -ere twgw er-s wgta g-er -twg tea- ewrt wrge gg-w --ts ttea eewr wwag grr- -ggt t--e ettw wees gwwa -rar tgrg e-g- wt-t gete -wew trws egaa w-rr gtgg -e-- twtt eree wgww g-as -tra tegr ew-g wrt- gget --we ttaw eers wwga gr-r -gtg t-e- etwt weae gwrw -rgs tg-a e-tr wteg gew- -wat trre eggw w--s gtta -eer twwg era- wgrt g-ge -t-w tets ewea wrwr ggag --r- ttgt ee-e wwtw gres -gwa t-ar etrg weg- gw-t -rte tgew e-ws wtaa gerr -wgg tr-- egtt w-ee gtww -eas twra ergr wg-g g-t- -tet tewe ewaw wrrs ggga ---r tttg eee- wwwt grae -grw t-gs et-a wetr gweg -rw- tgat e-re wtgw ge-s -wta trer egwg w-a- gtrt -ege tw-w erts wgea g-wr -tag ter- ewgt wr-e ggtw --es ttwa eear wwrg grg- -g-t t-te etew wews gwaa -rrr tggg e--- wttt geee -www tras egra w-gr gt-g -et- twet erwe wgaw g-rs -tga te-r ewtg wre- ggwt --ae ttrw eegs ww-a grtr -geg t-w- etat were gwgw -r-s tgta e-er wtwg gea- -wrt trge eg-w w-ts gtea -ewr twag err- wggt g--e -ttw tees ewwa wrar ggrg --g- tt-t eete wwew grws -gaa t-rr etgg we-- gwtt -ree tgww e-as wtra gegr -w-g trt- eget w-we gtaw -ers twga er-r wgtg g-e- -twt teae ewrw wrgs gg-a --tr tteg eew- wwat grre -ggw t--s etta weer gwwg -ra- tgrt e-ge wt-w gets -wea trwr egag w-r- gtgt -e-e twtw eres wgwa g-ar -trg teg- ew-t wrte ggew --ws ttaa eerr wwgg gr-- -gtt t-ee etww weas gwra -rgr tg-g e-t- wtet gewe -waw trrs egga w--r gttg -ee- twwt erae wgrw g-gs -t-a tetr eweg wrw- ggat --re ttgw ee-s wwta grer -gwg t-a- etrt wege gw-w -rts tgea e-wr wtag ger- -wgt tr-e egtw w-es gtwa -ear twrg erg- wg-t g-te -tew tews ewaa wrrr gggg ---- tttt eeee wwww ========================================================================= Date: Wed, 22 Jan 2003 17:00:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: John Palattella In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello All--Does anyone have a current email address for John Palattella. Or John, if you're on the list, would you drop me a line? Thanks, Steve ========================================================================= Date: Wed, 22 Jan 2003 17:00:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: 10 Books from 2002 "poems" on cover MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit thanks for that list. what in particular moved you about CHINESE WHISPER? i haven't read it yet. i've actually always liked the idea of publishers writing "poems" on the cover after a title. i guess it's because i HATE novels so much that i don't want to have nausea from picking up one-of-those by mistake. also, i like the idea of "poems" written on the cover because it seems most folks DO like novels, and this way they can see "poems" written on the cover and won't bother picking it up. this keeps the grime level down on covers. also, i like the idea of "poems" written on the cover because it's a special little key to certain inviting hearts, hearts not interested in novels, maybe, at least, i hope. CAConrad from the sounds of Philadelphia In a message dated 1/22/2003 3:25:03 PM Eastern Standard Time, Gallaher@MAIL.UCA.EDU writes: > > > Earlier in the month several lists of poetry books from 2002 went > around the list. I've since gone to my bookshelf, and these are the > 2002 copyright books that I found there, that I think should get > special notice. I enjoyed them all (and am still enjoying them) very > much. > > There are other books that came out in 2002 that I'm sure are > wonderful (like Gudding's, that I've heard some good buzz about), but > I haven't gotten copies yet. But for now, these are the books I'm > interested in. > > A related question: why do some publishers write "poems" after the > title of a book? Does anyone find that helpful? Does it > bother anyone? > I admit, it kinda bothers me. > > Anyway, the list: > > Chinese Whispers > by John Ashbery > > Fabulae > by Joy Katz > > Given: Poems > by Arielle Greenberg > > The Yellow Hotel > by Diane Wald > > The Charm > by Kathy Fagan > > Method > by Mark Salerno > > The Finger Bone > by Kevin Prufer > > The Captain Lands in Paradise: Poems > by Sarah Manguso > > Ninety-five Nights of Listening: Poems > by Malinda Markham > > The Red Bird > by Joyelle McSweeney ========================================================================= Date: Thu, 23 Jan 2003 14:01:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: antiwar justifications In-Reply-To: <200301222100.h0ML0MXi006722@mail.daemen.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII After finally seeing "Bowling for Columbine" I'm inclined to agree with Alan, though I might not have been so vehement before. What do others think of this film? Personally I was surprised at how good it is, given Michael Moore's somewhat clownish M.O. in recent years. It seems to me especially effective at drawing broad but convincing connections between the war on terrorism, media and the culture of fear, endemic racism, welfare reform, corporate ethics, the list goes on. Not wrapped up in a neat argument, but rather thrown into a mix that seems very organic and real: one not-so-brilliant but well-meaning guy trying to figure it all out. There are heartbreaking moments all through the film: two of the teenage boys shot at Columbine going with Moore to ask K-Mart executives to stop selling bullets for assault weapons; the mother of the six-year-old boy who shot and killed a classmate in Flint, Michigan, being forced to work in a glitzy suburban restaurant owned by Dick Clark as part of Michigan's welfare-to-work program; Moore interviewing Charlton Heston, who held NRA rallies in Denver and in Flint just after the violence at the schools there, and trying to extract some human feeling from him. Even Marilyn Manson comes across as a pretty thoughtful and intelligent guy compared to Heston. On Wed, 22 Jan 2003 20:59:23 GMT Geoffrey Gatza wrote: > No Tom, We are the World was a song for world aide and a cute little tune > they play at Christmas. > > A USA-errifc-centric view would be "I am he that is called I am" > > > Love, Geoffrey > > > > On Wed, 22 Jan 2003 17:46:15 -0600 tombell wrote: > > > a USAcentric view would be that we are the world? > > > > tom bell > > > > ----- Original Message ----- > > From: "Alan Sondheim" > > To: > > Sent: Wednesday, January 22, 2003 2:45 PM > > Subject: Re: antiwar justifications > > > > > > > For that matter America should be thrown out of the world. We're a > > > disgrace. Bush has to get his first blood at everyone's cost. Throw > > > him to the dogs. > > > > > > Alan > > > > > > On Wed, 22 Jan 2003, Daisy Fried wrote: > > > > > > > >> 7. America should not be the police of the world. > > > > > > > > > > And the US should not call itself "America." > > > > > > > > A Mexican friend of mine says the US should not call itself the US > > either > > > > because after all, she says, Mexico is made up of United States too... > > > > > > > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ > > > http://www.anu.edu.au/english/internet_txt > > > older http://lists.village.virginia.edu/~spoons/internet_txt.html > > > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > > > > This message powered by EMUMAIL. -- http://www.EMUMAIL.com <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Wed, 22 Jan 2003 21:47:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: from Clemente MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT message from Clemente Padin. if you want the visual you can email me or him. tom bell "No to the war against Iraq Friends, The anguish and the impotence are seized upon me again. I can not leave the opportunity to express my deep worry concerning to the unfolding of men and armaments carried out in USA and Great Britain in order to attack Iraq. It also makes sad the loss of answer of the remainder of the other Western countries (although some of them timidly oppose to the possibility of war) by stopping this brutal aggression that has been preparing, day by day, like a great media show what will become worse, no doubt, the pain and the necessity of people from Iraq, who are already enough hit by the blockade and the use of atomic weapons in the previous conflict (uranium of low tenor in the missiles). I believe that it is absolutely unacceptable that in the new millennium the most civilized and richest countries of the world wanted to solve their differences against the poorest countries appealing to the violence and to the war, omitting the Foundation Letter of the United Nations and the Universal Declaration of Human Rights. Besides, it is intolerable for any sensibility that the USA give to themselves the right of exercising "preventive attacks," against any country, when and where they thinks it is necessary. Better say, attacks against any countries, if not against those which cannot defend themselves.Since it results evident that the USA will never attack France or Japan based on so trivial arguments. The excuse of that Iraq possesses armament of massive destruction (that nobody could not have confirmed) is not signifcant, for there are other countries which possess it, no doubts, and they have not received any pression, as, for example, USA, Russia, North Korea, France, Great Britain, Pakistan or India. On the other hand, USA count on political and diplomatic mechanisms to solve the international problems without using any tank. I am conscious that great intellectual groups throughout the world must be mobilized and have to make the possible to stop this criminal madness. But, also, I am conscious of the lacking of answer of networking, of the mail - artists net, or our collective group of creators at distance (some individual intents confirm what I have said). Parodyng Epicuro: what is mail art for, if no to the service of men?" Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Thu, 23 Jan 2003 10:06:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: The 365 Project MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Check out http://www.the365project.org An incredible project. Jess ========================================================================= Date: Wed, 22 Jan 2003 19:44:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Holsapple Subject: Re: Baudelaire bio? MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Maria I'm not a scholar, but I've never seen a Collected Prose for Baudelaire. I'm guessing you want the essays, in addition to the prose poems. The largest collections of the essays I've seen (the Salons, work on Poe, Life & Work of Delacroix etc.) are Baudelaire: Selected Writings on Art & Artists, Trans by P. E. Charvet, Cambridge U P (Cambridge, 1972) at 460 pages & The Mirror of Art, Critical Studies by Charles Baudelaire, Trans Jonathan Mayne, Doubleday Anchor (1956) at 370 pages. I don't know if either is in print. Bruce On Wed, 22 Jan 2003 07:39:46 -0600 Maria Damon writes: > ok so there are some good bios. is there no such thing as a > collected prose in translation? according to amazon.com there > isn't, > but "of the two judges, hold to the superior one." anybody know > anything? > > At 1:25 AM -0500 1/22/03, noah eli gordon wrote: > >You might also try contacting David Lenson > (lenson@complit.umass.edu), > >author of On Drugs. I took his course on French Symbolist poetry a > few years > >back and we went over much of the drug culture. > > > >n. > > > > > > > > > > > >_________________________________________________________________ > >The new MSN 8: smart spam protection and 2 months FREE* > >http://join.msn.com/?page=features/junkmail > > > -- > ========================================================================= Date: Wed, 22 Jan 2003 22:32:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: poetry careerists Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline I may be adrift in this discussion as I haven't been diligent with email (!) in the last few days. So if your message relates to a specific point raised, forgive me. I did a PhD largely because I didn't want to be cordoned off within an English Department; also because, as a late starter, I wanted to get all the degrees over with: now! I wanted to teach literature as well as creative writing and my experience in English Departments suggested strongly that a PhD would be an asset on the job market, and this has indeed proved to be the case. I'm glad I did a PhD; I enjoyed it; I had a wild time writing my dissertation (on metaphor, example, and childbirth). It helped me connect with the "real world" of action and language. And now that I've done it, I don't have to do it when I'm 90; I am not barred from teaching literature courses (though this would not happen anyway at Rhode Island School of Design, which is one reason I like working here); and if I decide to go on the market again, the PhD will still be on the asset side of the balance sheet: where it is needed. I have two children and my partner is also a poet. Every asset counts in the sometimes strange game of survival we play. Mairead Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> kaajumiah@YAHOO.COM 01/22/03 11:53 AM >>> but to engage in a little reverse snobbery do you know what i *really* can't wrap my little head around? the idea (half in jest, since i spent a little bit of time in grad school m'self!) that someone would spend five or more years of their life getting a PhD to credential themselves to talk about poetry! give me two years of MFA workshops any day of the week! so there. :P __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 22 Jan 2003 21:41:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joy Arbor Subject: Re: poetry careerists In-Reply-To: <20030122164906.84007.qmail@web40810.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Clearly, I'm lagging. ;) Must be all that PhD work I've been doing, though I can say that after 4 years out of the academy, I can't say I got any closer to that book of poems that anyone can publish. Is there an emoticon for my tongue bulging in my cheek? ~Joy --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.437 / Virus Database: 245 - Release Date: 1/6/03 ========================================================================= Date: Thu, 23 Jan 2003 01:31:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Machlin Subject: Futurepoem reading 1/28 at Softskull, Brooklyn Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Tuesday, January 28th, 7:00 p.m. FREE + Refreshments SOFT SKULL SHORTWAVE BOOKSTORE 71 Bond Street (at State St.), Brooklyn FUTUREPOEM BOOKS An evening with Futurepoem [http://www.futurepoem.com/events.html] featuring readings by: Rachel Levitsky, Under the Sun Garrett Kalleberg, Some Mantic Daemons words by Dan Machlin, Founder, Editorial Board + Other surprise guests Come out and celebrate our first two releases with more to come! Readings and refreshments Soft Skull Shortwave FREE SOFT SKULL SHORTWAVE BOOKSTORE Your friendly neighborhood under-the-radar independent books and music shop! 71 Bond Street (at State St.) Brooklyn, NY 11217 DIRECTIONS: The closest subway stop is Hoyt / Schermerhorn; take the A, C, or G there, go out the Bond Street exit, walk one block down Bond from Schermerhorn, and the store is on the northeast corner at the intersection with State Street, on your left. Alternately, take the F train to Bergen; walk a couple blocks east from Smith to Bond Street; make a left toward Atlantic Avenue; cross Atlantic, and Shortwave is one block up on your right. ========================================================================= Date: Thu, 23 Jan 2003 01:36:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Lavish Absence Mime-Version: 1.0 Content-Type: text/plain; format=flowed Finally got a copy of Lavish Absence: Recalling and Rereading Edmond Jabes by Rosmarie Waldrop today and have started in on it and I really can't praise the book enough. A few years ago I read John Felstiner's Celan biography and was impressed with the way it seemed to be a biography written for poets, as Felstiner consistently forgrounded Celan's reading habits rather than his personal life. I thought THIS is what I want from a biography, well, I was close, but now I see Rosmarie Waldrop has written what I really wanted: a sort of biography/memoir/explication cross-genre look at a figure of such personal importance to her, and one she'd made so important to us non-french speaking/reading folks. This book is great! here's a sample: "When the linearity of reading is broken, when we are startled awake, when the smooth horizontal travel of eye/mind is interrupted, when the connection is broken, there is a kind of orchestral meaning that comes about in the leap. A vertical dimension vibrating with the energy field between the two lines (phrases, sentences), and perhaps the energy of what would have followed/preceded, but is lacking. A meaning that both illuminates the separation and connects across it. A meaning that goes beyond the two elements that border it, as metaphor goes beyond the sum of tenor and vehicle." And here is a very haunting & moving exchange, from Waldrop's book, between Celan and Jabes (two poets with almost opposite modes for negating Adorno's infamous statement about poetry after Auschwitz: concision vs. precision?) that takes place about a year before Celan's suicide: He recalls the day when Celan came to see him with a copy of _The Book of Questions_, heavily annotated in the margins. They talked about the book. Suddenly Celan said: "No, I will not translate you." Edmond is a bit taken aback:"But--" Celan interrupts, vehemently:"No, I cannot." "...but I didn't ask you to. I am happy you read the book." They go on talking, but every once in a while Celan interjects: "I will _not_ translate you." _____________________ here is a passage from the Felstiner book: "...Celan, in March 1967 found _The Book of Questions by Edmond Jabes (1912-91) and reacted against this story: "In a central European village, the Nazis one evening buried alive some of our brothers. The earth stirred with them for a long time. That night, the same rhythm connected all Israelites in the world." Instead of assenting to this tragic communion, Celan marked it "Nein!" and crossed out these sentences. Yet his copies of Jabes have underlinings throughout, and Celan considered translating him. He never did: perhaps Jabes leading idea, that "the difficulty of being Jewish is the same as the difficulty of writing," grounded his own work too deeply for him to rework it in German." What really strikes me is the different feel these two books have, Waldrop knew Jabes both as a person and as a poet/translator, Felstiner is not a poet (well, I did see him read a god awful poem at a recent talk he gave, a poem which is going to be published in the Paris Review) nor did he know Celan, but he did have access to Celan's personal library, where Celan notated everything! _______________ Regardless, there's also a lot of humor in the Waldrop's book, in fact, the work really shows a deep love. here's some more: "I talk to Edmond about the homophonic Catullus translations of Celia and Louis Zukofsky...[she explains a little about the work]...But Edmond is immediately worried: why do I bring this up? Am I tempted to try something like it?" Anyway, it's worth reading, every if one hasn't made it through all of Jabes' work. In fact, this book might give you a little kick...I know I'm going back... --Noah _________________________________________________________________ Add photos to your messages with MSN 8. 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Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Thu, 23 Jan 2003 01:00:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "SPAM MAPS #0001" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "SPAM MAPS #0001" CREAMY FACIALS FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY FACIALSCREAMY DO YOU GET OFF WHEN A NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY NAUGHTY 10.000 LIVE Girls 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 10.000 This is NOT SPAM - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - We comply with all proposed and current laws on commercial e-mail under: Bill s. 1618 TITLE III passed by the 105th Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress Congress If you have received this e-mail in error, we apologize for the inconvenience and ask that you remove yourself august highland 12:54 am 01-23-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Thu, 23 Jan 2003 09:24:59 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Cobbing celebration MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit (apologies for cross-posting) (apologies too for repetition - but mail rec'd here suggests the first version of this went into negative cyberspace - NB since which Allen Fisher is added tolist of performers) Sub Voicive Poetry presents A CELEBRATION OF BOB COBBING WRITERS FORUM BENEFIT Sunday 26 January 2003 1 p.m. - 7 p.m. Camden Peoples Theatre cnr Hampstead Rd & Drummond St London UK underground Warren St or Euston Sq ALL WELCOME ADMISSION £2.50 or more if you can - no expenses are being paid, all proceeds to Writers Forum Those performing: Sean Bonney, Cris Cheek, Adrian Clarke, Lol Coxhill, Patricia Farrell, Peter Finch, Allen Fisher, Ralph Hawkins, Jeff Hilson, Hugh Metcalfe, Jennifer Pike, Robert Sheppard, Lawrence Upton, Mike Weller, Veryan Weston Exhibition, WF bookstall, bar Donations to Writers Forum very welcome Foolishly large donations particularly welcome to enable the foolishly sensible projects to continue NB This is the first of a series of celebrations of the late Bob Cobbing. (Only the second poet to be so honoured by SVP) NB Those of you who were at the celebration of Bob Cobbing's 80th birthday will recall that it took all afternoon, five hours, to include everyone at 3 mins per head! THIS event, one of a number of celebrations and memorials taking place has been planned to allow fellow artists a decent length of time to speak or perform -and the intention is that the majority of the day will consist of performance Therefore, obviously, it has not been possible to invite more than relatively few of those who might have been invited were time not limited... To be added to the SVP emailing list, send a blank message to: sv-p-subscribe@topica.com To be added to the WF emailing list send a blank message to: WFInfo-subscribe@topica.com ========================================================================= Date: Thu, 23 Jan 2003 03:21:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Ghost Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ghost of throwaway lines visits me deeply covered in sleepiness. Wavy respite waiving like narcotic medusa-hair in my face. I have "sex" with my face, shrink-wrapp'd o'er and embossed with novel coupling. This makes me squeak to kiss (milk and ice and size and shelf and tomorrow or frozen and tomorrow and freezing or throat spores spill lipid quagmire jettison flavor across police a dream of feta throng gunrack in the turnstile lurch apt choices filter choler and durable ephemera or luscious and gamey. It's true she networks with text and I didn't see, staring up at a rusting sky through the spectacle of lake caved in on me and I am juicy winter arid like palms burnt flung. You know numbers power front-end associations. All of us need that space epoxy wan marbled all gigabyte distrych fellatio rinse. You know all numbers to that power halo zip fields of _root. And yet I "have" sex with my face, duplicating an inexplicable palpitating culpability. Trigger or blowfish swollen size and dithyramb matrices television like tinfoil tulip spectre full.frontal clarity along the incomplete agreement or union of you and I after work not speaking but the cat is snapping into place or the mirrors throw up a chokehold on sanctuary. Oasis, the cherries were, festive venn flux. Today I woke up and. The storage of take away this blindness sips from look I try, things shelving fat in my face shaved of its sheath and no-one. None. All the taste drains from my mouth. A shrink-wracked charcoal rose of chocolate sores percolates tame emerald rafts of fittest quicksand whirlpool gimlet-in-cheek trained on crossing hairs with you in the evening as the sky oxidizes backwards into male and female tabs for the cat. How else fit in this ground? Blown powder crushes shed bone dew on plastic agility chords. Awake now, only eyes walking, sliced cold: crisp pints rotund with ingrown pocket mirror. The chokecherries of sanctity indemnify bank loams with throttle vomit cleats. Venn, I sled, honey masterpiece in ego goad, coding cashflow into sob acids that identity horny dawn flaws in flowered obstacles. How long will you stay? I guess days banish shimmer nettles all across a deliciousness of the backs of her knees. Squat a while away in text networking, playful spike looms on which children toss guidance like sniffles flirt onion nouns) my fate, tables bludgeoning real sirens in so early a morning only commerce is awake, and trucks growl the red snow we need. Moving on, a ghost of strewn lives sits up in the middle of a night of fever, hands bandaged from glass. I pull them out of you; cover my face like a mosque. 2003/01/23 06:10:00 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 23 Jan 2003 22:54:40 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: phew MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear MWP, After a few years on this & other lists I decided to get the U.S. Poetics list as a digest so as to decrease the volume of email I receive. And that's been great - I get the text generated texts etc etc etc - but really, that last one took up far too much scrolling space. The August Highland one seemed a bit facile this time too - or am I wearying ? Maybe the point has been made to the Poetics list - why labour it ? (I know I don't participate in the discourse very often but I guess this shouldn't prevent me from an occasional remark or, in this case, complaint.) Thanks, Pam Brown ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Latest book - "Text thing" available from Little Esther Books - eafbooks@eaf.asn.au http://movies.yahoo.com.au - Yahoo! Movies - What's on at your local cinema? ========================================================================= Date: Thu, 23 Jan 2003 06:03:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Walter Bernstein webcast Comments: To: bernsteinworld@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit you are invited to join us as.... Kelly Writers House Fellows presents a conversation with legendary screenwriter WALTER BERNSTEIN via live webcast 10 AM eastern time - Tuesday - February 18 Among the most eminent living screenwriters, WALTER BERNSTEIN was first a regular contributor to The New Yorker and wrote for some of early television's finest dramatic shows. He is best known as the writer of films, among them FAIL SAFE, THE MOLLY MAGUIRES, THE MAGNIFICENT SEVEN, and THE FRONT (for which he received an Academy Award nomination). During the anticommunist period, he was blacklisted and could not work openly as a writer. His memoir, INSIDE OUT, is an account of this experience. To participate in the webcast, you will only need to click on a web link. If you rsvp, we will send you the address for that link - and all other simple instructions. RSVP to whfellow@english.upenn.edu - and be sure to specify that you are joining us by webcast. This program is free and open to the public. Kelly Writers House 3805 Locust Walk 215 573-WRIT www.english.upenn.edu/~whfellow Kelly Writers House Fellows, 2003 screenwriter WALTER BERNSTEIN February 18 performance artist LAURIE ANDERSON March 25 essayist & novelist SUSAN SONTAG April 22 Generous support for Writers House Fellows comes from Paul Kelly. previous Writers House Fellows: John Ashbery 2002 Charles Fuller Michael Cunningham June Jordan 2001 David Sedaris Tony Kushner Grace Paley 2000 Robert Creeley John Edgar Wideman Gay Talese 1999 recordings of live webcasts featuring the Fellows can be found here: http://www.english.upenn.edu/~wh/webcasts/ ========================================================================= Date: Thu, 23 Jan 2003 08:32:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: "The thief of time" Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I was curious as to the origin of the phrase "the thief of time" which I used as the title for the Haiku I sent out to the list yesterday. I found it the following poem by Edward Young: =A0 =20 Edward Young (1683-1765) l The Complaint: or Night Thoughts on Life, Death, and Immortality (excerpt) Night the First =A0 =A0 =A0 By Nature's law, what may be, may be now; =A0 =A0 =A0 There's no prerogative in human hours. =A0 =A0 =A0 In human hearts what bolder thought can rise, =A0 =A0 =A0 Than man's presumption on to-morrow's dawn? =A0 =A0 =A0 Where is to-morrow? In another world. =A0 =A0 =A0 For numbers this is certain; the reverse =A0 =A0 =A0 Is sure to none; and yet on this perhaps, =A0 =A0 =A0 This peradventure, infamous for lies, =A0 =A0 =A0 As on a rock of adamant we build =A0 =A0 =A0 Our mountain hopes, spin out eternal schemes =A0 =A0 =A0 As we the Fatal Sisters could out-spin, =A0 =A0 =A0 And big with life's futurities, expire. =A0 =A0 =A0 Not ev'n Philander had bespoke his shroud, =A0 =A0 =A0 Nor had he cause; a warning was deny'd: =A0 =A0 =A0 How many fall as sudden, not as safe! =A0 =A0 =A0 As sudden, though for years admonish'd home. =A0 =A0 =A0 Of human ills the last extreme beware; =A0 =A0 =A0 Beware, Lorenzo, a slow-sudden death. =A0 =A0 =A0 How dreadful that deliberate surprise! =A0 =A0 =A0 Be wise to-day; 'tis madness to defer; =A0 =A0 =A0 Next day the fatal precedent will plead; =A0 =A0 =A0 Thus on, till wisdom is push'd out of life. =A0 =A0 =A0 Procrastination is the thief of time; =A0 =A0 =A0 Year after year it steals, till all are fled, =A0 =A0 =A0 And to the mercies of a moment leaves =A0 =A0 =A0 The vast concerns of an eternal scene. ========================================================================= Date: Thu, 23 Jan 2003 06:09:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: panoply In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable February 2003 Events at Modern Times Bookstore www.moderntimesbookstore.com 888 Valencia Street at 20th Street San Francisco, CA=A094110 Ph: (415) 282-9246 F: (415) 282-4925 =A0 SATURDAY, FEBRUARY 15TH AT 7:00 PM panoply a reading, performance, and screening with kari edwards, Kirthi Nath, Camille Roy, & the Erika Shuch=20 Performance (ESP) Project Four artists present an evening of writing, performance, and film=20 exploring questions of gender and the politics of representation.=20 Staged in the storefront window, the performances will be followed by a=20= brief panel discussion about the intersections of gender, power, and=20 representation. How do experimental practices in writing, performance,=20= and film disrupt and rearticulate formal and social constructs of=20 gender? How do ideas and portrayals of gender affect our social and=20 political realities? How does gender intersect with class and cultural=20= difference? =A0 kari edwardswill read from hir newly released novel a day in the life=20 of p. (Subpress Collective, 2002).kari edwards, winner of New Langton=20 Art=EDs Bay Area Award in Literature (2002), is also the author of a=20 diary of lies - Belladonna #27 (Balladonna Books, 2002), and post/pink=20= ( Scarlet Press, 2001). edwards=ED work can also be found in Blood and=20= Tears: an anthology on Matthew Shepard as well as several literary=20 journals including Aufgabe and Bombay Gin. =A0 Kirth Nathscreens her latest experimental short, the to-do list=20 confessions.Interlaced between a woman in San Diego, CA who dreams she=20= is a woman following another woman through the streets of Paris, and=20 the women in Paris,the to-do list confessionsarticulates experiences of=20= the self through movements, gestures, and sounds that shift between=20 single and multiple protagonists, for an always slippery and shifting=20 experience of one's self in time and space. Kirthi Nath is a filmmaker,=20= writer, sound designer, educator and curator. Her writings have=20 appeared in several publications, including Interlope and 30 ft. Honey=20= Slick. Her films have shown in several festivals including Moondance=20 International Women's Festival, San Francisco Asian American Film=20 Festival, Berkeley Women of Color Festival and Ladyfest (Olympia, WA,=20 Scotland and Bay Area). =A0 Camille Roy, writer and performer of fiction, poetry, and plays, will=20 read / perform selected work addressing gender and its discontents. Her=20= most recent book is Craquer (an Essay on Class Struggle) (Second Story=20= Press, 2002). Roy=EDs other books include The Rosy Medallions (Kelsey=20 St.Press, 1995) and Cold Heaven (O Books, 1993). She is also an editor=20= of SFSU=EDs Narrativity website=20 http://www.sfsu.edu/~poetry/narrativity/home.html. =A0 The Erika Shuch Performance Project (ESP)presents a preview from=20 Vis-=87-Vis, an innovative new work combining theatre, dance, and live=20= music. Vis-=87-Vis juxtaposes the abstraction of global conflict with = the=20 immediacy of our daily intimate, personal wars. ESP was founded in San=20= Francisco in 2001 by Erika Shuch with a group of musicians, actors,=20 dancers, and designers dedicated to creating a original works of Dance=20= Theatre. Vis-=87-Vis will be performed in full at Fort Mason Theatre=20 February 20th - 22nd. For reservations and info. call 415-558-8118. =A0 EVENT BOOKS ARE 10% OFF. MODERN TIMES IS WHEELCHAIR ACCESSIBLE. ALL EVENTS ARE FREE AND OPEN TO THE PUBLIC ========================================================================= Date: Thu, 23 Jan 2003 08:59:45 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: Free Space Comix: The Blog Comments: To: bks cuny MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit There is now a nifty new comments sidebar on The Blog. Also, my first Free Space Comix exclusives: an open letter by Carol Mirakove and images of Antoni Gaudi's designs for the WTC site. Sheik it out. Questioning Critical Trends in the UK: A Response to Andrea Brady on Laura Elrick (by Carol Mirakove) http://www.arras.net/weblog/000100.html Amocoming to Kick Your Ass (parody) http://www.arras.net/weblog/000107.html Roll Over Mondrian (article on digital poetry) http://www.arras.net/weblog/000098.html Poem Formerly Known as "Terrorism" (poem) http://www.arras.net/weblog/000095.html Hotel Gaudi on WTC site (pictures) http://www.arras.net/weblog/000074.html ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Thu, 23 Jan 2003 10:09:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Baraka "interview" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable On the eve of the "vote", here is the transcript of the "interview" = between Baraka and O'Reilly: http://ww.foxnews.com/printer_friendly_story/0,3566,76374,00.html A spin zone, a rinse cycle... all sheets nicely cleaned, dragons abound. Gerald Schwartz ========================================================================= Date: Thu, 23 Jan 2003 10:19:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: non-print version/Baraka/O'Reilly MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A non-print version w/ graphics and photos: http://www.foxnews.com/story/0,2933,76374,00.html ========================================================================= Date: Thu, 23 Jan 2003 08:36:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: antiwar justifications In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" damian & others, i think ~bowling for columbine~ should be up for an oscar (for best film, not just best doc)... i've heard its essayistic style criticized by those who prefer e.g. godard's approach to film essay-polemic, but i think they miss the point---moore has offered us an argument that's not afraid to change its mind as it goes along... i found it utterly compelling... and at the showing i attended in a large mall theater complex here in the boulder-denver (-littleton etc.) region, the audience applauded at the end... best, joe ========================================================================= Date: Thu, 23 Jan 2003 10:47:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: story du jour: printing the body In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Ink-jet printing creates tubes of living tissue 19:00=A022=A0January=A003 Exclusive from New Scientist Print Edition =A0 Three-dimensional tubes of living tissue have been printed using=20 modified desktop printers filled with suspensions of cells instead of=20 ink. The work is a first step towards printing complex tissues or even=20= entire organs. "This could have the same kind of impact that Gutenberg's press did,"=20 claims tissue engineer Vladimir Mironov of the Medical University of=20 South Carolina. Many labs can now print arrays of DNA, proteins or even cells. But for=20= tissue engineers, the big challenge is creating three-dimensional=20 structures. Mironov became interested when Thomas Boland of Clemson=20 University, also in South Carolina, told Mironov how he could print=20 biomaterials using modified ink-jet printers. The printers are adapted by washing out the ink cartridges and=20 refilling them with suspensions of, say, cells. The software that=20 controls the viscosity, electrical resistances and temperature of the=20 printing fluids is reprogrammed and the feed systems altered. Thermo-reversible gel To create 3D structures, Boland and Mironov used a "thermo-reversible"=20= gel recently developed by Anna Gutowska at the Pacific Northwest=20 National Laboratory in Richland, Washington. The non-toxic,=20 biodegradable gel is liquid below 20 =B0C and solidifies above 32 =B0C. =A0 Printing organs The team has done several experiments using easily available tissues=20 such as hamster ovary cells. By printing alternate layers of the gel=20 and clumps of cells onto glass slides, they have shown 3D structures=20 such as tubes can be built up. Biologists have long known that bits of tissue placed next to each=20 other can fuse. The researchers found that as long as the layers were=20 thin enough for the clumps to come into contact with each other, the=20 bits of tissue fused. Once a structure is complete, the gel is easily=20 removed. Details of the team's initial work will soon be published. Like printing with different colours, placing different types of cells=20= in the ink cartridges should make it possible to recreate complex=20 structures consisting of multiple cell types. "I think this is=20 extremely exciting technology that has the potential to overcome some=20 of the major obstacles [to tissue engineering] we have seen in the=20 past," says leading tissue engineer Anthony Atala of Harvard Medical=20 School in Boston. Degradable scaffold Other groups have developed ways of building up tissues layer by layer=20= (New Scientist print edition, 4 January), but none is as simple and=20 quick as printing. Most tissue engineers first create a degradable=20 scaffold and then seed it with cells. This technique can be used to=20 create complex shapes, such as the infamous "ear on a mouse", but=20 placing different cell types precisely is very difficult. Printing should make it easier to position cells, but many other=20 problems will have to be overcome before entire organs can be created.=20= A huge challenge in tissue-engineering solid organs, for example, is=20 supplying enough oxygen and nutrients to sustain cells deep within the=20= structure. "It's been the holy grail of tissue engineering, to be able to create=20 adequate circulatory networks for complex organs," Atala says. Mironov and Boland hope it will be possible to print the entire network=20= of arteries, capillaries and veins that nourish organs. But to keep=20 cells alive, the organs would have to be completed within a couple of=20 hours and a growth medium circulated through the fragile new vessels. Large structures might not be strong enough to hold together if the gel=20= is removed after such a short period. However, the team is already=20 experimenting with adding substances such as the skin protein collagen=20= to speed fusion and reinforce structures. Printing is not the only promising new technique for creating entire=20 organs. It might one day be possible to grow them in situ. In December,=20= scientists in Israel reported that they had managed to grow miniature=20 but fully functional kidneys by implanting fetal pig or human cells=20 into immunodeficient mice. But growing organs from scratch will take much longer than printing=20 them, Mironov says. "Patients don't always have the luxury to wait." _____________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a = crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere = Else. c: 518 225 7123 =09 o: 518 442 40 85 = -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Thu, 23 Jan 2003 10:53:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Baraka "interview" In-Reply-To: <000e01c2c2f1$5f0a1b80$c0adf943@computer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Happy Louis Zukofsky Birthday everybody! in response to an earlier remark in this space, ,,,, Yes I can imagine an MA student getting financial aid,,,,, both my current university and my previous department provided support packages at the MA level -- I don't know how things went in the English dept. at UCLA, but when my wife was a grad student there she got a full support package for the first year of her MA program in film studies (the term "full support" of course being wildly off) -- and on the factor of O'Reilly, a true sot weed factor indeed, at the beginning of his program he teased the Baraka segment by stating that Baraka had claimed that "Jews" had advance knowledge of 9-11,,,,,, which, of course, is not quite what the poem, or the poet, said --- as Baraka points out in the course of the interview, all the poetry O'Reilly wanted to confront him with (none of which he appeared to have read in its entirety) was from the 60s -- no doubt, as O'Reilly himself said, because he thought that the most inflammatory -- and there was no reading from Baraka's own writings renouncing his positions of the cultural nationalist period, which, I presume, might have complicated the inflammation -- Apparently we should give Judge Pickering a pass for being warm-hearted towards cross burners, but the thought of Baraka teaching is lunacy ---- At 10:09 AM 1/23/2003 -0500, schwartzgk wrote: >On the eve of the "vote", here is the transcript of the "interview" >between Baraka and O'Reilly: > >http://ww.foxnews.com/printer_friendly_story/0,3566,76374,00.html > >A spin zone, a rinse cycle... all sheets nicely cleaned, dragons abound. > >Gerald Schwartz <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Thu, 23 Jan 2003 08:03:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: "The thief of time" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The phrase "Thief of Time" was also brought back into general circulation by the title of a 2001 national best-seller novel by Terry Pritchett. Edward Young, of course, seems to be borrowing (stealing) the concept from John Milton, whose Sonnet VII includes: "Time, the subtle thief of youth". Later, Robert Montgomery's 1854 "A Vision of Hell" has What eyes devour'd him with adoring looks! Thus pass'd the day; then came the midnight Mask And ball, with every splendid thief of time . . . and Henry Ellison wrote an 1875 sonnet entitled "'Procrastination is the Thief of Time'", where that saw is given in quotation marks within the title itself, so it may have had a life as a proverb. __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Thu, 23 Jan 2003 11:07:36 -0500 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: Mentorship MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Mairead, Geoffrey, Brian etc We at Pavement Saw have a mentorship program where poets work here 5-10 hours a week reading submissions, doing mailings and so on in exchange for being able to borrow books from our library, learn how to submit, what publications are active, read sample copies, and come up with an understanding of what currently is out in the world poetry-wise. They also bring their current work to a weekly workshop I conduct. We currently have seven people active with this program. Our rules are simple: no drugs, no weapons. Since the requirement of time is fairly heavy, with "homework" (we assign poets for interns to read), we have a tendency to attract people who are serious about becoming "full-time poets." It is a mixed lot of people, ranging in age from 23-51, consisting of non-traditional students, high school dropouts, ex-felons, and college graduates. I, too, wonder what is gained from a low or non-residency program. I have been asked about these programs many times and still have not formed a solid opinion. What I am most curious about, if anyone works in a such a program, is how a sense of community is established in such a brief timespan? Is it really conducive to the continuation of writing or does the person already need a daily practice? Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Thu, 23 Jan 2003 10:17:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: Mentorship In-Reply-To: <3E3012F1.772F128B@megsinet.net> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT David B says: I, too, wonder what is gained from a low or non-residency program. I have been asked about these programs many times and still have not formed a solid opinion. What I am most curious about, if anyone works in a such a program, is how a sense of community is established in such a brief timespan? Is it really conducive to the continuation of writing or does the person already need a daily practice? I Reply: I have no personal experience with low-residency programs, but I do know some people who teach in them. i don't know these people well, so we haven't spoken about the programs much. People who teach in low-residency programs usually also have full-time teaching jobs at other universities, so the time they put into the low-residency work is fairly little. I spoke recently with a student of a low-residency program, and she said that she really liked it. She sends poems and she gets letters back from a faculty poet. It doesn't sound like community is much of a goal of these programs, but mentorship (by letter) could be. I suppose. If someone wants to have a connection to some poets, has a little money, and can't or won't move to a university, low-residency programs do offer an opportunity, of sorts. And then there's a degree, as well. Ambivalently yours, JG ========================================================================= Date: Thu, 23 Jan 2003 11:23:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: REFULCRUM wins NPR Award MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Public Radio's "The Poet and the Poem" presents Awards for Excellence in = Print 2003. Three national magazines have merited Special Recognition for literary = excellence. FULCRUM editors, Katia Kapovich and Philip Nikolayev POTOMAC REVIEW editor, Eli Flam RATTLE Editor, Alan Fox cited as outstanding contributors to American Letters, 2003 "In keeping with the national tradition established by WPFM-FM's 'The = Poet and the Poem' to present new writers to the world and to further = the careers of known literary artists." ========================================================================= Date: Thu, 23 Jan 2003 08:32:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: broken but not spilled In-Reply-To: <10F2B8E6B6C9AC4993FC1FB47C0D88CC601CD5@karat.kandasoft.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable broken but not spilled and the word said that the science of history is broken. and the = word=20 said strange light fiction must be an act of pilgrimage. and the word=20 said I am the first and the last. I am the one that you said I am the=20 word that said you. =09 as with any first prize bull-whip insight there is a general = sense of=20 omnipresence, even before the word is broadcast in a river of phonemes.=20= they, the words seem to tumble around for days searching for a shipping=20= zone, with suitable and satisfying; but truly it could be said, it is=20 much better if the entire hodgepodge is organized as the toastmaster=92s=20= grande mariner instead of the usual fluid drive found in the general=20 population, where one single voice becomes dominant and the others=20 subdivide into earlier versions of an unknown arabic numbering system,=20= where names change as the perceiver searches for an oasis of=20 universalitys and is overtaken by a double agent that demands dominance=20= over the republic, as surely as any symmetrical language in flux can=20 bring one relative to the gravy train big day payoff and leave without=20= change in their pocket. this was one of those events or a high handed holy true grit = guided=20 spiritual relapse. but for some reason I found myself in the=20 subdivision of bruno and bruno investments, inc., known for its=20 a.b.c.=92s: anatomy, biophisic-techology and commemorative embrologic=20 chemical enhancement or as some of the applied investors called it=20 =91abracadabra=92 for short. before I switch to the memory channel = which=20 has been waylaid by advanced thought-overload that seems to procure=20 form in the most unexpected pleasure zones. at that precise moment in=20= time I should have noticed the changes. it may have in fact been a=20 subatomic perticula that sang, =93hide the fact and burn the flag,=94 = but=20 something shifted, the shadows became duller, and the light misplaced=20 some of its usual thousand names, and green syllables. this was a slow=20= process that once it began, led to places where only parts of speech=20 can go. as the story goes, troublous and bobulous, distant cousins to = jason=20 barkalot (that's how I know the story for it was originally classified=20= three layers thick) any ways . . . as jason told me, as it goes, the=20 story that is, goes to the heart of bruno and bruno investment, inc.=92s=20= attempt to fuse peptides of the living to a computer called by a name=20 that could never be spoken, using tiny tiny alligator clips, smaller=20 than can be seen, that were connected to even smaller peptides that led=20= back through an ever increasing cartilage of wires through space and=20 time, back through the value of unmeasuerble matter to the many=20 thousands of something, like connections to an anecdote that connected=20= to the name that could never be mentioned. the reason for doing all=20 this, for trying to accomplish something, is the reason that any=20 investment firm would attempt anything at all; or monetary return and=20 one of four other reasons: 1. a grand conspiracy that would ultimately interconnect the lightly=20 filtered cartel, eliminating the need for cell phones and that all to=20 cumbersome chip implant. 2. a way for films to be down loaded into the genetic coding so that=20 one could experience directly the chills of the atlantic, and the taste=20= of oily sex. 3. this could be a dream of someone, to conflate the remnants of the=20 secretly stored genetic codes of richard nixon and ronald reagan into a=20= vital existence for future generation; a figure head that never dies,=20 only to die and be reborn then die again only to be reborn again. of=20 course all this is on a dependent of the designation of the projected=20 character. but think of the possibilities, it could be j.p. morgan and=20= gertrude stein brought together to create a more lyrical capitalism or=20= another number of combinations. 4. could be a day dream shift machine, where not only is one able to=20 shift the channel of day dreams to those momentary escapes into=20 multilayered texts of the moment, but one could add subtext in a=20 nondistingushible manner as well. without saying, three, would be out of the question, since enuma = elish=20 corporation already recycles text and genetic sing-a-longs to create=20 vertical maytag versions, so why go to all the trouble to reanimate the=20= particle to the real when they already have the one that is in the=20 virtual world as a whole. as any holy kingdom soothsayer knows, you=20 don't count your mittens before you know how many caps you have. and one, well, with the invention of gnostic vitamins 7-b274 and=20= 3ls21, the thought process can pretty much be sent on the high wire=20 over Niagara falls, so why go to the trouble. true, it would add speed=20= dial, but that only says I love you without the vowels and vertical=20 lengths and with 7-b274 you can still have conference calls. two, could be a possibility. think of the implications; to = actually=20 experience cinema on a deep witch burning level, beyond simple subtext=20= myths, where sex would be a multiple node experience. but it seems as=20 if there would be too much resistance from the forces-of-nature church=20= that believes the true religion that abhors movies of any-kind as=20 nothing more than protruding holiday gifts. this is why four (4.) must be the it, the act that would allow = one=92s=20 day dreams to be heighten, realized, turned fully digital, wide screen=20= visacream realities. the danger is it would unname the unnamed, change=20= places with places, and create new stations for different appendages. =09 if there is a near truth as jason said, then any apparent stable = would=20 lose its identity, its place, its known purpose. location on the maps=20 would be a thing of the past, and if they attempted this comedy with,=20 let=92s say a monkey, rat, ant, salamander, or two-toned singing frog,=20= then reality as we know it would become subterranean and we would be=20 left with nothing more than the losing ticket to the raffle. the question would remain, if some one did this who would have = the=20 winning ticket? the other proposition to take into consideration or to consider = as a=20 consideration of this situation is that since the beginning macdonad=92s=20= gift certificates have become the acceptable monetary exchange, there=20 has been an over-consumption of beef and potato byproducts, which in=20 turn has led to every acre of land either become grazing state nations,=20= or would potato collectives, until there was nothing leftover to feed =20= the all important test subjects on. the only option was to feed all=20 test subjects with concentrated mr. lime, an artificially generated=20 byproduct of leftovers, with color added for effect. by itself mr. lime=20= isn't all that bad, but I've heard tell in high doses it can cause a=20 range of effects from; mild noncontrolled quips to hard edged fucking,=20= that drives one to have sex with parts of the body never imagined. so,=20= what happens when the named winner of the lottery unnames the unnamed,=20= followed by a libido that rises to the templates unknown? I know both jason and I were on purple grease when I heard this = and my=20 mind left center stage, but still, what if this has happened? and why=20 am I here in an aluminum container and whose voices do I hear on the=20 other side of the door?=20 =20= ========================================================================= Date: Thu, 23 Jan 2003 08:32:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: Baudelaire bio? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:55 PM 1/22/03 -03-30, you wrote: >for more on drugs, this may help. Thanks to those who responded finally --I was feeling rather hung up to dry. I will look into the Starkie bio when I get a chance --still I can't help wishing for a more Baudelaire-specific text about the drugs, or a drug-specific text about Baudelaire. What got me started was his long essay "The Poem of Hashish," which fell into my hands at the flea market. Sounds like a fun read, and it is, but not in the way you'd expect: "[I]t is surely superfluous to labor the point of the immorality of hashish. If I should compare it to slow suicide, to a weapon always bloody and always ready-sharpened, no reasonable man will take exception." And I'm all, "what?" My surmise is that he was using hashish to express what he couldn't bring himself to say about opium & absinthe, but I wanted to check it out, & hence my 2 am question to the list. Maybe I will check out that Marcus Boon book, because I have similar questions for Poe, Nietzsche, Peirce -- and plenty of visual artists. Has anyone contemplated Piranesi's etchings of prisons, comparing their light & airy 1st states with the nightmarish versions he issued later in life? I can't help thinking the early versions were opium-fueled fantasies, and a lot of fun for him --but that the later editions, minatory and brooding, are the older artist's regretful meditation on addiction. Just a theory --I don't "know" the first thing about Piranesi's life or habits. I'm pretty sure Caravaggio was a stoner, though LRSN ========================================================================= Date: Thu, 23 Jan 2003 08:46:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: phew In-Reply-To: <20030123115440.8267.qmail@web12007.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/23/03 3:54 AM, Pam Brown at p.brown@YAHOO.COM wrote: > Dear MWP, > After a few years on this & other lists I decided to > get the U.S. Poetics list as a digest so as to > decrease the volume of email I receive. And that's > been great - I get the text generated texts etc etc > etc - but really, that last one took up far too much > scrolling space. The August Highland one seemed a bit > facile this time too - or am I wearying ? Coupla points, Pam B. First, if somebody didn't say the piece was "too" something I would have felt I failed, so thanks for that -- seriously. And yes it was WAAAAY too long, but if people can't push the envelope on an experimental literature list, where can they? I guess you would prefer that we all stop doing this sort of thing and let such topics as the MFA pro/con debate continue unabated, hm? No offense to the participants involved, but if that were the case, I would be gone from here in a heartbeat. I happen to appreciate very much the gratuitous scraps of poetry that appear in my email box like valentines (or bombs?) every day, even when some are sloppy and some are crude and some try and woo me with long boring missives that I will never do more than skim. Second, the work was intended to be scrolled through as part of the revelation of its form. I didn't know what else to do but let it be what it had to be. If it was improper to post something this long, well again impropriety is part of being a writer, I think, and that involves offending and even outraging people, and thus, perhaps, getting them to think anew about old ideas, such as the idea of what a haiku (and an email to a discussion list!) is supposed to be. I don't want to belabor my defense of the posting, and this will be my last public words on the subject, but if anybody else here also found that it went too far, I can only say that I fully understand and do not care. I only hope that some of you were able to overcome your initial outrage to see the value of the piece, assuming it had any, and that it made a few people happy. (I take it as a given that it made many people mad.) -m ========================================================================= Date: Thu, 23 Jan 2003 08:46:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Baraka encore MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII NPR did a story this morning about Amiri Baraka and the New Jersey legislature's decision to revoke the laureateship. (Apparently, you can't fire a laureate--talk about poetry careerism!) It was a very sympathetic to the poet. Baraka got the last word, which is that apparently the State of New Jersey is perfectly happy to be depicted as the home of the Sopranos, but is apparently afraid of poetry. Robert -- Robert Corbett "I will discuss perfidy with scholars as rcor@u.washington.edu as if spurning kisses, I will sip Department of English the marble marrow of empire. I want sugar University of Washington but I shall never wear shame and if you call that sophistry then what is Love" - Lisa Robertson ========================================================================= Date: Thu, 23 Jan 2003 12:02:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Bowling For Columbine was a restless turn from the mantra- more guns=more violence. Period. A brave position to take for a filmmaker whose core audience subscribes to that very idea. I'm not sure if my issue is w/ Moore or the moviegoers, but I found the liberal condescension aggravating during the Nichols interview. The soy farmer's a big joke because he isn't familiar w/ Gandhi's passive resistance tactics. Ha Ha Ha. In a classic case of "good liberal" disconnect, the fact that veggie burgers aren't grown in the university lab by their Sociology professor never crossed their mind. ========================================================================= Date: Thu, 23 Jan 2003 12:24:38 -0500 Reply-To: kevinkillian@earthlink.net Sender: UB Poetics discussion group From: "kevinkillian@earthlink.net" Subject: Baudelaire bio MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable David, I don't know much about Baudelaire but I can shed some partial ligh= t on your other question, viz "How sexy is Michael McClure"? Bruce Boone told me once that Michael was the first straight man to wear leather pants= in Berkeley--at least since Ishi, and that he, Michael, had imported this fashion from the leather boys of SF, but that he had had them made by his own tailor around 1959 or 1960 and of course, that Jim Morrison picked thi= s up from McClure a bit later on a a stage costume that would interrogate conventional audience notions of heterosexuality=2E I suppose because the= y, the pants, looked so supple, though they're notoriously insalubrious to wear=2E Is this what you wanted to know? xxx Kevin K=2E -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Thu, 23 Jan 2003 14:01:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: antiwar justifications WORDS MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Thanks for this: ----- Original Message ----- From: "Frank Sherlock" "good liberal" disconnect, I'll add to to my growing collection of words to live (or die) by, along with USAcentric. currently seeking an apt description for Bush watching TR rough riding over the bounding Maine. don't think words will suffice here. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Thu, 23 Jan 2003 09:27:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: antiwar justifications In-Reply-To: <513F8234.34BC920E.0080AC7C@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:02 PM 1/23/03 -0500, you wrote: >I'm not sure if my issue is w/ Moore or the moviegoers, but I found the >liberal condescension aggravating during the Nichols interview. The soy >farmer's a big joke because he isn't familiar w/ Gandhi's passive resistance >tactics. You might be interested to see the latest issue of the Southern Poverty Law Center's _Intelligence Report_, which includes an account of James Nichols's ceremonial induction into the Christian Identity religion last fall --at about the same time _Bowling_ was released, in fact. The story is on their website -- http://www.splcenter.org/intelligenceproject/ip-index.html Click on "Intelligence Report," and then the title "A Soldier's Ransom." I don't think you have to be a liberal to condescend, if it's true LRSN ========================================================================= Date: Thu, 23 Jan 2003 13:01:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: antiwar justifications MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I don't pretend that Nichols is a human rights champion, or that he's not a right-wing extremist. Look at the company he kept! But you bring up a great point. His alleged induction into the Aryan Israelite cult coincided w/ the release of Bowling For Columbine. Coincidence? Probably. But consider this. While the Left laughs at the American farmer, the Right is embracing them. The Heartland is the core of Christian Identity sympathy. Largely, the Left has abandoned them. ========================================================================= Date: Thu, 23 Jan 2003 14:01:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ken Rumble Subject: Jane Mead Reading POSTPONED b/c of Snow Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello everyone, Old man winter has taken it upon his frosty shoulders to reschedule Jane Mead's Desert City Poetry Reading. Instead of tonight (thursday, Jan. 23rd, at 8pm) the reading will be held Tuesday, February 4th, at 8pm. Thanks a lot -- keep warm. Ken updated info below: Please spread far & wide....... Who: Jane Mead, Guggenheim fellow, Wake Forest Professor, all around fighter of good fight What: Desert City Poetry Series back to kick off and tick off 'oh3 When: Tuesday, February 4th, 8:00 pm Where: PS211, Winston-Salem, NC -- 211 E. Third St. down downtown -- Business 40 to N. 52, take the 3rd, 4th, 5th Streets exit. Left at the light. PS211 is on the right at the corner of 3rd and Patterson. Why: Because "Sometimes, to get back to land / is the worst thing a person can do." See you there............. to PS211: http://ps211.org/directions.html about PS211: http://ps211.org/start.html about Jane Mead: http://www.press.uillinois.edu/s01/mead.html "I Have Been Living" by Jane Mead I have been living closer to the ocean than I thought-- in a rocky cove thick with seaweed. It pulls me down when I go wading. Sometimes, to get back to land takes everything that I have in me. Sometimes, to get back to land is the worst thing a person can do. Meanwhile, we are dreaming: The body is innocent. She has never hurt me. What we love flutters in us. ========================================================================= Date: Thu, 23 Jan 2003 14:15:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: REFULCRUM wins NPR Award MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Congratulations Katia and Philip! Best wishes Harriet ========================================================================= Date: Thu, 23 Jan 2003 14:51:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: antiwar justifications In-Reply-To: <6E97BBFA.5D338293.0080AC7C@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 1:01 PM -0500 1/23/03, Frank Sherlock wrote: >I don't pretend that Nichols is a human rights champion, or that >he's not a right-wing extremist. Look at the company he kept! But >you bring up a great point. > >His alleged induction into the Aryan Israelite cult coincided w/ the >release of Bowling For Columbine. Coincidence? Probably. But >consider this. While the Left laughs at the American farmer, the >Right is embracing them. The Heartland is the core of Christian >Identity sympathy. Largely, the Left has abandoned them. not in Minnesota, where the democratic party, known as the DFL (Democratic Farm and Labor) elected Paul Wellstone to office and kept him there. -- ========================================================================= Date: Thu, 23 Jan 2003 15:04:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: "The thief of time" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Jeffrey from Sheila isn't there some fline from proem starts ..time you thief..i'll ask joan of the great beyond it is very cold up here in broome county ny but i am cc so joy for all smassoni@aol.com ========================================================================= Date: Thu, 23 Jan 2003 16:35:18 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: hash & Baudelaire/Benjamin In-Reply-To: <4.1.20030123074307.00c0be80@socrates.berkeley.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII David, i haven't actually read much of this but as Benjamin was a big Baudelairehead, this might have something for you. English translation of Walter Benjamin's On Hashish [1927-1934] and Myslowitz-Braunschweig-Marseilles: The Story of a Hashish-Rausch [1930] Translated by Scott J. Thompson. at: http://www.wbenjamin.org/walterbenjamin.html all the best, kevin -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Thu, 23 Jan 2003 15:07:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: Baraka encore MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit am jerseygirl heard Baraka as Jones hear hear that he won't go why should he ?it's not like(as if0 he stole an election to start a war .smassoni@aol.com sunybing ========================================================================= Date: Thu, 23 Jan 2003 14:15:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: non-print version/Baraka/O'Reilly In-Reply-To: <001001c2c2f2$e1e74720$c0adf943@computer> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Did anyone see this broadcast? From the transcript, it looks like Baraka did quite well for himself. I still hold that "Somebody Blew Up America" is not a very good poem. But this was the most interesting thing I've ever seen come from O'Reilly's program. I wish Baraka could do that to him every week. JG -------------- A non-print version w/ graphics and photos: http://www.foxnews.com/story/0,2933,76374,00.html ========================================================================= Date: Thu, 23 Jan 2003 12:20:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: antiwar justifications In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit why don't we just get it over with -- make a bomb the size of the world, cut the shape of the united states out of it, and drop it. take everyone out in one fell swoop. (from a comic book i recently read)))) DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Alan Sondheim Sent: Wednesday, January 22, 2003 12:46 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: antiwar justifications For that matter America should be thrown out of the world. We're a disgrace. Bush has to get his first blood at everyone's cost. Throw him to the dogs. Alan On Wed, 22 Jan 2003, Daisy Fried wrote: > >> 7. America should not be the police of the world. > > > > And the US should not call itself "America." > > A Mexican friend of mine says the US should not call itself the US either > because after all, she says, Mexico is made up of United States too... > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Fri, 24 Jan 2003 11:22:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: antiwar justifications In-Reply-To: <4.1.20030123091207.00c06560@socrates.berkeley.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I suppose that Nichols' ignorance of Gandhi could be an occasion for liberal condescension, but for me the moment didn't play that way. Instead it was horrifying. This is not exactly esoteric knowledge. If Nichols had never heard of Cesar Chavez or Noam Chomsky, that would be one thing. But Gandhi? I would consider it condescending to assume that he hadn't heard of him, given that we no longer live in a culture where the midwestern farmer is cut off from the rest of the world. To me it plays like a real-life Taxi Driver, a film I saw again recently -- a person with an autodidactic drive and a self-aggrandizing temperament can potentially assemble, from the detritus of contemporary U.S. culture, a view of history and one's place in it that would seem to justify the most outrageous (and arbitrary) violence. Which seems to me an apt description of Bush -- a parallel the film also implies. On Thu, 23 Jan 2003 09:27:13 -0800 David Larsen wrote: > At 12:02 PM 1/23/03 -0500, you wrote: > >I'm not sure if my issue is w/ Moore or the moviegoers, but I found the > >liberal condescension aggravating during the Nichols interview. The soy > >farmer's a big joke because he isn't familiar w/ Gandhi's passive resistance > >tactics. > > You might be interested to see the latest issue of the Southern Poverty Law > Center's _Intelligence Report_, which includes an account of James > Nichols's ceremonial induction into the Christian Identity religion last > fall --at about the same time _Bowling_ was released, in fact. The story is > on their website -- > http://www.splcenter.org/intelligenceproject/ip-index.html > Click on "Intelligence Report," and then the title "A Soldier's Ransom." I > don't think you have to be a liberal to condescend, if it's true LRSN <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Thu, 23 Jan 2003 15:48:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BeeHive 5:2 now online! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII BeeHive Hypertext / Hypermedia Literary Journal Volume 5 | Issue 2 ISSN: 1528-8102 http://beehive.temporalimage.com --- IN THIS ISSUE: Landscapes / Bill Marsh http://beehive.temporalimage.com/content_apps52/app_a.html Viractualism / Joseph Nechvatal http://beehive.temporalimage.com/content_apps52/app_b.html Hyperbody/ Juliet Ann Martin http://beehive.temporalimage.com/content_apps52/app_c.html Restless / Miranda F. Mellis http://beehive.temporalimage.com/content_apps52/app_d.html Ornithology of War / Marianne Shaneen http://beehive.temporalimage.com/content_apps52/app_e.html Outline of a Novel / Millie Niss http://beehive.temporalimage.com/content_apps52/app_f.html Definitions / Jon Fried http://beehive.temporalimage.com/content_apps52/app_g.html Your Book Came / Alan Sondheim http://beehive.temporalimage.com/content_apps52/app_h.html ------------- Don't forget the BeeHive ArcHive: http://beehive.temporalimage.com/archive/index.html ALL THE CONTENT FROM PAST ISSUES OF BEEHIVE Highlights include: Panhandle : Jason Nelson http://beehive.temporalimage.com/archive/51arc.html Toward Electracy : Gregory Ulmer / Talan Memmott [intro by Mark Amerika] http://beehive.temporalimage.com/archive/34arc.html NY/SF Poetry Collection : 30 Poets from San Francisco and New York http://beehive.temporalimage.com/archive/23arc.html Squaring the Word : Siegfried Holzbauer http://beehive.temporalimage.com/archive/25arc.html Newsreel 12.11.77.xox : Toby Boudreaux http://beehive.temporalimage.com/archive/14arc.html _________________________________ BeeHive has been online since 1998. Talan Memmott -- BeeHive Creative Director / Editor in Chief Alan Sondheim -- Associate Editor ========================================================================= Date: Thu, 23 Jan 2003 17:34:04 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Bill O'Reilly's Fascism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII from Counterpunch How Alec Baldwin Outted the Fox Blowhard Bill O'Reilly's Fascism By TOM GORMAN Last year on a special broadcast, "O'Reilly versus Hollywood" (Fox News Special, 6/7/02), Bill O'Reilly purported to "take-on" the "phoniness" of entertainers who are politically active. Of particular pique to O'Reilly was a comment from actor Alec Baldwin on a March episode of the now-defunct Politically Incorrect. Responding to the idea that a President Gore would have been less steadfast in his response to terrorism than President Bush, Baldwin said: "If you watched Fox [News] and all those other fascists over there, that's exactly what they would have had you believe." O'Reilly complained to entertainment journalist Jeanne Wolf (The O'Reilly Factor, 6/7/02) that "if you're going to point fingers at people, and call them names like Alec Baldwin said the Fox News Channel are fascists, . . . you've got to back it up." the rest at; http://counterpunch.org/gorman01222003.html -- ------------------------------------------------------------------------------- Featured at http://www.latchkey.net/poetry/ ========================================================================= Date: Thu, 23 Jan 2003 16:05:07 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: non-print version/Baraka/O'Reilly MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/23/03 3:18:32 PM, Gallaher@MAIL.UCA.EDU writes: << Did anyone see this broadcast? From the transcript, it looks like Baraka did quite well for himself. I still hold that "Somebody Blew Up America" is not a very good poem. But this was the most interesting thing I've ever seen come from O'Reilly's program. I wish Baraka could do that to him every week. JG >> I saw the broadcast. Neither "contestant" did well for himself. As the transcript indicates, neither Baraka nor O'Reilly was able to finish a sentence. It was an exercise in egotistic incoherence, much like any war. We are treated daily to the Jerry Springer/WWE brand of news, and both the left and the right contribute to this nonsense. This, it seems, is what americans crave. One fool vs. another. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Thu, 23 Jan 2003 16:05:59 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Why Bill O'Reilly is Insane MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Why Bill O'Reilly is Insane by Amiri Baraka special to the Assassinated Press BILL O'REILLY, HOST: In the Personal Story segment tonight, the poet laureate of New Jersey Amiri Baraka. He angered millions of Americans by writing a poem that said the Bush administration and the Israeli government, among others, knew in advance that the World Trade Center was going to be attacked on 9/11. The New Jersey legislature right now could have fired him, but he continues to defend his position. AMIRI BARAKA, NEW JERSEY POET LAUREATE: "Who knew the World Trade Center was going to get bombed? Well, the Bush administration knew." I agree with this. "And it is everywhere on the Internet. Not only that -- was the U.S. warned repeatedly by Germany, France, Russia, England, but also Israel. Who told 4,000 Israeli workers in the Twin Towers to stay home that day? Why did Sharon stay away?" unquote. Now to infer that I am accusing Israel of committing this atrocity is disingenuous slander and character assassination. But I do believe, as I stated about England, Germany, France, Russia, that the Israeli government, certainly its security force, knew about the attack in advance. O'REILLY: All right. With us now is Amiri Baraka. Now I'm more interested in, you know, who you are and what you think rather than this crazy 9/11 theory you have. BARAKA: OK. O'REILLY: I mean, you're an American. You're free to believe anything you want, but it's just nutty, in my opinion. Do you believe... BARAKA: Well, why do you attack me? If I'm free to believe it, why do you attack me? O'REILLY: I'm just saying it's nutty. That's my opinion. I hold that. Now do you believe in the Holocaust? BARAKA: Of course. O'REILLY: OK. So you don't have any problems with what happened... BARAKA: But criticizing Israel does not mean you're anti-Semitic. O'REILLY: Oh, come on. You... BARAKA: That's the big lie. O'REILLY: ... can criticize all day long, but... BARAKA: That's the big lie. O'REILLY: ... if you say they knew about the 9/11 attack beforehand... BARAKA: So did Bush. O'REILLY: Wait. BARAKA: So did Bush. O'REILLY: Look, some people believe in the Easter Bunny. Do you be that? Come on. BARAKA: Well, if you believe Bush is the Easter Bunny, but there are four FBI agents suing for the same reason, who said they gave information about Zacarias Moussaoui... O'REILLY: You're -- you're... BARAKA: ... about... O'REILLY: You're on the Internet there too much with all due respect. BARAKA: Well, it -- why is Internet less believable than The Post... O'REILLY: All right. Because there's no editor on... BARAKA: ... or The Wall Street Journal? O'REILLY: There's no editor on the Internet. BARAKA: That might be better. O'REILLY: You can write whatever you want to write. BARAKA: That might be better. O'REILLY: But let's find out who you are and what you think. BARAKA: Sure. O'REILLY: You've been accused of being anti-white. Do you dislike white people? BARAKA: No, that was before -- actually, earlier, when they killed Malcolm X, I had that kind of reaction briefly. You know, that's why it's kind of, you know, absurd to say I was anti-Semitic because I hated all white people after that. O'REILLY: You hated all white people after... BARAKA: Sure. But, later, I adjusted, you know, and I... O'REILLY: So you just hate some of us now or... BARAKA: No, I just... O'REILLY: What's your hatred level? BARAKA: It's not -- it doesn't have to do with like ethnicity or skin color. It has to do with ideology. I hate right-wing bigots. That's for sure. O'REILLY: OK. How about left-wing bigots? BARAKA: Oh, well, left -- a bigot is a bigot. O'REILLY: All right. So you don't like any bigot. O'REILLY: A bigot is a bigot. You don't like any bigots. BARAKA: No, no bigots. O'REILLY: All right. Good. Well, I'm with you on that. How's that? BARAKA: Good. That's good. You don't seem like it. O'REILLY: Well, that's OK. You form your own opinion. BARAKA: Right, right. Right. Thank you. O'REILLY: Now President Bush -- you realize -- you firmly believe that he would have allowed 3,000 Americans to die in the streets? BARAKA: Absolutely. O'REILLY: And why would he... BARAKA: Can I tell you... O'REILLY: And why would he have allowed that? BARAKA: So that he can run around the world and make a military dictatorship of the world. O'REILLY: So he wants to... BARAKA: Let me ask you this. Let me ask you this. If you know anything about flying, you know that you cannot go up in the air without filing a route. How can you make a 90-degree turn from Boston, two airplanes, commercial airliners, fly down to the World Trade Center without being challenged, no ground-to-air missiles, no... O'REILLY: There weren't any ground-to-air missiles in that area, and... BARAKA: Well, there were... O'REILLY: ... they did... BARAKA: And you're supposed to first communicate by radio. O'REILLY: But, again, Mr. Baraka, look, if you want to think... BARAKA: ... of the world say... O'REILLY: If you want to think that that was a big world conspiracy, then go ahead and think that, all right. BARAKA: Worldwide conspiracy. O'REILLY: I'm not going to dissuade you, all right. BARAKA: You'll deny it then. O'REILLY: I will deny it, and I'll go a step further. You're insane, and it's insane to for the State of New Jersey... BARAKA: If I was insane, I'd have a television program. O'REILLY: OK. Look, it's -- it's insane for the State of New Jersey to pay you as a poet laureate. BARAKA: They haven't paid me yet. O'REILLY: All right. Well, you're on the payroll. BARAKA: If they want to find some real anti-Semites, they should go to Ezra Pound and T.S. Eliot who were taught in the schools. O'REILLY: All right. Fine. I want you to react to one of your poems "Black Art" and explain this, OK. BARAKA: That was written in 1965, right. Go ahead. O'REILLY: All right. "We want 'poems that kill.' Assassin poems, Poems that is shoot guns. Poems that wrestle cops into alleys and take their weapons leaving them dead with tongues pulled out and sent to Ireland. BARAKA: Keep reading. O'REILLY: Well, that's -- that's the portion that really -- because the Ireland thing really piqued my interest. What does that mean? BARAKA: What it means -- it means I want poems that are physical, that have a presence, that are not abstract and idealistic. That's what it means. O'REILLY: All right, but why did you... BARAKA: It means I want images that are strong enough to influence people in the real world. O'REILLY: Why did you choose to use the violence against cops? BARAKA: Cops. Because cops kill black people. They still are. I mean, if you think Amadou Diallo is not an incident of violence... O'REILLY: But do police kill white people, too? BARAKA: Excuse me. O'REILLY: Do police kill white people, too? BARAKA: Absolutely. That's why white people should oppose them. O'REILLY: OK. So you believe all police in this country should be opposed? BARAKA: No, not all police. That's like saying all people are this, all people are that. O'REILLY: Well, which ones should be opposed? BARAKA: The backward ones. The racist ones. The ones that... O'REILLY: And how do we identify them? BARAKA: You're supposed to test them. You're supposed to train them. O'REILLY: Oh, you're supposed to test them. BARAKA: Right. O'REILLY: Do you have a bigot test, do you? BARAKA: Sure you do. O'REILLY: And how is that? BARAKA: It's like the test they gave in the U.S. Army after they saw the triumph of the will by Leni Riefenstahl. They found out that there was a rise in anti-Semitic and fascist feeling by 20-some percent. That's a test that the U.S. Army gives. You can make tests to find out about people. You know, the Rorschach test... O'REILLY: Can you design that -- I'd like for you to design that and send it to me. BARAKA: I could -- I could design it. O'REILLY: All right. Here's a quote from you from the "New Republic." It says... BARAKA: Will you give me permission to do it? I would do it. O'REILLY: No. Design it, and I'll read it on the air, all right? BARAKA: OK. O'REILLY: "Here the black man is called rapist, where the rolling of his eyes can get him in trouble. That is, the average ofay" -- Is ofay a white person? Is that a white person? BARAKA: Well, it used to be. That's pig latin. Pig latin for foe. O'REILLY: OK. "Thinks -- thinks of the black man as potentially raping every white lady in sight. Which is true, in the sense that the black man should want to rob the white man of everything he has." BARAKA: Well, why do you keep reading things from the '60s that are... O'REILLY: I -- look, I've got a compilation of your stuff, and I figured I'd pick the most inflammatory. BARAKA: Well, those are the '60s. Well, I thought that somebody who blew up America was inflammatory. O'REILLY: Somebody what? BARAKA: Somebody who blew up America. I think that was inflammatory. O'REILLY: It was. But I don't want to -- see, it's a loony theory, with all due respect. BARAKA: I have another... O'REILLY: I don't want to... BARAKA: I have another inflammatory poem. It's called "Loco for Bush II (ph)." "The main thing wrong with you is you're ain't in jail." That's an inflammatory... O'REILLY: OK. Well, again, you're an American. You have the right. BARAKA: Thank you. O'REILLY: Now you're going to teach kids in Newark public schools? BARAKA: We've already started. Last week. O'REILLY: All right. And what exactly are you going to teach them, how bad the... BARAKA: We're going to teach them poetry. O'REILLY: ... government is? BARAKA: No, we're going to teach them -- they know that themselves. O'REILLY: Oh, they know that themselves. BARAKA: We're going to enhance their understanding of... O'REILLY: Are you going to say the Pledge of Allegiance before you teach? BARAKA: Well, the part -- if you put God in it, doesn't that mean you're making state and church... O'REILLY: Not to me it doesn't. How do you feel about it? BARAKA: How do I feel about what? The Pledge of Allegiance? O'REILLY: Do you believe in God? BARAKA: No, I'm a Marxist. O'REILLY: OK. You're a Marxist. BARAKA: I believe that everybody can believe what they believe. O'REILLY: All right. So you're a Marxist. So you don't believe in God. BARAKA: A Marxist. O'REILLY: Right. You don't... BARAKA: A communist. O'REILLY: You don't like this country at all, right? BARAKA: Well, no, I... O'REILLY: You like this country? BARAKA: ... love this country, but I don't like what it's done to black people. We here - came here at the bottom of the boats. You know that poem that goes, "At the bottom of the Atlantic Ocean is a railroad made of human bones." O'REILLY: Right. But let me get this. BARAKA: Yes. O'REILLY: So you don't believe in God, you're a Marxist in this -- a capitalist country. BARAKA: I believe everybody... O'REILLY: All right. You believe Bush has... O'REILLY: ... intentionally killed 3,000 people... BARAKA: Yes. He didn't stop it. O'REILLY: ... because he wants to take over the world. BARAKA: Let's stay that. O'REILLY: Right. OK. BARAKA: He knew about it. O'REILLY: And you believe that a lot of whites are bigots and... BARAKA: You don't believe that? O'REILLY: No, I don't. I believe most Americans... BARAKA: What was slavery? What happened to slavery? O'REILLY: Well I was -- I was -- you know, that... BARAKA: That was a long time ago. O'REILLY: Slavery was older than some of your poems I read, you know. BARAKA: Well, are you saying Diallo -- that was slavery. Are you saying... O'REILLY: I'm saying the jury... BARAKA: ... Byrd in Texas -- that was slavery. O'REILLY: I will tell you this. The jury that... BARAKA: Are you telling me the man who was murdered in Alabama... O'REILLY: ... had black Americans on it acquitted the policemen. That's all I can tell you. BARAKA: I know. O'REILLY: Black Americans... BARAKA: Are you going to tell me that Bush being against affirmative action, that's not a continuation? Are you telling me that Bush getting into office... O'REILLY: With all due respect, Mr... BARAKA: Baraka. O'REILLY: Baraka, right. You know, I'm cloudy here because you're throwing a lot of stuff at me. You teaching schoolchildren... BARAKA: I taught school for 20 years. O'REILLY: ... is akin to me having Mussolini come in and teach children. BARAKA: Well, your being on television is akin to having Goebbels on television. O'REILLY: All right. Well, I guess we... BARAKA: Joseph Goebbels. It's the same thing. O'REILLY: I guess we don't have too much common ground, other than we both don't like bigots. BARAKA: We can talk about what -- we don't understand what each other is saying. O'REILLY: All right. I've got to tell you I appreciate you coming on in. I think you're a lunatic, and... BARAKA: Yes. Well, I think you're a lunatic who's more dangerous because you're on television. O'REILLY: All right. Mr. Baraka, thank you very much. We appreciate it. BARAKA: Thank you very much. That was short and sweet. The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Thu, 23 Jan 2003 16:06:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: non-print version/Baraka/O'Reilly In-Reply-To: <1a4.fc5d481.2b61b303@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 04:05 PM 1/23/2003, you wrote: >In a message dated 1/23/03 3:18:32 PM, Gallaher@MAIL.UCA.EDU writes: > ><< Did anyone see this broadcast? > From the transcript, it looks like Baraka did quite well for himself. > >I still hold that "Somebody Blew Up America" is not a very good >poem. But this was the most interesting thing I've ever seen come >from O'Reilly's program. I wish Baraka could do that to him every >week. > > JG >> > >I saw the broadcast. Neither "contestant" did well for himself. As the >transcript indicates, neither Baraka nor O'Reilly was able to finish a >sentence. It was an exercise in egotistic incoherence, much like any war. >We are treated daily to the Jerry Springer/WWE brand of news, and both the >left and the right contribute to this nonsense. This, it seems, is what >americans crave. One fool vs. another. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com The problem is that if you don't take the tack that Baraka took last night, O'Reilly will roll you over. You must be guileless with the man--unless you agree with him. --Ak ========================================================================= Date: Thu, 23 Jan 2003 16:31:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: non-print version/Baraka/O'Reilly MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/23/03 4:08:12 PM, anastasios@HELL.COM writes: << At 04:05 PM 1/23/2003, you wrote: >In a message dated 1/23/03 3:18:32 PM, Gallaher@MAIL.UCA.EDU writes: > ><< Did anyone see this broadcast? > From the transcript, it looks like Baraka did quite well for himself. > >I still hold that "Somebody Blew Up America" is not a very good >poem. But this was the most interesting thing I've ever seen come >from O'Reilly's program. I wish Baraka could do that to him every >week. > > JG >> > >I saw the broadcast. Neither "contestant" did well for himself. As the >transcript indicates, neither Baraka nor O'Reilly was able to finish a >sentence. It was an exercise in egotistic incoherence, much like any war. >We are treated daily to the Jerry Springer/WWE brand of news, and both the >left and the right contribute to this nonsense. This, it seems, is what >americans crave. One fool vs. another. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com The problem is that if you don't take the tack that Baraka took last night, O'Reilly will roll you over. You must be guileless with the man--unless you agree with him. --Ak >> What?!!? No one is forced to appear on that idiotic show, and there is nothing wrong with being rolled over by some "spinning" big mouth. Intelligent viewers will understand what is happening. But there are people out there who think that one must be in one camp or another, that the world is black and white, and cannot fathom the possibiltiy that both Baraka and O'Reilly are opposite sides of the same counterfeit coin. Oh well, do it goes. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Fri, 24 Jan 2003 17:20:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Fw: Baraka...Blast from the Dark Past.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this from the Po list darlin'...an open letter to Bayard Rustin..(my caps)...."You are a slaveship profiteer a paid PERVERT for the rascist unions..."...and other bile from the neo hodoo blax fascismo ex po lorio of N.J and me very own BoHO Po club.. ...dRn.. ========================================================================= Date: Thu, 23 Jan 2003 16:38:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: non-print version/Baraka/O'Reilly In-Reply-To: <15f.1a9fb2bc.2b61b94a@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >What?!!? No one is forced to appear on that idiotic show, and there is >nothing wrong with being rolled over by some "spinning" big mouth. >Intelligent viewers will understand what is happening. But there are people >out there who think that one must be in one camp or another, that the world >is black and white, and cannot fathom the possibiltiy that both Baraka and >O'Reilly are opposite sides of the same counterfeit coin. Oh well, do it >goes. Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com >BarnesandNoble.com I disagree. Baraka went on the show to counter the O'Reilly's venom with some of his own. FOX is one of the most watched news stations in the US and is closely aligned with the White House. To have someone like Baraka sharing his "radical" views on FOX is wonderful. And, what, Bill, should Baraka just stick to talking to small groups of poets in the Lower East Side or in Washington or in Newark? What better place for him to go than on FOX and face the powers that be. I absolutely applaud him. Yes, people who watch FOX probably thought he was crazy, but if they saw O'Reilly reciprocating the insanity, they might have gained some insight into the news that they are feeding themselves. --Ak ========================================================================= Date: Thu, 23 Jan 2003 16:46:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Why Bill O'Reilly is Insane In-Reply-To: <4e.16988934.2b61b337@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" thanks, this is terrifically entertaining. i will print it out and use it to teach! baraka's pretty good here, i'd say. At 4:05 PM -0500 1/23/03, Joe Brennan wrote: > Click here: The >Assassinated Press > > >Why Bill O'Reilly is Insane >by Amiri Baraka >special to the Assassinated Press > > >BILL O'REILLY, HOST: In the Personal Story segment tonight, the poet >laureate of New Jersey Amiri Baraka. He angered millions of Americans by >writing a poem that said the Bush administration and the Israeli government, >among others, knew in advance that the World Trade Center was going to be >attacked on 9/11. The New Jersey legislature right now could have fired him, >but he continues to defend his position. > >AMIRI BARAKA, NEW JERSEY POET LAUREATE: "Who knew the World Trade Center was >going to get bombed? Well, the Bush administration knew." I agree with >this. >"And it is everywhere on the Internet. Not only that -- was the U.S. warned >repeatedly by Germany, France, Russia, England, but also Israel. Who told >4,000 Israeli workers in the Twin Towers to stay home that day? Why did >Sharon stay away?" unquote. >Now to infer that I am accusing Israel of committing this atrocity is >disingenuous slander and character assassination. But I do believe, as I >stated about England, Germany, France, Russia, that the Israeli government, >certainly its security force, knew about the attack in advance. > >O'REILLY: All right. With us now is Amiri Baraka. >Now I'm more interested in, you know, who you are and what you think rather >than this crazy 9/11 theory you have. > >BARAKA: OK. > >O'REILLY: I mean, you're an American. You're free to believe anything you >want, but it's just nutty, in my opinion. >Do you believe... > >BARAKA: Well, why do you attack me? If I'm free to believe it, why do you >attack me? > >O'REILLY: I'm just saying it's nutty. That's my opinion. I hold that. >Now do you believe in the Holocaust? > >BARAKA: Of course. > >O'REILLY: OK. So you don't have any problems with what happened... > >BARAKA: But criticizing Israel does not mean you're anti-Semitic. > >O'REILLY: Oh, come on. You... > >BARAKA: That's the big lie. > >O'REILLY: ... can criticize all day long, but... > >BARAKA: That's the big lie. > >O'REILLY: ... if you say they knew about the 9/11 attack beforehand... > >BARAKA: So did Bush. > >O'REILLY: Wait. > >BARAKA: So did Bush. > >O'REILLY: Look, some people believe in the Easter Bunny. Do you be that? >Come on. > >BARAKA: Well, if you believe Bush is the Easter Bunny, but there are four >FBI agents suing for the same reason, who said they gave information about >Zacarias Moussaoui... > >O'REILLY: You're -- you're... > >BARAKA: ... about... > >O'REILLY: You're on the Internet there too much with all due respect. > >BARAKA: Well, it -- why is Internet less believable than The Post... > >O'REILLY: All right. Because there's no editor on... > >BARAKA: ... or The Wall Street Journal? > >O'REILLY: There's no editor on the Internet. > >BARAKA: That might be better. > >O'REILLY: You can write whatever you want to write. > >BARAKA: That might be better. > >O'REILLY: But let's find out who you are and what you think. > >BARAKA: Sure. > >O'REILLY: You've been accused of being anti-white. Do you dislike white >people? > >BARAKA: No, that was before -- actually, earlier, when they killed Malcolm >X, I had that kind of reaction briefly. You know, that's why it's kind of, >you know, absurd to say I was anti-Semitic because I hated all white people >after that. > >O'REILLY: You hated all white people after... > >BARAKA: Sure. But, later, I adjusted, you know, and I... > >O'REILLY: So you just hate some of us now or... > >BARAKA: No, I just... > >O'REILLY: What's your hatred level? > >BARAKA: It's not -- it doesn't have to do with like ethnicity or skin color. > It has to do with ideology. I hate right-wing bigots. That's for sure. > >O'REILLY: OK. How about left-wing bigots? > >BARAKA: Oh, well, left -- a bigot is a bigot. > >O'REILLY: All right. So you don't like any bigot. > >O'REILLY: A bigot is a bigot. You don't like any bigots. > >BARAKA: No, no bigots. > >O'REILLY: All right. Good. Well, I'm with you on that. How's that? > >BARAKA: Good. That's good. You don't seem like it. > >O'REILLY: Well, that's OK. You form your own opinion. > >BARAKA: Right, right. Right. Thank you. > >O'REILLY: Now President Bush -- you realize -- you firmly believe that he >would have >allowed 3,000 Americans to die in the streets? > >BARAKA: Absolutely. > >O'REILLY: And why would he... > >BARAKA: Can I tell you... > >O'REILLY: And why would he have allowed that? > >BARAKA: So that he can run around the world and make a military dictatorship >of the world. > >O'REILLY: So he wants to... > >BARAKA: Let me ask you this. Let me ask you this. If you know anything >about flying, you know that you cannot go up in the air without filing a >route. How can you make a 90-degree turn from Boston, two airplanes, >commercial airliners, fly down to the World Trade Center without being >challenged, no ground-to-air missiles, no... > >O'REILLY: There weren't any ground-to-air missiles in that area, and... > >BARAKA: Well, there were... > >O'REILLY: ... they did... > >BARAKA: And you're supposed to first communicate by radio. > >O'REILLY: But, again, Mr. Baraka, look, if you want to think... > >BARAKA: ... of the world say... > >O'REILLY: If you want to think that that was a big world conspiracy, then go >ahead and think that, all right. > >BARAKA: Worldwide conspiracy. > >O'REILLY: I'm not going to dissuade you, all right. > >BARAKA: You'll deny it then. > >O'REILLY: I will deny it, and I'll go a step further. You're insane, and >it's insane to for the State of New Jersey... > >BARAKA: If I was insane, I'd have a television program. > >O'REILLY: OK. Look, it's -- it's insane for the State of New Jersey to pay >you as a poet laureate. > >BARAKA: They haven't paid me yet. > >O'REILLY: All right. Well, you're on the payroll. > >BARAKA: If they want to find some real anti-Semites, they should go to Ezra >Pound and T.S. Eliot who were taught in the schools. > >O'REILLY: All right. Fine. >I want you to react to one of your poems "Black Art" and explain this, OK. > >BARAKA: That was written in 1965, right. Go ahead. > >O'REILLY: All right. >"We want 'poems that kill.' Assassin poems, Poems that is shoot guns. Poems >that wrestle cops into alleys and take their weapons leaving them dead with >tongues pulled out and sent to Ireland. > >BARAKA: Keep reading. > >O'REILLY: Well, that's -- that's the portion that really -- because the >Ireland thing really piqued my interest. What does that mean? > >BARAKA: What it means -- it means I want poems that are physical, that have >a presence, that are not abstract and idealistic. That's what it means. > >O'REILLY: All right, but why did you... > >BARAKA: It means I want images that are strong enough to influence people in >the real world. > >O'REILLY: Why did you choose to use the violence against cops? > >BARAKA: Cops. Because cops kill black people. They still are. I mean, if >you think Amadou Diallo is not an incident of violence... > >O'REILLY: But do police kill white people, too? > >BARAKA: Excuse me. > >O'REILLY: Do police kill white people, too? > >BARAKA: Absolutely. That's why white people should oppose them. > >O'REILLY: OK. So you believe all police in this country should be opposed? > >BARAKA: No, not all police. That's like saying all people are this, all >people are that. > >O'REILLY: Well, which ones should be opposed? > >BARAKA: The backward ones. The racist ones. The ones that... > >O'REILLY: And how do we identify them? > >BARAKA: You're supposed to test them. You're supposed to train them. > >O'REILLY: Oh, you're supposed to test them. > >BARAKA: Right. > >O'REILLY: Do you have a bigot test, do you? > >BARAKA: Sure you do. > >O'REILLY: And how is that? > >BARAKA: It's like the test they gave in the U.S. Army after they saw the >triumph of the will by Leni Riefenstahl. They found out that there was a >rise in anti-Semitic and fascist feeling by 20-some percent. That's a test >that the U.S. Army gives. You can make tests to find out about people. You >know, the Rorschach test... > >O'REILLY: Can you design that -- I'd like for you to design that and send it >to me. > >BARAKA: I could -- I could design it. > >O'REILLY: All right. Here's a quote from you from the "New Republic." It >says... > >BARAKA: Will you give me permission to do it? I would do it. > >O'REILLY: No. Design it, and I'll read it on the air, all right? > >BARAKA: OK. > >O'REILLY: "Here the black man is called rapist, where the rolling of his >eyes can get him in trouble. That is, the average ofay" -- >Is ofay a white person? Is that a white person? > >BARAKA: Well, it used to be. That's pig latin. Pig latin for foe. > >O'REILLY: OK. "Thinks -- thinks of the black man as potentially raping >every white lady in sight. Which is true, in the sense that the black man >should want to rob the white man of everything he has." > >BARAKA: Well, why do you keep reading things from the '60s that are... > >O'REILLY: I -- look, I've got a compilation of your stuff, and I figured I'd >pick the most inflammatory. > >BARAKA: Well, those are the '60s. Well, I thought that somebody who blew up >America was inflammatory. > >O'REILLY: Somebody what? > >BARAKA: Somebody who blew up America. I think that was inflammatory. > >O'REILLY: It was. But I don't want to -- see, it's a loony theory, with all >due respect. > >BARAKA: I have another... > >O'REILLY: I don't want to... > >BARAKA: I have another inflammatory poem. It's called "Loco for Bush II >(ph)." "The main thing wrong with you is you're ain't in jail." That's an >inflammatory... > >O'REILLY: OK. Well, again, you're an American. You have the right. > >BARAKA: Thank you. > >O'REILLY: Now you're going to teach kids in Newark public schools? > >BARAKA: We've already started. Last week. > >O'REILLY: All right. And what exactly are you going to teach them, how bad >the... > >BARAKA: We're going to teach them poetry. > >O'REILLY: ... government is? > >BARAKA: No, we're going to teach them -- they know that themselves. > >O'REILLY: Oh, they know that themselves. > >BARAKA: We're going to enhance their understanding of... > >O'REILLY: Are you going to say the Pledge of Allegiance before you teach? > >BARAKA: Well, the part -- if you put God in it, doesn't that mean you're >making state and church... > >O'REILLY: Not to me it doesn't. How do you feel about it? > >BARAKA: How do I feel about what? The Pledge of Allegiance? > >O'REILLY: Do you believe in God? > >BARAKA: No, I'm a Marxist. > >O'REILLY: OK. You're a Marxist. > >BARAKA: I believe that everybody can believe what they believe. > >O'REILLY: All right. So you're a Marxist. So you don't believe in God. > >BARAKA: A Marxist. > >O'REILLY: Right. You don't... > >BARAKA: A communist. > >O'REILLY: You don't like this country at all, right? > >BARAKA: Well, no, I... > >O'REILLY: You like this country? > >BARAKA: ... love this country, but I don't like what it's done to black >people. We here - came here at the bottom of the boats. You know that poem >that goes, "At the bottom of the Atlantic Ocean is a railroad made of human >bones." > >O'REILLY: Right. But let me get this. > >BARAKA: Yes. > >O'REILLY: So you don't believe in God, you're a Marxist in this -- a >capitalist country. > >BARAKA: I believe everybody... > >O'REILLY: All right. You believe Bush has... > > >O'REILLY: ... intentionally killed 3,000 people... > >BARAKA: Yes. He didn't stop it. > >O'REILLY: ... because he wants to take over the world. > >BARAKA: Let's stay that. > >O'REILLY: Right. OK. > >BARAKA: He knew about it. > >O'REILLY: And you believe that a lot of whites are bigots and... > >BARAKA: You don't believe that? > >O'REILLY: No, I don't. I believe most Americans... > >BARAKA: What was slavery? What happened to slavery? > >O'REILLY: Well I was -- I was -- you know, that... > >BARAKA: That was a long time ago. > >O'REILLY: Slavery was older than some of your poems I read, you know. > >BARAKA: Well, are you saying Diallo -- that was slavery. Are you saying... > >O'REILLY: I'm saying the jury... > >BARAKA: ... Byrd in Texas -- that was slavery. > >O'REILLY: I will tell you this. The jury that... > >BARAKA: Are you telling me the man who was murdered in Alabama... > >O'REILLY: ... had black Americans on it acquitted the policemen. That's all >I can tell you. > >BARAKA: I know. > >O'REILLY: Black Americans... > >BARAKA: Are you going to tell me that Bush being against affirmative action, >that's not a >continuation? Are you telling me that Bush getting into office... > >O'REILLY: With all due respect, Mr... > >BARAKA: Baraka. > >O'REILLY: Baraka, right. You know, I'm cloudy here because you're throwing >a lot of stuff at me. You teaching schoolchildren... > >BARAKA: I taught school for 20 years. > >O'REILLY: ... is akin to me having Mussolini come in and teach children. > >BARAKA: Well, your being on television is akin to having Goebbels on >television. > >O'REILLY: All right. Well, I guess we... > >BARAKA: Joseph Goebbels. It's the same thing. > >O'REILLY: I guess we don't have too much common ground, other than we both >don't like bigots. > >BARAKA: We can talk about what -- we don't understand what each other is >saying. > >O'REILLY: All right. I've got to tell you I appreciate you coming on in. I >think you're a lunatic, and... > >BARAKA: Yes. Well, I think you're a lunatic who's more dangerous because >you're on television. > >O'REILLY: All right. Mr. Baraka, thank you very much. We appreciate it. > >BARAKA: Thank you very much. That was short and sweet. > >The Assassinated Press > > > >They hang the man and flog the woman >That steal the goose from off the common, >But let the greater villain loose >That steals the common from the goose. > >Constant apprehension of war has the same tendency >to render the head too large for the body. A standing military >force with an overgrown executive will not long be safe. >companions to liberty. -- Thomas Jefferson > > >"America is a quarter of a billion people totally misinformed and disinformed >by their government. This is tragic but our media is -- I wouldn't even say >corrupt -- it's just beyond telling us anything that the government doesn't >want us to know." > >Gore Vidal -- ========================================================================= Date: Thu, 23 Jan 2003 17:36:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: short article on codework - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Codeworld */alansondheim/* 12:55pm up 2 min, 1 user, load average: 0.31, 0.19, 0.07 USER TTY FROM LOGIN@ IDLE JCPU PCPU WHAT root tty1 - 12:54pm 0.00s 0.46s 0.05s w Die Welt ist alles, was der Fall ist. Ogden: The world is everything that is the case. Pears/McGuinness: The world is all that is the case. Die Welt ist die Gesamtheit der Tatsachen, nicht der Dinge. Pears/McGuinness: The world is the totality of facts, not of things. Ogden: The world is the totality of facts, not of things. ... Die Tatsachen im logischen Raum sind die Welt. Die Welt zerfallt in Tatsachen. Ogden: The facts in logical space are the world. The world divides into facts. ... Wovon man nicht sprechen kann, daruber muss man schweigen. Ogden: Whereof one cannot speak, thereof one must be silent. Pears/McGuinness: What we cannot speak about we must pass over in silence. (From beginning and end of Wittgenstein, Tractatus Logico-Philosophicus, Ogden translation 1922, Pears/McGuinness translation 1961.) TLP describes a Dostoevskian crystalline world divisible into facts. The German is clear; the motto to the book, by Kurnberger states, in trans- lation: ...and whatever a man knows, whatever is not mere rumbling, and roaring that he has heard, can be said in three words. TLP portends ideality. The world is logical, mathematical, capable of clear division. Logical space is the space, I would assume, of the natural numbers, if not the integers; as Russell says in his introduction, TLP presents, inscribes, a finite mathematics - there's no room for the continuum, and proof of the continuum hypothesis was far in the future. The translations are different, almost never radically so, but different nonetheless. There is a residue in German such that both English versions converge, but often never meet. The sememes are equivalent, but only to a degree; translations are almost never one-to-one. In this logical space of facts, programming, and protocols, there is always a wavering, always room, always doubt, critique, and I would say desire as well. Never mind that this wor(l)d breaks down, evidenced a few decades later by Godel, Tarski, Skolem, etc.: Coherency, living within the safety-net of mathesis, matrix, maternality, remains a dream of humanity. DNA coding, cryptography, hacking the world - all appear to guarantee that everything is possible. Computer languages are logical; computers are presumed so, but aren't; protocols are logical as well; logical spaces may be compared to drive-space; garbage-in, garbage-out; and so forth. Hacking depends on a closed world with closed loopholes; the loopholes themselves are coherent, logical, _there._ Codework, code writing, rides within and throughout the logical world, as a disturbance, a sign of things to come, both extension and breakdown. Where does the content lie? Is it in the translation of code into messiness or residue? Is it in the interpretation of residue? Or perhaps, and herewith a criticism, is it in the wonderment, confusion, and novelty of the residue itself? Is codework a minor art, minor literature? What is the point of repeatedly shaking the scaffolding - if not the emergence, in the future, of an other or another approach, or an other, being or organism, for which codework now both provides augury and its weakness as portal/welcoming? For what is come among us already no longer speaks the world of logical facts, just as computers are no longer large-scale calculators, but something else as well, something unnamed, fearful - that fearfulness already documented by, say, Cruikshank in the 19th century. 2:20pm up 1 min, 1 user, load average: 0.33, 0.18, 0.06 USER TTY FROM LOGIN@ IDLE JCPU PCPU WHAT root tty1 - 2:19pm 0.00s 0.42s 0.05s w Codework references the alterity of a substrate which supports, generates, and behaves as a catalyst in relation to its production. To this extent, codework is self-referential, but no text is completely self-referential (sr); things waver. So for example 'ten letters' and 'two words' and 'english' may be considered sr - but only to the extent that the phrases are presumed to apply to themselves. Extended: 'This sentence has thirty-one letters.' - 'This sentence has five words.' - 'This is an english sen- tence.' What is the residue? What are the sentences 'about'? On the surface, letters, words, language. This is an additional or diacritical relation- ship to sr; if one, for example, didn't know english, none of these would make sense. All sr possesses a residue - an _attribute tag._ In codework, which has a component of sr, the tag may be plural, muddied - the world is never presumed complete, total. Codework is not an instance in this regard of mathematical platonism or Godelian-platonism; if anything it relies on the breakdown of the ideal, pointing out the meaning-component of computation, program, protocol, even the strictest formalisms. Early on Whitehead pointed out that 2+2 = 4, but only in a certain formal sense; in fact, the equation implies an operation or unifying process; within the 4, the components are combined, their history lost. Strictly, '2+2' and '4' are equivalent; within the symbolic, they differ - for that matter, in terms of thermodynamics as well. This domain is expanded by codework, which endlessly interferes. The danger of codework is in its delimitation; it tends to repeat; the works tend towards considerable length; automatic generation can flow forever. Sometimes it appears as maw-machine emissions - text in, modified text/partial code out. Sometimes it extends language into new uncharted territories. Sometimes it references the labor and/or processing of language. Sometimes it privileges the written over the spoken, or portends the spoken within a convolution of stuttering and close-to-impossible phonemic combinations. Sometimes it appears as a warning against the all- too-easy assimilation of linguistic competency. Sometimes it breaks free, relates to the subjectivity behind its produc- tion, the subjectivity inherent in every presentation of symbol-symbolic. 2:37pm up 18 min, 1 user, load average: 0.00, 0.00, 0.00 USER TTY FROM LOGIN@ IDLE JCPU PCPU WHAT root tty1 - 2:19pm 0.00s 0.44s 0.06s w === ========================================================================= Date: Thu, 23 Jan 2003 16:54:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: Cobbing celebration In-Reply-To: <007501c2c2c3$178998e0$dcc428c3@overgrowngarden> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: quoted-printable lawrence: it would be a poetsend to set up one of these celebrations so folks=20 could submit works remotely, audio files, texts to be read, vispos to=20 be performed, etc. cobbing lives in alliteration mIEKAL On Thursday, January 23, 2003, at 03:24 AM, Lawrence Upton wrote: > (apologies for cross-posting) > (apologies too for repetition - but mail rec'd here suggests the first > version of this went into negative cyberspace - NB since which Allen=20= > Fisher > is added tolist of performers) > > Sub Voicive Poetry > presents > > A CELEBRATION OF BOB COBBING > WRITERS FORUM BENEFIT > > Sunday 26 January 2003 > > 1 p.m. - 7 p.m. > > Camden Peoples Theatre > cnr Hampstead Rd & Drummond St > London UK > > underground Warren St or Euston Sq > > ALL WELCOME > > ADMISSION =A32.50 or more if you can - no expenses are being paid, all > proceeds to Writers Forum > > Those performing: Sean Bonney, Cris Cheek, Adrian Clarke, Lol Coxhill, > Patricia Farrell, Peter Finch, Allen Fisher, Ralph Hawkins, Jeff=20 > Hilson, > Hugh Metcalfe, Jennifer Pike, Robert Sheppard, Lawrence Upton, Mike=20 > Weller, > Veryan Weston > > Exhibition, WF bookstall, bar > > Donations to Writers Forum very welcome > > Foolishly large donations particularly welcome to enable the foolishly > sensible projects to continue > > NB This is the first of a series of celebrations of the late Bob=20 > Cobbing. > (Only the second poet to be so honoured by SVP) > > NB Those of you who were at the celebration of Bob Cobbing's 80th=20 > birthday > will recall that it took all afternoon, five hours, to include=20 > everyone at 3 > mins per head! > > THIS event, one of a number of celebrations and memorials taking place=20= > has > been planned to allow fellow artists a decent length of time to speak=20= > or > perform -and the intention is that the majority of the day will=20 > consist of > performance > > Therefore, obviously, it has not been possible to invite more than > relatively few of those who might have been invited were time not=20 > limited... > > > To be added to the SVP emailing list, send a blank message to: > sv-p-subscribe@topica.com > > To be added to the WF emailing list send a blank message to: > WFInfo-subscribe@topica.com > ========================================================================= Date: Thu, 23 Jan 2003 18:59:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Four Haiku -"Afternoon of a Frown" "The Three Tenors" "Final Soliloquy of The Obsolete Robot""Hegelian Honeymoon" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Afternoon of a Frown He is gentle she feels safe he can relax she can reveal her charms ------------ The Three Tenors No idea but in things form is no more than an ex... first thought best thought ------------ Final Soliloquy of the Obsolete Robot I'm not a machine I'm not a machine I'm not a machine I'm not ------------ Hegelian Honeymoon Never leave me I need more space why didn't you call I've got to go -Nick_ Go ========================================================================= Date: Thu, 23 Jan 2003 19:51:10 -0500 Reply-To: cartograffiti@mindspring.com Sender: UB Poetics discussion group From: "cartograffiti@mindspring.com" Subject: Two poems in praise of famous men MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable ALL BETS ARE OFF (for Christopher Hitchens) To that larger tune you played a part in when it swallowed you not quite whole, you work your jaws=2E For a fish in the stock pond it's a bold move, though useless when you're gill-hooked anyway=2E Were you surprised how small a barb it took to force-feed you into the assembly of that host? And still the judge withholds the best-in-show card=2E There's a muddy sump full of fresh contenders and past masters who'll neither die nor face the music=2E Come back behind the camera=2E Join the others looking forward at themselves=2E The live feed fills you speechless=2E Move your mouth as the host does voiceovers, still looking for your angle when he's angling for a bigger catch=2E From comrade you rise up to be compatriot, floating to the top=2E Becoming chum=2E --- IN DEEP SPACE (commemorating the brief public career of Jerry Thacker with a fanfare of global market humanitarianism) called for a bar of rest in the ear-popping froth but suicide in the stockroom of course it hurts a pinch to make you grow roots of armed humane concern millions gnaw through seedless winter shelling cold cash crops of heartfelt talk straight face ok about this deathstyle is it jingles cuing movement in the African market sphere round with pharmaceutical demand to know my name is carbon life my culture's cooked down to raw comparatives for measuring accumulated char -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Thu, 23 Jan 2003 19:34:20 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Brian Eno: How can America act so dumb? (Time Magazine) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Please disseminate widely The U.S. Needs to Open Up to the World To this European, America is trapped in a fortress of arrogance and ignorance By BRIAN ENO Posted Sunday, Jan. 12, 2003; 2.09 p.m. GMT http://www.time.com/time/europe/magazine/2003/0120/cover/view_eno.html Europeans have always looked at America with a mixture of fascination and puzzlement, and now, increasingly, disbelief. How is it that a country that prides itself on its economic success could have so many very poor people? How is it that a country so insistent on the rule of law should seek to exempt itself from international agreements? And how is it that the world's beacon of democracy can have elections dominated by wealthy special interest groups? For me, the question has become: "How can a country that has produced so much cultural and economic wealth act so dumb?" I could fill this page with the names of Americans who have influenced, entertained and educated me. They represent what I admire about America: a vigorous originality of thought, and a confidence that things can be changed for the better. That was the America I lived in and enjoyed from 1978 until 1983. That America was an act of faith - the faith that "otherness" was not threatening but nourishing, the faith that there could be a country big enough in spirit to welcome and nurture all the diversity the world could throw at it. But since Sept. 11, that vision has been eclipsed by a suspicious, introverted America, a country-sized version of that peculiarly American form of ghetto: the gated community. A gated community is defensive. Designed to keep the "others" out, it dissolves the rich web of society into a random clustering of disconnected individuals. It turns paranoia and isolation into a lifestyle. Surely this isn't the America that anyone dreamed of; it's a last resort, nobody's choice. It's especially ironic since so much of the best new thinking about society, economics, politics and philosophy in the last century came from America. Unhampered by the snobbery and exclusivity of much European thought, American thinkers vaulted forward - courageous, innovative and determined to talk in a public language. But, unfortunately, over the same period, the mass media vaulted backward, thriving on increasingly simple stories and trivializing news into something indistinguishable from entertainment. As a result, a wealth of original and subtle thought - America's real wealth - is squandered. This narrowing of the American mind is exacerbated by the withdrawal of the left from active politics. Virtually ignored by the media, the left has further marginalized itself by a retreat into introspective cultural criticism. It seems content to do yoga and gender studies, leaving the fundamentalist Christian right and the multinationals to do the politics. The separation of church and state seems to be breaking down too. Political discourse is now dominated by moralizing, like George W. Bush's promotion of American "family values" abroad, and dissent is unpatriotic. "You're either with us or against us" is the kind of cant you'd expect from a zealous mullah, not an American President. When Europeans make such criticisms, Americans assume we're envious. "They want what we've got," the thinking goes, "and if they can't get it, they're going to stop us from having it." But does everyone want what America has? Well, we like some of it but could do without the rest: among the highest rates of violent crime, economic inequality, functional illiteracy, incarceration and drug use in the developed world. President Bush recently declared that the U.S. was "the single surviving model of human progress." Maybe some Americans think this self-evident, but the rest of us see it as a clumsy arrogance born of ignorance. Europeans tend to regard free national health services, unemployment benefits, social housing and so on as pretty good models of human progress. We think it's important - civilized, in fact - to help people who fall through society's cracks. This isn't just altruism, but an understanding that having too many losers in society hurts everyone. It's better for everybody to have a stake in society than to have a resentful underclass bent on wrecking things. To many Americans, this sounds like socialism, big government, the nanny state. But so what? The result is: Europe has less gun crime and homicide, less poverty and arguably a higher quality of life than the U.S., which makes a lot of us wonder why America doesn't want some of what we've got. Too often, the U.S. presents the "American way" as the only way, insisting on its kind of free-market Darwinism as the only acceptable "model of human progress." But isn't civilization what happens when people stop behaving as if they're trapped in a ruthless Darwinian struggle and start thinking about communities and shared futures? America as a gated community won't work, because not even the world's sole superpower can build walls high enough to shield itself from the intertwined realities of the 21st century. There's a better form of security: reconnect with the rest of the world, don't shut it out; stop making enemies and start making friends. Perhaps it's asking a lot to expect America to act differently from all the other empires in history, but wasn't that the original idea? Brian Eno is a musician who believes that regime change begins at home Patrick Herron patrick@proximate.org !!!!!!!!!!!!!!!!!!!!!!! !Getting Close Is What! ! We're All About(TM) ! !http://proximate.org/! !!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Thu, 23 Jan 2003 23:28:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: love letters MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Tahree Lane, my friend and a reporter for the Toledo Blade, is doing a = story on love letters and called today with several questions. I said = I'd send them to poets on the Poetics list, so if you're interested in = responding:=20 tlane@toledoblade.com. Has the internet made the love letter passe'? Is there any difference between a love letter written by hand in pen and = ink as opposed to email or internet transmissions?=20 Are there more or less love letters than in the pre-internet past? We discussed paper, textures, people returning to the letters of lost or = deceased lovers, and the implicit personality of the writer's script.=20 Tahree's story goes to the editor next Monday, to be published in the = Sunday edition prior to Valentine's Day. JL ========================================================================= Date: Thu, 23 Jan 2003 06:22:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "I LIKE THE SIZE OF MY MEMBER THANK YOU VERY MUCH!!!" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "I LIKE THE SIZE OF MY MEMBER THANK YOU VERY MUCH!!!" 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I LIKE THE SIZE OF MY MEMBER THANK YOU VERY MUCH!!! AND SO DOES MY WIFE!! AND MY GIRLFRIEND(S)!! augie highland 6:05 am 01-24-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Fri, 24 Jan 2003 02:58:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "CORPORATE MASCOT" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SPAM MAPS #0006 "CORPORATE MASCOT" Hello August Highland, Did you know that if I typed in any particular word or keyword phrase that is connected to your business, using Netscape, Explorer browser I could be immediately sent to YOUR WEBSITE! Our technology can do this for you. 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Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Fri, 24 Jan 2003 01:51:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: poetry careerists In-Reply-To: <002101c2c1a7$1e830f40$62fdfc83@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I think there's a distortion here. Creeley didn't do "some years of risk outside the institution"--that implies that he was on some sort of adventure vacation. What happened in fact is that he found a gig, and good for him and for all the rest who have done so--feeding oneself and family is a good thing. But poetry thrived for thousands of years without writing programs, and in most of the world still does. In the small corner of Mexico that my recent anthology covers, for instance, I had no trouble gathering 53 poets, all living and writing, all but three below 60. And not a single University writing course between them. It's just a gig--the MFA world doesn't help poetry as such, and hopefully it doesn't do too much damage, altho I think it rather distorts the acceptance of poetry. But don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been. Mark At 03:45 PM 1/21/2003 -0800, you wrote: >----- Original Message ----- >From: "Murat Nemet-Nejat" >To: >Sent: Tuesday, January 21, 2003 2:18 PM >Subject: Re: poetry careerists > > > > The only solution to this problem, it seems to me, is the absolute boycott >by > > everybody to become adjuncts. Then the universities will be forced to >build > > real factulties. Of course, that requires by almost a whole generation of > > ph.d's to fall on the sword. > > > > murat > > > >These things become entrenched, until they seem normal. >It saddens me to have seen generations of poets growing up thinking in terms >of tenure tracks, more to please their parents and mate than the muse. Maybe >there's no maturity in the motherly arms of institutions? But, then, there >are exceptions, like Bob Creeley and a few score more. >I do believe that some years of risk outside the institution--as Creeley >did--are necessary to have something to speak about besides theory and >technique. > I would suggest something like universities taking into account an >applicant's experience in the world--what jobs he or she worked, traveling >done, writers visited, stuff like this--besides the basic degrees. That is, >broaden what qualifies a person to teach. > >-Joel > >Joel Weishaus >Visiting Faculty >Center for Excellence in Writing >Portland State University >Portland, Oregon >http://web.pdx.edu/~pdx00282 >http://www.unm.edu/~reality ========================================================================= Date: Thu, 23 Jan 2003 21:05:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: antiwar justifications WORDS MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT further scribbles from the net there are 7 definitions of "bounding" I found listed: adj. Confined by bonds; tied: bound and gagged hostages. Being under legal or moral obligation: bound by my promise. Equipped with a cover or binding: bound volumes. Predetermined; certain: We're bound to be late. Determined; resolved: She's bound to be mayor. Linguistics. Being a form, especially a morpheme, that cannot stand as an independent word, such as a prefix or suffix. Constipated. I located a statuette entitled the bounding Maine for sale at http://members.tripod.com/~yovern/soldiers30 Wow! On Mondays, Wednesdays and Fridays we paint them khaki with green helmets and on Tuesday, Thursday and Saturday we paint them green with khaki helmets. Sometimes we paint in eyes and a mouth, but when we're in a hurry we skip it! I think Mr O puts these in the Podfoot section because they are the smaller size. They have little feet in little shoes. They really are cute, I think they might be twins. Ed and Fred! Soldier, Machine Gunner, Lying Flat is their official title. Their official Vernster price is $15.00 each one. My Snazzy List of Links tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Fri, 24 Jan 2003 01:03:04 GMT Reply-To: adlevy@slought.net Sender: UB Poetics discussion group From: Aaron Levy Subject: Screen Words: Poems and Poets on Video & Film Content-Type: text/plain Content-Disposition: inline Content-Transfer-Encoding: binary MIME-Version: 1.0 FOR IMMEDIATE RELEASE—JANUARY 2003 "Screen Words: Poems and Poets on Video & Film" Work by: Cecilia Vicuña, Steve McCaffery, Henry Hills, Konrad Steiner, Leslie Scalapino, Fiona Templeton With an introduction by Jena Osman Event date: January 24, 2003 6:30 pm – 8:30 pm http://slought.net/toc/calendar/display.php?id=1134 “Screen Words”, an evening live event, includes films by and about contemporary poets. The dimensional text series is an investigation into the ways that language can be presented off the page. It presents language work that steps away from the book, the podium, or the conventional reading. "Dimensional Text" is an event series collaboration between CHAIN ARTS and SLOUGHT NETWORKS. Format: Film Screenings / Series: Dimensional Text Series Curator: Jena Osman, Aaron Levy Evening schedule: Fiona Templeton: You the City (10 minutes) Fiona Templeton: The Woman in the Green Coat (9 minutes) Steve McCaffery: Paradise Improved (10 minutes) Henry Hills: Money and “An Lee Ann-thology of Concrete Poetry” (20 minutes) Cecilia Vicuna: What is Poetry to You (23 minutes) Konrad Steiner and Leslie Scalapino: Way (23 minutes) Event Location: SLOUGHT NETWORKS 4017 Walnut Street Philadelphia, PA 19104-3513 http://slought.net/ Event is free to the public. ========================================================================= Date: Thu, 23 Jan 2003 21:38:47 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Paranoia MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It's interesting that there should be all this hoopla over Baraka's poem. If nothing else, he's using all this free PR for everything it's worth. But I'm curious that nobody's noted the parallel analytical line taken by Clayton Eshleman on the Skanky Possum blog: http://www.skankypossum.com/pouch/ Rather than rag on Baraka or Eshleman, though, I want to ask what it is about the current administration that generates such fears & nightmares. These are not, after all, nearly as crazy as Bush' attempt to yoke Iraq & al Qaeda into the same problem. I don't hear Reilly or the NJ legislature demanding Bush' firing. When you compare the worst of the current administration with those of Nixon's -- Ashcroft vs. Mitchell, Rumsfeld vs. Kissinger -- you realize that nothing Nixon did is beyond this current group of clowns. It is frankly a scary circumstance. There is a difference, though. Nixon was elected. Ron ========================================================================= Date: Fri, 24 Jan 2003 01:51:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: article possibly for trAce - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII alansondheim Worldsex ... 'lying together, look over your lover, it's the face of the other, it's the face of an other' ... Let us take for granted that online and online(offline) sex (as a result of online sex) are prevalent and transforming, for those who can afford the proper connections, bandwidth, and time. Let us take for granted as well that these sexualities occur within a stadium of exhibitionisms, voyeurisms, seductions, of, and in relation to, others - that there is almost always a shuddering or splitting of bodies, a shattering of bodies dividing as a result of intrusions of mass-communications and machine- mediated perception into what used to be private domains. Let us further look at the history of personal historical knowledge, the history of private or personal lives, including ancestors, antecedents, descendents, traditions of naming, and the naming of others. We might note that in online or online(offline) sexuality, there is the _absent or disconnected_ population, the disenfranchised population, the refugee or hungered populations, the violated populations, who are neither conscious or operative as such - the miseries of underdevelopment playing a large role in this. Let us note our own role in these populations, our own belonging, our own violence as another arm of voluptuousness. History resides, if anywhere, within the disconnected population; it is within connectivity and the continuous production of history, that history itself disconnects. There is reality without reality tv; there is tv with reality tv. Countries bomb countries they cannot place on a map; no two people ever speak the same language in the coupling of bodies. Everything I am saying is a myth, lie, only to point out that online, online(offline) sexualities don't occur in a vacuum; they're against the background of others, of the erasure of history and the weakening of political posturing, of the almost continuous splitting of bodies, of the introjection and projection - 'jectivity' of others to the extent that identities are problematic, exchanged/renamed/stolen/intensified - that the politics in all of this are lost in orgasm, that there's no turning back, that we're all heading towards fucking armageddon - ii It's Worldsex: Do you recognize your own prosthesis? The turmoil of bodies tends towards no bodies at all; the computer screen is already sexualized as you can hardly keep your hands on the keys. Eyes float in relation to proferred images. Perhaps this is already a form of war. iii Falling in Love Online (part of an article published in Tamil) Here you are, happily married, with two children. Your husband has a great job and you're a little bit bored and so you join some Internet communi- ties, just to relax. You find yourself chatting away about some recent novels you've read, and you complain that your husband really doesn't have much time to read, and isn't all that interested anyway. Before long, someone starts talking to you; Sagdish tells you that he, too, reads a lot of novels, but he lives alone and has no one talk to, and he likes poetry as well. You begin chatting with him more than with anyone else - before this, you had flitted from conversation to conversation, but now you find yourself drawn in. You log in late at night, and every time you do this, your heart skips a beat, hoping Sagdish will be there, and he usually is. You start talking a bit more intimately with him - about the fact that you can't really relate to your husband's business, and you feel lonely every so often, and he says that he feels lonely too. One night your husband comes in and finds you typing away at the computer and he asks, what are you doing? You answer, nothing, just talking to some people, and for the first time you find yourself hiding something from your husband - that something is Sagdish. You realize you've crossed a line somewhere, but you don't feel it's all that serious - after all, it's only the Internet, and there's nothing to lose or gain - it's just a game, and Sagdish helps take your loneliness away. You decide to be more careful when your husband's around - you don't really want him to question you any more about this. And you look more and more towards those chats with Sagdish, who is becoming part of your life. You find yourself exchanging email with him, and you wait nervously every day for his email and the chats. You begin dreaming about him. One day he asks what you look like, and you describe yourself, but you don't have a picture online. He persists, and you say you'll send him one, an extra one that you just happen to have. You mail it to him when your husband's not around, and Sagdish puts his picture on the Net, and you go and look at him, and your dreams begin taking more and more shape. You find yourself telling Sagdish everything, things you have never told your husband - things you could never tell him. You find yourself doing this quickly; all this activity has lasted only a month, and even though you're usually shy, you're quite aggressive with him. You confess that sex with your husband hasn't been all that good, and Sagdish asks you the details. Somewhere around this time, another line is crossed; you begin writing sexually to each more, more explicitly than you ever thought possible. You become more and more nervous around your husband and children, who guess that something is wrong, and don't know what to do about it. You insist to yourself that everything is a game, but you won't talk about it to your family, and you begin to feel isolated in the house. Your husband confronts you angrily, and demands that you tell him what is going on. You mention only that you have this friend Sagdish, who helps take away your loneliness when your husband is at work, and your husband demands that you stop writing and talking with him online. At first you go along with this, and don't contact Sagdish for a couple of days. And then you go back, as usual, almost as if you're addicted to a drug. Your husband gets angrier and angrier with you, and you don't know what to do. You write about all of this with Sagdish, who begs to telephone you and talk about it directly. One day, Sagdish calls, and you find yourself in love with his voice, and you talk for over an hour. He calls any number of times after this, always when your husband is out and another line is crossed. You believe that Sagdish is the only person who understands you, even though you have never met him in person. Sagdish fills your dreams and your life. One day your husband walks in during the day, and you are on the phone. There is a huge fight, and he walks out, and moves to an apartment in the vicinity. You are alone with the children, and a few days later, you meet Sagdish for the first time, in real life. === ========================================================================= Date: Thu, 23 Jan 2003 23:38:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: article potentially for trAce - alan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII alansondheim Worldsex ... 'lying together, look over your lover, it's the face of the other, it's the face of an other' ... Let us take for granted that online and online(offline) sex (as a result of online sex) are prevalent and transforming, for those who can afford the proper connections, bandwidth, and time. Let us take for granted as well that these sexualities occur within a stadium of exhibitionisms, voyeurisms, seductions, of, and in relation to, others - that there is almost always a shuddering or splitting of bodies, a shattering of bodies dividing as a result of intrusions of mass-communications and machine- mediated perception into what used to be private domains. Let us further look at the history of personal historical knowledge, the history of private or personal lives, including ancestors, antecedents, descendents, traditions of naming, and the naming of others. We might note that in online or online(offline) sexuality, there is the _absent or disconnected_ population, the disenfranchised population, the refugee or hungered populations, the violated populations, who are neither conscious or operative as such - the miseries of underdevelopment playing a large role in this. Let us note our own role in these populations, our own belonging, our own violence as another arm of voluptuousness. History resides, if anywhere, within the disconnected population; it is within connectivity and the continuous production of history, that history itself disconnects. There is reality without reality tv; there is tv with reality tv. Countries bomb countries they cannot place on a map; no two people ever speak the same language in the coupling of bodies. Everything I am saying is a myth, lie, only to point out that online, online(offline) sexualities don't occur in a vacuum; they're against the background of others, of the erasure of history and the weakening of political posturing, of the almost continuous splitting of bodies, of the introjection and projection - 'jectivity' of others to the extent that identities are problematic, exchanged/renamed/stolen/intensified - that the politics in all of this are lost in orgasm, that there's no turning back, that we're all heading towards fucking armageddon - ii It's Worldsex: Do you recognize your own prosthesis? The turmoil of bodies tends towards no bodies at all; the computer screen is already sexualized as you can hardly keep your hands on the keys. Eyes float in relation to proferred images. Perhaps this is already a form of war. iii Falling in Love Online (part of an article published in Tamil, 1999) Here you are, happily married, with two children. Your husband has a great job and you're a little bit bored and so you join some Internet communi- ties, just to relax. You find yourself chatting away about some recent novels you've read, and you complain that your husband really doesn't have much time to read, and isn't all that interested anyway. Before long, someone starts talking to you; Sagdish tells you that he, too, reads a lot of novels, but he lives alone and has no one talk to, and he likes poetry as well. You begin chatting with him more than with anyone else - before this, you had flitted from conversation to conversation, but now you find yourself drawn in. You log in late at night, and every time you do this, your heart skips a beat, hoping Sagdish will be there, and he usually is. You start talking a bit more intimately with him - about the fact that you can't really relate to your husband's business, and you feel lonely every so often, and he says that he feels lonely too. One night your husband comes in and finds you typing away at the computer and he asks, what are you doing? You answer, nothing, just talking to some people, and for the first time you find yourself hiding something from your husband - that something is Sagdish. You realize you've crossed a line somewhere, but you don't feel it's all that serious - after all, it's only the Internet, and there's nothing to lose or gain - it's just a game, and Sagdish helps take your loneliness away. You decide to be more careful when your husband's around - you don't really want him to question you any more about this. And you look more and more towards those chats with Sagdish, who is becoming part of your life. You find yourself exchanging email with him, and you wait nervously every day for his email and the chats. You begin dreaming about him. One day he asks what you look like, and you describe yourself, but you don't have a picture online. He persists, and you say you'll send him one, an extra one that you just happen to have. You mail it to him when your husband's not around, and Sagdish puts his picture on the Net, and you go and look at him, and your dreams begin taking more and more shape. You find yourself telling Sagdish everything, things you have never told your husband - things you could never tell him. You find yourself doing this quickly; all this activity has lasted only a month, and even though you're usually shy, you're quite aggressive with him. You confess that sex with your husband hasn't been all that good, and Sagdish asks you the details. Somewhere around this time, another line is crossed; you begin writing sexually to each more, more explicitly than you ever thought possible. You become more and more nervous around your husband and children, who guess that something is wrong, and don't know what to do about it. You insist to yourself that everything is a game, but you won't talk about it to your family, and you begin to feel isolated in the house. Your husband confronts you angrily, and demands that you tell him what is going on. You mention only that you have this friend Sagdish, who helps take away your loneliness when your husband is at work, and your husband demands that you stop writing and talking with him online. At first you go along with this, and don't contact Sagdish for a couple of days. And then you go back, as usual, almost as if you're addicted to a drug. Your husband gets angrier and angrier with you, and you don't know what to do. You write about all of this with Sagdish, who begs to telephone you and talk about it directly. One day, Sagdish calls, and you find yourself in love with his voice, and you talk for over an hour. He calls any number of times after this, always when your husband is out and another line is crossed. You believe that Sagdish is the only person who understands you, even though you have never met him in person. Sagdish fills your dreams and your life. One day your husband walks in during the day, and you are on the phone. There is a huge fight, and he walks out, and moves to an apartment in the vicinity. You are alone with the children, and a few days later, you meet Sagdish for the first time, in real life. === ========================================================================= Date: Thu, 23 Jan 2003 14:29:45 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JULIANA SPAHR Subject: cybergraphia MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit announcing CYBERGRAPHIA http://cg.bard.edu You'll agree that there is more than one kind of poetry in the true sense of the word--that is to say, calling something into existence that was not there before . . . --Diotima in Plato's Symposium Everybody is contemporary with his period . . . and the whole business of writing is the question of living in that contemporariness. . . . The thing that is important is that nobody knows what the contemporariness is. In other words, they don't know where they are going, but they are on their way. --Gertrude Stein, How Writing is Written WHAT FOR . . . The largest challenge facing Liberal Arts and Sciences today is how to deal with the rapidly changing and increasingly complex world that all the phenomena under the label globalization have created. This world is "multi-" many things: cultural, linguistic, ethnic, racial, etc. Over the last few decades, on a daily basis, some "we" or another has found itself face to face with not the other but with many others, with not one language practice, but many. Educating for this world is the most pressing challenge we face. CYBERGRAPHIA was begun with the conviction that as education is the place where we confront and instruct how to negotiate today's world, contemporary writing has much to contribute to this discussion. CYBERGRAPHIA, thus, hopes to initiate a web-based discussion on the challenges and productive possibilities that arise when teaching contemporary writing. The website's roots are in a four day conference called "Poetry & Pedagogy: The Challenge of the Contemporary," organized by Joan Retallack, that the Institute for Writing and Thinking held in 2000 that concentrated on how innovative, thoughtfully performative, and critically aware practices of teaching might arise when teaching contemporary writing. HOW TO . . . Each month for about a year, CYBERGRAPHIA will feature a new piece of contemporary writing and a discussion of some possible ways to use this writing in the classroom. This is designed to be a sort of mini-anthology introduction to the terrain of innovative contemporary writing. The site features writing that might be overlooked by those new to contemporary writing (much of the work featured here appeared in small print runs or in ephemeral journals). The emphasis in CYBERGRAPHIA is not on craft or expertise or canon formation. These works, ones that might be called "avant garde" or "innovative," are featured because they encourage active, generative, and speculative thinking; because they stretch or reconfigure language in exciting ways. The pedagogical discussion that accompanies each featured poem is provisional and always being revised. It is presented as just one option, not the only one. CYBERGRAPHIA draws heavily from the teaching strategies of the Institute for Writing and Thinking at Bard College which encourages collaborative learning methods in which reading, writing, and thinking are active processes. CYBERGRAPHIA encourages registered and unregistered users to provide other pedagogical uses through the discussion forum. Featured works and pedagogical discussions are archived. **** FEATURED POEM FOR FEBRUARY: Alice Notley's WHITE PHOSPHORUS. **** In addition, CYBERGRAPHIA has a workshop forum and five online interactive teaching tools available to registered users. The tools are designed for faculty and students to create, collaborate, and comment on poetry and prose. The emphasis here is on ease of use. Users need only enter text in boxes to submit their writing and basic HTML commands can be used in any text box. The following tools are available: NOTEBOOK: an online version of what composition theorists often call the "dialectical notebook" or "double entry notebook." This version has three columns. The user who creates the notebook can post comments in any column; any registered user can post in any of the last two columns and in the discussion forum at the bottom. ANNOTATOR: a tool that allows users to create a hypertext of a primary work. Registered faculty can enter the primary work and then commentary can be added by any registered user line by line. PUBLISHER: registered users can post writing which then gets "published" as a web page. SORTER: registered users enter text by paragraph which is then randomly sorted. ARCHIVE: faculty can upload files here. All files are freely downloadable by registered users. Anyone registered as a "faculty" user with CYBERGRAPHIA may create and delete their own workshops and group particular student notebooks or annotations or web pages, etc., under their workshop. Anyone registered as a "student" user may create a notebook, annotate a text created by a faculty user, publish a text, or sort an essay. Workshop archives, accessible only to the registered faculty member and students, are available for at least a year but this can be extended by request. See also, CYBERGRAPHIA: a user's manual. ========================================================================= Date: Fri, 24 Jan 2003 11:05:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: poetry careerists Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Mark, I think there's distortion here too. I don't agree that poetry "thrives" throughout the world, with or without writing programs. If poetry thrives, what does music do: bust a gut? It's also a distortion to imply that writing courses, take them or leave them, are universal. They're not. For example, you don't make it clear whether your Mexican poets didn't take writing courses because they chose not to, or because there weren't any to take. I find your comment "feeding oneself and family is a good thing" trite, likewise your comment about the simultaneously innocuous and distorting influence of MFA programs. You appeal twice to antiquity: "But poetry thrived for thousands of years without writing programs," and "don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been." A few points: There are many significant differences between poetry in the United States now and the distant past, general literacy, print culture, and the participation of women being only three. In view of your bland confidence in the past, I am not surprised at your equally bland claim that out of the "very few" graduates with "the mastery necessary to teach the craft to others," "some of whom are," happily enough, "on this list." You might also consider, however, that the necessary "mastery" may relate to pedagogy rather than poetry or poetics. Mairead Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> junction@EARTHLINK.NET 01/24/03 10:38 AM >>> I think there's a distortion here. Creeley didn't do "some years of risk outside the institution"--that implies that he was on some sort of adventure vacation. What happened in fact is that he found a gig, and good for him and for all the rest who have done so--feeding oneself and family is a good thing. But poetry thrived for thousands of years without writing programs, and in most of the world still does. In the small corner of Mexico that my recent anthology covers, for instance, I had no trouble gathering 53 poets, all living and writing, all but three below 60. And not a single University writing course between them. It's just a gig--the MFA world doesn't help poetry as such, and hopefully it doesn't do too much damage, altho I think it rather distorts the acceptance of poetry. But don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been. Mark At 03:45 PM 1/21/2003 -0800, you wrote: >----- Original Message ----- >From: "Murat Nemet-Nejat" >To: >Sent: Tuesday, January 21, 2003 2:18 PM >Subject: Re: poetry careerists > > > > The only solution to this problem, it seems to me, is the absolute boycott >by > > everybody to become adjuncts. Then the universities will be forced to >build > > real factulties. Of course, that requires by almost a whole generation of > > ph.d's to fall on the sword. > > > > murat > > > >These things become entrenched, until they seem normal. >It saddens me to have seen generations of poets growing up thinking in terms >of tenure tracks, more to please their parents and mate than the muse. Maybe >there's no maturity in the motherly arms of institutions? But, then, there >are exceptions, like Bob Creeley and a few score more. >I do believe that some years of risk outside the institution--as Creeley >did--are necessary to have something to speak about besides theory and >technique. > I would suggest something like universities taking into account an >applicant's experience in the world--what jobs he or she worked, traveling >done, writers visited, stuff like this--besides the basic degrees. That is, >broaden what qualifies a person to teach. > >-Joel > >Joel Weishaus >Visiting Faculty >Center for Excellence in Writing >Portland State University >Portland, Oregon >http://web.pdx.edu/~pdx00282 >http://www.unm.edu/~reality ========================================================================= Date: Fri, 24 Jan 2003 09:20:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: antiwar justifications In-Reply-To: <6E97BBFA.5D338293.0080AC7C@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" frank, you're right about the left abandoning the rural, for the most part (and often, worse, rural poverty)... all's you have to do is spend some time driving around the less populated regions of the midwest to know that about the only consistent voice on the radio is rush limbaugh's (we could tune in rush w/o break during some rather extensive driving we did two summers ago around north and south dakota)... what maria says about minnesota is dead-on (wisconsin ain't so bad either), but i can count the leftists i know personally who give a shit about the family farm on one hand... and the (most) popular music that appeals to so many in these swaths of the u.s.---country & western (more or less of each)---also takes a hammering by the urban left, as a rule (granted, some of the hammering is deserved, but not all)... when i mention that we watch the opry on saturday nights, i get weird stares---am i getting these now, here?---and feel i have to defend that choice (and yeah, i'm sensitive to the relative absence there of women musicians, and people of color, etc.)... this is one reason why i/we always contribute to farm aid... no doubt, too, that inattention to the deplorable rural situation has helped feed militia movements in the u.s... can i fess up here?... one reason why i know anything at all about this is b/c my wife and partner (kass fleisher) put herself through grad school teaching c & w line dancing... this is in *ny state*---southern tier... and in what some of us central nyers used to call the boonies, again, c & w is among the most listened-to of pop music... anyway, as i see it, another thing the left ought to devote more collective thought to... best, joe ========================================================================= Date: Fri, 24 Jan 2003 11:28:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Linda V. Russo" Subject: HOW2 #8 now online MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Poetics List members, HOW2 issue 8 is now online at: http://www.departments.bucknell.edu/stadler_center/how2/current (Bookmark it now!) Including the following sections: * Southern Perils: Women Experimental Poets of the South * Textual Reflexions: New Writing co-ordinated by Redell Olsen * "Truth While Climbing the Stairs": Special feature on Rosmarie Waldrop * Reading/"Recovering" modernist poet, Lola Ridge * H.D. and Translation *"Memoire/Anti-Memoire": New York City Women Writers Recall September 11, 2001 * Rachel Blau DuPlessis's _Drafts 1-38, Toll_: A Roundtable * Work/book feature on Eileen Myles * Multimedia * and Alerts of recent publications Read and enjoy! All the best, Ann Vickery, editor via Linda Russo ========================================================================= Date: Fri, 24 Jan 2003 12:33:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Left & Country MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Interesting too Joe, that it's the outlaw shitkickers in country music who should be embraced by the left. Johnny Cash reached out to understand the peace movement in the 1960's. He talked w/ anti-war activists about Vietnam. He went to Southeast Asia to perform for the soldiers & came to the conclusion that they needed to come home (see "Singin' in Vietnam Talkin' Blues). He mourns for the poor & beaten down, those that can't read, the ex-con who's treated less than human, those sent off to war (see "The Man in Black"). He put a light on the disgrace of Native American discrimination, & the devastating effects of racism (see "The Ballad of Ira Hayes"). Willie Nelson took Charlie Pride on tour w/ him in the 1960's. In Alabama, Pride was getting hit w/ beer bottles & the "N" bomb onstage. Nelson came from backstage, grabbed Pride's face & kissed him on the lips. Nelson walked offstage. Pride finished his set before a confused & quiet crowd. The consensus: If he's alright w/ Willie, he's alright w/ me. Nelson started Farm Aid to presrve the family farm. When the IRS auctioned his ranch, a group of Texas farmers who'd received "farm aid" in the past, bought Nelson's property & told him he should continue to live there & pay them back whenever he was in the black again. That's the kind of community some leftists have only dreamed about. Willie Nelson has been a longtime advocate for justice for Native Americans, & supported the push for clemency for Leonard Peltier. (And for you stoners out there, he also smoked weed on the roof of the White House. It wasn't during Clinton's reign. That would be too obvious. He did it before it was cool to have a pothead in the presidential palace, way back during the Carter administration.) Cash & Nelson did these things because they thought it was the right thing to do. Certainly, they didn't take these stands to win over their audience like say, a Jefferson Airplane might have been required to do. In many cases, I'm sure they alienated a good number of good ol' boys. They walked the walk. And if that's outlaw, that's where we should be looking. ========================================================================= Date: Fri, 24 Jan 2003 12:51:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: poetry careerists MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/24/03 10:34:57 AM, junction@EARTHLINK.NET writes: << I think there's a distortion here. Creeley didn't do "some years of risk outside the institution"--that implies that he was on some sort of adventure vacation. What happened in fact is that he found a gig, and good for him and for all the rest who have done so--feeding oneself and family is a good thing. But poetry thrived for thousands of years without writing programs, and in most of the world still does. In the small corner of Mexico that my recent anthology covers, for instance, I had no trouble gathering 53 poets, all living and writing, all but three below 60. And not a single University writing course between them. It's just a gig--the MFA world doesn't help poetry as such, and hopefully it doesn't do too much damage, altho I think it rather distorts the acceptance of poetry. But don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been. Mark At 03:45 PM 1/21/2003 -0800, you wrote: >----- Original Message ----- >From: "Murat Nemet-Nejat" >To: >Sent: Tuesday, January 21, 2003 2:18 PM >Subject: Re: poetry careerists > > > > The only solution to this problem, it seems to me, is the absolute boycott >by > > everybody to become adjuncts. Then the universities will be forced to >build > > real factulties. Of course, that requires by almost a whole generation of > > ph.d's to fall on the sword. > > > > murat > > > >These things become entrenched, until they seem normal. >It saddens me to have seen generations of poets growing up thinking in terms >of tenure tracks, more to please their parents and mate than the muse. Maybe >there's no maturity in the motherly arms of institutions? But, then, there >are exceptions, like Bob Creeley and a few score more. >I do believe that some years of risk outside the institution--as Creeley >did--are necessary to have something to speak about besides theory and >technique. > I would suggest something like universities taking into account an >applicant's experience in the world--what jobs he or she worked, traveling >done, writers visited, stuff like this--besides the basic degrees. That is, >broaden what qualifies a person to teach. > >-Joel >> The culprit, I believe, is a former Dean of Graduate studies for the University of Iowa who, in 1922 or so, announced that creative theses (poetry, fiction) would thereafter be accepted as degree fulfillment in place of the scholarly dissertation. At first, only a few universities followed his lead. But eventually the flood gates opened, and Creative Writing programs became the norm. The result, of course, is that we are now up to our ears in professional poets whose talents and "styles" are often sanitized by the institutional experience. So all kudos to anyone who manages an individual voice. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Fri, 24 Jan 2003 09:53:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Monaco Subject: Now available: 4 X 1—New Translations by Pierre Joris Comments: cc: incon@nycap.rr.com Mime-Version: 1.0 Content-Type: text/plain Albany, New York: The Inconundrum Press is pleased to announce the publication of _4X1_ (http://www.inconundrum.com/site/262875/page/117054), a new collection translated by Pierre Joris, which brings together Tristan Tzara’s _Poèmes Nègres_ and Rainer Maria Rilke’s _The Testament_, as well as selections from Jean-Pierre Duprey’s _The End and The Manner_ and Habib Tengour’s _The Old Man of the Mountain_. The first English translations of these unconventional works, by four seemingly divergent authors, come together in _4X1_—redefining inherited assumptions regarding Modernism, Dadaism, Surrealism and Postmodernism. Pierre Joris’s translations of Tzara, Rilke, Duprey and Tengour create “a psycho-topography that leads from matters involving late 19th century colonialism all the way through the long and torturous 20th century to leave us exactly there where we have to start to actively imagine a new cultural constellation”(From Joris’s Translator’s Introduction). _4X1_ also features artwork by Nicole Peyrafitte, which works in concert with the selections shaping an image of the twentieth century that moves toward a nomadic poetics in a world organized without boundaries. To purchase _4X1_ and to learn more about the Inconundrum Press, please visit us at www.inconundrum.com. ========================================================================= Date: Fri, 24 Jan 2003 09:35:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: FW: a message from Harold Pinter MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit -----Original Message----- From: Harry Sent: January 24, 2003 3:26 AM Subject: FW: a message from Harold Pinter > Harold Pinter's speech on receiving an Honorary Doctorate from the University > of Turin. > "I am deeply honoured to receive this degree from such a great university. Earlier this year I had a major operation for cancer. The operation and its after-effects were something of a nightmare. I felt I was a man unable to swim bobbing about under water in a deep dark endless ocean. But I did not drown and I am very glad to be alive. However, I found that to emerge from a personal nightmare was to enter an infinitely more pervasive public nightmare - the nightmare of American hysteria, ignorance, arrogance, stupidity and belligerence; the most powerful nation the world has ever known effectively waging war against the rest of the world. "If you are not with us you are against us" President Bush has said. He has also said "We will not allow the world's worst weapons to remain in the hands of the world's worst leaders". Quite right. Look in the mirror chum. That's you. The US is at this moment developing advanced systems of "weapons of mass destruction" and it prepared to use them where it sees fit. It has more of them than the rest of the world put together. It has walked away from international agreements on biological and chemical weapons, refusing to allow inspection of its own factories. The hypocrisy behind its public declarations and its own actions is almost a joke. The United States believes that the three thousand deaths in New York are the only deaths that count, the only deaths that matter. They are American deaths. Other deaths are unreal, abstract, of no consequence. The three thousand deaths in Afghanistan are never referred to. The hundreds of thousands of Iraqi children dead through US and British sanctions which have deprived them of essential medicines are never referred to. The effect of depleted uranium, used by America in the Gulf War, is never referred to. Radiation levels in Iraq are appallingly high. Babies are born with no brain, no eyes, no genitals. Where they do have ears, mouths or rectums, all that issues from these orifices is blood. The two hundred thousand deaths in East Timor in 1975 brought about by the Indonesian government but inspired and supported by the United States are never referred to. The half a million deaths in Guatemala, Chile, El Salvador, Nicaragua, Uruguay, Argentina and Haiti, in actions supported and subsidised by the United States are never referred to. The millions of deaths in Vietnam, Laos and Cambodia are no longer referred to. The desperate plight of the Palestinian people, the central factor in world unrest, is hardly referred to. But what a misjudgement of the present and what a misreading of history this is. People do not forget. They do not forget the death of their fellows, they do not forget torture and mutilation, they do not forget injustice, they do not forget oppression, they do not forget the terrorism of mighty powers. They not only don't forget. They strike back. The atrocity in New York was predictable and inevitable. It was an act of retaliation against constant and systematic manifestations of state terrorism on the part of the United States over many years, in all parts of the world. In Britain the public is now being warned to be "vigilant" in preparation for potential terrorist acts. The language is in itself preposterous. How will - or can - public vigilance be embodied? Wearing a scarf over your mouth to keep out poison gas? However, terrorist attacks are quite likely, the inevitable result of our Prime Minister's contemptible and shameful subservience to the United States. Apparently a terrorist poison gas attack on the London Underground system was recently prevented. But such an act may indeed take place. Thousands of school children travel on the London Underground every day. If there is a poison gas attack from which they die, the responsibility will rest entirely on the shoulders of our Prime Minister. Needless to say, the Prime Minister does not travel on the underground himself. The planned war against Iraq is in fact a plan for premeditated murder of thousands of civilians in order, apparently, to rescue them from their dictator. The United States and Britain are pursuing a course which can lead only to an escalation of violence throughout the world and finally to catastrophe. It is obvious, however, that the United States is bursting at the seams to attack Iraq. I believe that it will do this - not just to take control of Iraqi oil - but because the US administration is now a bloodthirsty wild animal. Bombs are its only vocabulary. Many Americans, we know, are horrified by the posture of their government but seem to be helpless. Unless Europe finds the solidarity, intelligence, courage and will to challenge and resist US power Europe itself will deserve Alexander Herzen's definition (as quoted in the Guardian newspaper in London recently) "We are not the doctors. We are the disease". Harold Pinter ======================================= "How is it we lynch one president for a blow-job but let another sodomize the nation, no questions asked?" Bryan Hutcheson. ======================================= Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ======================================= ========================================================================= Date: Fri, 24 Jan 2003 10:42:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: poetry careerists In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Very few countries have writing programs. Mexico is not one of them. For those who want them, what they have instead, aside from the informal networks that have traditionally nourished young poets, is a very loose system of weekly workshops, some of which meet at universities, most not. Attendance is informal, altho a core of members may remain for years. Membership is usually multigenerational. Often the workshop leader is unpaid, and if paid it's barely enough for a beer, and more often than not there is no fee for participants. Even this degree of formal instruction is rare in the world at large. "Thrived" means in this context "there were lots of poets. " For thousands of years" is not about antiquity, it includes the present. But let's not forget how recent MFA-less antiquity is. Very few poets of my generation, and none of those who are important to me of the previous, were MFAs--there simply weren't a lot of programs. And I suspect that the emergence of women poets has more to do with hard-won social changes than with MFA programs. As to your rhetorical linking of two statements, the first a misreading, I'm not sure why an expressed taste for, say, Sappho or Rimbaud or Emily Dickinson or Creeley, among the ancients, has much to do with my assumption about the artistic maturity of very young writers. I simply don't understand your last sentence. Are you saying that very young MFAs may know how to teach the craft because they've learned craft and pedagogy in school? That's a pretty frightening thought. What, in that case, would they have to pass on but the standard wisdom of whatever alma maters? As it happens, I've taught a few poetry workshops at universities. Usually it's a joy, and good for me as poet and teacher. And it's a gig. Of course I was a much older and more practiced poet when I did so, with a lot more "years of risk" behind me. I like to think my courses were good for my students, but I don't pretend that very many of them will become interesting poets because of them. Altho the classroom is often a part of it, the curriculum that sometimes produces poets is rather more informal (not to say haphazard) than the classroom. The starting-place is the impulse to write, and that must precede undergraduate course selection in most cases, and certainly precedes application to MFA programs. That impulse and what follows from it, the seeking out of other poets and poetry, has always, in the ancient times that persist in most places, produced a plethora of poets. I make the bland assumption that it's a positive good for most people who who haven't inherited wealth to have jobs that put food on the table. We can argue about this further at AWP, where I'll be selling books at table 83. Mark At 11:05 AM 1/24/2003 -0500, you wrote: >Mark, > >I think there's distortion here too. I don't agree that poetry >"thrives" throughout the world, with or without >writing programs. If poetry thrives, what does music do: bust a gut? >It's also a distortion to imply that writing courses, take them or leave >them, are universal. They're not. For example, you don't make it clear >whether your Mexican poets didn't take writing courses because they >chose not to, or because there weren't any to take. I find your comment >"feeding oneself and family is a good thing" trite, likewise your >comment about the simultaneously innocuous and distorting influence of >MFA programs. You appeal twice to antiquity: > >"But poetry thrived for thousands of years without writing programs," > >and > >"don't kid yourselves that a 22 year old going through a couple of years >of courses will automatically emerge with the mastery necessary to teach >the craft to others. A few will--a very few, some of whom are on this >list--but that's the way it's always been." > >A few points: There are many significant differences between poetry in >the United States now and >the distant past, general literacy, print culture, and the participation >of women being only three. In view of your bland confidence in the >past, I am not surprised at your equally bland claim that out of the >"very few" graduates with "the mastery necessary to teach the craft to >others," "some of whom are," happily enough, "on this list." You might >also consider, however, that the necessary "mastery" may relate to >pedagogy rather than poetry or poetics. > >Mairead > > >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > >>> junction@EARTHLINK.NET 01/24/03 10:38 AM >>> >I think there's a distortion here. Creeley didn't do "some years of risk >outside the institution"--that implies that he was on some sort >of adventure vacation. What happened in fact is that he found a gig, >and >good for him and for all the rest who have done so--feeding oneself and >family is a good thing. But poetry thrived for thousands of years >without >writing programs, and in most of the world still does. In the small >corner >of Mexico that my recent anthology covers, for instance, I had no >trouble >gathering 53 poets, all living and writing, all but three below 60. And >not >a single University writing course between them. > >It's just a gig--the MFA world doesn't help poetry as such, and >hopefully >it doesn't do too much damage, altho I think it rather distorts the >acceptance of poetry. But don't kid yourselves that a 22 year old going >through a couple of years of courses will automatically emerge with the >mastery necessary to teach the craft to others. A few will--a very few, >some of whom are on this list--but that's the way it's always been. > >Mark > >At 03:45 PM 1/21/2003 -0800, you wrote: > >----- Original Message ----- > >From: "Murat Nemet-Nejat" > >To: > >Sent: Tuesday, January 21, 2003 2:18 PM > >Subject: Re: poetry careerists > > > > > > > The only solution to this problem, it seems to me, is the absolute >boycott > >by > > > everybody to become adjuncts. Then the universities will be forced >to > >build > > > real factulties. Of course, that requires by almost a whole >generation of > > > ph.d's to fall on the sword. > > > > > > murat > > > > > > >These things become entrenched, until they seem normal. > >It saddens me to have seen generations of poets growing up thinking in >terms > >of tenure tracks, more to please their parents and mate than the muse. >Maybe > >there's no maturity in the motherly arms of institutions? But, then, >there > >are exceptions, like Bob Creeley and a few score more. > >I do believe that some years of risk outside the institution--as >Creeley > >did--are necessary to have something to speak about besides theory and > >technique. > > I would suggest something like universities taking into account an > >applicant's experience in the world--what jobs he or she worked, >traveling > >done, writers visited, stuff like this--besides the basic degrees. That >is, > >broaden what qualifies a person to teach. > > > >-Joel > > > >Joel Weishaus > >Visiting Faculty > >Center for Excellence in Writing > >Portland State University > >Portland, Oregon > >http://web.pdx.edu/~pdx00282 > >http://www.unm.edu/~reality ========================================================================= Date: Fri, 24 Jan 2003 13:47:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Upcoming Wordsworth Books Events Mime-Version: 1.0 Content-Type: text/plain; format=flowed Saturday, January 25, 5 pm Beth Woodcome and Nadia Herman Colburn Wordsworth Books 30 Brattle St., Cambridge Sunday, February 2, 5 pm Peter Gizzi and Tina Celona Wordsworth Books 30 Brattle St., Cambridge Monday, February 3, 7 pm A TRIBUTE TO KENNETH REXROTH Wordsworth Books 30 Brattle St., Cambridge In celebration of the release of Rexroth's COMPLETE POEMS (Copper Canyon Press), Boston area poets and writers will convene for a gala evening of remarks and readings in honor of the great American poet's work. Invited readers include: Kevin Gallagher, Daniel Bouchard, William Corbett, Fred Marchant, Lise Haines, Don Share, Mark Lamoureux, Chris Sawyer-Laucanno, Ed Bullins, and others Friday, February 7, 7 pm Peach Friedman and Jim Behrle Wordsworth Books 30 Brattle St., Cambridge Friday, February 21, 7 pm Daniel Bouchard and Joanna Fuhrman Wordsworth Books 30 Brattle St., Cambridge Saturday, February 22, 5 PM Maria Tarrone and Joan Houlihan Wordsworth Books 30 Brattle St., Cambridge Saturday, March 8, 5 PM Mike County and Darlene Gold Wordsworth Books 30 Brattle St., Cambridge Saturday, March 15, 7 PM Forrest Gander and Kent Fielding Wordsworth Books 30 Brattle St., Cambridge Saturday, March 22, 7 PM Brandon Downing and TBA Wordsworth Books 30 Brattle St., Cambridge Saturday, March 29, 5 PM Dzvinia Orlowsky and Jeff Friedman Wordsworth Books 30 Brattle St., Cambridge Sunday, March 30, 3 PM Fred Marchant and John Deane Wordsworth Books 30 Brattle St., Cambridge Saturday, April 5, 5 PM Bill Knott and Franz Wright Wordsworth Books 30 Brattle St., Cambridge Friday, April 27th-Sunday, April 29th A Harvard Square Spring Poetry Festival 60 poets read for 15 minutes each over 3 days THESE POETS COULD BE YOUR LIFE. For more information call 617 354 5201 and ask for "Jim." ---------- Jim Behrle Events Director Wordsworth Books 30 Brattle St. Cambridge, MA 02138 (617) 354 5201 fax (617) 354 4674 jim@wordsworth.com www.wordsworth.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 24 Jan 2003 13:50:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: Upcoming Wordsworth Books Events Correction Mime-Version: 1.0 Content-Type: text/plain; format=flowed Friday, April 25th-Sunday, April 27th A Harvard Square Spring Poetry Festival 60 poets read for 15 minutes each over 3 days THESE POETS COULD BE YOUR LIFE EVEN EARLIER. Go Raiders! --Jim ___________ Jim Behrle Events Director Wordsworth Books 30 Brattle St. Cambridge, MA 02138 (617) 354 5201 fax (617) 354 4674 jim@wordsworth.com www.wordsworth.com _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 24 Jan 2003 14:21:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: poetry careerists Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Okey-doke. It'll be good to meet you. To clarify the final point of my letter: You say -- "But don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been." I say, "In view of your bland confidence in the past, I am not surprised at your equally bland claim that out of the 'very few' graduates with 'the mastery necessary to teach the craft to others,' 'some of whom are,' happily enough, 'on this list.' You might also consider, however, that the necessary 'mastery' may relate to pedagogy rather than poetry or poetics." A pretty clumpy-looking sentence intended to mean: 1)You seem to imply that the 'mastery necessary to teach the craft to others' is the mastery of the craft itself. 2) I offer the counter point that perhaps pedagogical 'mastery' is as important in teaching the 'craft' to others as mastery of the craft itself (although I would not myself choose the term "mastery" to describe the ongoing adventures of writing and teaching). 3) I find it a little ludicrous that, having decimated graduates to "very few" masters, you identify some of them as being on this list. 4) My general tone of annoyance relates to my bad humor today and impatience at your final comment: "but that's the way it's always been." The gear and tackle and trim of writing poetry -- its economy, institutionalization, and hardware -- is particular to our time and culture. Maybe you mean that what is constant is the emergence of the "few" "masters": that poetry is always an elite of mastery. Is that what you're saying? Mairead I simply don't understand your last sentence. Are you saying that very young MFAs may know how to teach the craft because they've learned craft and pedagogy in school? That's a pretty frightening thought. What, in that case, would they have to pass on but the standard wisdom of whatever alma maters? As it happens, I've taught a few poetry workshops at universities. Usually it's a joy, and good for me as poet and teacher. And it's a gig. Of course I was a much older and more practiced poet when I did so, with a lot more "years of risk" behind me. I like to think my courses were good for my students, but I don't pretend that very many of them will become interesting poets because of them. Altho the classroom is often a part of it, the curriculum that sometimes produces poets is rather more informal (not to say haphazard) than the classroom. The starting-place is the impulse to write, and that must precede undergraduate course selection in most cases, and certainly precedes application to MFA programs. That impulse and what follows from it, the seeking out of other poets and poetry, has always, in the ancient times that persist in most places, produced a plethora of poets. I make the bland assumption that it's a positive good for most people who who haven't inherited wealth to have jobs that put food on the table. We can argue about this further at AWP, where I'll be selling books at table 83. Mark At 11:05 AM 1/24/2003 -0500, you wrote: >Mark, > >I think there's distortion here too. I don't agree that poetry >"thrives" throughout the world, with or without >writing programs. If poetry thrives, what does music do: bust a gut? >It's also a distortion to imply that writing courses, take them or leave >them, are universal. They're not. For example, you don't make it clear >whether your Mexican poets didn't take writing courses because they >chose not to, or because there weren't any to take. I find your comment >"feeding oneself and family is a good thing" trite, likewise your >comment about the simultaneously innocuous and distorting influence of >MFA programs. You appeal twice to antiquity: > >"But poetry thrived for thousands of years without writing programs," > >and > >"don't kid yourselves that a 22 year old going through a couple of years >of courses will automatically emerge with the mastery necessary to teach >the craft to others. A few will--a very few, some of whom are on this >list--but that's the way it's always been." > >A few points: There are many significant differences between poetry in >the United States now and >the distant past, general literacy, print culture, and the participation >of women being only three. In view of your bland confidence in the >past, I am not surprised at your equally bland claim that out of the >"very few" graduates with "the mastery necessary to teach the craft to >others," "some of whom are," happily enough, "on this list." You might >also consider, however, that the necessary "mastery" may relate to >pedagogy rather than poetry or poetics. > >Mairead > > >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> junction@EARTHLINK.NET 01/24/03 10:38 AM >>> >I think there's a distortion here. Creeley didn't do "some years of risk >outside the institution"--that implies that he was on some sort >of adventure vacation. What happened in fact is that he found a gig, >and >good for him and for all the rest who have done so--feeding oneself and >family is a good thing. But poetry thrived for thousands of years >without >writing programs, and in most of the world still does. In the small >corner >of Mexico that my recent anthology covers, for instance, I had no >trouble >gathering 53 poets, all living and writing, all but three below 60. And >not >a single University writing course between them. > >It's just a gig--the MFA world doesn't help poetry as such, and >hopefully >it doesn't do too much damage, altho I think it rather distorts the >acceptance of poetry. But don't kid yourselves that a 22 year old going >through a couple of years of courses will automatically emerge with the >mastery necessary to teach the craft to others. A few will--a very few, >some of whom are on this list--but that's the way it's always been. > >Mark > >At 03:45 PM 1/21/2003 -0800, you wrote: > >----- Original Message ----- > >From: "Murat Nemet-Nejat" > >To: > >Sent: Tuesday, January 21, 2003 2:18 PM > >Subject: Re: poetry careerists > > > > > > > The only solution to this problem, it seems to me, is the absolute >boycott > >by > > > everybody to become adjuncts. Then the universities will be forced >to > >build > > > real factulties. Of course, that requires by almost a whole >generation of > > > ph.d's to fall on the sword. > > > > > > murat > > > > > > >These things become entrenched, until they seem normal. > >It saddens me to have seen generations of poets growing up thinking in >terms > >of tenure tracks, more to please their parents and mate than the muse. >Maybe > >there's no maturity in the motherly arms of institutions? But, then, >there > >are exceptions, like Bob Creeley and a few score more. > >I do believe that some years of risk outside the institution--as >Creeley > >did--are necessary to have something to speak about besides theory and > >technique. > > I would suggest something like universities taking into account an > >applicant's experience in the world--what jobs he or she worked, >traveling > >done, writers visited, stuff like this--besides the basic degrees. That >is, > >broaden what qualifies a person to teach. > > > >-Joel > > > >Joel Weishaus > >Visiting Faculty > >Center for Excellence in Writing > >Portland State University > >Portland, Oregon > >http://web.pdx.edu/~pdx00282 > >http://www.unm.edu/~reality ========================================================================= Date: Fri, 24 Jan 2003 11:35:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: a message from Harold Pinter + todays news In-Reply-To: <000d01c2c3ce$fa1ed880$1e5e17cf@diogenes> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Thanks for posting the Pinter, Peter. Morning news does suggest the Administration is beginning to blink - seriously considering "extending the inspections." Other than blindly going forward, they have no one among the top nations in their corner. Plus the stock market is diving way way down - already 210 points today - and about 500 for the week. Obviously investors are not taking much stock in Bush's agenda to deliver tax free dividends! Public protest (60 to 30% against a non-UN backed invasion) combined with folks voting with their wallets is making Bush and Co slide down the flag pole. On one hand I know this sounds optimistic. But the other dreadful fact is that even with this blink, these folks still have two years to trash "the palace" to please their base - it's going to take continued vigilance on all counts - civil rights, environmental, education, etc. etc. Stephen V on 1/24/03 9:35 AM, Peter Quartermain at quarterm@INTERCHANGE.UBC.CA wrote: > -----Original Message----- > From: Harry > Sent: January 24, 2003 3:26 AM > Subject: FW: a message from Harold Pinter > >> Harold Pinter's speech on receiving an Honorary Doctorate from the > University >> of Turin. >> > "I am deeply honoured to receive this degree from such a great > university. > > Earlier this year I had a major operation for cancer. The operation and > its > after-effects were something of a nightmare. I felt I was a man unable > to > swim bobbing about under water in a deep dark endless ocean. But I did > not > drown and I am very glad to be alive. However, I found that to emerge > from a > personal nightmare was to enter an infinitely more pervasive public > nightmare - the nightmare of American hysteria, ignorance, arrogance, > stupidity and belligerence; the most powerful nation the world has ever > known effectively waging war against the rest of the world. "If you are > not > with us you are against us" President Bush has said. He has also said > "We > will not allow the world's worst weapons to remain in the hands of the > world's worst leaders". Quite right. Look in the mirror chum. That's > you. > > The US is at this moment developing advanced systems of "weapons of mass > destruction" and it prepared to use them where it sees fit. It has more > of > them than the rest of the world put together. It has walked away from > international agreements on biological and chemical weapons, refusing to > allow inspection of its own factories. The hypocrisy behind its public > declarations and its own actions is almost a joke. > > The United States believes that the three thousand deaths in New York > are > the only deaths that count, the only deaths that matter. They are > American > deaths. Other deaths are unreal, abstract, of no consequence. > > The three thousand deaths in Afghanistan are never referred to. > > The hundreds of thousands of Iraqi children dead through US and British > sanctions which have deprived them of essential medicines are never > referred > to. > > The effect of depleted uranium, used by America in the Gulf War, is > never > referred to. Radiation levels in Iraq are appallingly high. Babies are > born > with no brain, no eyes, no genitals. Where they do have ears, mouths or > rectums, all that issues from these orifices is blood. > > The two hundred thousand deaths in East Timor in 1975 brought about by > the > Indonesian government but inspired and supported by the United States > are > never referred to. > > The half a million deaths in Guatemala, Chile, El Salvador, Nicaragua, > Uruguay, Argentina and Haiti, in actions supported and subsidised by the > United States are never referred to. > > The millions of deaths in Vietnam, Laos and Cambodia are no longer > referred > to. > > The desperate plight of the Palestinian people, the central factor in > world > unrest, is hardly referred to. > > But what a misjudgement of the present and what a misreading of history > this > is. > > People do not forget. They do not forget the death of their fellows, > they do > not forget torture and mutilation, they do not forget injustice, they do > not > forget oppression, they do not forget the terrorism of mighty powers. > They > not only don't forget. They strike back. > > The atrocity in New York was predictable and inevitable. It was an act > of > retaliation against constant and systematic manifestations of state > terrorism on the part of the United States over many years, in all parts > of > the world. > > In Britain the public is now being warned to be "vigilant" in > preparation > for potential terrorist acts. The language is in itself preposterous. > > How will - or can - public vigilance be embodied? Wearing a scarf over > your > mouth to keep out poison gas? However, terrorist attacks are quite > likely, > the inevitable result of our Prime Minister's contemptible and shameful > subservience to the United States. Apparently a terrorist poison gas > attack > on the London Underground system was recently prevented. But such an act > may > indeed take place. Thousands of school children travel on the London > Underground every day. If there is a poison gas attack from which they > die, > the responsibility will rest entirely on the shoulders of our Prime > Minister. Needless to say, the Prime Minister does not travel on the > underground himself. > > The planned war against Iraq is in fact a plan for premeditated murder > of > thousands of civilians in order, apparently, to rescue them from their > dictator. > > The United States and Britain are pursuing a course which can lead only > to > an escalation of violence throughout the world and finally to > catastrophe. > > It is obvious, however, that the United States is bursting at the seams > to > attack Iraq. I believe that it will do this - not just to take control > of > Iraqi oil - but because the US administration is now a bloodthirsty wild > animal. Bombs are its only vocabulary. Many Americans, we know, are > horrified by the posture of their government but seem to be helpless. > > Unless Europe finds the solidarity, intelligence, courage and will to > challenge and resist US power Europe itself will deserve Alexander > Herzen's > definition (as quoted in the Guardian newspaper in London recently) "We > are > not the doctors. We are the disease". > > Harold Pinter > ======================================= > "How is it we lynch one president for a blow-job but let another > sodomize the nation, no questions asked?" > Bryan Hutcheson. > ======================================= > Peter Quartermain > 846 Keefer Street > Vancouver B.C. > Canada V6A 1Y7 > > voice 604 255 8274 > fax 604 255 8204 > quarterm@interchange.ubc.ca > ======================================= ========================================================================= Date: Fri, 24 Jan 2003 14:41:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel" Subject: Re: love letters MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable MY APOLOGIES: THE CORRECT EMAIL FOR THE CALL BELOW IS: = . JL -----Original Message----- From: Lipman, Joel A.=20 Sent: Thursday, January 23, 2003 11:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: love letters Tahree Lane, my friend and a reporter for the Toledo Blade, is doing a = story on love letters and called today with several questions. I said = I'd send them to poets on the Poetics list, so if you're interested in = responding:=20 tlane@toledoblade.com. Has the internet made the love letter passe'? Is there any difference between a love letter written by hand in pen and = ink as opposed to email or internet transmissions?=20 Are there more or less love letters than in the pre-internet past? We discussed paper, textures, people returning to the letters of lost or = deceased lovers, and the implicit personality of the writer's script.=20 Tahree's story goes to the editor next Monday, to be published in the = Sunday edition prior to Valentine's Day. JL ========================================================================= Date: Sat, 25 Jan 2003 15:50:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: It's War It's War...Fredonia's Goin to War.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Susan Sontag, Brian Eno, John Le Carre, Clayton Eshelman, Eliot Weinberger, Harold Pinter left, left, left, lock-step left, circle left dizzy, dizzy left circle, left dizzy circle... This self-congragulatory holier than U.S. rhetoric doesn't much change the situation on the ground.....unless members of the Po list have some hidden tactical nukes that they can smuggle into Iraq...you're unlikely to STOP the all but inevitable war...and by the sharpness of accusations prob. push it on apace.. To be sure you don't need my advice...but I think what you want to do is defeat Bush in the next election...which will limit the war to Iraq and stop it from spreading into Iran, S.Arabia and Syria...right, right, right, step right... Harold Pinter marries Susan Sontag......to the marriage of true minds let me not...there's a sickness in the left...it doesn't want to defeat Bush...that would take practical concrete steps...and be a simple realistic solution...it wants to be against...antibarakacancerbonezero...DRn.. ========================================================================= Date: Fri, 24 Jan 2003 14:53:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: new CR. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" = announcing = Chicago Review 48:4 (Winter 2002/3) POEMS by Michael Anania Peter deRous Claudia Keelan Peter Minter DA Powell Mark Salerno (and others) TRANSLATIONS of 3 scurrilous Greeks (by Kent Johnson) Marcel Proust (by Lydia Davis) Albius Tibullus (by David Wray) ESSAYS by Nate Dorward (on Trevor Joyce) Benjamin Friedlander (on Philip Jenks) FICTION by Tom House Judith Felsenfeld ART by Tom Raworth (who's also on the cover) Friese Undine REVIEWS of John Wilkinson Donald Revell Cees Nooteboom Harold Jaffe (and others) and one DISPATCH FROM MARSEILLES by Maggie O'Sullivan (on the Raworth exhibit/readings at cipM) * * * * all this available for $6 plus postage ($4 domestic/$15 air), or you might subscribe for a year for $15 (overseas add $30 for shipping). To subscribe just send us an e-m with your address, and we'll send you the issue along with a bill. Daftly enough, we trust you to pay. * * * * Eirik Steinhoff Editor [nb: website's egregiously outta date, tho both German and Brakhage issues are indeed still available] * * * * * * * * * CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ ========================================================================= Date: Fri, 24 Jan 2003 12:48:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: poetry careerists In-Reply-To: <5.1.0.14.1.20030124013640.01e90e80@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In the Jan. 24, 03 issue of "The Chronicle Review," the magazine insert of "The Chronicle of Higher Education," there's an article by Fern Kupfer (a novelist) on MFA programs called "The Dream, and the Reality, of Writing Fiction." I don't know if it's on line, but people may find it interesting. She regards MFA programs as a kind of pyramid scheme: "writers become teachers and teach other writers, who become teachers in turn," and there are not enough jobs to go around. Kupfer is somewhat reserved about the advantages of MFA programs, and ends her article: "Most students leave my courses with a deeper understanding of the writer's craft. Some learn to see the world with a writer's eye. And a few even produce wonderful stories. They have a good time and get their money's worth. But I warn anyone who wants to be a writer: Better get yourself a good day job. Because I'm not ready to give up mine." Hilton Obenzinger ========================================================================= Date: Fri, 24 Jan 2003 14:31:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: poetry careerists In-Reply-To: <5.1.0.14.1.20030124094508.01e87d38@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" mairead, mark, others--- as this is among my very favorite topics, i'll try not to go on, but: the point mairead is making about the institutionally and historically specific site of poetry today, on the north american continent, is to the point... granted, we can find places in the world where poetry is practiced w/o much reference to educational realities (though i'd want to know more, mark, about the educational backgrounds of the poets to whom you make reference)... but for better and worse, u.s. poetry has become more and more a matter of formal education... not simply postsecondary---hell, look at what's going on K-12 (and where are THOSE teachers being taught?)... this is a legislated reality, here in the states... also, have a look at the 20th century u.s. poets most of us on this list consider to have had major impact on u.s. poetry---many, if not most, hold baccalaureates, a goodly number hold graduate degrees... the vast majority graduated from high school... kenneth burke types are few and far between... so you won't convince this educator that formal education can be set aside in this discussion---if anything, on the less-than-salutary, turboprofessionalized side, formal education is an *overdetermining* factor in the production of poetry (hence as such, can't, again, be wished away)... it's surely not the be-all and end-all of talking about a "career" in writing---by which i don't mean to suggest that "calling" is, either... and i haven't even begun to scratch the surface here of what's wrong with creative writing as an institution (i'm with mairead in thinking that we ought to be thinking more about pedagogy, by which i don't mean which texts are being "taught" in the classroom)... and i haven't even begun to scratch the surface here of how that fraught term, literacy, has much to do with all of this... out for now, enjoying the exchange--- best, joe ========================================================================= Date: Fri, 24 Jan 2003 16:40:43 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Hazel Larsen Archer -- Black Mountain photos MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://avantgardes.com/exhib.folder/hazel.html hazel larsen archer : photographer at black mountain college january 24 - march1 gallery hours 12 - 6, tue.- sat "trimming of this photo is forbidden" The words above, written on the back of the many photographs by Hazel Larsen Archer (1921-2001) triggered the curiosity and conception that lies at the basis of this exhibition. Hazel Larsen Archer was first a student and then a teacher at Black Mountain College, spending a total of 9 years at this exceptional experiment in art education. Most of the photographs in this exhibition date from the year 1948. Mary Emma Harris writes, "the summer of 1948, organized by Albers, was a magical one. It marked the end of the dominance of the European artists at the college and the emergence of the young Americans, who were to be the creative leaders in the arts in the United States for the next twenty-five years." This show indeed documents the faces of the young Cunningham, the young Cage, de Kooning, Ruth Asawa, Dorothea Rockburne, Sue Weil, Bob Rauschenberg and Ray Johnson. On view are also portraits of Josef and Annie Albers, Charles Olson and Buckminster Fuller, photographs of the environment of Black Mountain College, of the doors of the Quiet House, as well as her sun-prints, her photographic version of the "Matiere Studies" that all students made in the classes of the Albers'. Roland Barthes pointed out that one of the qualities of photography is a "Dagewesen Sein" - a "having been there" - a notion that relates to the documentary value of photography. Of course, Archer's photographs show that she has been there, and all of the exhibited photographs have a documentary value, as does every photograph, but in this show we wish to present Archer as a photographer in the tradition of Alfred Stieglitz, whose work she admired so much. About her portrait photography Archer said, "I do not flatter, I do not retouch, I am interested in my subjects as individuals". And look how she sees the back of Ray Johnson's head, or the top of John Cage's face, a photograph that makes him "this good looking Frankenstein". Then there are the photographic sequences of the dancing Merce Cunningham, where each photograph appears to be a still photograph from a film with Merce flying out of the frame as a black angel. Archer's photographs fully grasp Merce's interest in dance as "movement in time, rather than poses". All aesthetic possibilities are explored. Larsen Archer plays with depth of field in a photograph of Sue Weil, her face protruding as if we are looking at a holographic portrait. In the double portrait of the historians of photography Nancy and Beaumont Newhall, we see her play with perspective and depth of field, a choreography of points of view rarely seen before. Archer's photos have been published for their documentary value, and are known, though often without her being credited. This is the first time that attention has been given to the photographic qualities of Archer's work, to the aesthetic qualities that show us the work of an accomplished artistic visionary that reflect the creative energy of Black Mountain College. with our thanks to james s. jaffe rare books for assistance with this exhibition. For further information, please contact the gallery at 212.691.5973. http://www.avantgardes.com 601 west 26th str. 12th fl. - ny, ny 10001 - t. 212 691-5973 - f 212 463 -8948 ========================================================================= Date: Fri, 24 Jan 2003 16:08:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: somebody wanna help this poor soul? In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: quoted-printable URGENT ASSISTANCE - FROM USA IMMEDIATE ATTENTION NEEDED : HIGHLY CONFIDENTIAL FROM: GEORGE WALKER BUSH 202.456.1414 / 202.456.1111 FAX: 202.456.2461 DEAR SIR / MADAM, I AM GEORGE WALKER BUSH, SON OF THE FORMER PRESIDENT OF THE UNITED=20 STATES OF AMERICA GEORGE HERBERT WALKER BUSH, AND CURRENTLY SERVING AS=20= PRESIDENT OF THE UNITED STATES OF AMERICA. THIS LETTER MIGHT SURPRISE=20 YOU BECAUSE WE HAVE NOT MET NEITHER IN PERSON NOR BY CORRESPONDENCE. I=20= CAME TO KNOW OF YOU IN MY SEARCH FOR A RELIABLE AND REPUTABLE PERSON TO=20= HANDLE A VERY CONFIDENTIAL BUSINESS TRANSACTION,=A0 WHICH INVOLVES THE=20= TRANSFER OF A HUGE SUM OF MONEY TO AN ACCOUNT REQUIRING MAXIMUM=20 CONFIDENCE. I AM WRITING YOU IN ABSOLUTE CONFIDENCE PRIMARILY TO SEEK YOUR=20 ASSISTANCE IN ACQUIRING OIL FUNDS THAT ARE PRESENTLY TRAPPED IN THE=20 REPUBLIC OF IRAQ. MY PARTNERS AND I SOLICIT YOUR ASSISTANCE IN=20 COMPLETING A TRANSACTION BEGUN BY MY FATHER, WHO HAS LONG BEEN ACTIVELY=20= ENGAGED IN THE EXTRACTION OF PETROLEUM IN THE UNITED STATES OF AMERICA,=20= AND BRAVELY SERVED HIS COUNTRY AS DIRECTOR OF THE UNITED STATES CENTRAL=20= INTELLIGENCE AGENCY. IN THE DECADE OF THE NINETEEN-EIGHTIES, MY FATHER, THEN VICE-PRESIDENT=20= OF THE UNITED STATES OF AMERICA, SOUGHT TO WORK WITH THE GOOD OFFICES=20 OF THE PRESIDENT OF THE REPUBLIC OF IRAQ TO REGAIN LOST OIL REVENUE=20 SOURCES IN THE NEIGHBORING ISLAMIC REPUBLIC OF IRAN. THIS UNSUCCESSFUL=20= VENTURE WAS SOON FOLLOWED BY A FALLING OUT WITH HIS IRAQI PARTNER, WHO=20= SOUGHT TO ACQUIRE ADDITIONAL OIL REVENUE SOURCES IN THE NEIGHBORING=20 EMIRATE OF KUWAIT, A WHOLLY-OWNED U.S.-BRITISH SUBSIDIARY. MY FATHER RE-SECURED THE PETROLEUM ASSETS OF KUWAIT IN 1991 AT A COST=20 OF SIXTY-ONE BILLION U.S. DOLLARS ($61,000,000,000). OUT OF THAT COST,=20= THIRTY-SIX BILLION DOLLARS ($36,000,000,000) WERE SUPPLIED BY HIS=20 PARTNERS IN THE KINGDOM OF SAUDI ARABIA AND OTHER PERSIAN GULF=20 MONARCHIES, AND SIXTEEN BILLION DOLLARS ($16,000,000,000) BY GERMAN AND=20= JAPANESE PARTNERS. BUT MY FATHER'S FORMER IRAQI BUSINESS PARTNER=20 REMAINED IN CONTROL OF THE REPUBLIC OF IRAQ AND ITS PETROLEUM RESERVES. MY FAMILY IS CALLING FOR YOUR URGENT ASSISTANCE IN FUNDING THE REMOVAL=20= OF THE PRESIDENT OF THE REPUBLIC OF IRAQ AND ACQUIRING THE PETROLEUM=20 ASSETS OF HIS COUNTRY, AS COMPENSATION FOR THE COSTS OF REMOVING HIM=20 FROM POWER. UNFORTUNATELY, OUR PARTNERS FROM 1991 ARE NOT WILLING TO=20 SHOULDER THE BURDEN OF THIS NEW VENTURE, WHICH IN ITS UPCOMING PHASE=20 MAY COST THE SUM OF 100 BILLION TO 200 BILLION DOLLARS=20 ($100,000,000,000 - $200,000,000,000), BOTH IN THE INITIAL ACQUISITION=20= AND IN LONG-TERM MANAGEMENT. WITHOUT THE FUNDS FROM OUR 1991 PARTNERS, WE WOULD NOT BE ABLE TO=20 ACQUIRE THE OIL REVENUE TRAPPED WITHIN IRAQ. THAT IS WHY MY FAMILY AND=20= OUR COLLEAGUES ARE URGENTLY SEEKING YOUR GRACIOUS ASSISTANCE. OUR=20 DISTINGUISHED COLLEAGUES IN THIS BUSINESS TRANSACTION INCLUDE THE=20 SITTING VICE-PRESIDENT OF THE UNITED STATES OF AMERICA, RICHARD CHENEY,=20= WHO IS AN ORIGINAL PARTNER IN THE IRAQ VENTURE AND FORMER HEAD OF THE=20 HALLIBURTON OIL COMPANY, AND CONDOLEEZA RICE, WHOSE PROFESSIONAL=20 DEDICATION TO THE VENTURE WAS DEMONSTRATED IN THE NAMING OF A CHEVRON=20 OIL TANKER AFTER HER. I WOULD BESEECH YOU TO TRANSFER A SUM EQUALING TEN TO TWENTY-FIVE=20 PERCENT (10-25 %) OF YOUR YEARLY INCOME TO OUR ACCOUNT TO AID IN THIS=20 IMPORTANT VENTURE. THE INTERNAL REVENUE SERVICE OF THE UNITED STATES OF=20= AMERICA WILL FUNCTION AS OUR TRUSTED INTERMEDIARY. I PROPOSE THAT YOU=20 MAKE THIS TRANSFER BEFORE THE FIFTEENTH (15TH) OF THE MONTH OF APRIL. I KNOW THAT A TRANSACTION OF THIS MAGNITUDE WOULD MAKE ANYONE=20 APPREHENSIVE AND WORRIED. BUT I AM ASSURING YOU THAT ALL WILL BE WELL=20 AT THE END OF THE DAY. A BOLD STEP TAKEN SHALL NOT BE REGRETTED, I=20 ASSURE YOU. PLEASE DO BE INFORMED THAT THIS BUSINESS TRANSACTION IS=20 100% LEGAL. IF YOU DO NOT WISH TO CO-OPERATE IN THIS TRANSACTION,=20 PLEASE CONTACT OUR INTERMEDIARY REPRESENTATIVES TO FURTHER DISCUSS THE=20= MATTER. I PRAY THAT YOU UNDERSTAND OUR PLIGHT. MY FAMILY AND OUR COLLEAGUES=20 WILL BE FOREVER GRATEFUL. PLEASE REPLY IN STRICT CONFIDENCE TO THE=20 CONTACT NUMBERS BELOW. SINCERELY WITH WARM REGARDS, GEORGE WALKER BUSH Switchboard: 202.456.1414 Comments: 202.456.1111 Fax: 202.456.2461=20 Email: president@whitehouse.gov ========================================================================= Date: Fri, 24 Jan 2003 17:33:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Ruiz-Firmat & Moritz in Philly MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit La Tazza Reading Series Presents: Mariana Ruiz-Firmat & Dennis Moritz 1/25 Saturday 7pm La Tazza 108 108 Chestnut St. Phila., PA "It's cold outside. It gets so hot in here." Frank ========================================================================= Date: Sat, 25 Jan 2003 13:10:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: FW: a message from Harold Pinter In-Reply-To: <000d01c2c3ce$fa1ed880$1e5e17cf@diogenes> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII From the N.Y. Times, 22 Jan.: "Administration officials said their strategy was based on the belief that there might never be a 'smoking gun' proving Iraq's possession of illegal weapons. Accordingly, they acknowledged that the case must be made in a negative fashion: that Iraq has failed to disprove the contentions of the United States and others about its weapons of mass destruction. The administration asserts, without offering evidence, that Iraq has thwarted inspectors by hiding the weapons." UNMOVIC press briefing (excerpts), 20 Jan.: "1. Access has been obtained to all sites. This will continue. The Iraqi side will encourage persons to accept access also to private sites. 2. There has been helpful assistance in the logistic build-up of the inspection infrastructure, e.g at the Mosul office. This will continue, e.g regarding a field office in Basrah. 3. After the find of some empty 122mm chemical munitions at Al Ukhaidhir stores, the Iraqi side has appointed a team to undertake an investigation and comprehensive search to look for similar cases at all locations. One find of four more units was already reported at Al Taji munitions stores. The final results will be reported. [...] 6. The declaration given on 7 December by Iraq was discussed. Iraq expressed a readiness to respond to questions raised in connection with the declaration and discuss such questions. [...] 9. Iraq will enact national legislation as soon as possible regarding proscribed activities. 10. Iraq agreed to continue technical discussions with the IAEA to clarify issues, regarding aluminum tubes, alleged uranium importation and the use of high explosives, as well as other outstanding issues." http://www.un.org/apps/news/infocusnewsiraq.asp?NewsID=341&sID=8 <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Fri, 24 Jan 2003 20:33:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry careerists "career success"?? 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dCB0byBoZWFyIHRoaXMhICBhbmQgaXQgbWFrZXMgbWUgd2FudCB0byBWT01JVCB0aGlua2lu ZyB0aGF0IHRoZXJlIGFyZSBmb2xrcyBvdXQgdGhlcmUgdHJ5aW5nIHRvIGNyZWF0ZSB3YXlz IG9mIGtlZXBpbmcgcGVvcGxlIGZyb20gdGhlaXIgZHJlYW1zIG9mIHdyaXRpbmchICBpIHdh bnQgdG8gZ2V0IG15IGFzcyBpbiB0aGUgbGFib3JhdG9yeSBhbmQgaW52ZW50IHNvbWUgUHJl c3RpZ2UgQXdheSBTcHJheSwgcmlnaHQgYXdheSEgIG9rYXksIGknbSBnZXR0aW5nIFJFQUxM WSBQSVNTRUQgT0ZGIGFuZCBuZWVkIHRvIGdvIG5vdyEKCkNBQ29ucmFkCmZyb20gdGhlIHNv dW5kcwpvZiBQaGlsYWRlbHBoaWEK ========================================================================= Date: Fri, 24 Jan 2003 18:00:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: poetry careerists "career success"?? In-Reply-To: <7984C08F.65985404.01F36A84@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i frankly don't get the fascination with this thread. why are people getting so worked up? it's like "american idol" for poets. this friend of mine not only went for the M.A. (in the days when MFAs were still somewhat rare), but then went on to the still rarer PHD in writing (!!!). he thought of it as a sort of "minor league" of being a writer, with the notion that he would hone his craft, make contacts, and try to "catch on" with a big publisher and a good university afterwards. i don't know at what point teaching became a part of the equation of being a writer, but somewhere along the way it did. now he's a writing prof at a small school in the midwest, and with phd firmly in place, he's securely on the tenure track. not sure what happened to his novel, but i do believe that he worked very hard on his writing while in the program, so in that sense it must have been good for him. as for me, i've flirted several times with the mfa siren, only to lash myself to the mast and pass on by. i attended naropa summer school this past year and it raised my interest again, but again, i don't think i'll follow through. i loved the program and the energy of the other students and learned at least as much from them as from the profs -- and had a pretty damn good time while i was there. for me, though, there is absolutely no desire to teach at the university level or to make a "career" of any sort whatsoever out of poetry. i hate the word career and have never held a job in my adult life more than three or four years in a row. i just want to write! and that's the first concern of mine in any program. if i knew i could go and concentrate on writing for two, three years, and emerge without the kind of debilitating debt most of my mfa'd friends have, i'd do it in a minute. but as it is, i'm studying with a great mentor at a very reasonable rate here in SF. i have many friends around me who take writing seriously. a part of me wants to say, "if you want to write, you'll write," no matter what some professor in an MFA program says to discourage you. but of course i know many who have been discouraged, and it's a shame. My PHD friend told me a story of a very well known writer/prof (who shall remain nameless) wiping his ass in class with a student's work to show what he thought of it. i wonder what happened to that student!!! and i wonder if a small part of my avoiding the mfa scene is not wanting to risk my own poet-ego in that kind of competitive, potentially damaging environment. but for now, i slog on, degreeless in SF. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Craig Allen Conrad Sent: Friday, January 24, 2003 5:34 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: poetry careerists "career success"?? In a message dated 1/22/2003 4:08:30 PM Eastern Standard Time, djr4r@CMS.MAIL.VIRGINIA.EDU writes: > More selectivity in graduate humanities programs would > ensure that those who do make it in have a much greater > chance of career success. It's probably way too easy to get > into graduate school these days. That makes all kinds of > sense for departments and administrations -- cheap > teaching, tuition income, prestige of a large program -- > but does a serious disservice to many of the folks who > would seem to be the beneficiaries. the idea of "prestige of a large program" is interesting. the idea of "a large program" seems more of a marketing tool to convince applicants that "large" is prestigious, when really "large" is about the numbers, the money, which has created the industrial complex universities have become today. i guess the real prestigious would shoot for tighter numbers, difficult standards. but frankly (i can't believe i'm about to defend the bastards out there making education about making money and little else) i PREFER this "large program" to the idea of "More selectivity". of course, i'm acting as if there are only two choices. well, the third choice being mine: not to go in the first place. but really, what's with the selectivity, i mean, don't you like the idea of AS MANY people as possible getting an education in poetry if that's what they want? i certainly do. and what EXACTLY is this "selectivity" about? will the selection process in mind be open to more than just white, white, white, and white? i'm talking about qualifications, testing, the way things are presented and required for admissions. the idea of the "large" can always include the smaller inside itself, but almost never the other way around. anyway, if this can be done, how do you do that? how do you also create a selection process with room enough for working class and poor poets who are serious about making this a choice for their future? this idea of "selectivity" is sort of weird to me, elitist. this is the way of all class divisions. you create standards to keep the riff raff out, then pretty soon the pigs that run this world buy their kid a ticket in past all the qualifications, and everything is polarized all over again, despite what you may or may not have had in mind at the outset. so my next point is the "much greater chance of career success." hmm. well, this goes back to the origin of this particular tree of e-mails with the original subject line "poetry careerists." could you, or someone, please explain "career success" in the world of poetry? maybe this sounds like a naive question, but i can't really comprehend poetry as a career. to me, one of the FEW reasons i liked the idea of MFA programs for writing (i started to rationalize all this when friends starting joining programs) is that they really seemed to be about education, about people REALLY investing their lives in poetry, and writing it. the idea of it merely being another set of "higher education" courses to gear you into some sort of "career" just doesn't make sense to me with poetry. am i going to have to hate MFA programs again? i don't know, i really don't want to, but, it's so disturbing all of a sudden. maybe i just haven't met anyone who has ever DONE anything (in that American sense, the get-a-job sense) with their MFA in creative writing. my friends with such degrees have jobs that have nothing at all to do with poetry. so what is the prize? i'm assuming there is one, or two prizes, with this line "much greater chance of career success." MAN ALIVE! can't this instead be PART of making poetry MORE available to as many people as possible? do you have ANY IDEA AT ALL what it's like for people who have DREAMT about writing but NEVER had the encouragement, never had the money, never had the time? the mother of a good friend of mine is dying of cancer, and over the christmas holiday she told me her "secret" how she ALWAYS wanted to write short stories, but came from a poor family, where she was expected to work as soon as she was able to do so, then raise kids, etc. it broke my heart to hear this! and it makes me want to VOMIT thinking that there are folks out there trying to create ways of keeping people from their dreams of writing! i want to get my ass in the laboratory and invent some Prestige Away Spray, right away! okay, i'm getting REALLY PISSED OFF and need to go now! CAConrad from the sounds of Philadelphia ========================================================================= Date: Fri, 24 Jan 2003 22:09:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: poetry careerists "career success"?? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit right, well, i've never been to school for writing, but if folks want to get degrees, that's really no one's business. naropa always seemed like the best choice for me, though i never went there either. if Black Mountain had hung on, maybe there, but would it really be the same half a century later? but i do get worked up about it, people wanting to do something they FEEL is going to take them into this idea they've projected is a great thing, it's beautiful, and i support it. i've had problems in the past, trying to support friends who went that route. but it was growing experience i suppose. but it's easy for you to say that if you're going to write you're going to write. i write all the time. but i've created, and have been lucky enough to be ABLE to create this for myself. but i think about all the people who want to but really canNOT. trust me, there are PLENTY of folks out there who life has placed all kinds of struggles in the way of doing the creative things they want. i'm wanting everyone to have the space they need. we're so lucky, those of us who have the time, space, whatever it is we have to do what we want with our creative energy! but at the same time things really are moving in a direction where more people than ever are taking to their creative drive. the fact there are thousands and thousands of writing students and art students is wonderful! that much creative discovery can only make way for some powerful changes ahead! CAConrad from the sounds of Philadelphia ========================================================================= Date: Fri, 24 Jan 2003 23:49:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jena Osman Subject: please check this out Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hi, I've been working on an interactive poem for a while now with a web programmer (a very old version is on my page at the epc). We're about ready to launch it but still working out the kinks. Please check out this link and tell me how it's working for you. We're trying to make sure that people aren't confused about what they can do at the site, as well as trying to figure which platforms and browser versions aren't happy with it. If you could back-channel any feedback to me at josman@temple.edu I'd very much appreciate it. Please let me know what platform you're working from, what browser you're using, and what version of that browser. http://www.outplace.net/zhivago/index.html Thanks! Jena ========================================================================= Date: Sat, 25 Jan 2003 00:09:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: please check this out MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Jena, I checked this out- it reminds me of poems in _The Character_, I wonder if this concept started there? Or web idea overlapped with book idea? I made some poems, centrifuge and dissolve recombined words and images, but the other three- stir, heat and dilute destroyed the words, recombined letters, etc. If this is what you want, it's working, if not, that's what happened with me. I am using MS Internet Explorer windows xp Jane ----- Original Message ----- From: "Jena Osman" To: Sent: Friday, January 24, 2003 11:49 PM Subject: please check this out > Hi, > I've been working on an interactive poem for a while now with a web > programmer (a very old version is on my page at the epc). We're about ready > to launch it but still working out the kinks. Please check out this link > and tell me how it's working for you. We're trying to make sure that people > aren't confused about what they can do at the site, as well as trying to > figure which platforms and browser versions aren't happy with it. > If you could back-channel any feedback to me at josman@temple.edu I'd very > much appreciate it. Please let me know what platform you're working from, > what browser you're using, and what version of that browser. > > http://www.outplace.net/zhivago/index.html > > Thanks! > > Jena > ========================================================================= Date: Fri, 24 Jan 2003 23:30:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: could someone b/c me chris funkhauser's email address? In-Reply-To: <004301c2c430$03fc5ce0$11e096d1@Jane> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit schlompfkt shlahmpfkt n. filler language; any piece of language added to any other piece of language for no purpose other than to expand the latter's length; for example: the "mosquito" in "neato mosquito" does not alter the meaning of the phrase--many spillengs and spronunciations also function in the same way but on a smaller level. --adj. having the quality of filler language. --v. to use something as filler language; to use filler language. [coined to be the longest single-syllabled word possible,until an s is added to the end of it to make it plural] Geof Huth,November 14,1987 ========================================================================= Date: Sat, 25 Jan 2003 01:15:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: electric essay MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII === For BC, of Electric Things stick, split like static electricity. My hair's blown off my body for motors, electric relays, turned carbon and sufficient electricity for a central server. There's no reason why the electric motor harnessed magnetic lines of flux, rotation. Switches going down as "rolling shutdown of electricity" collapse the top of which the machine was in level three saving mode and so electricity for what purposes? For the moment of electrical energy. Looking, the light is always fading, I'd like to run away from electricity, there's not much that uses electricity. For the edges of the holes, exteriors of the wires like static electrical out, and while electrical current has occasionally flickered in big storms the electric-transformer odor that indicates the fury of distant fires comes dry, joy in each and every sign, and enough electricity - surely - to last the growth of world-wide shack cultures. The strategies, and_electric media_ (loudspeaker, telephone, telegraph), because stress-related faults sever conduits, breaking connections. So I'm staying in this house now. And next door the electricity is off and elec- tricity flicking in black shore void house void black ice and void black wind black rain; I leave before electric howling knives ferment. You love lightning in the sky. The phone interrupts the voice; "Jennifer" turns into electric crackle, someone responds. Phone interrupts the voice, maya stepping over the electric heater, taking another left, pwd takes me to a turning to the right, stepping over the electric heater, to the television in the electrical century. Film has disappeared; chips have become part of a whisper of a darkened cinema when the imagination connects, electricity, magnetism, or X-rays. Electrical drops; - what drops, splatters - one might say, almost zero words wired to electrical wonders not yet evidenced on the way from where electrical technology is in full swing, and where, in the roar of electri- cal-technological machinery, the enframing electric heater (two out of three bars on) to my right, newly-repaired moisture in the genkan. There is a three-bar electric heater in here as electrical electronic device. Not always well. Anyway, think of his use of battery power because the storms are coming again and there's electric The house is without elect- ricity, gas, water and sewer; apparently "electric current" - I will be that "electric current." Nothing but electricity coming in, filling the box with noise. (The electric fluttered like her thick heart beneath her ribs and heavy beating come forth from the walls, hardened electricity, ready to burst. As the air filled with ozone, electric sparks arced from its sockets, a power skein of poor shielding. The early electric was _rotary,_ conserving forces, electricity is a mode of motion of the molecules of matter. 'Light, heat, electricity, magnetism, motion, are all qualitatively different; the 'electric' of 1900 was not the 'electric' of 1930, nor that of 1999. On the other hand the power inherent in objects - St. Elmo's Fire, the electrical energy spewing from mind - heavy electric motors, AC-DC, power-mind. Losing my mind to power: a form of connectivity (think of electric); relation is defined across it - the breaking of a link (think of electric); the thing breaks into two. Report: We must see to it that every factory and every electric power station - a dense network of electric power stations - don't exist. It's as if we're pure electric, ghosts in real life, electric, ghosts in real life. It's as if we're on the wrong end of language... Use electricity nowadays, said Nikuko, and the mountains disappear. The light is always fading, I'd like to run away from electricity - the lure; you can see almost all of me now, installed to play with. It was a century of burgeoning electrical, then electronic, communications themselves under yet another attack, that of electrical-electronic media, by compressed air, the compressor running on electricity, plugged into the socket, and the electric wire going from the compressor to the socket. Electric/electronic - an inversion in which (for me) their rewriting, on a continuous basis, the history of the electrical world even sound-matter, - not excluding caloric, electric matter, &c. Throughout the century, mech- anism gives way to electricity, is a lie. I am electric and there are none here within me. Electric body: mesh of contacts: bridgings, spark-gaps, tesla coils, Electric body: mesh of contacts: bridgings, spark-gaps, tesla coils, Electric body: mesh of contacts: bridgings, spark-gaps, tesla coils, earth electric enemies entire everyone. everywhere, Fiery flash, flew for electrical fury and death. brain electrical activity for control. Electricity's and and gangs gangs take everyone over. Take everyone over. Becomes everyone psychotic, becomes Electricity's psychotic, down caught money short supply, electricity's down and the gangs take over. Everyone becomes have gone to - electricity out - dead wires, not enough batteries - dead however, the outdated electric motor, preferring instead to utilize electricity characterized by internal scape; there were flights of fantasy, envisioning other electric calms and absence of the `granularity' of the real and face-to-face or electrically - electricity from a battery works really well. There is tension in approach. I see her throat, pale and beautiful in this electric light, everywhere, internal focus of sparked energy, electric carry the limited warmth pouring out from the electric heater, filaments. I run the wire over the wire, producing electricity for my house. The story of the electricity. The federals know but we vote for them. The electricity, but we managed. You can see the smoke marks. There are electric conundrums - a lie or mockery, an occasion - applying the body or network of flesh - that one which awaits in the midst of the electric network, the hunger of the distended matrix - the electric net, electronic net - loss, aphanisis, skull or doctrine of the body electric - the edges of the holes, exteriors of the wires like static electricity My skin falls from my bones. I am an electric galaxy... === ========================================================================= Date: Fri, 24 Jan 2003 22:23:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: preliminary autopsy of careerism Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 8bit (Alright, so it's not quite dead yet, but maybe some analysis will help to ease it off of life support.) In the U.S., poetry's academic professionalization began in the 1960s. It was an outcome of the growth of American universities to accommodate the baby boom. It was thus also an outcome of U.S. global dominance after the war, and all that that entailed. What is interesting is that the boomers (unlike the present generation) did have alternative, non-academic models of literary vocation: they could look at the examples of all those 1940s and 1950s poets who in the 1960s finally achieved wide readerships. Perhaps those examples were too intimidating. Most of the boomers went where the soft job opportunities were. In a way, Language writing represented the apotheosis and final burn-out of the typical boomer poetic career: Language writers got academic credentials in order to enter the profession, and, once there, tried to discipline or delegitimate other members of the profession for not conforming sufficiently to the dominant institutional discourse -- theory. Professions need to police themselves in this way in order to maintain credibility (just as the AMA needs to keep out the quacks and faith healers, poetry careerists must look askance at -- while of course being secretly fascinated by -- non-careerists, bohemians, drunks, etc [note the Language poets' fascination with Jack Spicer]). What happened with Language writing, of course, was just its absorption as one among many acceptable style-clusters of writing. I note that Susan Howe will appear on an AWP panel. So much for literary antinomianism. The growth of interest in "experimental" poetry is a consequence of poetry's academic professionalization. A good consequence, yes, but nevertheless a consequence, a product, not some spontaneous unveiling of the paratactic sublime. At least we won't have to sit through the spectacle of another "avant-garde's" attempt to solicit the attentions of college professors brought up on Derrida. Poets can now write as weirdly as they want to without moralizing that desire by claiming to be engaged in some sort of liberating collaborative project with the reader -- a claim that was in any case always an attempt to woo academic readers and secure professional currency. And my sense is that even the most calculating academic careerists want their students to pursue a different path. Though they may work for programs and graduate departments that crank out young professionals, I don't think they really want to see themselves reproduced. It is always a little pathetic when undergraduates call for more Creative Writing courses, since what their professors would really like to see is the students going off and forming their own writing communities. Freud thought that the death instinct manifested as a repetition compulsion. Professions are based on repetition: doing what others have done before so as to secure one's own little niche. I think the secret wish of many in the profession is that younger poets will opt out. ========================================================================= Date: Fri, 24 Jan 2003 23:37:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: =?iso-8859-1?Q?Pueblo_Peque=F1o_=3D_Infierno_Grande?= In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:20 AM 1/24/03 -0700, Joe Amato wrote: >i can count the leftists i know personally >who give a shit about the family farm on one hand... This talk of the left's abandonment of the farmer moves me to make an entirely illiberal observation about the urban/rural divide in the US which may resonate w/ other list members. It's to point out that our coastal cities and college towns are full of people who grew up actively persecuted for exceeding the narrow tolerance of their small farming communities, for any number of deviances from the gossipy, provincial, often fundamentalist Christian habitus that often prevails there, and whose sole consolation was the hope of one day moving to an urban center where they might find the support and guidance and nightclubs that their home town was unable to offer. You can say that the rural US has been abandoned by liberals (call them "urban cultural elites" if you like), but don't forget to ask why LRSN ========================================================================= Date: Sat, 25 Jan 2003 00:10:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: careerists Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The two-message limit makes discussion on the list almost impossible. So here, with some second thoughts about even bothering so much after the fact, are a few clarifications. The numbers refer to Mairead's numbered statements. #4: You got my meaning. Many are called, few are chosen. Does anyone think this is a democratic process? #1 and #2: I don't think one can know what one has to teach until one has one's chops, which of course evolve through time. There isn't much of an abstractable toolkit, and the toolkit is barely the beginning--all of it follows from practice. It's learn as you go, for teachers and students. #3: Forget masters, call them poets. A minority, always, of those who so designate themselves. I'm thank god not in the business of deciding, except for personal use, who those are, but I know a few on the list among the larger number whose work I don't know. I don't know why that's ludicrous, but if it gives you pleasure (ludus=game), that's fine by me. Mark At 02:21 PM 1/24/2003 -0500, you wrote: Okey-doke. It'll be good to meet you. To clarify the final point of my letter: You say -- "But don't kid yourselves that a 22 year old going through a couple of years of courses will automatically emerge with the mastery necessary to teach the craft to others. A few will--a very few, some of whom are on this list--but that's the way it's always been." I say, "In view of your bland confidence in the past, I am not surprised at your equally bland claim that out of the 'very few' graduates with 'the mastery necessary to teach the craft to others,' 'some of whom are,' happily enough, 'on this list.' You might also consider, however, that the necessary 'mastery' may relate to pedagogy rather than poetry or poetics." A pretty clumpy-looking sentence intended to mean: 1)You seem to imply that the 'mastery necessary to teach the craft to others' is the mastery of the craft itself. 2) I offer the counter point that perhaps pedagogical 'mastery' is as important in teaching the 'craft' to others as mastery of the craft itself (although I would not myself choose the term "mastery" to describe the ongoing adventures of writing and teaching). 3) I find it a little ludicrous that, having decimated graduates to "very few" masters, you identify some of them as being on this list. 4) My general tone of annoyance relates to my bad humor today and impatience at your final comment: "but that's the way it's always been." The gear and tackle and trim of writing poetry -- its economy, institutionalization, and hardware -- is particular to our time and culture. Maybe you mean that what is constant is the emergence of the "few" "masters": that poetry is always an elite of mastery. Is that what you're saying? Mairead I simply don't understand your last sentence. Are you saying that very young MFAs may know how to teach the craft because they've learned craft and pedagogy in school? That's a pretty frightening thought. What, in that case, would they have to pass on but the standard wisdom of whatever alma maters? As it happens, I've taught a few poetry workshops at universities. Usually it's a joy, and good for me as poet and teacher. And it's a gig. Of course I was a much older and more practiced poet when I did so, with a lot more "years of risk" behind me. I like to think my courses were good for my students, but I don't pretend that very many of them will become interesting poets because of them. Altho the classroom is often a part of it, the curriculum that sometimes produces poets is rather more informal (not to say haphazard) than the classroom. The starting-place is the impulse to write, and that must precede undergraduate course selection in most cases, and certainly precedes application to MFA programs. That impulse and what follows from it, the seeking out of other poets and poetry, has always, in the ancient times that persist in most places, produced a plethora of poets. I make the bland assumption that it's a positive good for most people who who haven't inherited wealth to have jobs that put food on the table. We can argue about this further at AWP, where I'll be selling books at table 83. Mark At 11:05 AM 1/24/2003 -0500, you wrote: >Mark, > >I think there's distortion here too. I don't agree that poetry >"thrives" throughout the world, with or without >writing programs. If poetry thrives, what does music do: bust a gut? >It's also a distortion to imply that writing courses, take them or leave >them, are universal. They're not. For example, you don't make it clear >whether your Mexican poets didn't take writing courses because they >chose not to, or because there weren't any to take. I find your comment >"feeding oneself and family is a good thing" trite, likewise your >comment about the simultaneously innocuous and distorting influence of >MFA programs. You appeal twice to antiquity: > >"But poetry thrived for thousands of years without writing programs," > >and > >"don't kid yourselves that a 22 year old going through a couple of years >of courses will automatically emerge with the mastery necessary to teach >the craft to others. A few will--a very few, some of whom are on this >list--but that's the way it's always been." > >A few points: There are many significant differences between poetry in >the United States now and >the distant past, general literacy, print culture, and the participation >of women being only three. In view of your bland confidence in the >past, I am not surprised at your equally bland claim that out of the >"very few" graduates with "the mastery necessary to teach the craft to >others," "some of whom are," happily enough, "on this list." You might >also consider, however, that the necessary "mastery" may relate to >pedagogy rather than poetry or poetics. > >Mairead > > >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > Mairead Byrne, Ph.D. Department of English Rhode Island School of Design 2 College Street Providence, RI 02903 Office: (401)454.6268 Home: (401)273.5964 mbyrne@risd.edu >>> junction@EARTHLINK.NET 01/24/03 10:38 AM >>> >I think there's a distortion here. Creeley didn't do "some years of risk >outside the institution"--that implies that he was on some sort >of adventure vacation. What happened in fact is that he found a gig, >and >good for him and for all the rest who have done so--feeding oneself and >family is a good thing. But poetry thrived for thousands of years >without >writing programs, and in most of the world still does. In the small >corner >of Mexico that my recent anthology covers, for instance, I had no >trouble >gathering 53 poets, all living and writing, all but three below 60. And >not >a single University writing course between them. > >It's just a gig--the MFA world doesn't help poetry as such, and >hopefully >it doesn't do too much damage, altho I think it rather distorts the >acceptance of poetry. But don't kid yourselves that a 22 year old going >through a couple of years of courses will automatically emerge with the >mastery necessary to teach the craft to others. A few will--a very few, >some of whom are on this list--but that's the way it's always been. > >Mark > >At 03:45 PM 1/21/2003 -0800, you wrote: > >----- Original Message ----- > >From: "Murat Nemet-Nejat" > >To: > >Sent: Tuesday, January 21, 2003 2:18 PM > >Subject: Re: poetry careerists > > > > > > > The only solution to this problem, it seems to me, is the absolute >boycott > >by > > > everybody to become adjuncts. Then the universities will be forced >to > >build > > > real factulties. Of course, that requires by almost a whole >generation of > > > ph.d's to fall on the sword. > > > > > > murat > > > > > > >These things become entrenched, until they seem normal. > >It saddens me to have seen generations of poets growing up thinking in >terms > >of tenure tracks, more to please their parents and mate than the muse. >Maybe > >there's no maturity in the motherly arms of institutions? But, then, >there > >are exceptions, like Bob Creeley and a few score more. > >I do believe that some years of risk outside the institution--as >Creeley > >did--are necessary to have something to speak about besides theory and > >technique. > > I would suggest something like universities taking into account an > >applicant's experience in the world--what jobs he or she worked, >traveling > >done, writers visited, stuff like this--besides the basic degrees. That >is, > >broaden what qualifies a person to teach. > > > >-Joel > > > >Joel Weishaus > >Visiting Faculty > >Center for Excellence in Writing > >Portland State University > >Portland, Oregon > >http://web.pdx.edu/~pdx00282 > >http://www.unm.edu/~reality ========================================================================= Date: Sat, 25 Jan 2003 13:21:10 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: saneh saadati Subject: A Question Concering Creeley's Poetry/Prose Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Goodmorning All-- At the moment i am writing a thesis on some selected poetry by Robert Creeley - mainly my aim is to do a phenomenological study of some of his work. And i was just wondering if any of you could recommend some secondary material ON Creeley's work, or even essays by Creeley on poetry and such, which you have found intresting - really anything would be of interest -- Greatfully, Saneh _________________________________________________________________ Köp & Sälj: Gör ett fynd på MSN http://www.msn.se/koposalj ========================================================================= Date: Sat, 25 Jan 2003 07:48:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Pueblo =?iso-8859-1?Q?Peque=F1o?= = Infierno Grande In-Reply-To: <4.1.20030124222803.00c0f720@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" david, of course what you say is quite true... but b/c the coastal areas (population centers, and maximum wealth centers, btw) are attractive to ideologically- and landlocked hinterlanders -- and i should again mention that you can find such conservative ideology in coastal *states* (which means that residents of oswego ny, too, might "escape" same by relocating to nyc) -- doesn't mean that everything represented by the rural is necessarily "bad" (and you didn't say so, i know)... as i posted frank (sherlock) backchan, i *do* take e.g. meridel le sueur's critique of harsh midwestern realities to heart... but my problem has to do with wishing that the entire u.s. would only look e.g. like my beloved big apple... in terms of the mix of people, why not, sure... but i like the mountains, and i like the backwoods, and i can understand someone liking the farm... or to say it another way, i like the natural, the pastoral, etc., and i can understand someone wanting to live off the land (and i DON'T like what i see happening to same, e.g., here in the rockies, where something of a theme park mentality sets in wrt the natural; and i DON'T like agribusiness)... hell, i like the absence of chi-chi sometimes... sometimes, the constant attention to the best restaurant or the best loft or the best exhibit gives me an ass-ache, and i long for more rustic fare... if you know what i mean... i can quite easily understand, too, again, why folks would want to leave the intolerance of so many of the rural areas in the u.s... and rural poverty, for that matter... a similar phenomenon prevails in the inner city, with the underclasses... anyway, i end up liking those cultural forms, too, that don't find their audience (or "origins") in urban areas... and maybe we need to distinguish, too, the massive urban areas from the smaller urban areas, which latter i've always found, personally, to be more livable (that's just me, i know)... i don't like struggling to put a roof over my head... and i think that that kind of struggle can make an urban-cosmopolitan "paradise" look, and feel, an awful lot like hell... but i take your point... best, joe ========================================================================= Date: Sat, 25 Jan 2003 10:20:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: publishing experimental drama or fiction MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, As someone who has until recently written only poetry and criticism, I was wondering if you had any thoughts on the journals/mags most open to publishing experimental drama and/or fiction. To my surprise, I've started writing some. -Mike. ========================================================================= Date: Sat, 25 Jan 2003 10:34:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: A Question Concering Creeley's Poetry/Prose Comments: To: saneh saadati In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Saneh, first off, just plow through all the essays in Creeley's Complete Essays (California, I think), they're brilliant. What you'll find most valuable depends on what you're looking for butthey're all good. The, OTTOMH, Nate Mackey's 2 chapters on Creeley in _Discrepant Engagement_ are quite good. -m. Quoting saneh saadati : > Goodmorning All-- > > At the moment i am writing a thesis on some selected poetry by Robert > Creeley - mainly my aim is to do a phenomenological study of some of his > work. And i was just wondering if any of you could recommend some secondary > material ON Creeley's work, or even essays by Creeley on poetry and such, > which you have found intresting - really anything would be of interest -- > > Greatfully, > Saneh > > > > > > _________________________________________________________________ > Köp & Sälj: Gör ett fynd på MSN http://www.msn.se/koposalj > ========================================================================= Date: Sat, 25 Jan 2003 10:56:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: publishing experimental drama or fiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'd publish some experimental drama and/or fiction at Big Bridge is someone would send some. Looking for work for the summer. But nobody ever sends me that stuff, only warmed over Raymond Carver Michael ----- Original Message ----- From: To: Sent: Saturday, January 25, 2003 10:20 AM Subject: publishing experimental drama or fiction > Hi all, > > As someone who has until recently written only poetry and criticism, I was > wondering if you had any thoughts on the journals/mags most open to publishing > experimental drama and/or fiction. To my surprise, I've started writing some. > > -Mike. > ========================================================================= Date: Sat, 25 Jan 2003 07:59:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: publishing experimental drama or fiction In-Reply-To: <1043508022.3e32ab36ac5aa@webmail.sas.upenn.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit have a loot at this: Nerve Lantern is a literary journal which aspires to publish innovative texts for and about performance. http://www.pyriformpress.com/nl.html On Saturday, January 25, 2003, at 07:20 AM, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > Hi all, > > As someone who has until recently written only poetry and criticism, I > was > wondering if you had any thoughts on the journals/mags most open to > publishing > experimental drama and/or fiction. To my surprise, I've started > writing some. > > -Mike. > ========================================================================= Date: Sat, 25 Jan 2003 11:47:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Re: A Question Concering Creeley's Poetry/Prose MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Mike, You're right on California as publisher, but the title is The Collected = Essays rather than "Complete." Absolutely a great place to begin, and = there are many published interviews which are also very useful, for = instance Boundary 2 Volume VI, No. 3; VII, No. 1 published in = Spring/Fall 1978. This issue also includes contributions by Peter = Quartermain, Robert Grenier, Ed Dorn, Robert Duncan and Bill Sylvester. = Another great secondary source is Robert Creeley's Life and Work: A = Sense of Increment. His author-page at the epc might also be a = convenient, yet extensive resource, available at: = All the Best, Kyle ----- Original Message -----=20 From: mmagee@DEPT.ENGLISH.UPENN.EDU=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Saturday, January 25, 2003 9:34 AM Subject: Re: A Question Concering Creeley's Poetry/Prose Saneh, first off, just plow through all the essays in Creeley's Complete = Essays (California, I think), they're brilliant. What you'll find most valuable depends on what you're looking for butthey're all good. The, OTTOMH, = Nate Mackey's 2 chapters on Creeley in _Discrepant Engagement_ are quite = good. -m. Quoting saneh saadati : > Goodmorning All-- > > At the moment i am writing a thesis on some selected poetry by Robert > Creeley - mainly my aim is to do a phenomenological study of some of = his > work. And i was just wondering if any of you could recommend some = secondary > material ON Creeley's work, or even essays by Creeley on poetry and = such, > which you have found intresting - really anything would be of interest = -- > > Greatfully, > Saneh > > > > > > _________________________________________________________________ > K=F6p & S=E4lj: G=F6r ett fynd p=E5 MSN http://www.msn.se/koposalj > ========================================================================= Date: Sat, 25 Jan 2003 09:01:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: careerists MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii To quote Frank Zappa: "Shut up and play yer guitar!" bliss l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 25 Jan 2003 12:15:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: careerists ZAPPA! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit that's very funny! thanks, a good SLAP is need now 'n then. by the way, Zappa also said, "If you want to party, go to college. If you want an education, go to the library." In a message dated 1/25/2003 12:01:51 PM Eastern Standard Time, llacook@YAHOO.COM writes: > > > To quote Frank Zappa: > "Shut up and play yer guitar!" > > > bliss > l > > > ===== > > Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html > http://www.lewislacook.com/ > http://artists.mp3s.com/artists/385/lewis_lacook.html > meditation, net art, poeisis: blog > http://lewislacook.blogspot.com/ > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com ========================================================================= Date: Sat, 25 Jan 2003 10:15:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: careerists In-Reply-To: <20030125170151.99990.qmail@web10706.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >To quote Frank Zappa: >"Shut up and play yer guitar!" i get that lewis, i really do, but at the same time, and if i'm hearing you aright, i find it helpful that we return (again and again) to the institutional conditions that condition our writing (and of course, one can do this via one's poetry, as zappa did via his music)... that a number of us happen to be academics (.edu) means that we're within our rights to critique that category---hereabouts (in terms of "career," and the emerging critical category "career criticism," or whatever)... that a number of us are not academics, as i've indicated before on this list, means that some folks ought perhaps to indicate to us how they see their art as conditioned by other institutional realities (i'd be happy to talk e.g. about my industrial (engineering) experience and how this has influenced my understanding of poetry)... for me, in any case, resistance to this thread at least hints at resistance to thinking about such matters, and i find that not only regrettable (if only b/c i LIKE to talk about such stuff!), but potentially limiting, even as i wouldn't (as i've argued elsewhere) want to "discipline" all discussion by/with the disciplinary... peace, joe ========================================================================= Date: Sat, 25 Jan 2003 12:42:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: careerists oy! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 3 poets JUST backchanneled me to find out WHO i thought needed a SLAP now 'n then. yes, i was speaking for myself. geeze! are you disappointed i didn't mean you? In a message dated 1/25/2003 12:01:51 PM Eastern Standard Time, llacook@YAHOO.COM writes: > > > To quote Frank Zappa: > "Shut up and play yer guitar!" > > > bliss > l > > > ===== > > Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html > http://www.lewislacook.com/ > http://artists.mp3s.com/artists/385/lewis_lacook.html > meditation, net art, poeisis: blog > http://lewislacook.blogspot.com/ > > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com ========================================================================= Date: Sat, 25 Jan 2003 10:14:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: careerists agin'! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii hey joe... "i've indicated before on this list, means that some folks ought perhaps to indicate to us how they see their art as conditioned by other institutional realities (i'd be happy to talk e.g. about my industrial (engineering) experience and how this has influenced my understanding of poetry)... for me, in any case, resistance to this thread at least hints at resistance to thinking about such matters, and i find that not only regrettable (if only b/c i LIKE to talk about such stuff!), but potentially limiting, even as i wouldn't (as i've argued elsewhere) want to "discipline" all discussion by/with the disciplinary..." oh, i'm not resisting this thread, really...it IS important to discuss how the context of the institutions contributes to one's work... but, ultimately, as the who said (god, i'm just full of old rock quotes today): "...pick up my guitar and play/just like yesterday" which means: whatever institutional context i find myself in (at this point, none whatsoever, as far as academia's concerned), i'll still be creating... in some ways i share andrew's cynicism about the careerist aspect of poetry...but on the other hand i also find that whole viewpoint a bit romantic...i'm torn about things like this, because i still have enough angst in me (leftover from teens and early adulthood) to recognize the dangers of the professionalism andrew brings up, but i've also grown to the extent that i can see some benefits in it...i mean, i don't believe ANY program can entirely divest one of one's talent and drive: if it does, you're not really an artist to begin with (because, as far as i'm concerned, an artist HAS to create...it's almost a biological need...) i went to kent state, and the program there's atrocious (they had creeley in after i left, which would have been exciting, but while i was there the program was very much geared toward a quasi-confessionalist verse////i was the odd guy out, and it showed(& i didn't mind))....(i also suspect i woulda been the odd guy out in any program anywhere...seems my nature) in any case, enough of this rambling...just don't want any to think i believe this discussion to be unimportant...but i will, after all, in whatever context, just pick up my guitar and play... bliss l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sat, 25 Jan 2003 13:23:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: careerists agin'! In-Reply-To: <20030125181420.77888.qmail@web10702.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII You can't just play like yesterday; years ago I learned delta blues guitar from a number of people, including some of the older players - but I felt that, given the roots of the music, it would be absurd for me to play it - again the institutionalization came into effect here. Even with rock it's whose guitar, whose music, whose songs, whose getting paid, whose listening - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sat, 25 Jan 2003 13:37:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jena Osman Subject: just my luck Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Just my luck that when I ask people to check out "The Periodic Table" web-poem, the host site gets hit by the worm virus that knocked out a bunch of websites this morning. When it's back on line, I'll let you know. Thanks to those who got to it before the tragedy and gave me feedback. Best, Jena ========================================================================= Date: Sat, 25 Jan 2003 13:50:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Norton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thought I'd bring a recent book to folks' attention, especially if they happen to be teaching. Keith Tuma just received the new (3rd) edition of the _Norton Anthology of Modern Poetry_, which is now edited (since O'Clair & Ellmann's deaths) by Jahan Ramazani. I haven't seen it yet but there's tables of contents given in PDF form at http://www.wwnorton.com/college/titles/english/namcop3/ which are deeply discouraging. (The little black triangles next to items on the t.o.c.s I believe indicate new inclusions; omissions are unlisted.) My own area of expertise concerns British poetry, & it's striking how this selection, already in the previous edition rather minor & highly slanted to the most conservative canon of UK poetry, has been left essentially static, beyond cutting a bunch of earlier figures & the addition of Ivor Gurney & Mina Loy in vol.1. Keith's eye was caught by annotations to Loy's "English Rose", which look suspiciously familiar, e.g.: here's Ramazani's first note-- _Anglo-Mongrels and the Rose_ is a long, semi-autobiographical poem about Loy's English mother (allegorized as the Rose, Alice, and Ada) and her Jewish father (Exodus). The rose is a traditional symbol of England. Many heraldic representations are modeled on the dog rose, whose flowers are somewhat square, or "quadrate." --& here's my own opening notes to the same poem in Keith's _Anthology of 20th-Century British & Irish Poetry_ (OUP, 2001): Loy's _Anglo-Mongrels and the Rose_ is a long semi-autobiographical poem; Exodus, introduced in the first section of the poem, is modeled on Loy's Jewish father; Alice (or sometimes "Ada") on her mother. [gloss to title:] The rose is the traditional symbol of England. Heraldic and symbolic representations are usually modeled on the dog-rose, whose flowers have somewhat squared-off ("quadrate") outer edges, and which bloom from late May or early June to early August. & comparison of the rest of the notes is similarly revealing. I haven't got a copy of the book myself to see if this lift is a one-off or if Ramazani's done this elsewhere too. A few other inclusions in the Norton--Tony Harrison's _V._, some of Keith's more offbeat choices--also suggest the editor's occasional lucky dip in the OUP book while avoiding its interrogation of the standard narratives of 20th-c. poetry (I say this rather than "of 20th-c. British & Irish poetry" since one of the standard narratives it questions is the idea that British poetry was of minor significance compared to American poetry in the 20th poetry). Meanwhile the book contains a ref. in the back to Keith's work as a critic but the OUP book goes unmentioned. Anyway, the Norton selection of UK work is a farce: Kingsley Amis & Stephen Spender are some of the few authors to survive the cuts while WS Graham & Tom Raworth & a host of others are omitted yet again. But all this looks like generosity itself compared to the purge of Canadian poetry. Basically, virtually all of the (mainstream) Canadian canon gets liquidated in return for a chunk of Anne Carson. (Nonmainstream Canadian poetry?--you've got to be kidding.) Nick LoLordo has typed in for me a list of the _omissions_ (needless to say, not listed on the Norton website). I enclose his comments & list below: > I just got an ad for that Norton, deposited in my > mailbox by the long arm of canonical power--[with one of those cards to fill > out: they want to know how likely you are to use the book, and might, just > might, if you're very good, send you one free...] > > I took a few minutes and listed all the cuts from the 2nd ed (1988)--here they > are in order of birthdate: > > Lewis Carroll > Robert Bridges > Oscar Wilde > Hillaire Belloc > James Joyce > Conrad Aiken > Earle Birney > Samuel Beckett > Bernard Spencer > A. M. Klein > Roy Fuller > Irving Layton > William Everson > Josephine Miles > Dudley Randall > Gavin Ewart > Theodore Weiss > Al Purdy > Edwin Honig > Dannie Abse > Peter Porter > Bruce Dawe > Richard Emil Braun > Jon Stallworthy > Diane Wakosi > Michael Anania > David Donnell > James Welch > John Tranter > Ellen Bryan Voight > Roberta Hill Whiteman > Michael Blumenthal > Susan Musgrave > Rosanna Warren > Gertrude Schnackenberg > > Rough count: 17 British or Irish, 10 American, 6 Canadian, 2 Australian. Of > 35 cuts, only 10 are Americans. Seems to confirm your point, Nate, > particularly re the Canadian exodus--hardly anybody left besides Carson, > Margaret Atwood, PK Page--is that it? Nor am I sure they've done such a good > job representing American avant-garde/modernism--the persistence of dessicated > 40s-50s formalists is just remarkable--but that's another subject-- > > Nick The one good thing in the book is the boosting of postcolonial literatures to a substantial position in the book. & a few US Language poets make the cut--Bernstein, Hejinian, S Howe, Palmer. Zukofsky & Oppen make it in, unlike the 2nd edition of the book. Tolson's in there too. -- Yet, basically the book is appalling. So I'm writing to suggest that if you receive survey forms or promo copies or the like that you make your thoughts on the book known to Norton. all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada email: ndorward@sprint.ca web: http://pages.sprint.ca/ndorward/files/ ========================================================================= Date: Sat, 25 Jan 2003 10:52:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: A Question Concering Creeley's Poetry/Prose In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >Goodmorning All-- > >At the moment i am writing a thesis on some selected poetry by Robert >Creeley - mainly my aim is to do a phenomenological study of some of his >work. And i was just wondering if any of you could recommend some secondary >material ON Creeley's work, or even essays by Creeley on poetry and such, >which you have found intresting - really anything would be of interest -- > >Greatfully, >Saneh > > >I would suggest reading all of Creeley's essays. > > >_________________________________________________________________ >K=F6p & S=E4lj: G=F6r ett fynd p=E5 MSN http://www.msn.se/koposalj ========================================================================= Date: Sat, 25 Jan 2003 17:01:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: =?iso-8859-1?Q?Re:_Pueblo_Peque=F1o_=3D_Infierno_Grande?= MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT sifting back in my recollections of the last narcissist's war it seems to me there was a movement of intellectuals back to the people and the land? Problem is though what w Jerry Springer and freeways and ceterae there are really no wide open spaces to go toward anymore. and you can't go home again because the set in their ways are even setter. libraries and bookstores out here do tend to be less courant but perhaps that's for the best. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Sat, 25 Jan 2003 14:55:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: just my luck MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit some news on the dos attack last night... http://www.cnn.com/2003/TECH/internet/01/25/internet.attack.ap/index.html ----- Original Message ----- From: "Jena Osman" To: Sent: Saturday, January 25, 2003 1:37 PM Subject: just my luck > Just my luck that when I ask people to check out "The Periodic Table" > web-poem, the host site gets hit by the worm virus that knocked out a bunch > of websites this morning. > When it's back on line, I'll let you know. > Thanks to those who got to it before the tragedy and gave me feedback. Best, > Jena > > > ========================================================================= Date: Sat, 25 Jan 2003 12:57:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Poets Question the Rush to War Mime-Version: 1.0 Content-Type: text/plain; format=flowed T h e L e f t H a n d R e a d i n g S e r i e s p r e s e n t s P O E T S Q U E S T I O N t h e R U S H t o W A R f e a t u r i n g Joe Amato * Jeff Chester * Jack Collom * Mark DuCharme * Kass Fleisher * Jeremy Green * Jennifer Heath * Anselm Hollo * Ghada Kanafani * Daron Mueller * Patrick Pritchett * Jeffrey Robinson * Eleni Sikelianos * Barbara Wilder * Laura Wright F R I D A Y , J A N U A R Y 3 1 s t a t 7 : 3 0 p . m . at LEFT HAND BOOKS & RECORDS 1200 Pearl Street #10, Boulder, Colorado, USA (just east of Broadway on the Mall, downstairs) For more information: (303) 443-3685 <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> 'A sentence thinks loudly.' -—Gertrude Stein http://www.pavementsaw.org/cosmopolitan.htm http://www.nyspp.com/lisa/soc.htm _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 25 Jan 2003 15:24:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: First Missive from Virginia Mime-Version: 1.0 Content-Type: text/plain; format=flowed dear ....here is first contact from ur old new Virginia..... when you wrote the last poem i give it a very serious thought....and I figured it out ....i mean my quite loneliness ......cuz i start to blame my self .....but....should I?!?!?!?...am not giving any excuse here....but....let's stop for a while ...let's stop the time and the movement all around me...and to have a look ..!!!.....let me convince my self of my existence..... now am really alone...no one is here but me ....oh..ok..... am I living with them or they are living with me ??? who needs who??? do i need them to tell me how great ...and brilliant and how beautiful I am??? or they need me to tell them how happy I am cuz they all around me, and that am nothing without them ??? wait....wait..... am i nothing without them really ??????? OH my GOD whom am facing here???? me or them???. am facing my suffering thoughts....my weakness...my sensitive Formosa....my lying promises....am facing every thing leads me to nowhere...to nothing....there is no direction to my thoughts or my lucky pennies ....and i don't know the page I'm walking in !!!! am i really alone or there is others with me ????? for how long do u think this strong wind will last?? can i hang up with my weakness.....and my small wings???? what do i need to face it? or to get over it ?.......why i don't just let it take me to its waves....................... but u know ...no matter how hard you try to keep my soul around it will never survive....now I realize that moving away from words can be very painful and difficult, still i assume that......... i don't know if i have enough generosity to forgive my self for its inability to understand my life....i really don't know . am sorry jeff really i am (i said sorry more than i said mum) what can i say??? and this is why am writing to you .....maybe cuz I'm ceaseless..... anyway my dear am waiting for u to write more poems cuz am longing to hear from u with all my love to u and only u Virginia _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Sat, 25 Jan 2003 16:38:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jena Osman Subject: zhivago back on-line Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hi, The web-poem I mentioned is now back on line: http://www.outplace.net/zhivago/index.html Let the testing continue! Thanks, Jena ========================================================================= Date: Sat, 25 Jan 2003 15:09:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: fr Mark Weiss Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >forwarded for Mark Weiss: >#4: You got my meaning. Many are called, few are chosen. Does anyone think >this is a democratic process? > >#1 and #2: I don't think one can know what one has to teach until one has >one's chops, which of course evolve through time. There isn't much of an >abstractable toolkit, and the toolkit is barely the beginning--all of it >follows from practice. It's learn as you go, for teachers and students. > >#3: Forget masters, call them poets. A minority, always, of those who so >designate themselves. I'm thank god not in the business of deciding, >except for personal use, who those are, but I know a few on the list among >the larger number whose work I don't know. I don't know why that's >ludicrous, but if it gives you pleasure (ludus=game), that's fine by me. > >Mark > > >At 02:21 PM 1/24/2003 -0500, you wrote: >Okey-doke. It'll be good to meet you. To clarify the final point of my >letter: You say -- > >"But don't kid yourselves that a 22 year old going >through a couple of years of courses will automatically emerge with the >mastery necessary to teach the craft to others. A few will--a very few, >some of whom are on this list--but that's the way it's always been." > >I say, "In view of your bland confidence in the >past, I am not surprised at your equally bland claim that out of the >'very few' graduates with 'the mastery necessary to teach the craft to >others,' 'some of whom are,' happily enough, 'on this list.' You might >also consider, however, that the necessary 'mastery' may relate to >pedagogy rather than poetry or poetics." > >A pretty clumpy-looking sentence intended to mean: > >1)You seem to imply that the 'mastery necessary to teach the craft to >others' is the mastery of the craft itself. > >2) I offer the counter point that perhaps pedagogical 'mastery' is as >important in teaching the 'craft' to others as mastery of the craft >itself >(although I would not myself choose the term "mastery" to describe the >ongoing adventures of writing and teaching). > >3) I find it a little ludicrous that, having decimated graduates to >"very few" masters, you identify some of them as being on this list. > >4) My general tone of annoyance relates to my bad humor today and >impatience at your final comment: "but that's the way it's always been." > The gear and tackle and trim of writing poetry -- its economy, >institutionalization, and hardware -- is particular to our time and >culture. Maybe you mean that what is constant is the emergence of the >"few" "masters": that poetry is always an elite of mastery. Is that >what you're saying? > >Mairead > > > >I simply don't understand your last sentence. Are you saying that very >young MFAs may know how to teach the craft because they've learned craft >and pedagogy in school? That's a pretty frightening thought. What, in >that >case, would they have to pass on but the standard wisdom of whatever >alma >maters? > >As it happens, I've taught a few poetry workshops at universities. >Usually >it's a joy, and good for me as poet and teacher. And it's a gig. Of >course >I was a much older and more practiced poet when I did so, with a lot >more >"years of risk" behind me. I like to think my courses were good for my >students, but I don't pretend that very many of them will become >interesting poets because of them. Altho the classroom is often a part >of >it, the curriculum that sometimes produces poets is rather more informal >(not to say haphazard) than the classroom. The starting-place is the >impulse to write, and that must precede undergraduate course selection >in >most cases, and certainly precedes application to MFA programs. That >impulse and what follows from it, the seeking out of other poets and >poetry, has always, in the ancient times that persist in most places, >produced a plethora of poets. > >I make the bland assumption that it's a positive good for most people >who >who haven't inherited wealth to have jobs that put food on the table. > >We can argue about this further at AWP, where I'll be selling books at >table 83. > >Mark > > >At 11:05 AM 1/24/2003 -0500, you wrote: > >Mark, > > > >I think there's distortion here too. I don't agree that poetry > >"thrives" throughout the world, with or without > >writing programs. If poetry thrives, what does music do: bust a gut? > >It's also a distortion to imply that writing courses, take them or >leave > >them, are universal. They're not. For example, you don't make it >clear > >whether your Mexican poets didn't take writing courses because they > >chose not to, or because there weren't any to take. I find your comment > >"feeding oneself and family is a good thing" trite, likewise your > >comment about the simultaneously innocuous and distorting influence of > >MFA programs. You appeal twice to antiquity: > > > >"But poetry thrived for thousands of years without writing programs," > > > >and > > > >"don't kid yourselves that a 22 year old going through a couple of >years > >of courses will automatically emerge with the mastery necessary to >teach > >the craft to others. A few will--a very few, some of whom are on this > >list--but that's the way it's always been." > > > >A few points: There are many significant differences between poetry in > >the United States now and > >the distant past, general literacy, print culture, and the >participation > >of women being only three. In view of your bland confidence in the > >past, I am not surprised at your equally bland claim that out of the > >"very few" graduates with "the mastery necessary to teach the craft to > >others," "some of whom are," happily enough, "on this list." You might > >also consider, however, that the necessary "mastery" may relate to > >pedagogy rather than poetry or poetics. > > > >Mairead > > > > > >Mairead Byrne, Ph.D. > >Department of English > >Rhode Island School of Design > >2 College Street > >Providence, RI 02903 > >Office: (401)454.6268 > >Home: (401)273.5964 > >mbyrne@risd.edu > > >Mairead Byrne, Ph.D. >Department of English >Rhode Island School of Design >2 College Street >Providence, RI 02903 >Office: (401)454.6268 >Home: (401)273.5964 >mbyrne@risd.edu > >>> junction@EARTHLINK.NET 01/24/03 10:38 AM >>> > >I think there's a distortion here. Creeley didn't do "some years of >risk > >outside the institution"--that implies that he was on some sort > >of adventure vacation. What happened in fact is that he found a gig, > >and > >good for him and for all the rest who have done so--feeding oneself and > >family is a good thing. But poetry thrived for thousands of years > >without > >writing programs, and in most of the world still does. In the small > >corner > >of Mexico that my recent anthology covers, for instance, I had no > >trouble > >gathering 53 poets, all living and writing, all but three below 60. And > >not > >a single University writing course between them. > > > >It's just a gig--the MFA world doesn't help poetry as such, and > >hopefully > >it doesn't do too much damage, altho I think it rather distorts the > >acceptance of poetry. But don't kid yourselves that a 22 year old going > >through a couple of years of courses will automatically emerge with the > >mastery necessary to teach the craft to others. A few will--a very few, > >some of whom are on this list--but that's the way it's always been. > > > >Mark > > > >At 03:45 PM 1/21/2003 -0800, you wrote: > > >----- Original Message ----- > > >From: "Murat Nemet-Nejat" > > >To: > > >Sent: Tuesday, January 21, 2003 2:18 PM > > >Subject: Re: poetry careerists > > > > > > > > > > The only solution to this problem, it seems to me, is the absolute > >boycott > > >by > > > > everybody to become adjuncts. Then the universities will be forced > >to > > >build > > > > real factulties. Of course, that requires by almost a whole > >generation of > > > > ph.d's to fall on the sword. > > > > > > > > murat > > > > > > > > > >These things become entrenched, until they seem normal. > > >It saddens me to have seen generations of poets growing up thinking >in > >terms > > >of tenure tracks, more to please their parents and mate than the >muse. > >Maybe > > >there's no maturity in the motherly arms of institutions? But, then, > >there > > >are exceptions, like Bob Creeley and a few score more. > > >I do believe that some years of risk outside the institution--as > >Creeley > > >did--are necessary to have something to speak about besides theory >and > > >technique. > > > I would suggest something like universities taking into account an > > >applicant's experience in the world--what jobs he or she worked, > >traveling > > >done, writers visited, stuff like this--besides the basic degrees. >That > >is, > > >broaden what qualifies a person to teach. > > > > > >-Joel > > > > > >Joel Weishaus > > >Visiting Faculty > > >Center for Excellence in Writing > > >Portland State University > > >Portland, Oregon > > >http://web.pdx.edu/~pdx00282 > > >http://www.unm.edu/~reality > Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 home 309.828.8377 http://www.pitt.edu/~press/2002/gudding.html ========================================================================= Date: Sat, 25 Jan 2003 15:48:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: slam by "PhD" at Brown Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A recent Amazon.com review of Defense. "Upper-Crust Poetry Disguised As Fart Joke, January 22, 2003 Reviewer: A reader from New Jersey To the point: one guy reviewing this book gives it five stars before he reads it because... he took a class from Gudding at Cornell. Of course he did. Save your money. This book is awful. The title of the book and the description on the back cover insinuate that Mr. Gudding is out to mock poetry and bring it down to size. Yeah right. Mr. Gudding is T.S. Eliot without the vison, Ezra Pound with all the boring insider information and none of the imagery, and his language is an extremely poor impersonation of James Joyce. I have a Ph.D. in Lit and teach part-time at Brown, and I don't get half the insider jokes (supposedly jokes, at least) in this collection. To make matters worse, this book is long. So long. Half way through I begged it to end and it wouldn't. The speaker in these poems is so snobby, I couldn't help reading him and being thankful at his lack of talent. One of his teachers should have told him: anyone can open an encyclopedia and write a poem, kid, you're not that smart. None of these poems are smart. Which is fine. I like poems that are easy to read and fun and do nothing more than entertain. This book doesn't entertain. It's not funny, and it's embarassing to watch it try to be funny. The attempt at humor here is basically flatulence, but South Park pulls it off one hundred times better. In short, save your money. Allow this book to run its course. Next year a couple part-time professors (Gudding's pals and former profs) will teach this book and the students who read it will be repulsed and they will go back to reading Rich or Levine or anyone better than this, and Gudding will, thank god, go out of print. Such is the history of most bad poetry. And this book is surely the baddest. By baddest I mean the absolute worst." ========================================================================= Date: Sun, 26 Jan 2003 13:48:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Norton In-Reply-To: <006201c2c4a2$af196ba0$1b746395@DC3NX221> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I know Jahan Ramazani and have full confidence in his ethics. I would be strongly resistant to any suggestion that he intentionally included unattributed material in the book. If there's a problem in the Mina Loy section or the bibliography, it is quite likely a mistake. The book is the product of graduate student research assistants as well as of the editor; though I'm sure he would agree that the final responsibility is his, it's not inconceivable that an inexperienced contributor could have failed to cite all sources appropriately. As for the scope of the anthology and the changes from the 2nd edition, of course these are valid subjects for critique, though calling the edition "appalling" seems to me a bit much. I'll only say that I know he considered it a priority to include Objectivists and Language poets, two groups entirely missing from the last edition. On Sat, 25 Jan 2003 13:50:51 -0500 Nate Dorward wrote: > Thought I'd bring a recent book to folks' attention, especially if they > happen to be teaching. Keith Tuma just received the new (3rd) edition of > the _Norton Anthology of Modern Poetry_, which is now edited (since O'Clair > & Ellmann's deaths) by Jahan Ramazani. I haven't seen it yet but there's > tables of contents given in PDF form at > > http://www.wwnorton.com/college/titles/english/namcop3/ > > which are deeply discouraging. (The little black triangles next to items on > the t.o.c.s I believe indicate new inclusions; omissions are unlisted.) My > own area of expertise concerns British poetry, & it's striking how this > selection, already in the previous edition rather minor & highly slanted to ========================================================================= Date: Sun, 26 Jan 2003 14:06:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: poetry careerists "career success"?? In-Reply-To: <7984C08F.65985404.01F36A84@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Having some trouble with my e-mail yesterday and today, and already this thread has moved on, so I should probably just let it go -- but of course, being male, I can't. I'll defend selectivity in graduate programs -- remember that at this point in the discussion we (or at least I) had moved beyond MFAs to talk about graduate humanities degrees in general -- I'll defend selectivity, then, based on the assumption that the purpose of a graduate degree is to make somebody employable. If the training a job requires costs tens of thousands of dollars and takes five or more years to complete (talking PhDs now), it's an ethical problem to be producing far more candidates than there are job openings. That's all I'm saying. Universal education for all -- sure, I'm for it, who isn't. But I'm also for making the system that actually exists accountable for and to itself. On Fri, 24 Jan 2003 20:33:35 -0500 Craig Allen Conrad wrote: > In a message dated 1/22/2003 4:08:30 PM Eastern Standard Time, djr4r@CMS.MAIL.VIRGINIA.EDU writes: > > > More selectivity in graduate humanities programs would > > ensure that those who do make it in have a much greater > > chance of career success. It's probably way too easy to get > > into graduate school these days. That makes all kinds of > > sense for departments and administrations -- cheap > > teaching, tuition income, prestige of a large program -- > > but does a serious disservice to many of the folks who > > would seem to be the beneficiaries. > > > the idea of "prestige of a large program" is interesting. the idea of "a large program" seems more of a marketing tool to convince applicants that "large" is prestigious, when really "large" is about the numbers, the money, which has created the industrial complex universities have become today. i guess the real prestigious would shoot for tighter numbers, difficult standards. > > but frankly ========================================================================= Date: Sat, 25 Jan 2003 18:50:51 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Recently Flogged at Lester's Flogspot MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit -----Original Message----- From: Lester Oracle [mailto:lester@proximate.org] Sent: Saturday, January 25, 2003 6:45 PM To: Patrick Herron Subject: Recently Flogged http://lesters.blospot.com/ Here at the blog we don't just kiss ass, we don't always get it right, and don't always say it properly. I am more mistaken than you. That's ok with us, er, me. http://lesters.blospot.com/ Gabriel Gudding's new book _A Defense of Poetry_ http://lesters.blospot.com/ Codework Evangelism Under Critical Scrutiny http://lesters.blospot.com/ "lester is/codework is" : a layered parody of identity & codework & crappy web tool "poems" http://lesters.blospot.com/ Heriberto Yepez's Tijuana Bible of Poetics (blogspot) http://lesters.blospot.com/ A poem from August Highland: a beacon of emotion in a sea of otherwise calculated & indifferent "codework" http://lesters.blospot.com/ A letter to you from here in Kinshasa http://lesters.blospot.com/ Welcome to the Age of American Technological Totalitarianism http://lesters.blospot.com/ Alexandra Papaditsas' forthcoming _Miseries of Poetry_ http://lesters.blospot.com/ Rewriting Mattie Stepahnek's "Heartsongs" http://lesters.blospot.com/ Billy Mills' "Sustainable Poetry" http://lesters.blospot.com/ I love you. Lester(s) http://lesters.blospot.com/ ========================================================================= Date: Sat, 25 Jan 2003 20:01:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: poetry careerists "career success"?? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i support selectivity as being in everybody's best interest. however, there are some departments at some schools --self-protection compels my vagueness here --who accept more phd students than they know will be able to find the kind of employment they think they are training for, in order precisely to provide cheap teaching for basic u-grad courses and to fill their own grad seminars. it's quite cynical, and is part of the way depts perpetuate themselves as budgetary entities rather than conduits for intellectual exploration or development, or even serious professionalization of the next generation of professors. At 2:06 PM -0800 1/26/03, Damian Judge Rollison wrote: >Having some trouble with my e-mail yesterday and today, and >already this thread has moved on, so I should probably just >let it go -- but of course, being male, I can't. I'll >defend selectivity in graduate programs -- remember that at >this point in the discussion we (or at least I) had moved >beyond MFAs to talk about graduate humanities degrees in >general -- I'll defend selectivity, then, based on the >assumption that the purpose of a graduate degree is to make >somebody employable. If the training a job requires costs >tens of thousands of dollars and takes five or more years to >complete (talking PhDs now), it's an ethical problem to be >producing far more candidates than there are job openings. >That's all I'm saying. Universal education for all -- sure, >I'm for it, who isn't. But I'm also for making the system >that actually exists accountable for and to itself. > > > >On Fri, 24 Jan 2003 20:33:35 -0500 Craig Allen Conrad > wrote: >> In a message dated 1/22/2003 4:08:30 PM Eastern Standard Time, >>djr4r@CMS.MAIL.VIRGINIA.EDU writes: >> >> > More selectivity in graduate humanities programs would >> > ensure that those who do make it in have a much greater >> > chance of career success. It's probably way too easy to get >> > into graduate school these days. That makes all kinds of >> > sense for departments and administrations -- cheap >> > teaching, tuition income, prestige of a large program -- >> > but does a serious disservice to many of the folks who >> > would seem to be the beneficiaries. >> >> >> the idea of "prestige of a large program" is interesting. >the idea of "a large program" seems more of a marketing >tool to convince applicants that "large" is prestigious, >when really "large" is about the numbers, the money, which >has created the industrial complex universities have become >today. i guess the real prestigious would shoot for >tighter numbers, difficult standards. > > > > but frankly -- ========================================================================= Date: Sat, 25 Jan 2003 23:16:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: the space we inhabit Comments: cc: gv4@psu.edu, rogler@fordham.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT criss-crossed my snailmail box today: "Historical Generations and Psychology" from the latest _American Psychologist by Lloyd Rogler, an overview of generational theory in psychology relating to some ideas from Gergen and Niemeyer as it crosses and criscrosses discourse. Although I am a participant observer on this I think it's very relevant to discussions here, espcially since 911, on politics, trauma, Willie nelson, po careerism, etc. I found it worth reading. It should be in most libraries if interested. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Sat, 25 Jan 2003 18:06:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Norton MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Quoting Damian Judge Rollison : > I know Jahan Ramazani and have full confidence in his > ethics. I would be strongly resistant to any suggestion that > he intentionally included unattributed material in the book. > If there's a problem in the Mina Loy section or the > bibliography, it is quite likely a mistake. The book is the > product of graduate student research assistants as well as > of the editor; though I'm sure he would agree that the > final responsibility is his, it's not inconceivable that an > inexperienced contributor could have failed to cite all > sources appropriately. Damian--It sounds petty to quarrel with your generous personal defense; but, with all due repect, the upshot of this matter isn't entirely about personal ethics. Let's compare those two notes again (quoting from Nate's message): "e.g.: here's Ramazani's first note-- _Anglo-Mongrels and the Rose_ is a long, semi-autobiographical poem about Loy's English mother (allegorized as the Rose, Alice, and Ada) and her Jewish father (Exodus). The rose is a traditional symbol of England. Many heraldic representations are modeled on the dog rose, whose flowers are somewhat square, or "quadrate." --& here's my own opening notes to the same poem in Keith's _Anthology of 20th-Century British & Irish Poetry_ (OUP, 2001): Loy's _Anglo-Mongrels and the Rose_ is a long semi-autobiographical poem; Exodus, introduced in the first section of the poem, is modeled on Loy's Jewish father; Alice (or sometimes "Ada") on her mother. [gloss to title:] The rose is the traditional symbol of England. Heraldic and symbolic representations are usually modeled on the dog-rose, whose flowers have somewhat squared-off ("quadrate") outer edges, and which bloom from late May or early June to early August. ***** I don't know Jahan Ramazani and have no reason to lack confidence in his professional ethics--but surely a careful reading suggests that Nate's concern is legitimate. The point here would then be for Norton, as the inevitable reprinting process proceeds, to make some appropriate acknowledgement.... Moreover, Nate's analysis of the latest version of the Norton canon suggests that accidental omissions can easily be read in the context of a coherent larger narrative: in this case, the history of the aforementioned canon and its treatment of particular modes of poetic practice, facts which for which some collective entity is, in the last analysis, responsible. --Nick ========================================================================= Date: Sun, 26 Jan 2003 12:35:49 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: please check this out Comments: cc: josman@temple.edu In-Reply-To: <5.0.0.25.0.20030124234631.02a58560@127.0.0.1> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-9BD388D; boundary="=======442C71AB=======" --=======442C71AB======= Content-Type: text/plain; x-avg-checked=avg-ok-9BD388D; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 02:49 PM 25/01/03, you wrote: >Hi, >Please check out this link fine, pc p4 1800mhz ie5.5, cable broadband connection. cheers >http://www.outplace.net/zhivago/index.html > >Thanks! > >Jena komninos zervos lecturer, convenor of CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 homepage: http://www.gu.edu.au/ppages/K_Zervos broadband experiments: http://users.bigpond.net.au/mangolegs audioblog http://spokenword.blog-city.com/ --=======442C71AB======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-9BD388D Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.438 / Virus Database: 246 - Release Date: 7/01/03 --=======442C71AB=======-- ========================================================================= Date: Sat, 25 Jan 2003 23:27:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Blog, blog, blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Recently on "Elsewhere": * First Draft, Opening Animation Sequence for a Documentary about Jack Smith * Open Gate: Jack Hirschman reconsidered, and an anthology of Haitian Creole poetry * Drew Gardner live at Bowery Poetry Club * From the CRANK E. CRANK Files: In Which I Feel My Middle-Aged Belly Expand Exponentially * "Everything That I Have Seen and Felt Is Included" -- Sei Shonagon and women's writing in the Japanese Heian Period * A handful of scenes from Jason Shiga's "Double Happiness" At: http://garysullivan.blogspot.com _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 25 Jan 2003 23:47:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Paul Haines MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I don't think anyone's posted this news to the list. Haines' poetry was featured on Carla Bley's famously ambitious (not to say sprawling) _Escalator Over the Hill_ (whose cast of musicians ran from Don Cherry to Linda Ronstadt), & he was the subject of a 1994 2-CD tribute album, _Darn It!_. His work was comparable to Clark Coolidge's in its very personal attempt to find a poetic vocabulary that responded fully to both musical innovations in jazz & to the abstractions of Gertrude Stein & her poetic descendents. Like Coolidge he was the author of some of the most idiosyncratically eloquent liner notes to jazz CDs in existence--try Paul Bley's _Footloose_ on Savoy or Evan Parker's _Saxophone Solos_ on Chronoscope for a taste. --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada email: ndorward@sprint.ca web: http://pages.sprint.ca/ndorward/files/ ----- Original Message ----- From: "Broomer Stuart" To: "Broomers" Sent: Thursday, January 23, 2003 3:48 PM Subject: Paul Haines It is with deep sadness that I inform you of the passing of Paul Haines, who died at home in Ennismore, Ontario on Tuesday, January 21. Whether as poet, music writer or filmmaker, Paul possessed the rarest quality--genuine originality. His vision, wit and expansive generosity will be missed by all who knew him and his work. A memorial celebration of Paul's life is being planned to take place in Toronto. Stuart Broomer broomer@sprynet.com ========================================================================= Date: Sun, 26 Jan 2003 00:09:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: You just can't make this stuff up - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII You just can't make this stuff up - $ kill a/parent a/back/ a/wryting a/laptop /usr/local/bin/ksh: kill: a/parent: arguments must be jobs or process ids /usr/local/bin/ksh: kill: a/back/: arguments must be jobs or process ids /usr/local/bin/ksh: kill: a/wryting: arguments must be jobs or process ids /usr/local/bin/ksh: kill: a/laptop: arguments must be jobs or process ids $ arguments? /usr/local/bin/ksh: arguments?: not found $ === ========================================================================= Date: Sun, 26 Jan 2003 00:09:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Margaret Penfold's garden site MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi - the URL below is Margaret Penfold's garden site, which I love - if you click on plants, then on indoor gardens, you'll see our own as well - Alan http://www.landofbrokenpromises.co.uk/garden/index.html = ========================================================================= Date: Sun, 26 Jan 2003 08:50:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: electric essay MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit u make the unwanted hair blow off the ladies u be rich mon sm ========================================================================= Date: Sun, 26 Jan 2003 09:01:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Norton In-Reply-To: <1043546775.3e334297ceeb3@webmail.scsv.nevada.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" the kindest, most ethical people in the world, i've discovered, are capable of plagiarizing. they are working at top speed and not being very careful, and are hoping no one will notice. i've been plagiarized --minor stuff, just clauses, not whole pages or central arguments --by friends. still, it hurts, as in this profession, our words are our real --only --"product" (and don't everyone jump all over me for using marketplace language). it's a delicate matter; one wants to point out the problem without shaming the other person and without losing the relationship, which often means accepting face-saving excuses from the other person that don't really hold up --but you can be sure that, even if they think you're the most high-maintenance diva in the world, they'll never do it again. if you're really upset, though, as i've been on other less friendly occasions, or if a heart-to-heart with someone you don't know who has a lot more institutional power than you just isn't appropriate or in your best interest, i'd contact the national writers' union and inquire about making a grievance. often one can get *some* satisfaction. one can always play hard-ball with a lawyer who specializes in intellectual property, though that's a lot more expensive than joining the writers' union. as for the matter of omissions and alterations, that's what these anthologies are all about and have always been. imagine my surprise when, in my first year teaching at umn, 1988, i'd ordered the norton modern so i could teach gwendolyn brooks along with haki madhubuti's poem "gwendolyn brooks" --they sent the then-latest edition which had excised most of the Black Arts Movement poetry as well as some others like O'Hara's "Should Abortion Be Legalized?" It was a great opportunity to teach canon formation, censorship of political art, etc. At 6:06 PM -0800 1/25/03, Nick LoLordo wrote: >Quoting Damian Judge Rollison : > >> I know Jahan Ramazani and have full confidence in his >> ethics. I would be strongly resistant to any suggestion that >> he intentionally included unattributed material in the book. >> If there's a problem in the Mina Loy section or the >> bibliography, it is quite likely a mistake. The book is the >> product of graduate student research assistants as well as >> of the editor; though I'm sure he would agree that the >> final responsibility is his, it's not inconceivable that an >> inexperienced contributor could have failed to cite all >> sources appropriately. > >Damian--It sounds petty to quarrel with your generous personal defense; but, >with all due repect, the upshot of this matter isn't entirely about personal >ethics. > >Let's compare those two notes again (quoting from Nate's message): > >"e.g.: here's Ramazani's first note-- > >_Anglo-Mongrels and the Rose_ is a long, semi-autobiographical poem >about Loy's English mother (allegorized as the Rose, Alice, and Ada) >and her Jewish father (Exodus). The rose is a traditional symbol of >England. Many heraldic representations are modeled on the dog rose, >whose flowers are somewhat square, or "quadrate." > >--& here's my own opening notes to the same poem in Keith's _Anthology of >20th-Century British & Irish Poetry_ (OUP, 2001): > >Loy's _Anglo-Mongrels and the Rose_ is a long semi-autobiographical poem; >Exodus, introduced in the first section of the poem, is modeled on Loy's >Jewish father; Alice (or sometimes "Ada") on her mother. > >[gloss to title:] The rose is the traditional symbol of England. Heraldic >and symbolic representations are usually modeled on the dog-rose, whose >flowers have somewhat squared-off ("quadrate") outer edges, and which bloom >from late May or early June to early August. > >***** > >I don't know Jahan Ramazani and have no reason to lack confidence in his >professional ethics--but surely a careful reading suggests that Nate's concern >is legitimate. The point here would then be for Norton, as the inevitable >reprinting process proceeds, to make some appropriate >acknowledgement.... > >Moreover, Nate's analysis of the latest version of the Norton canon suggests >that accidental omissions can easily be read in the context of a coherent >larger narrative: in this case, the history of the aforementioned canon and >its treatment of particular modes of poetic practice, facts which for which >some collective entity is, in the last analysis, responsible. > >--Nick -- ========================================================================= Date: Sun, 26 Jan 2003 10:14:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allison Cobb Subject: Announcing POM2 Issue 3 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable Issue #3 of POM2 is now available. See selections at www.pompompress.com. CONTRIBUTORS Betsy Andrews | Michael Basinski | Edmund Berrigan | Jules Boykoff |=20 Chris Carnevale | Mark DuCharme | Danielle Dutton | Robert Fitterman | Bill=20 Freind | Lara Glenum | Chris Glomski | Russell Helms | Jason Jensen | Paul=20= Foster Johnson | John Keene | Jake Kennedy | Stephen Kirbach | Pattie McCarthy=20= | Edward Mycue | Chris Nealon | Hoa Nguyen | Redell Olsen | William=20 Pettit | Marc Robbemond | Cynthia Sailers | Fred Schmalz | Brian Kim Stefans | Chris=20= Tysh | Dana Ward | Dylan Willoughby SUBSCRIBE Copies of issue #3 are available for $5. Subscriptions are 2 issues for=20= $9. Please make checks payable to Susan Landers and send to the address=20 below. Susan Landers, Pom2, 227 Prospect Ave. #2, Brooklyn, NY 11215 PLEASE SUBMIT! POM2 is accepting submissions for Issue 3 through July 1, 2003. =A0See=20= guidelines below or at www.pompompress.com. POM2 is always seeking to broaden its base of contributors. We=20 encourage people of any gender, ethnicity, nationality, sexual=20 orientation, proclivity or stripe to submit. POM2 publishes work that directly engages and responds to poems previously published in Pom2. We encourage submissions from those who are willing to have their work altered, lifted, plagiarized or transformed in later issues. Contributors may respond to one poem, or several, from any issue. (Issue #1 and #2 is available online, Issue #3 can be ordered.) No previously published work will be considered. Include with your submission: (1) title of "source" poem(s), (2) full contact information: phone, address, fax and e-mail, (3) optional: a photograph of yourself. Submit no more than 5 poems. Electronically to: **NOTE! OUR ADDRESS HAS CHANGED!** pom2@pompompress.com Subject line: jam PC or Mac attachments welcome Or mail to: Susan Landers, Pom2, 227 Prospect Ave. #2, Brooklyn, NY 11215 SASE required Deadline for Issue 4: July 1, 2003 ========================================================================= Date: Sun, 26 Jan 2003 08:42:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: poetry careerists "career success"?? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" damian and others, the problem of course is how to maintain selectivity based on job market conditions and *not* confuse this tactic, esp. over in mfa/ma/creative writing land (which could be phd land too, i know), with the "poets are born, not made" mantra (and similar such constructions) that enable cw profs to pick & choose aesthetics (and discard others) that don't fit their preconceived notions of poetry (i.e., that don't fit their often unstated ideologies and beliefs)... as if one is to teach only those already teach-able... imagine if other disciplines tried to do this... of course this turns on what is being taught, and how what is being taught, is being taught... i have heard some cw faculty remark that there is no body of knowledge apropos of creative writing... further, that you can't teach it... and if this is the case, what on earth are we paying these folks for?... and since i've been seeing this sort of thing at work here now for a few years---also at the undergrad level, where we (faculty) both pick those students who can enter our undergrad cw track, AND pick those students we want to see in our upper division workshops (all of this on a completely individual basis, as faculty don't discuss this with one another)---well, i would say that problems at the grad level are simply an intensification of same (albeit i assume the undergrad condition prevails via something like back formation)... mind you, our undergrad degree in english is a ba, w/o further qualification on the diploma, whether or not you do the lit track or the cw track... moreover, the lit track does not require separate application... it's a nightmare... and ours is not an atypical situation... i take cary nelson's (and others') argument that grad programs in english ought to cut back on the number of graduates they're producing, given the woeful job market (and of course, woeful publishing conditions)... but reading nelson, i sometimes get the idea that he *knows* what worthwhile scholarship is---that is, that he's tacitly endorsing the status quo in some sense... and this does present something of a problem, i think, for an industry that, however much it may have theoretically displaced originality/authenticity etc, continues to laud original, autonomously conceived work (and again, this is only aggravated over in cw land)... best, joe ========================================================================= Date: Sun, 26 Jan 2003 17:23:04 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: saneh saadati Subject: Re: A Question Concering Creeley's Poetry/Prose Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed A Big Thank you ! -- You've got me very excited about reading his Collected Essays - as i said before i wanted to write my work from a phenomenological perspective that involves a zero distance between reader and text: but knew that i would have to manage to get in some work written on work - so Creeley's own work on work will be perfect supplemantary material for my work! /SS _________________________________________________________________ MSN Motor: Allt för den motorintresserade http://motor.msn.se/ ========================================================================= Date: Sun, 26 Jan 2003 09:40:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Re: llacook's readings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii {a reply to Patrick Herron} Didn't know I was going to provoke such wrath (and so much revealing attitudes) by my response to your (and Lester's) response. While I'm not going to try to open this up fully in my reply, I hope to skim over a few things I agree and disagree with you as regards this issue. THINGS I AGREE WITH: 1) Yes, the computer is just a tool...just like a pencil... 2)Don't believe any hype....I'm definitely with you there... THINGS I DISAGREE WITH: 1) The use of the word "dominant": "...to be frank your socioeconomic background explains in part why you might not know exactly how to engineer such a vertical poetic system...it takes capital investment...the dominant programmer is something altogether different from the dominant poet. though you do share your enthusiasm for it. you haven't had the education, the time in school learning the mathematics or using the high-end equipment needed to perfect such a vertical system. programming is a very vertical world. potentially. there are wonderful community aspects about rhe programming world, but most of my experience in high-end exotic programming systems (and real poetry machines of the sort Bok seems to suggest) comes from working with people who have a LOT of money. We're talking Ford, Verizon, Avaya, HP, Lockheed, etc. They have the tools you need. and they're not losing control. they're getting it. programming takes years and resources to learn, while poetry can come at a moment's notice. there's overlap, but there are also regions of each realm that do not overlap." --What does it signify? Who are 'the dominant poets?' Is this elitist? Simply because I never had the money to go to a "good" school, does this mean I couldn't POSSIBLY understand what you're talking about? INteresting... 3) I characterized Lester's reaction as "kneejerk" because, well, let's face it, whenever anyone hears about anything related to computer's the word "soulless" is attached. And my point was, you don't expect the pencil to have a soul, do you? 4)"of course these lines are blurred in the middle: a poet might use programs as a tool to produce poetry out of data poetically selected, or might insert code-generated statements inside a non-code generated poem. sure sure. but you're talking about "really" and "aritifical" and so forth, and so if we are to speak in terms of the pith of these things it's hard NOT to see the differences." These are exactly the kinds of algorithms I've written. they require human input. All of my remarks about computer-mediated text generation use the machine only as a shuffling device. 5)"One way of saying this is that if language is rule-generated, then how do errors happen in language generation all of the time? " read linguists... errors happen for a variety of reasons in both human and machine context...of course, i'm not sure there ARE errors (but then, I don't have the education to know the difference, do I?)==== errors can only occur in a presriptive view of language... 6)"there IS a difference between Kubla Khan and a computer-generated poem (there are many but one in particular is glaring). There is no difference only if we 1. take a purely semiotic point of view and 2. ignore the fact that Coleridge neither was a computer nor 3. further it has yet to be proven that human language can be perfectly modeled by a computer." ---and I am taking a semiotic point of view...not a strong AI one (I've read Searle, my firend)...I never asserted that the machine would produce this without human input...the machine can't do much of anything without human input... no, human language can't be perfectly modelled by a machine yet...yet...but computational linguistics is looking into it...and reading the literature on it, I'd have to say that eventually we'll be pretty close... (reading pinker's language instinct...every objection he has to the machine ever being able to produce human languaage prompts me to think, well, no, you could write a function to do this) but there will always be a human behind it, patrick...always... 7)"It seems to me that you are caught up in something, that you have a Movement to Vanguard. There are Manifestoes to be written, yes? Fluffernutter. Doesn't it feel a little silly?" You haven't done your homework here, Patrick. I'm not a codepoet. I use algorithms for text generation in some cases; mostly i just write myself. The algorithms I use involve input from me (they do not automatically generate, they must be fed)...I do networks, of course, but that's something quite different from what you're talking about. Those are hypermedia works, and I don't consider them the same thing as my poetry. I work with Flash and a few other software suites (Photoshop, Visual Basic, Swift3D, Lightwave, sound editors, etc etc)... To me your whole argument against this is restrictive. Not Luddite; proximate.org proves you're no Luddite (but as you yourself pointed out it doesn't try to get beyond the book at all, and mirrors print technologies, which is not what I'm about, which is why I turned to pseudo-random algorithms and generative algorithms in the first place, so that certain pieces would vary themselves with every viewing). I know you do Java (I myself do no Java, just Visual Basic and C and C++ and Javascipt and Flash, all of which I'm sure you do too). Your argument is similar to the arguments against the early avant-gardes: oh, don't stray into non-representation; don't play with the surface of your media; there's no soul there. I believe you to be wrong, but I admire your tenacity, and your arguments are quite intelligent (a bit uninformed when it comes to my own work, and to understanding the nature of language and cognitive science, but that's okay...those are all just paradigms, and can be seen through...). I have no desire to have a pissing contest with you, as I feel there's just too much hostility in the world right now. So I submit my arguments with respect; if I sound angry at times it's because I am, and it's an anger provoked by elitism and misunderstanding. There's far too much snobbery in these waters out here, on both the poetry side and the net art side, and it's horribly unproductive; it closes off too many possibilities. And what I want is more mixing and melding and meshing; that's where beauty comes from. So, bless you! Halleleuia anyway!!! bliss, l ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Sun, 26 Jan 2003 10:05:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: my soul apparent In-Reply-To: <20030126174052.17725.qmail@web10705.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit my soul apparent lacking a particle of a dream, one might say that their houses are false images reduced in scale on a grand scale, forced from the threshold of absurdity to the contradiction of numbers, left with nothing camouflaged interiors and cardboard psychology. but tiny things deserve more amusement; paint-by-number tunnels, and / or miniature jailers. I myself, for a few seconds escape the cracks to a smaller then logic example; hotter than other parts, warm and condensed. there, the mass generate vital heat in the spirit of opposite paths. from that moment on multi-playing pretexts fall short, motion slows to a meditation coalescence of unlimited values. we have a dream invitation to continue anything without a central sum, valorized in flower correspondence, grown in chalices of webbed threads and blind folders. deep inside a thousand fur lined tea cups, the stamens remain in place, while all the pistils grow in india under a gentle warm intimacy ========================================================================= Date: Sun, 26 Jan 2003 10:28:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: small, naked and crouched In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable small, naked and crouched death names keep tabulations. I think water, the rivers and night skys=20= - obedient as a cluster, a labor force, or a glass of milk in a shade.=20= empty now or gone, theses days shift under the roof full of whispers=20 that break on the ground. block-by-block is consumed in a dream like=20 arena of derelict flames and slaughter. all day takes years. I question=20= zeno=92s pitch . . . an endless race for the scared with nodding head=20 rear-seat animals. on my knees in homeless hiroshima and oil drench ebb=20= tides, bombing runs begin in chocking words and fly by-night=20 inconsistencies. the ground has a seizure, I dream of fear and steady=20 your hand.= ========================================================================= Date: Sun, 26 Jan 2003 11:00:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: enough, an anthology of poetry and writings against the war Comments: To: tamar@sfstation.com Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable enough, an anthology of poetry and writings against the war O Books. Editors: Rick London and Leslie Scalapino. 160 pages. $16.00 =20 A reading and book party at City Lights book store on Thurs February 20th a= t 7:00 PM. Address: 261 Columbus, San Francisco =20 Readers at City Lights on February 20th: Michael McClure, Diane Di Prima, Nathaniel Mackey, Lyn Hejinian, Leslie Scalapino, Etel Adnan, Bill Berkson, David Buuck, Judith Goldman, Larry Kearney, Rick London, Sarah Menefee, Ibrahim Muhawi, Pat Reed, Jen Scappettone, Beau Beausoleil. =20 enough, which the editors began to assemble following 9/11 at the start of the U.S. war on Afghanistan, is a collection of poets whose writings are interactive with the current time, writing as its matter and syntax not separate from oppressive conditions and war. In enough, U.S. poets, British= , Palestinian, Iraqi, Israeli, speak back and forth to each other only in the medium of their art. The editorial basis of enough is that these poets=92 art is not separate from their being in the world =97 and that: Seeing what=92s happening is a form of change. =20 =93We are alone. We are alone to the point of drunkenness with our own aloneness,/with the occasional rainbow visiting...The prisoner said to the interrogator. =91My heart is full/of that which is of no concern to you. My heart is full of the aroma of sage./My heart is innocent, radiant brimming...in the remains of dawn I walk outside of my own being...=94 Mahmou= d Darwish. =93This moment,/this second/cuts in be-/tween in two...=94 Pierre Joris. =93THE CUPS WE DRINK FROM ARE THE SKULLS OF ARABS/AND THIS SILK IS THE SKIN OF BABIES...THE SOULS HAVE NO VALUE THEY ARE FOX FURS/THAT WE DRAPE OVER WELL-FED ARMS AND SHOULDERS...=94 Michael McClure. =93Are you glutted yet, no there are other countries to vomit bombs out on, the sec of defence that is the every moment of cruelty, has a gleeful face, carnage who knows the new wind, there isn=92t enough oil so...=94 Alice Notley. =93Where, that which is interior side half rind, throughout, or half of a rind that=92s no retina out ahead floating in it night meets black night is disintegrate cut savagely b= y them, not ignored=97it=92s reversed there and to, disintegrates=97but suddenly sh= e gets it that she doesn=92t have to fight that which disintegrates it, her, lye, that one can just be near it, all the time beside it go on and on, without...=94 Leslie Scalapino. =93A corpse the size of my body, turning into coal. Protecting the head between the shoulders. An impacted tooth. A wide forehead, and long fingers. A silver ring I inherited from my father, and the residue of burns suspended between my jaws. Waw turning over a dying ember, ta with a gouge in its belly and nun that has became a hearth for ashes [watan: ========================================================================= Date: Sun, 26 Jan 2003 14:16:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Fwd: Poets Against the War Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Date: Sun, 26 Jan 2003 From: Sam Hamill January 19, 2003 Dear Friends and Fellow Poets: When I picked up my mail and saw the letter marked "The White House," I felt no joy. Rather I was overcome by a kind nausea as I read the card enclosed: Laura Bush requests the pleasure of your company at a reception and White House Symposium on "Poetry and the American Voice" on Wednesday, February 12, 2003 at one o'clock Only the day before I had read a lengthy report on the President's proposed "Shock and Awe" attack on Iraq, calling for saturation bombing that would be like the firebombing of Dresden or Tokyo, killing countless innocent civilians. I believe the only legitimate response to such a morally bankrupt and unconscionable idea is to reconstitute a Poets Against the War movement like the one organized to speak out against the war in Vietnam. I am asking every poet to speak up for the conscience of our country and lend his or her name to our petition against this war, and to make February 12 a day of Poetry Against the War. We will compile an anthology of protest to be presented to the White House on that afternoon. Please submit your name and a poem or statement of conscience to: kokua@olympus.net There is little time to organize and compile. I urge you to pass along this letter to any poets you know. Please join me in making February 12 a day when the White House can truly hear the voices of American poets. Sam Hamill ========================================================================= Date: Sun, 26 Jan 2003 14:17:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Re: Norton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria--thanks for the note. If the plagiarism amount to just that one set of annotations then I'll probably simply leave it there; but I think I'll be combing through the book carefully first to see if it's an isolated instance. (Willing to bet that at least in the case of Harrison's _V._ it isn't, since to my knowledge there's no other annotated edition of the poem besides the one Keith & I did.) I should clarify that I have no problem with Ramazani's making use of my annotations--after all that's why they're there: to be helpful! & while the passages I quoted from his notes are clear-cut instances of plagiarism (down to one sentence which is identical barring the switch of an article: "the" to "a"), on the other hand there's only so many ways to gloss words like "adamsite" or "penetralia". What I'm objecting to is the lack of credit, to the point of (suspiciously) omitting to mention the book at all. It's not as if the OUP book doesn't rely on other sources & scholars than myself--but when I made substantial use of them I credited them (e.g. the notes to Auden start with an acknowledgement of indebtedness to John Fuller's work; those to Graham, a thankyou to Tony Lopez; the notes frequently include explicitly acknowledged extracts from correspondence with poets & scholars: e.g. the credit to Ric Caddel in a note on Bunting). I refer to "Ramazani" above: yes, I'm aware some lazy grad student "researcher" may have been responsible for pinching the notes to Loy's poem (though as I said some details of the selection suggest Ramazani's well aware of the OUP book). But ultimately Ramazani's the editor of the book & has to take responsibility for its contents. My original posting said nothing at all about Ramazani as a person, it was purely about the book's contents. I can well believe there's a mismatch between Ramazani's admirable qualities as a person & what I take to be in many regards a quite disgraceful book--not knowing him personally I can't begin to reconcile the two, but I don't feel I need refrain from criticizing the book because the author's a decent sort. Maria: > as for the matter of omissions and alterations, that's what these > anthologies are all about and have always been. This doesn't mean one has to accept _particular_ omissions & alternations, especially when (as I indicated) they go beyond matters of author-by-author taste & essentially write off the literary histories of several countries (beyond the merest, almost random shards) at the same time as the anthology's rubric claims to represent those countries/histories. To simply say that, well, any anthology will have to have its omissions, is to risk fatalism or a mere passive "there's no disputing tastes" ethos. The point of anthologizing poetry, & of teaching it, is to dispute tastes. As my original post indicated I thought the inclusion of objectivism, language poetry & postcolonial writing in the book was good; that doesn't exempt the rest from criticism. all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada email: ndorward@sprint.ca web: http://pages.sprint.ca/ndorward/files/ ========================================================================= Date: Sun, 26 Jan 2003 11:44:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: 21st-century poetics presents Laynie Browne and Elizabeth Robinson, 2/13 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Twenty-First-Century Poetics presents Laynie Browne and Elizabeth Robinson Thursday, February 13 6:30 pm potluck, 8 pm readings 900 Bancroft Way Laynie Browne, author of Gravitys Mirror, The Agency of Wind, Lore, and Rebecca Letters and three-time winner of The Gertrude Stein Award in Innovative American Poetry (1993-1996), and Elizabeth Robinson, whose books include House Made of Silver and Harrow as well as the forthcoming Pure Descent, winner of the National Poetry Series, and Apprehend, winner of the Fence Prize, will read from their work and address the imbrication of fairy tales and experimentalism in contemporary poetry. Co-sponsored by the Townsend Center for the Humanities, the Consortium for the Arts, the UC Berkeley Department of English, and the East Bay Poetics and Motorcycle Club. All contributions in the form of food, drink, or clean-up will be wildly appreciated. Stay tuned for info re: upcoming spring readings, including Kevin Davies Judith Goldman Rodrigo Toscano For more information, or to be added to our mailing list, please contact Julie Carr, Carrjuli@aol.com, or Jen Scappettone, jscape@socrates.berkeley.edu. ========================================================================= Date: Sun, 26 Jan 2003 15:02:03 -0500 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: POETICS Digest - 24 Jan 2003 to 25 Jan 2003 (#2003-26) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit >>We can argue about this further at AWP, where I'll be selling books at table 83. Hey Mark-- I'll be selling books at table 83 also, can we argue? Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sun, 26 Jan 2003 17:21:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: new from Oasis Press Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed * Oasis Broadside Series #100, _Dear Lacan: An Analysis in Correspondence_, by Kent Johnson and Jacques Debrot, with forward by Slavoj Zizek, has been released in an edition of 50 copies. Print from Etruscan tomb on cover, rider turned rearward, pouring a liquid behind the tail of an equine. Fifteen free copies are available, signed and lettered. Write, with mailing address, to kent.johnson@highland.edu ========================================================================= Date: Sun, 26 Jan 2003 14:00:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: 6 of Hearts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 6 of Hearts "He was soon forced to mute that praise, joking later, 'I was a little forward on my skis'" Between us, there are no good solutions. Family and oil. It's the defense that took off, the worst-case scenario I know now it turns somewhere, seems to taunt, turns out of knowing, burns, spits, before it spins off into needing, absolutely nothing in the dumb center His rage roars (or squeaks) political motivation, pain-stakingly paraphrased by his self-righteous press secretary to tell and not show. He thinks we want to feel his anger; once and for all, we just want him to think "Do you remember those happy bygone boom days when the stock market was going to save us from a variety of ills? Rising stock prices would solve the problem of Social Security short falls, boost federal, state and local income-tax revenues, and let us all retire young, rich and happy. It never happened, of course" You do not need to prove damage or malice in an uphill battle. Show the ordinary showing. Where's the line you can't cross though the world of adult products? Why are women in the mud, wrestling? I never imagined how much of myself I retained out of their hands. It is my body now. I will never have to face death again The dumb reed reposing wrenches renown from the No Mind's Lunge. This is a reasonable rhyme for a retch of pretested grind that has yet to be dropped by either side. The roaming has come to moan a hunted smoggy expense of salient slum. A lump - frayed, sallow, mean, mostly frayed, presumptive except for the deed. Stars may romp across and remain stars Best, Crag Hill ========================================================================= Date: Sun, 26 Jan 2003 14:59:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Norton In-Reply-To: <003c01c2c56f$97ed2ca0$f7756395@DC3NX221> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I admittedly haven't had the experience Maria describes, though I am quite sure that I would feel much the same way. I probably would not make the decision to air my concerns in so public a manner, however, simply because I could easily see them founding a damaging and misleading rumor about the editor in question. "One wants to point out the problem without shaming the other person," as Maria aptly puts it -- at least as a first recourse. I must say that I do not see how one would support the contention that an attribution problem belongs, as Nate and Nick have both suggested, to the same category as a set of informed editorial decisions, whatever one may think of those decisions. It seems to me rather that the first accusation in Nate's original post is working rhetorically to lend an implication of questionable ethics to the critique that follows it. If I were teaching a modern/contemporary poetry course this semester and wanted a big anthology, I would probably go with the Rothenberg/Joris Poems for the Millenium myself. I suspect, though, that the new Norton reflects more accurately the typical course of this kind. (Produces and reflects, yes.) Damian On Sun, 26 Jan 2003 14:17:38 -0500 Nate Dorward wrote: > Maria--thanks for the note. If the plagiarism amount to just that one set > of annotations then I'll probably simply leave it there; but I think I'll be > combing through the book carefully first to see if it's an isolated > instance. (Willing to bet that at least in the case of Harrison's _V._ it > isn't, since to my knowledge there's no other annotated edition of the poem > besides the one Keith & I did.) I should clarify that I have no problem > with Ramazani's making use of my annotations--after all that's why they're > there: to be helpful! & while the passages I quoted from his notes are > clear-cut instances of plagiarism (down to one sentence which is identical > barring the switch of an article: "the" to "a"), on the other hand there's > only so many ways to gloss words like "adamsite" or "penetralia". What I'm > objecting to is the lack of credit, to the point of (suspiciously) omitting > to mention the book at all. It's not as if the OUP book doesn't rely on > other sources & scholars than myself--but when I made substantial use of > them I credited them (e.g. the notes to Auden start with an acknowledgement > of indebtedness to John Fuller's work; those to Graham, a thankyou to Tony > Lopez; the notes frequently include explicitly acknowledged extracts from > correspondence with poets & scholars: e.g. the credit to Ric Caddel in a > note on Bunting). > > I refer to "Ramazani" above: yes, I'm aware some lazy grad student > "researcher" may have been responsible for pinching the notes to Loy's poem > (though as I said some details of the selection suggest Ramazani's well > aware of the OUP book). But ultimately Ramazani's the editor of the book & > has to take responsibility for its contents. > > My original posting said nothing at all about Ramazani as a person, it was > purely about the book's contents. I can well believe there's a mismatch > between Ramazani's admirable qualities as a person & what I take to be in > many regards a quite disgraceful book--not knowing him personally I can't > begin to reconcile the two, but I don't feel I need refrain from criticizing > the book because the author's a decent sort. > > Maria: > > > as for the matter of omissions and alterations, that's what these > > anthologies are all about and have always been. > > This doesn't mean one has to accept _particular_ omissions & alternations, > especially when (as I indicated) they go beyond matters of author-by-author > taste & essentially write off the literary histories of several countries > (beyond the merest, almost random shards) at the same time as the > anthology's rubric claims to represent those countries/histories. To simply > say that, well, any anthology will have to have its omissions, is to risk > fatalism or a mere passive "there's no disputing tastes" ethos. The point > of anthologizing poetry, & of teaching it, is to dispute tastes. > > As my original post indicated I thought the inclusion of objectivism, > language poetry & postcolonial writing in the book was good; that doesn't > exempt the rest from criticism. > > all best --N > > > Nate Dorward > 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada > email: ndorward@sprint.ca > web: http://pages.sprint.ca/ndorward/files/ :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Sun, 26 Jan 2003 15:33:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: poetry careerists "career success"?? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I agree with Joe that selectivity brings with it the burden of carefully defining your criteria, and -- coming from a large program myself (300+ graduate students) -- I wouldn't want to sacrifice the diversity and flexibility that comes along with inclusiveness. I'm sure that some of you will be familiar, though, with the latest statistics. In the MLA's Profession 2002, in the report of the ad hoc committee on the professionalization of PhDs, we have 2,548 total job seekers for the 2001-02 hiring cycle and 1,162 positions actually filled. This is not a bad statistic for some professions, perhaps, but if you factor in the time and cost of reaching employability, and the fact that hiring basically happens only once a year, you have a disheartening situation wherein talented people are forced to repeat the job search over three or four years sometimes before a decent offer -- sometimes, *any* offer -- comes along. Many give up before that happens. It occurs to me that with roughly 2 1/2 times as many applicants as filled positions, the job market may be working quite well these days from the point of view of the hiring institution. Any less and everybody would be interviewing the same people, right? And fighting over the same people. I think it was Murat who said that the problem of adjuncting factors in here as well. I said in this space some time ago that adjuncting from the individual point of view could be quite the appropriate choice -- and I've seen people for whom it does work -- but from an institutional perspective it's a poison. Another issue related to selectivity has to do with the effectiveness of *any* predictive criteria. Undergraduate grades, GRE scores, writing sample, personal statement -- given the amount of scrutiny these probably receive (one hears of law school profs approving and denying applications at random, because the qualifications are always the same -- wonder if this ever happens in English depts) I doubt that they give more than a very vague and general idea of a candidate's abilities. But it's the character of a department's faculty, more than its graduate students, that determines whether a narrow or a broad, a conservative or a progressive definition of the profession will be promoted. Damian On Sun, 26 Jan 2003 08:42:16 -0700 Joe Amato wrote: > damian and others, the problem of course is how to maintain > selectivity based on job market conditions and *not* confuse this > tactic, esp. over in mfa/ma/creative writing land (which could be phd > land too, i know), with the "poets are born, not made" mantra (and > similar such constructions) that enable cw profs to pick & choose > aesthetics (and discard others) that don't fit their preconceived > notions of poetry (i.e., that don't fit their often unstated > ideologies and beliefs)... as if one is to teach only those already > teach-able... ========================================================================= Date: Sun, 26 Jan 2003 19:50:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: The Constant Critic #2 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Here's the second installment of The Constant Critic, your triweekly dose of poetry commentary. http://www.constantcritic.com/new_reviews.cgi This time you'll find: Jordan Davis on Medbh McGuckian: "Despite the considerable efforts of Wake Forest UP, I find myself at an epistemological impasse when it comes to the poetry of other countries, especially that of Ireland--if I had to rely only on gatekeepers and kingmakers for my sense of what is possible and who's finding it in the poetry of my own conflicted, loveable country, I would be a much closer follower of professional sports than I am." Ray McDaniel on Cal Bedient: "This poetry is fascinating, until it isn't, which is almost immediately. This sounds cavalier, but no: I was struck again and again by the number of poems here that begin with intrigue and promise and end in ruin . . ." Christine Hume on Harryette Mullen: "Her exuberant, excessive, exhaustive turns of language allow the culture its complexities; they turn on--that is, betray--the contemporary passion for the homespun that tends to flatten the planet with its humdrum cry from the heart, which is really an excuse for dishonest oversimplification larded over with speciously democratic myth. Why merely use the heart to cry, asks Mullen." Tell your interested friends to sign up to receive our notices at http://www.constantcritic.com. . . ********** Rebecca Wolff Fence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Sun, 26 Jan 2003 20:22:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: slam by "PhD" at Brown In-Reply-To: <5.1.1.6.0.20030125151044.01a3f248@mail.ilstu.edu> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Almost makes me glad no one read my book . . . Almost. JG ---------------------------- A recent Amazon.com review of Defense. "Upper-Crust Poetry Disguised As Fart Joke, January 22, 2003 Reviewer: A reader from New Jersey To the point: one guy reviewing this book gives it five stars before he reads it because... he took a class from Gudding at Cornell. ========================================================================= Date: Sun, 26 Jan 2003 21:29:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: slam by "PhD" at Brown In-Reply-To: <3E34439F.21726.69365@localhost> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Defense review is ridiculous; why does someone have to announce his/her Phd? What does that have to do with anything? And one must be blind not to see the merit in Gudding's book. It might not be to X's or Y's taste (it's to mine), but as far as merit or rating goes, it's new and five-star quality, and good for Pittsburgh for publishing it - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sun, 26 Jan 2003 22:17:40 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: new from Oasis Press MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/26/03 5:28:38 PM, gmguddi@ILSTU.EDU writes: > >Oasis Broadside Series #100, _Dear Lacan: An Analysis in >Correspondence_, by Kent Johnson and Jacques Debrot, with >forward by Slavoj Zizek, has been released in an edition of 50 >copies. Print from Etruscan tomb on cover, rider turned rearward, >pouring a liquid behind the tail of an equine. > >Fifteen free copies are available, signed and lettered. Write, with >mailing address, to >kent.johnson@highland.edu > Murat Nemet-Nejat 1122 Bloomfield Street Hoboken, New Jersey 07030 Thanks a lot. Murat ========================================================================= Date: Sun, 26 Jan 2003 23:12:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Futurepoem Reading this Tuesday Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Tuesday, January 28th, 7:00 p.m. FREE + Refreshments SOFT SKULL SHORTWAVE BOOKSTORE 71 Bond Street (at State St.), Brooklyn Brooklyn, NY 11217 FUTUREPOEM BOOKS An evening with Futurepoem [http://www.futurepoem.com/events.html] featuring readings by: Rachel Levitsky, Under the Sun Garrett Kalleberg, Some Mantic Daemons Dan Machlin, Founder, Artistic Director + Other surprise guests Come out and celebrate our first two releases with more to come! SOFT SKULL/SHORTWAVE BOOKSTORE Your friendly neighborhood under-the-radar independent books and music shop! 71 Bond Street (at State St.) Brooklyn DIRECTIONS: The closest subway stop is Hoyt / Schermerhorn; take the A, C, or G there, go out the Bond Street exit, walk one block down Bond from Schermerhorn, and the store is on the northeast corner at the intersection with State Street, on your left. Alternately, take the F train to Bergen; walk a couple blocks east from Smith to Bond Street; make a left toward Atlantic Avenue; cross Atlantic, and Shortwave is one block up on your right. Visit www.futurepoem.com for other upcoming events. ========================================================================= Date: Sun, 26 Jan 2003 23:23:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Norton In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" to respond to both of you in one swell foop, i would encourage anyone who feels and can demonstrate that s/he has been plagiarized to seek some kind of redress, be it a simple personal apology from the culprit to a printed acknowledgment to legal settlement. to me it's a big deal, though i don't like confrontation so i tend to go the non-threatening, low-intensity route of the heart-to-heart, and even when i once threatened a grievance thru the National Writers' Union i ended up settling for a promise of an acknowledgment when the book was reprinted. i have yet to see if they keep their word on that one. however, i agree that an acknowledgment at the very least is in order, but the book is already out, so i'd write a letter to ramazani, and if he doesn't answer threaten norton w/ a grievance and see what they come up with, be willing to settle for some kind of acknowledgment at the very least, or whatever they offer by way of settlement. mostly they're just scared of having to pay you money. but this is just my advice; the important thing is to do what you're comfortable with, that both acknowledges the fact of the plagiarism and also doesn't expose you to more conflict than you are willing to deal with. I didn't want to shame the people involved because i had personal and professional relationships with them, and in one case it was an individual who had less institutional clout than i, not a hotshot who was trying to coast on the work of the less renowned, so i didn't want to be overbearing. in the other case it was a small literary publisher in the same town i work in --it's a small world and i didn't want to feel weird every time we had to have "dealings." of course with someone with a lot of institutional clout there are other reasons for not putting him/her on the defensive, such as simple self-interest. however, i think it important that we not take these matters lying down. i've heard horrific tales of --women, particularly, who were driven out of their professions because someone --a husband --stole their research and their thunder --and horrific tales from male colleagues about being ripped off by their grad school profs after getting scathing comments and low grades on their papers --the very papers that were plagiarized from by the nasty graders and commentators! those people suffered severe blows to their self-esteem -- their professional lives --or lack thereof --bore these scars quite explicitly. sorry to go on and on -i'm approaching joe's verbosity now --but i feel very strongly that people should at least do something to acknowledge what has happened to their intellectual property. At 2:59 PM -0800 1/26/03, Damian Judge Rollison wrote: >I admittedly haven't had the experience Maria describes, >though I am quite sure that I would feel much the same way. >I probably would not make the decision to air my concerns >in so public a manner, however, simply because I could >easily see them founding a damaging and misleading rumor >about the editor in question. "One wants to point out the >problem without shaming the other person," as Maria aptly >puts it -- at least as a first recourse. > >I must say that I do not see how one would support the >contention that an attribution problem belongs, as Nate and >Nick have both suggested, to the same category as a set of >informed editorial decisions, whatever one may think of >those decisions. It seems to me rather that the first >accusation in Nate's original post is working rhetorically >to lend an implication of questionable ethics to the >critique that follows it. > >If I were teaching a modern/contemporary poetry course this >semester and wanted a big anthology, I would probably go >with the Rothenberg/Joris Poems for the Millenium myself. I >suspect, though, that the new Norton reflects more >accurately the typical course of this kind. (Produces and >reflects, yes.) > >Damian > > >On Sun, 26 Jan 2003 14:17:38 -0500 Nate Dorward > wrote: > >> Maria--thanks for the note. If the plagiarism amount to just that one set >> of annotations then I'll probably simply leave it there; but I think I'll be >> combing through the book carefully first to see if it's an isolated >> instance. (Willing to bet that at least in the case of Harrison's _V._ it >> isn't, since to my knowledge there's no other annotated edition of the poem >> besides the one Keith & I did.) I should clarify that I have no problem >> with Ramazani's making use of my annotations--after all that's why they're >> there: to be helpful! & while the passages I quoted from his notes are >> clear-cut instances of plagiarism (down to one sentence which is identical >> barring the switch of an article: "the" to "a"), on the other hand there's >> only so many ways to gloss words like "adamsite" or "penetralia". What I'm >> objecting to is the lack of credit, to the point of (suspiciously) omitting >> to mention the book at all. It's not as if the OUP book doesn't rely on >> other sources & scholars than myself--but when I made substantial use of >> them I credited them (e.g. the notes to Auden start with an acknowledgement >> of indebtedness to John Fuller's work; those to Graham, a thankyou to Tony >> Lopez; the notes frequently include explicitly acknowledged extracts from >> correspondence with poets & scholars: e.g. the credit to Ric Caddel in a >> note on Bunting). >> >> I refer to "Ramazani" above: yes, I'm aware some lazy grad student >> "researcher" may have been responsible for pinching the notes to Loy's poem >> (though as I said some details of the selection suggest Ramazani's well >> aware of the OUP book). But ultimately Ramazani's the editor of the book & >> has to take responsibility for its contents. >> >> My original posting said nothing at all about Ramazani as a person, it was >> purely about the book's contents. I can well believe there's a mismatch >> between Ramazani's admirable qualities as a person & what I take to be in >> many regards a quite disgraceful book--not knowing him personally I can't >> begin to reconcile the two, but I don't feel I need refrain from criticizing >> the book because the author's a decent sort. >> >> Maria: >> >> > as for the matter of omissions and alterations, that's what these >> > anthologies are all about and have always been. >> >> This doesn't mean one has to accept _particular_ omissions & alternations, >> especially when (as I indicated) they go beyond matters of author-by-author >> taste & essentially write off the literary histories of several countries >> (beyond the merest, almost random shards) at the same time as the >> anthology's rubric claims to represent those countries/histories. To simply >> say that, well, any anthology will have to have its omissions, is to risk >> fatalism or a mere passive "there's no disputing tastes" ethos. The point >> of anthologizing poetry, & of teaching it, is to dispute tastes. >> >> As my original post indicated I thought the inclusion of objectivism, >> language poetry & postcolonial writing in the book was good; that doesn't >> exempt the rest from criticism. >> >> all best --N >> >> >> Nate Dorward >> 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada >> email: ndorward@sprint.ca >> web: http://pages.sprint.ca/ndorward/files/ > >:::::::::::::::::::::::: >Damian Judge Rollison >Dept. of English >University of Virginia >djr4r@virginia.edu >:::::::::::::::::::::::: -- ========================================================================= Date: Mon, 27 Jan 2003 00:25:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: slight murmurs in dreaming sleep. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII slight murmurs in dreaming sleep. the oil, perfumed, substance of small domain every moment rushing towards her death purring, older, a cat of kindness, beauty. chasing catnip, glowering at other cats among this litany of sadness and consolation mourning the gull who died, our feeding her. zero absorbs, one returns the thing. lying with us in the bed, stretching the smallest bird, flocks of mourning doves, and doves lost among the rest of us, unknown. multiplies what more of this worlds thinking, gone and less nothing is anointed in the world the oil, perfumed, substance of small domain purring, older, a cat of kindness, beauty. imagining the worst of every human being always tending, living towards tending. her name, boojum, jean-paul, others among this litany of sadness and consolation zero absorbs, one returns the thing. curious of any noise or creature. the smallest bird, flocks of mourning doves, and doves uncanniness of the zero, our predetermined minds born with inherent refusal to accept lost among the rest of us, unknown. occurrence our divisions, among more of this worlds thinking, gone and less every moment rushing towards her death purring, older, a cat of kindness, beauty. imagining the worst of every human being always tending, living towards tending. her name, boojum, jean-paul, others mourning the gull who died, our feeding her. zero absorbs, one returns the thing. lying with us in the bed, stretching feeding, in small wonders, of the world the smallest bird, flocks of mourning doves, and doves born with inherent refusal to accept the conjuring of death, and animals lost among the rest of us, unknown. breath of loss the in inherent cells the oil, perfumed, substance of small domain every moment rushing towards her death emergent darkness, radioactive wastes her name, boojum, jean-paul, others zero absorbs, one returns the thing. lying with us in the bed, stretching curious of any noise or creature. the smallest bird, flocks of mourning doves, and doves the conjuring of death, and animals lost among the rest of us, unknown. bequeathing the oil, perfumed, substance of small domain every moment rushing towards her death purring, older, a cat of kindness, beauty. imagining the worst of every human being always tending, living towards tending. her name, boojum, jean-paul, others among this litany of sadness and consolation mourning the gull who died, our feeding her. zero absorbs, one returns the thing. lying with us in the bed, stretching feeding, in small wonders, of the world the smallest bird, flocks of mourning doves, and doves uncanniness of the zero, our predetermined minds born with inherent refusal to accept lost among the rest of us, unknown. factions dull of arithmetic more of this worlds thinking, gone and less mourning the gull who died, our feeding her. lost among the rest of us, unknown. la la la === ========================================================================= Date: Mon, 27 Jan 2003 00:39:41 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: The context for war? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit It is widely reported that Iraq easily has the capacity for its oil production to rise from 3 million barrels per day to over 10 million. The Manjoon and West Qurna fields might comprise the very prize that was not "realized" in Gulf War I. "We've always been up against a high degree of nationalism in Iraq. But reality must now be faced," said a top Western oil executive working in the Middle East in 2002. "Iraq is on its knees and needs the international oil companies for their technology, cash and management." I am afraid we are all about to bear witness to that grim "reality," that horror called war. ******************** Iraq develops oil fields without foreign help http://217.158.86.13/ip/data/ipenglish/8104.htm Amman, Iraq Press, July 26, 2002 - Iraq claims to have partially developed two of its huge oil fields when foreign firms refused help for fear of violating U.N. trade sanctions. Local newspapers say crude oil is now flowing from the massive al-Majnoon field in southern Iraq at a rate of 50,000 barrels a day. The field, one of the world's largest, is believed to hold up to 30 billion barrels of reserves. Quoting Oil Minister Amer Mohammed Rasheed, the papers said the Iraqis had also brought another giant field, West Qurna, on stream, pumping an additional 50,000 barrels a day from it. Iraq has signed oil development deals with at least half a dozen foreign firms but none has been willing to start so long as the U.N. trade sanctions imposed for its 1990 invasion of Kuwait are in place. The embargo prohibits investment in Iraq's oil industry although Baghdad is allowed by the United Nations to sell oil to buy food, medicine and other humanitarian needs for the Iraqi people as well as spare parts to rehabilitate its war-ravaged oil industry. Russia's largest oil company, Lukoil, signed 3.5 billion dollar contract in 1997 to develop West Qurna with reserves put at about eight billion barrels. French company TotalFina Elf enjoys exclusive negotiating rights for Majnoon and Bin Umar oil fields. China, India and Vietnam have all signed contracts with Iraq to develop its oil reserves, which are the world's second largest after Saudi Arabia. The Iraqis have apparently lost patience and started developing the fields themselves. But its unlikely that they will be able to increase their production substantially without foreign help. Industry analysts put Iraq's current production capacity at about three million barrels a day and say foreign investments worth billions of dollars are needed for any significant boost in output. **************** Also: Harold Pinter: Why George Bush Is Insane http://www.theassassinatedpress.com/pinter2.htm & from Cooperative Research's website... Iraqi Oil and Gas Reserves, Oil Industry page http://www.cooperativeresearch.org/oil/Iraqoilgas.htm Are American Intelligence Analysts Cooking the Books on Iraqi Weapons of Mass Destruction Evidence? http://www.cooperativeresearch.org/wotiraq/iraqwmd.htm Patrick Patrick Herron patrick@proximate.org !!!!!!!!!!!!!!!!!!!!!!! !Getting Close Is What! ! We're All About(TM) ! !http://proximate.org/! !!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Sun, 26 Jan 2003 22:21:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: forever hidden In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable forever hidden the disposition must be depressed, thematically chiseled in the=20 borderline - of a broader in-between, slightly more complicated than=20 =93food for thought=94 or an essay on love, which never fails to daze.=20= anyways, the clouds drift away, everyone was buying the new mysterious=20= feeling, or ordering better top soil. born in a hospital to cubism and home improvement, fresh starts appear=20= on the spot. even fresh starts have their own luck of the draw, and=20 they are winners every time. time itself has a complete make over.=20 after intensive study and a familiar state, incoherent ideas form and=20 are immediately dislodged. old songs are added to the next station,=20 polyester is a shining trout again. dead batteries could be exchanged=20 for new ones. certain neighborhoods seemed to disappear off the map,=20 along with certain faces. eyes glaze over, and ceiling fans are=20 invented. and then for no apparent reason there was no more side=20 effects, just periodic tables and regular associations.= ========================================================================= Date: Mon, 27 Jan 2003 00:26:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: paul whitney x2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE PAUL WHITNEY COLLECTION byteloop #0005..................excerpt www.the-hyper-age.com roulades roulades roulades roulades overtook overtook overtook overtook pint Stock sieve pint Stock Thorolf sieve pint Stock Thorolf sieve pint Stock Thorolf sieve Thorolf sixpence sixpence sixpence sixpence pint pint pint pint wrapping steadily submitted wrapping steadily submitted wrapping steadily potatoes submitted wrapping strain steadily potatoes submitted strain potatoes strain potatoes strain bites bites purposing bites spoonful plenty purposing bites spoonful plenty purposing spoonful plenty purposing little pieces spoonful plenty dripping little pieces crumbs dripping little pieces oz Crumbs-d crumbs dripping balls little pieces oz Crumbs-d crumbs dripping balls oz Crumbs-d crumbs desired balls oz Crumbs-d desired balls desired desired simmering simmering hast simmering hast simmering hast sausages hast sausages tackling elaborate Thorolf sausages tackling elaborate Thorolf sausages tackling elaborate Thorolf tackling elaborate Thorolf spoonful spoonful spoonful spoonful oz Crumbs oz Crumbs oz Crumbs tyranny colonized oz Crumbs tyranny colonized tyranny colonized tyranny colonized blund Hrisa-blund blund Hrisa-blund blund Hrisa-blund blund Hrisa-blund clutched clutched Brynjolf made little clutched Kveldulf donors Brynjolf made little carles taking clutched Kveldulf donors Brynjolf made little carles taking prepared bade Kveldulf donors Brynjolf made little carles taking prepared bade Kveldulf donors carles taking dwelt Hrisa prepared bade northwards dwelt Hrisa prepared bade northwards dwelt Hrisa northwards dwelt Hrisa northwards accomplished deed accomplished deed accomplished deed accomplished deed tenders tenders tenders tenders Egil mounted Egil mounted hearted Egil mounted hearted Egil mounted hearted pieces hearted pieces pieces crust pieces crust carles awhile crust Aulvir Hnuf carles awhile crust Aulvir Hnuf carles awhile Aulvir Hnuf carles awhile Aulvir Hnuf LENTILS LENTILS LENTILS LENTILS Squinter Gunnhilda Squinter Gunnhilda Squinter Gunnhilda Squinter Gunnhilda cornflour cornflour cornflour Silverside-d cornflour Silverside-d Silverside-d Silverside-d tablespoonful Marmalade-d tablespoonful Marmalade-d tablespoonful Marmalade-d tablespoonful Marmalade-d followed brothers come followed brothers come harm mischief followed brothers come harm mischief followed brothers come cornflour harm mischief cornflour harm mischief cornflour cornflour walnuts walnuts Harold long walnuts comrades all loosed searched Harold long walnuts shuttle comrades all loosed searched Harold long shuttle comrades all loosed searched Harold long shuttle comrades all loosed searched shuttle Redden all blood Redden all blood Redden all blood cheaper Redden all blood cheaper cheaper cheaper alternately alternately melted alternately melted alternately melted melted Total Total all Total all Total all oz all oz boiling long oz boiling long oz Total boiling long Yngvar Total boiling long Yngvar Total Yngvar Total wounds ask cattle Yngvar wounds ask cattle wounds ask stock cattle wounds ask stock cattle stock chattels boiled stock chattels boiled Skallagrim named chattels boiled Skallagrim named chattels boiled Skallagrim named Thorolf Skallagrim named Thorolf islands Thorolf weights islands Thorolf Total weights islands Total Total weights islands Total Total weights Total Total ********************************* THE PAUL WHITNEY COLLECTION byteloop #0006..................excerpt www.the-hyper-age.com BODKIN BODKIN STOCCATA fencing BODKIN STOCCATA fencing Crosseth heaven courses BODKIN STOCCATA fencing Crosseth heaven courses STOCCATA fencing Crosseth heaven courses RONDEL score SCROYLE rascally Crosseth heaven courses RONDEL score SCROYLE rascally RONDEL score SCROYLE rascally RONDEL score SCROYLE rascally BROKE transact BROKE transact BROKE transact BROKE transact Pol let Pol let TIBICINE tibia Pol let MOTTE TIBICINE tibia Pol let MOTTE TIBICINE tibia MOTTE TIBICINE tibia MOTTE? told declining told declining wrapping told declining reconcilement wrapping told declining reconcilement wrapping reconcilement Pyr wrapping BESCUMBER reconcilement Pyr BESCUMBER Pyr BESCUMBER Pyr BESCUMBER offence offence offence offence PROJECTION throwing enough PROJECTION throwing enough PROJECTION throwing enough ROVER shooting PROJECTION throwing enough ROVER shooting offered ROVER shooting thy AEneids? offered ROVER shooting thy AEneids? offered simpleton thy AEneids? offered simpleton thy AEneids? simpleton simpleton doth pierce doth pierce doth pierce doth pierce judges judges judges judges all prepared all prepared all prepared all prepared Ay masters Ay masters Ay masters Ay masters thy thy thy motley gull thy Tuc Achates motley gull Tuc Achates motley gull Tuc Achates motley gull Tuc Achates compassionately compassionately compassionately donors compassionately donors donors donors thorny satirical thorny satirical tenders thorny satirical tenders come all thorny satirical tenders come all tenders come all analytic come all analytic hearted analytic grows Lex hearted analytic grows Lex hearted grows Lex hearted grows Lex spotted spotted shooters see spotted shooters see spotted shooters see shooters see all lessons all lessons all lessons all lessons Katherine Katherine Katherine Katherine Unto travails reeling claps Unto travails reeling claps Unto travails reeling claps Unto travails reeling claps DUILL DUILL DUILL DUILL Tib parties accuser accused Tib parties accuser accused Tib parties accuser accused Hor Tib parties accuser accused dearly Hor dearly Hor Katherine dearly Hor Katherine dearly Katherine Katherine such Katherine such Katherine such made Katherine REEL such made Katherine REEL shuttle-Caes made REEL shuttle-Caes made REEL shuttle- Caes buskins shuttle-Caes ing buskins hoped ing buskins hoped ing savours buskins hoped ing savours hoped savours savours sung aloof WICKED sung aloof awe-stricken ceased WICKED sung aloof awe-stricken ceased WICKED sung aloof awe-stricken ceased WICKED awe-stricken ceased tricking cheating Nares tricking cheating Nares tricking cheating Nares tricking cheating Nares lawyers captains lawyers captains obliged lawyers captains obliged lawyers captains obliged obliged ? Scaeva Scaeva Scaeva cast Scaeva cast cast farthings cast Tuc matters sirrah all farthings Tuc matters sirrah all farthings Tuc matters sirrah desired all farthings Tuc matters sirrah blast desired all blast desired MECAENAS GALLUS blast desired habits MECAENAS GALLUS blast habits MECAENAS GALLUS habits MECAENAS GALLUS habits discourse discourse discourse discourse James --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Mon, 27 Jan 2003 00:30:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: celix x2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit WIRED PARIS REVIEW CELIA CURTIS PENULTIMATE DYNAMIC INTERPLAY #0040 [excerpt] www.wired-paris-review.com FLEA => FLOAT => THIS AND THE SETTLEMENTS THE REVERIE => RUG => IT INFIRMARY => HE WOULD HAVE BEHELD ON THE SCRIBBLEDIDDLE => OF THE WEIGHT => THE I HAD THROWN THE COURTS => CRIMINAL => I WAS STRUCK WITH THE LAWYERS HAVE CHERISHED FOR IT HAS BEEN GLORY|MARVELLOUS => AND RESPECTFUL IT HOW UNSUITABLE => THE STEAMER MIGHT BE HAD NO FOR WAS NOT FOR THE OF THE OF THE I WANDERED ABOUT THE COMPULSION => AS LONG AS THE FRESH => JAM => KENNEDY => OUT REMARKED ALESHINE I D OVER IT WAS HERE MIGHT HERE SAY THAT THE GRAND => YORK => STICKS WHICH I WITH MY AX BUILT A IN THIS SNOWY COULD AT ALL HARDLY => APPEAR => IF THERE BE ANY THEY DO NOT EVERGREEN => INTO A LABORIOUS AND FEARFUL => FOR ANY RELIEF-LODGE => LOW => TO TYRANNICAL AND WHAT TOUCHED ME THERE WAS SUCH LITTLE FALLS ABOUT STUMPS => PROPORTIONS WITH FEW VOLUMES IN I FLEAS => FOE => EXPLAIN => FAIL => EMIGRATION SECURES THEM CHEAPER MENTHOL => MESSAGE => THE TEND => TOE|HEALED => OF THE MOOR => PEAK => TUMMY|RICE => FORWARDING IN REVERIE => RUG => GRAPHY => NEAREST TO THEIR FINAL BE THERE WITHOUT ANY BUTTERCUP => FOR IT MIGHT HAVE FLOATED AND SLOW => TO THEIR BUCKET => EFFICIENT => UNABLE => POPPER => SAFE => PRAIRIE EXTENDING TO SHAYENNE RIVER KNOLLS BUT WHEN LECKS SUGGESTED BUSHES GAZED AT THE GLORY|MARVELLOUS => ENGAGEDSINGLECOUPLEW => INTO MATTERS => NATURAL => GILMAN CRETINOUS => CROOK => AT SUNDOWN WAS REJOICED TO A PREEMPTION THE PRIVILEGED AND TO WHICH PRECEDENCE IN DECAY IS IT STUCK => THEY HAVE NOT ENOUGH DUFF => BONFIREASTER => BANG => DO MY ENDING => EXTINCT => WAS CHARACTER => SPIRITUAL => BUT THE SPLEEN => DEMEANOR OF HER CANNOT DETERGENT => SQUEEZE => TO THE AND ABSORBING WITH COLOR => FOREST => BRIGHT => CAMP => ON BROTT AND WILSON MAGNETIC => POINT => SLUMBERS WERE AND UNREFRESHING IF THERE HAD BEEN TO SIMPER => AND THAT MIGHT BE THEREFORE PROPOSED THAT WE EFFICIENT => UNABLE => SHAYENNE REVERIE => RUG => WIDE DEEP REVERIE => RUG => SNOW => OF US HAD HAD GENTLENESS => THE IRRATIONAL => NIGHTS AND WE STATED HIS OPINIONS ON THIS PARTRIDGE|IN => TO LECKS PUTTIN IT INTO THE BANG => BAR => JAR WITH THE RULESQUARANTINE => BUT THEIR SLIDE => LOONEYVILLE STUFFED IN FLEA => FLOAT => IRRATIONAL => OF THE SLATS WHICH FORMED THE I FLEAS => FOE => A DRUNK => DUSTBIN => SPEAKER => TRIALS => DOLLARS A FOR OF US IRRATIONAL => TO JEWELRY => KIDNEY => I MIGHT AS DARE => DESTROYED => HAVE TALKED TO HAWK => AUNT => WAKE => OF THE WHICH WAVED OVER ENDERTON INTENDED TO DO WE DID NOT HE WAS ON HIS SCUFF => SEAGULL => TO THE REPUDIATEACCEPT => BY THE MONK => SANCTUARY => OF ST ANTHONY THE SUSPENSION WHICH MY HAD STOPPED BUT I IT WAS THE OF THE CHANCES FOR LAWYERS IN THE SCENERY => CHARLES O'CONNOR GLISTENS => TO ROBES => SO UNSUITABLE => AND ALTHOUGH ALESHINE HAD PLENTY OF VIGOR SHE AND ACRES IN THE CONTINGENCY THERE IS NO TO IT TO LECKS ANY HAWK => AUNT => WAKE => INTERFERING WITH MY UNDERLAY => WEAVE => AND I I HAD BEEN TO AS IN THE MISS => MISSED => MOD => SIN => STEALING => OF THE THE OF COULD NOT DALE => DANK => DEEP => WITHOUT BELOW => EQUAL => HAD REMARKABLY AT LONG SWINGIN ON ITS STUCK => WE WAS THAT TRAMP OR REPUDIATEACCEPT => IN SHE THIS MIGHT ALL BE WE ENGAGEDSINGLECOUPLEW => FORT GARRY AND AT THE OF THE ASSINNIBOIN AND THE CAUSES OF SO HOARD => MANY => AND SO POSTED => ATTAINED BY POWERS STEPPED CHRISTMAS => COZY => TO ME AND ME BY THE HER WAS CHARACTER => COUNTERPOINT => AND COME RACIALISM => RADICAL => TO AND ALTAR => ALTER => IN THE HE OUGHT TO DEVIANT => INSTEAD OF FIGURE => FLOE => IN THIS BLOODED MANNER BUT AS MY COMPANIONS BUSHELS TO AN IS PERCEPTION => AT GEMS => CENTS BUSHEL THE OF WITH THE CLERGYMAN => READER => FOR THE ************************************************** WIRED PARIS REVIEW CELIA CURTIS PENULTIMATE DYNAMIC INTERPLAY #00401 [excerpt] www.wired-paris-review.com WAS YUH SAYIN NEVER => WISDOM => APOLOGY => TO KEEPING IN THE SCOPE => SENSATION => AND RAINBOW => CORONET => BUDGE WAS SO NOT => NUDE => PANTS => THEM OF THE PRESENCE OF AN EXAM => THEY ABOVE ALL ON AND THAT AS SEGMENTATION => THEY COULD MUSTER LITTLE FAST => FASTEST => WHEN ADDED HIS TO SILENCER => TARGET => THE HAVE SERVILITY => AS FLORIDA => CROCODILE => AS HE WOULD HAVE LIKED THERE DID YOU THAT ARCHITECTS => ASPIRE => THE POLICY => ASKED ELMER WHEN HE RAY => READY => SO BE SPRY ABOUT IT YOU CRACKERJACK => CORTEX => IRELAND => TO WITH THAT AXIS => YONDER AND THE CANDLESTICK => IT NO AVERAGE => CREDIT => HARDSHIP TO THE OF THE THUMB => TIPS => ARMS => MERE AND WEARIED OF LISTENING TO THEM FOR THEY ATTRACTION => BUREAU => A THAT TO IT BUT ENJOY => D'YE SCIENTIFIC => THAT IS ACOMIN' THE POLICY => THERE AND A => ACORN => WHICH PRODUCED SUCH NOISES LEDGER => THAT THERE WAS NOT SO PROFANE => PIES => TARTS => HIM FOR IT WAS THE THEY WERE NOT SMALLEST => KRUSCHEV => TO LAG WHAT IT HAS BUT I YOU ANGER => ANTE => SOONER THAN GAINED => GENTLENESS => TO NO YOU DON'T HE EXCLAIMED WE ALL CHUMS AND WE SING => SOCIETIES => OR RUG => RUGGER => => I PAW|MAX => A HOSS COMING ELMER DIGESTION => ON THOUGH THE ENLIGHTENMENT => OF THE BUSTLING PLACES => PLIGHT => AT THE OFTEN => OF LOOKOUT MOUNTAIN AND LEDGER => IN OF FELLOWS BEFORE THIS POLICY => CHANCES ARE ANY CANDLESTICK => SHOOTING HIM HIS SHORT => STEADY ON|INFINITY => HOOVER HE SERVILITY => TO ARCHITECTS => ASPIRE => SIDES => SLICE => AFTER THEM BUT COULD CRACKERJACK => OUT WHICH ISN'T SAYING CONTINUED THE HAPPEN => INDEFINITE => THAT THERE ARE NO UNHOLY|HALT => THE FOR THE LONGEST MORALITY => TRAMP => RAINBOW => CORONET => HE RUG => RUGGER => => HAD REACHED A CENSUS => CITIZEN => SHOOTING HE BAT => CLANGER => BELIEVED MIND => MYSTERIOUS => IN HIS THAT THE MENSTRUATION => HOOVER PLAYING => PLUMP => ADDED ELMER SHOPPER => SHOPPING => AND WITH MERINGUE => MESSY => TALK => TAUGHT => AT THE THOUGHT YELLOWSTONE INJUN FRECKLES BEEN DUMPED SO FEELER => THEN WITH AND CRACKERJACK => IT CRYIN TO CONSIDERATION => THIN => TILE => AND ELMER SAY THE WHICH THEIR DAY UNFOUNDED => WAS APT PLUNKETTY PLUNKS AROUND THIS CAMP BUDGE CLIFFORD AT BET => COMPASS => OF WE PHILOSOPHY => PI => THE HAVE => OWN => KEEP => SHE ADDED I MOTORCYCLES SLICK => ELMER DEMEANOR IMPRESSED THE BIGOTRY => VOICED ENJOY => HAD SAINT => SETTLEMENT => HAD SUCH GRAND => OFFICIALS => SEVERAL => ENLIVENING AND BEASTS YOU HANKY PANKY WAS SAYING AND SEX => MOROSE => MOST => TO BURST => SHOWER => ON THE BEAR HAIR AND THEN SOAKING BALLS DON'T TO BE JACK YOU CARRYING WHAT WHEN HIS THIS TOGETHER WITH THE EASE => HE A ORGANIZATION => INDIANS => OF THE TO => HOLIDAY => TO THEM BUT PRESENTLY THE OF THE NEWCOMERS BEFORE THEY WERE AT IT HARDER'N EVER RAYMOND => THEY FURTIVE => TO SUCH MANNERS => MEANS => OF THE THE CRACKLING OF THE CAMP- CONTEMPLATE => OUT OF THAT NAVY => I THE CLASSES => WAS SHOUTING => SHRINE => WHEN RECOGNISE => ROOT => HOW SHOOTING => IT WAS GROWING SO I TO THAT MIGHT INDNESSCEL => AT ANY HINDERED => HIT => ON|INFINITY => OF THE MOTORCYCLES IN THE COMPOSITION => OF OVERTAKING THE BOYS INSPIRATION => AND THE FLAMES OF THEY QUICKENED THEIR AT THIS AND ASKED FILMS => GLOOMY => WHAT KNOTS THE EASE => YOU DID IT WAS RAYMOND => A ROD => DEPARTMENT => TO ME THAT WHAT SPIRITS => CORK => SHOUTING => SILVERY => TO ANIMAL => THAN THIS BORE|GEOLOGY ICE => OF IN AND OUT DIGESTION => ALEC AS THOUGH HE WERE WEAVING AN INTRICATE WAS FINALLY => FIND => TO A TOURIST => HE COULD HE OUGHT TO BE MARTIALED AND CANOE => CHART => FOR SLEEPING ON HIS ASTONISHMENT => OF WITH THE SOLDIERS OF MOPED|SULKY => SAM ENJOY => AT ERROR => FEELER --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Mon, 27 Jan 2003 05:47:48 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog today Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The value of the local: "hero workers" of contemporary poetry A poetry of surfaces: John Ashbery's "A Sweet Place" The Tennis Court Oath: John Ashbery & the Wesleyan Poets of the 1960s Allen Bramhall, Barrett Watten & Bob Grumman on Robert Grenier's "Sentences" Richard Deming's new modernism Do bloggers "control" poetry? Is langpo a "cult"? 38 blogs on poetry & poetics Stephen Ratcliffe's SOUND (system): the complexity of a line Funny formalism: The soft porn poetry of Sophie Hannah & the "new gen" invasion Tom Raworth's Collected Poems: Collected versus complete Philadelphia Progressive Poetry Calendar Updated for the new year http://ronsilliman.blogspot.com/ 10,000 visitors in 2002 Salt Publishing has just published a new edition of my poem Tjanting with a new forward by Barrett Watten. Available in the U.S., U.K. & Australia. http://saltpublishing.com/1876857196.html Two poems from The Age of Huts have been reissued by Ubu press as e-books: Sunset Debris & 2197 http://www.ubu.com/ubu/ I will be reading in the Temple Writers Series, Temple Gallery, 45 North 2nd Street, Philadelphia, Thursday, February 27th. The reading is at 8:00 PM and is free to the public. ========================================================================= Date: Mon, 27 Jan 2003 04:30:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: The Temple of Day as Night Comments: To: wryting Comments: cc: rhizome MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii for Lanny Quarles This is how I would make your Film. Veins are pivotal, not needing hinged engines focus glottal orange down on the brainscan of amorous I've got sunshine/.../on a clou/.../dy day. My new cigarette stops world war from metaphorically should be complete by 2003/01/24 14:25:02, she moans, placing each possibility before the slit in her nipples is a point of view I don't share with the monkey gnaws her from inside, outward toward war dens alight on the fingertips of lust for bigger cars hangs limply over one eye. The animal that point of view is veers and sharpens in pensive rooms when animals pour sites across thighs made for pixels crystal in oddly new foliage. Shapes. She stares for awhile at the escalator. Does it look back at her, I wonder, and if so on the phone to her mother, tutoring in image crops. Mostly, I don't think about it; every cluster is relevent in its contiguity. I blink thought-dreams if our film's bio-warfare's cracked by teenage network thugs, and what of dribbling on the palm? Moisture recurs, slick keys semen mental nametags; I like this one, this one's worth, closure of circles. I made sure the rope was snug around my neck. I tied myself to the bed you watched flames wheeling through almost singing your face of praise the bland poetics of broadband nausea, new seas of light, lit by tilting swill planets of PHD. The stairwell through your flesh watches as I think kings for an outdoor ampitheater at twenty-four frames as seconds of cgi interference with my skin's thought-streams of media ate my headfruit from inside, slippery, the dominant poets would have you believe the staircase when it tells you your looks in a box, locking up. Because the/.../great/.../est/.../love of all's/.../inside of me. I took it in my hand. 2003/01/27 07:12:20 ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 27 Jan 2003 05:25:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: slam by "PhD" at Brown In-Reply-To: <3E34439F.21726.69365@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I did. Shall I do an anti-slam of it? (Because it was monstrously good. And no one, to my recollection, farts in it.) Oh but I don't have a PhD. But I'm brown. But that credential for some reason doesn't help as much as used to in the 90s--except when I'm at the airport and in a hurry to be detained and cavity searched... Who blew up Identity Politics? is what I want to know... --- J Gallaher wrote: > Almost makes me glad no one read my book . . . > > Almost. > > JG > > ---------------------------- > A recent Amazon.com review of Defense. > > "Upper-Crust Poetry Disguised As Fart Joke, January > 22, 2003 > Reviewer: A reader from New Jersey > To the point: one guy reviewing this book gives it > five stars before > he reads it because... he took a class from Gudding > at Cornell. ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 27 Jan 2003 08:02:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: maryland cuisine (for AWPers) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Crab Tassies For the pastry: 1/2 cup (125 ml) butter at room temperature 3 oz (80 g) cream cheese at room temperature 1 cup (250 ml) all-purpose flour 1/4 tsp (1 ml) salt For the filling: 1 lb (225 g) crab meat, picked over 1 scallion (spring onion), green and white part, finely chopped 1/2 cup (125 ml) mayonnaise 1 Tbs (15 ml) lemon juice 1/2 cup (125 ml) grated Swiss cheese 1/4 cup (60 ml) finely chopped celery 1/2 tsp (2 ml) Worcestershire sauce Salt and freshly ground pepper to taste Hot sauce to taste (optional) Cream the butter and cream cheese together until smooth. Stir in the flour and salt. Roll into 24 balls and chill for 1 hour. Press into small muffin tins, about 1 1/2 to 2 inches (4 - 5 cm) in diameter. Combine the ingredients for the filling, stirring gently to mix well. Spoon into the unbaked pastry shells and bake in a preheated 350F (180C) oven until the crust is golden brown, about 30 minutes. Serve warm or at room temperature. Serves 6 to 8. -- ========================================================================= Date: Mon, 27 Jan 2003 08:50:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Today's mail - boys, girls, and humans MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Today's mail - boys, girls, and humans ROXANA , saber ver , writing about them, so I might as well write about them, too. And my girls BKramm@t-online.de, blendaboy@yahoo.com, britoexplicito@hotmail.com, A weekend search turned up no trace of four teenage boys who >collections in human sexuality and Asian Studies. humanitarian needs for the Iraqi people as well as spare parts to humanitarian needs for the Iraqi people as well as spare parts to > imagining the worst of every human being > imagining the worst of every human being > imagining the worst of every human being prosista de quinta y un ser humano de d=E9cima."El maestro del arte de = >From owner-humanist@Princeton.EDU Mon Jan 27 02:11:07 2003 Return-Path: Sender: Humanist Discussion Group To: humanist@Princeton.EDU From owner-humanist@Princeton.EDU Mon Jan 27 02:15:30 2003 Return-Path: Sender: Humanist Discussion Group X-To: Humanist Discussion Group To: humanist@Princeton.EDU Reader D. K. Hernandez says the "dehumanizing" surveillance systems described in Dan Farber's "A day at the office in 2013" are already a part of corporate life today. "It will take decisions by both management and worker to determine whether our business future will be a unified system of people helping people, or divided in conflict between parasites, victims, and parasite-fighters." would be much more costly in human lives and material destruction than relevant articles on the environment, development, human rights, U.S. justifies the infringement of civil or human rights (at home / or abroad), or other issues connected with human rights violations by the Communist http://human-nature.com/nibbs/issue84.html Subject: are all human impulses morally good? Take for example the rapist. It may well be that generating rapist inclinations is an Evolutionary Stable Strategy for a small proportion of genes in the gene pool. Does that mean we should say rape is a good thing as it is grounded in human nature? Or maybe we should say, the odd rape is a good thing, as long as it doesn't get out of hand? Or take the prospective war with (or liberation of) Iraq. People have divergent and in many cases well argued views as to whether or not this would be a good thing. The moral arguments are based on a range of highly complicated factors. Both the pro and anti war camp asre presumeably effected by the same human nature so if that is all there is how do we make sense of such complex moral judgements. > legal treatment of non-humans, among many others. Certainly science can and has > been misused, but so has every other intellectual tool that we humans have thus > > http://human-nature.com/nibbs/issue84.html > > knowledge. Individual humans in modern societies are far from human somatic cell engineering, and === ========================================================================= Date: Mon, 27 Jan 2003 09:52:56 -0500 Reply-To: waldreid@earthlink.net Sender: UB Poetics discussion group From: "waldreid@earthlink.net" Subject: fiction listserve? MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Does anyone know of a good listserve for fiction writers? Backchannel fine, unless others are interested=2E=2E=2E=2E Thanks, Diane Wald -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Mon, 27 Jan 2003 08:24:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Paul Haines In-Reply-To: <00f901c2c4f5$f85b7490$1b746395@DC3NX221> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" It's sad to hear the news about Paul Haines. And, perhaps, sadder still, I think this is the first time I've seen mention of him by someone who wasn't more involved in new music than in new writing. Though I guess I'm not much different, as most of my own experience with his work was hearing it sung by others either on records or (my fondest memories of the work) a concert by Curlew with Amy Denio singing Haines' texts set to music by that I produced when I still lived in Seattle. I'm not sure I can think of another instance of a writer who is, as noted by Nate Dorward, well within the pocket of, what are we calling it now, "innovative poetry?" who is so much better known by artists working in another field. Though I guess, a list of people working in & around "innovative poetry" might not be the best place to find references to other such examples. >I don't think anyone's posted this news to the list. Haines' poetry was >featured on Carla Bley's famously ambitious (not to say sprawling) >_Escalator Over the Hill_ (whose cast of musicians ran from Don Cherry to >Linda Ronstadt), & he was the subject of a 1994 2-CD tribute album, _Darn >It!_. His work was comparable to Clark Coolidge's in its very personal >attempt to find a poetic vocabulary that responded fully to both musical >innovations in jazz & to the abstractions of Gertrude Stein & her poetic >descendents. Like Coolidge he was the author of some of the most >idiosyncratically eloquent liner notes to jazz CDs in existence--try Paul >Bley's _Footloose_ on Savoy or Evan Parker's _Saxophone Solos_ on >Chronoscope for a taste. --N > >Nate Dorward >109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada >email: ndorward@sprint.ca >web: http://pages.sprint.ca/ndorward/files/ > > >----- Original Message ----- >From: "Broomer Stuart" >To: "Broomers" >Sent: Thursday, January 23, 2003 3:48 PM >Subject: Paul Haines > > > >It is with deep sadness that I inform you of the passing of Paul Haines, who >died at home in Ennismore, Ontario on Tuesday, January 21. Whether as poet, >music writer or filmmaker, Paul possessed the rarest quality--genuine >originality. His vision, wit and expansive generosity will be missed by all >who knew him and his work. A memorial celebration of Paul's life is being >planned to take place in Toronto. > >Stuart Broomer > >broomer@sprynet.com ========================================================================= Date: Mon, 27 Jan 2003 09:00:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: I try to avoid the void altogether In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit I try to avoid the void altogether my ashen words hang on my side with no particular categories, force into split level idioms. I used the wrong ones in keyholes and ordered a self issue subscription of myself to myself. I know I am without tax, or text, or a real development plans, just some cracked glass and a chocolate grinder with its own dual site of "I'm not it," "seek only when I want to." and as far as pornography, I just replace the pronouns and nouns: she for he for she, dog for a child for grandma for a loaded revolver, warm and trustworthy - a fragment or example that gets reprinted just before extinction. distribution is widespread to the obvious misplaced positions between the bed and refrigerator . . . I mean greatest hits album and . . . no, it's already tuesday, which is different than most four letter words, but the same post arrangement of incidents. ========================================================================= Date: Mon, 27 Jan 2003 09:00:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series, Spring 2003 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Holloway Poetry Series, Spring 2003 Colloquia with the poets at 4:30 pm on the 3rd floor of Wheeler Hall, UC Berkeley (1/30--in room 330; thereafter, in room 305) Readings begin at 6 pm in the Maud Fife room, 315 Wheeler Hall, UC Berkeley All events free and open to the public Jan 30 Tom Raworth and Zabet Patterson Tom Raworth was born in London just before the Second World War and is living in Cambridge during the Third One. For more than forty years he has worked, written, printed, published, taught, collaged, travelled, and indulged the usual physical functions. He likes spicy foods, and needs mor= e light as he gets older. His Collected (not Complete) Poems will be published in the UK by Carcanet Press in April 2003. Zabet Patterson is a doctoral candidate in the Department of Rhetoric at UC Berkeley. Her academic work is focused on new media technologies, with a particular emphasis on the politics and rhetorics of visual representation in digital media. Her artwork focuses on issues related to the body's technological habitus and mediation within a digital field. Forthcoming publications include =8CConsuming Fantasy in the Digital Era=B9, in Pornography On/Scene, a collection edited by Linda Williams. Feb 11 Jean Day and Warren Liu Jean Day has lived and worked (as an amanuensis, nonprofit manager, editor, writer, performer, and poet) in the Bay Area since the mid-1970s. Her work appears in a number of anthologies, including In the American Tree and Moving Borders: Three Decades of Innovative Writing by Women. Among her books of poetry are The I and the You, The Literal World, and the forthcoming Enthusiasm. She lives in Berkeley, where she is currently managing editor of the journal Representations. Warren Liu was born in Buffalo, NY. His poems have most recently been published in Chain, Faucheuse, Chicago Review, and Interlope. He is currently a graduate student at UC Berkeley, where he's working on a dissertation focusing on Asian American poetry. March 4 Edwin Torres and David Larsen Edwin Torres started creating text and performance work in 1988 under theh banner "I.E. Interactive Eclecticism." In 1990 he discovered poetry at Th= e Nuyorican Poets Caf=E9 and the St. Mark's Poetry Project and poems evolved ou= t of his I.E. Monologues. He has since collaborated with a wide range of artists, creating performances that mingle poetry with improvisation, visua= l theater, music and sound. His media assault includes MTV's first Spoken Word Unplugged and in Rolling Stone, High Times, and New York Magazine; his CD Holy Kid was part of the Whitney Museum's American Century Part II exhibit. His books include The All-Union Day of the Shock Worker (Roof Books), Fractured Humorous (Subpress), Onomalingua: Noise Songs and Poetry (Rattapallax), and three self-published chapbooks, SandHommeNomadNo, Lung Poetry (with photos by Luigi Cazzaniga), and I Hear Things People Haven't Really Said. Edwin is currently co-editing POeP!, an eJournal, and Cities of Chance: An Anthology of New Poetry from the United States and Brazil (Rattapallax). David Larsen is a graduate student in UCB's Comp. Lit. department, where he works on Greek and Arabic. He is also writing a horror comic entitled "Basket of Blood." His art, writing, and art writing have appeared in Old Gold, Explosive, Kenning, Chain, Lipstick Eleven, the St. Mark's Poetry Project Newsletter, and numerous self-published booklets, many in the collection of the Bancroft Library. With poet Beth Murray he co-edits the Oakland-based San Jose Manual of Style, and his "Dogma '01" manifesto is still in full effect and viewable at http://www.litvert.com/lrsn.html. April 3 Juliana Spahr Juliana Spahr was born in Chillicothe, Ohio in 1966 but she currently lives in Honolulu, Hawai`i. Her books include Fuck You-Aloha-I Love You (Wesleyan= , 2001), Everybody's Autonomy: Connective Reading and Collective Identity (U of Alabama, 2001), and Response (Sun & Moon, 1996). She co-edits the journa= l Chain with Jena Osman (archive at http://www.temple.edu/chain). She frequently self-publishes her work. Eventually an online version of this work will be available at http://epc.buffalo.edu/authors/spahr. April 29 Annie Finch with Marcelo Pellegrini and Ron Loewinsohn Ron Loewinsohn was born in the Philippines, and first came to the United States with his family in 1945. He joined the faculty of the English Department here at Berkeley in 1970. He is the editor of a volume of essay= s by William Carlos Williams, The Embodiment of Knowledge, and the author of six volumes of poetry (including Watermelons, L=92Autre, Goat Dances and Meat Air: Poems 1957-1969) and two novels. His poems, essays and interviews hav= e appeared in journals and anthologies throughout the US, Canada, Mexico, and Europe. His work has been translated into German, Spanish, French, Italian and Hungarian. In addition to a number of academic fellowships, he has als= o received two fellowships from the National Endowment for the Arts and one from the Guggenheim Foundation. His novel Magnetic Field(s) was one of the five finalists for the National Book Critics=92 Circle Award in 1984, and received the Bay Area Book Reviewers Award that year. It has just been reissued in paperback by the Dalkey Archive Press, and a film adaptation of the novel is now in progress. He is currently at work on a new novel, titled The Palio, and a memoir, titled Home Again, Home Again. Marcelo Pellegrini was born in Valpara=EDso (Chile) in 1971. He studied Spanish and Latin American Literature and Linguistics at the Catholic University of Valpara=EDso. His poetry publications are Poemas (Poems, 1996), and El =E1rbol donde envejece la muerte (The Tree Where Death Ages, 1997). Th= e latter won the Literary Prize of the City of Santiago in 1998. He has published his poetry in several journals in Chile and Latin America, and also in anthologies of young Chilean poets. Some of his poems have been translated into Portuguese, Greek and Swedish. He has been in the US since 1997, and since then has translated the poetry of Richard Kenney, James Merrill, Kenneth Rexroth and James Laughlin. He is currently working at UC Berkeley on his Ph.D. in Latin American Poetry. Annie Finch's books of poetry include Calendars (Tupelo Press, 2003) and Ev= e ( Story Line Press, 1997) as well as a translation of the Complete Poems of French Renaissance poet Louise Lab=E9, forthcoming from the University of Chicago Press. She has also written, edited or coedited five books on poetics, most recently An Exaltation of Forms (Michigan, 2002). Her opera libretto "Marina," based on the life of Marina Tsvetaeva, will premiere in New York in May 2003, directed by Anne Bogart. Sponsored by the UC Berkeley Department of English For further information about the Holloway Series, please contact jscape@socrates.berkeley.edu, or check out our new website: http://socrates.berkeley.edu/~poetry * * * * * * * * * * * * * * * * * * * * * ========================================================================= Date: Mon, 27 Jan 2003 12:02:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Poets Against the War MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit when down in DC for the march recently, i was surprised to see NO poets on stage, except for Patti Smith, who sang PEOPLE HAVE THE POWER! poets such as Anne Waldman in the audience, listening with the rest of us to hours of sometimes interesting, but mostly redundant speeches. poets are ESSENTIAL to lifting and formulating the language of change. i had thought about asking Waldman if we should storm the stage and insist they put her up there, but i don't know this woman, so just sang along to Patti Smith with her like everyone else. next march, next meeting, next uprising we need to gather the hordes of AMAZING young genius poets all over this country, fresh with outrage! more later (you can count on it!), CAConrad from the sounds of Philadelphia ========================================================================= Date: Mon, 27 Jan 2003 12:35:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Jena Osman From: Poetics List Administration Subject: please post to the list MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit I've been working with a web programmer on an old poem of mine. It's getting to the final stages and we need people to test it out so we can de-bug it. Please let me know of any problems or confusions you have with the site by sending a message to josman@temple.edu (not to the list--my subscription isn't active right now). If possible, please let me know what platform you're using, what web browser you're using and the version number of that browser. It would also be helpful to know your connection speed and whether you're dialing in via a residential ISP or an institution's network. The site is located at http://www.outplace.net/zhivago/index.html Thank you! Jena Osman ========================================================================= Date: Mon, 27 Jan 2003 12:37:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Al Filreis From: Poetics List Administration Subject: Walter Bernstein webcast MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you are invited to join us as.... Kelly Writers House Fellows presents a conversation with legendary screenwriter WALTER BERNSTEIN via live webcast 10 AM eastern time - Tuesday - February 18 Among the most eminent living screenwriters, WALTER BERNSTEIN was first a regular contributor to The New Yorker and wrote for some of early television's finest dramatic shows. He is best known as the writer of films, among them FAIL SAFE, THE MOLLY MAGUIRES, THE MAGNIFICENT SEVEN, and THE FRONT (for which he received an Academy Award nomination). During the anticommunist period, he was blacklisted and could not work openly as a writer. His memoir, INSIDE OUT, is an account of this experience. To participate in the webcast, you will only need to click on a web link. If you rsvp, we will send you the address for that link - and all other simple instructions. RSVP to whfellow@english.upenn.edu - and be sure to specify that you are joining us by webcast. This program is free and open to the public. Kelly Writers House 3805 Locust Walk 215 573-WRIT www.english.upenn.edu/~whfellow Kelly Writers House Fellows, 2003 screenwriter WALTER BERNSTEIN February 18 performance artist LAURIE ANDERSON March 25 essayist & novelist SUSAN SONTAG April 22 Generous support for Writers House Fellows comes from Paul Kelly. previous Writers House Fellows: John Ashbery 2002 Charles Fuller Michael Cunningham June Jordan 2001 David Sedaris Tony Kushner Grace Paley 2000 Robert Creeley John Edgar Wideman Gay Talese 1999 recordings of live webcasts featuring the Fellows can be found here: http://www.english.upenn.edu/~wh/webcasts/ ========================================================================= Date: Mon, 27 Jan 2003 12:38:25 -0500 Reply-To: Bowery_Poetry_Club-feedback-20@lb.bcentral.com Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: "The Bowery Poetry Club" From: Poetics List Administration Subject: Bowery Poetry Club Museletter: Super Poetry Sunday & Other Amazing Feats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable The Bowery Poetry Club **** 308 Bowery NY NY 10012 Bleecker-Houston = right across from CBGB's F train to Second Ave | 6 train to Bleecker | 2= 12-614-0505 Well, a year ago Super Bowl Sunday we opened our unofficial door sans hea= t, sans bathrooms, sans beer, sans everything, except Poetry. The good fo= lks from 4Way books presided over the afternoon, and then Long Shot did t= he evening, a gathering commemorating Gregory Corso, Patron St. Bad Boy o= f the BPC. Big ups to all who've helped us exist thus far: everyone on th= is list, all poets who've read or will read or thought about reading here= ; and our amazing and dedicated staff. Hats off! A great time to come vis= t!!=20 Friday, Jan 24: 7pm Taylor Mead, at 82 still the most avant-garde poet in= pobiz! at 8, Opening Night of "Girl Talk" starring our fave divas: Tish = Benson & Liza Jesse Peterson. Then at 10, come celebrate passionate poet/= dj/fashionista Celena Glenn's birthday -- free party! Boogie in! Saturday, Jan 25: the coffee shop opens at 11 on weekends. At 2, the ravi= n' great poems of JC Todd & Linda Mannheim, followed at 4 by two of our S= egue faves, Tisa Bryant & Kristin Prevallet (love her new book!) "Girl Ta= lk" returns at 8, and at 10, a little night music from Wet Ink: Et At It = & Z's, followed by discussion, and a deep party. Super Poetry Sunday features poets from the great new 9/11 anthology, An = Eye for an Eye Makes the Whole World Blind including Dan Berrigan, Abdul = Hayy, Clive Matson, Sharon Olinka, Ira Cohen, and Marj Hahne among many o= thers. Last chance for Girl Talk at 8, followed by their cast party, with= 2 for 1 drinks to celebrate our anniversary. Monday, Jan 26 An extraordinary evening of solo dance improv by the amazi= ng Nina Wise at 8, following Laura Willey's reading circle of Paterson (w= e're in Book 4 -- Bob Perelman came last week!). Bob Holman's Free for Al= l with Bingo Gazingo, Galinsky's da BIPs, Lazy Fleece Beast and all the o= thers will close out. Tuesday, Jan 28, we welcome the Amy Feinstein Band at 7, and then "the Le= nny Bruce of Poetry," Rick Shapiro in WANTED! our ongoing attempt to brid= ge the sanity gap with a visionary's anti-prayer. A Must See! Wednesday the 29th: Hal Sirowitz continues his weekly 7pm stint. Hal's ge= tting great crowds, and nobody'd disappointed -- new poems, old favorites= -- as a reader, Hal is reaching Peak. We're unleashing the Rick Shapiro = Film Festival then, with screenings of Rick's greatest hits including Poo= ty Tang, True Love, Pure Danger, Rick on Conan, and of course, Dolomite.=20= On Thursday 1/30 Urbana Slam features Jim Dwyer, and the our PunkPo House= Band, Daddy hits the rafters of gold. Come see us!=20 The next week will bring us John S Hall & King Missile w/ their new album= , Nick Jones' Failure, the great Mozambique Party Band Chris Berry & Pang= yea, Fanny Howe, Langston Hughes, Konstantin Kuzminsky, Beau Sia & the Re= turn of Butch Morris. Peace Inn! The Bowery Poetry Club=20 308 Bowery NY NY 10012@ Bleecker, right across from CBGB's=20 F train to Second Ave | 6 train to Bleecker | 212-614-0505 _______________________________________________________________________ Powered by List Builder To unsubscribe follow the link: http://lb.bcentral.com/ex/sp?c=3D18073&s=3D5FADF4D950256504&m=3D20 ========================================================================= Date: Mon, 27 Jan 2003 10:45:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: poetry careerists In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" damian, i'm aware of those statistics, and honestly believe the situation to be even worse than what mla has allowed, given the relative inability to fully account for folks who've been out now for > 5 years... but the working contradiction this points up probably ought to be highlighted: about the only way to stay IN a profession for 4+ years post-doc is to work adjunct, as w/o keeping one's toes in the professional h20, you likely won't be viewed as competitive come job-seeking time... which is the primary reason why, although a boycott of the profession by those who are working adjunct (as murat suggests) sounds like a good idea, it's wishful thinking... no way, under the circumstances, will job-seekers en masse boycott the only probable path to the tenure-track... i hold out much more hope for collective bargaining... albeit this isn't going to be easy either, at least not in national terms... i suppose this is why i'd much rather hear outrage expressed hereabouts as to the abuses suffered by teachers (K-12 and postsecondary, adjunct, ta's, and tenure-track workers) than outrage directed AT these teachers... if someone hereabouts were getting the shaft b/c of his/her clerical, trade, or knowledge-working employment, i'd be on his/her side in spirit anyway... instead, as a teacher, i often tend to hear, first, the "well, that's too bad, maybe she can find something else to do for a living"... as if (1) she's not a damn good teacher, and this isn't something to be valued (and correspondingly, get upset about when she's forced out), and (2) she can just up and "do something else"... would you ask a plumber with 20 years experience to just "do something else"?... or an engineer?... after all, those of us who teach are, presumably, not working temp jobs here---this is our job! (isn't it obvious?)... granted, we tend to have more "power" over what kind of poetry gets taught and valued, e.g., than a computer professional... but this is no reason not to support us, in principle, in our efforts on behalf of teaching same... and after all, some plumbers are halfassed, just as some teachers are... we're not asking, that is, for anyone to take up the cause on our behalf... but all too often, teaching is viewed (i'd say) with some degree of envy from afar, as if profs just "lucked out" and ended up doing that which many writers (say), if they could, would opt for themselves (and despite all of this anti-professional talk)... (apologies for reading motives here, but i think it's fair to say what i've just said... i honestly don't think most folks understand what all teaching entails *as* a job, and as a bureaucratically saturated job, at that... which isn't to say there aren't "worse" jobs---personally, this is the most supportive job i've found, as a writer, and it's let me down in some Big Ways)... so: teaching is a job, among other things, and the phd is currently the primary credential by which one qualifies for said job (much as the baccalaureate is the primary credential for qualifying for any number of professional jobs)... and if the phd doesn't guarantee one a job (far from it!)---esp. given the immense degree of professionalization that comes along with same---why then the profession is going to distort accordingly... again, my concern is that we don't permit those distortions to further distort our perceptions of what's necessary... that is, that we don't tacitly endorse business-as-usual for the sake of a depressed job market... AND that we value teaching as a profession... come to think of it, maybe *i'm* guilty of wishful thinking... best, joe ========================================================================= Date: Mon, 27 Jan 2003 09:59:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: "How can you hold yr thumb like that: an index" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii (an (operating (or 12 12 12200-page 1441 1441 1989 1991 1995 2003 4 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a about about about abroad abroad accepted access access access account accounting accounts accounts actions activities acts address address administration aerial affordable Africa Africa after after again against Agency agent agent) agents all all all all all All allowing already also also also also also America America's America's American American American American Americans Americans Americans amounts an an an an an and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and And And And answer answer answers anthrax any appropriate are are are are arms around arsenal arsenal arsenal as as as as as as as as As As As ask ask asked asked ass assist assistance at at at at Atomic attempt attended away ballistic ballistic be be be before behavior being benefit bent better better biological biological biological blocked bombers bombers bonus both both breach bring bring budget budget build businesses but Butler by by by by by by by by by by by by by by by By can can care care cash caused ceremony challenges chemical chemical chemical chief chiefs child child citizens citizens city claim claims clear cloud coming coming commitment commitment commitment commitment common community compassion compassionate 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efforts efforts elements Eleven eliminate emergency encourage encouraging ends Energy enriched enrichment equipment era established estimates even even even every example example example examples existence expenses explain faces facilities facilities facilities failed failing fails faith-based fall false families family Far farcical fashion fast faster February federal fellow few filed filled filled finally find find find finding finding follow for for for for for for for for for for for for for for for for for For former forward foundation free from from from from from from fuel full full fund future gallons game games gaps get give given Given Good government Government Government great groups groups grow growing growth had hands has has has has has has Has have have have have have health heavy heavy help help help help help helping hide high high-level high-level highly his home home however Hussein Hussein I I I I I I I I I I I identified identified if immediate immediate implementing important important important improve improving in in in in in in in in in in in in in in in in in in in in in In In In In In inactions include include included including including income incomes increase increase informing inherited initiatives initiatives initiatives inspection inspections inspections inspector inspectors inspectors inspectors inspectors inspectors Inspectors inspectors instance instead Instead Instead institutions intended intention intercontinental International Interviews into invest investment involved involved Iraq Iraq Iraq Iraq Iraq Iraq Iraq Iraq Iraq Iraq Iraq Iraq's Iraq's Iraq's Iraq's Iraq's Iraq's Iraq's Iraq's Iraq's Iraq) Iraqi is is is is is is is is is is is is is is is is is is is it it it it it it it it it it it It It It It its its its its its its its its its its its its Japanese job job job jobs jobs join Kazakhstan Kazakhstan Kazakhstan keeping key kill kill know knows larger Last later later launched lay lead led lengthy lest lie like limit list listening lives look looks machinery made made made maintain maintains major make manufacture many Many marriage mass mass material material materials me measure Medicare Medicare meet meet million Missile missiles missiles modernize money more more more more morning moved moving must must must my my my mystery nation nation nation nation nation nation nation national national national nations Nations Nations Nations Nations Nations Nations Nations Nations Nations necessary needed needs nerve nerve new new new new new no no not not not not not not nuclear nuclear nuclear nuclear nuclear nuclear Nuclear obligation obligation of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of of offer officials often on on on once once one one ongoing only only open operation or or orderly Organization original other other other others our our our our our our our our our our Our out outlaw particularly pass 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weapons weapons week's weeks well well-earned were were were were were what when when When When which which which which who who who who who who whose will will will will will will will will will will will will will will will with with with with with with with with with with with with with With word-for-word work work work work work worked worked workers workers workers' working working world world world wrong year year year yet you you __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Mon, 27 Jan 2003 13:13:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Mainstream Poetry - how to join Comments: To: Charles Bernstein Comments: cc: hub@dept.english.upenn.edu In-Reply-To: <5.1.1.6.2.20030126141334.00a66ec0@pop.bway.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hello everybody, I recently declared myself a Mainstream Poet and defended this self-identification with a poem, "Mainstream Poetry," which can be found on K. Silem Mohammad's blog at http://limetree.blogspot.com/ Also included there is some illuminating commentary from Mohammad, who has also declared himself Mainstream, as well as the address for Nada Gordon's blog, where the poem also appears (she has not, to my knowledge, publicly declared herself Mainstream, but a good argument could be made that she is.) You're invited to Kasey's blog and, if moved, should declare yourself a Mainstream Poet. -m. ========================================================================= Date: Mon, 27 Jan 2003 10:33:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: Mainstream Poetry - how to join In-Reply-To: <1043691229.3e3576dde558e@webmail.sas.upenn.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for spreading the word, Mike. Also, everyone please send money. We need to buy an advertising blimp. K. -------- "I am in the MAINSTREAM--I'm always in the mainstream, splashing around, pissing, whatever. Hence I am a mainstream poet, and incidentally, I've never once seen Robery Pinsky in the main stream, I don't even think the fucker swims." --Michael Magee on 1/27/03 10:13 AM, mmagee@DEPT.ENGLISH.UPENN.EDU at mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > Hello everybody, > > I recently declared myself a Mainstream Poet and defended this > self-identification with a poem, "Mainstream Poetry," which can be found on K. > Silem Mohammad's blog at http://limetree.blogspot.com/ > > Also included there is some illuminating commentary from Mohammad, who has > also > declared himself Mainstream, as well as the address for Nada Gordon's blog, > where the poem also appears (she has not, to my knowledge, publicly declared > herself Mainstream, but a good argument could be made that she is.) > > You're invited to Kasey's blog and, if moved, should declare yourself a > Mainstream Poet. > > -m. ========================================================================= Date: Mon, 27 Jan 2003 13:39:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Mainstream Poetry - how to join MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit What does this mean exactly, have you decided to suddenly suck? With care, Geoffrey ----- Original Message ----- From: To: Sent: Monday, January 27, 2003 1:13 PM Subject: Mainstream Poetry - how to join > Hello everybody, > > I recently declared myself a Mainstream Poet and defended this > self-identification with a poem, "Mainstream Poetry," which can be found on K. > Silem Mohammad's blog at http://limetree.blogspot.com/ > > Also included there is some illuminating commentary from Mohammad, who has also > declared himself Mainstream, as well as the address for Nada Gordon's blog, > where the poem also appears (she has not, to my knowledge, publicly declared > herself Mainstream, but a good argument could be made that she is.) > > You're invited to Kasey's blog and, if moved, should declare yourself a > Mainstream Poet. > > -m. > > ========================================================================= Date: Mon, 27 Jan 2003 13:53:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: ANNOUNCING BIG BRIDGE VOL.2 ISSUE 4 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ANNOUNCING BIG BRIDGE VOL.2 ISSUE 4 http://www.bigbridge.org is pleased to announce the publication of Volume 2, Issue 4 Editor: Michael Rothenberg Art Editors: Nancy Victoria Davis and Hal Bohner and Terri Carrion Webmaster: Jonathan Penton=20 FEATURE CHAPBOOK: =20 ANSELM HOLLO from "Guests of Space" : "Ancient Land Animal." Illustrated by Nancy Victoria Davis. =20 ****************************** SPECIAL FEATURE INSIDE AND OUTSIDE MIAMI with Bruce Andrews, Nick Carbo, Terri Carrion, John Colagrande Jr, John = Dufresne, Denise Duhamel, kari edwards, Robert Gibbons, Michael Heller, = Michael Hettich, Rhonda K, Michael Largo Michael Rothenberg, Maureen = Seaton, Alan Sondheim, Jay Snodgrass, Kristine Snodgrass, Terese = Svoboda, Laura Valeri, Ginny Wray ******************************** OTHER SPECIAL FEATURES John Suiter: Poets on the Peaks Interview with Big = Bridge =20 = ------------and------------ John Brandi's illustrated Cuba Journal =20 ----------and------------- Kevin Opstedal: Poetry/Art/Books =20 * VERY SPECIAL REGULAR FEATURES POETRY: Louis Armand, Bill Berkson, Ira Cohen, Clayton Couch, Cralan = Kelder, Vernon Frazer, David Gitin, Lyn Hejinian, Donna Kuhn, Louis = Landes Levi, Susan Maurer, Sheila Murphy, Rodney Nelson, Simon Pettet, = Wanda Phipps, James Reidel, Lakey Teasdale, Mike Topp, Mark Young=20 FICTION/ NON FICTION/REVIEWS: Gregory Corso CD , Tom Hibbard reviews = ballet and more, Vernon Frazer's new CD, Anthony Kaufman on Film, David = Meltzer on Music, Ira Cohen's three spoken word collections, Tracy = Rubert fiction; Leslie Scalapino prose=20 ART FEATURES: Scott Brennan: Miami on Vellum, Jonathan = Kane:Photo-Ecology, Yacine Hachani: New Works LITTLE MAGS: Fish Drum, My Journal- 88, Fulcrum = = January 27, 2003 Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Mon, 27 Jan 2003 08:59:57 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: Ending the War In Vietnam (by US lyric fiat) In-Reply-To: <0H9100BMZSXEKA@mail.hawaii.edu> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII ENDING THE WAR IN VIETNAM I am the aging fat drunkard of a writer my bank account is empty And my fellowship just came in from Stanford on high By the iron mills of Pittsburgh and pissing burghers In my mimic Proustian shoes I write for the chill of it Depression is my middle name, my mayor just got busted For child pornography, my aunt just said a prayer to Saint Francis My seventy thousand limbs are flying off into space A white haired white woman is decrying the canon she invented No mail comes in but NPR just wants me to talk on exporting racism And the dietary pleasures of a second hamburger in China I am walking in the square of the communist chairman Embalming the letter I Keep writing Charley you may end the war in Vietnam yet Or teach the new president to speak complete sentences Who are you to speak you are better at muttering yourself When you speak about Russia, people think you mean a trunk If you just keep writing, it will add up to money in the bank Said the Victorian biographer working on another life ========================================================================= Date: Mon, 27 Jan 2003 14:25:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: parrishka Subject: poets against the war open mike, toronto Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On February 12, Laura Bush, wife of U.S. President George W. Bush, will be hosting a symposium on "Poetry and the American Voice" at the White House. But at the same time, American and other voices opposed to a senseless and devastating war on Iraq are being ignored and silenced. In protest, a group of American writers will come to the symposium with an anti-war petition and anthology. In solidarity with our American colleagues, the night before the symposium Toronto Writers Against War will be hosting a Poets Against War Open Mike February 11, 8 pm, at Bar Italia, 582 College St. Everyone who wants to read -- one poem per person, please -- will be asked to donate $1, and all proceeds will be donated to WarChild Canada, towards their humanitarian work in Iraq. Anti-war petitions will be available for people to sign, and information about letter-writing and upcoming protests will be distributed. If you are in Toronto, please come! If not, please consider organizing an event in your own city or town. And write to the American Poets Against War at kokua@olympus.net to let them know about what we're doing to support the cause. PLEASE DISTRIBUTE WIDELY!! For more info about this event, you can contact Maggie Helwig at 416-537-7290/maggie@web.net, or Katherine Parrish at 416-972-1825/parrishka@sympatico.ca ========================================================================= Date: Mon, 27 Jan 2003 14:47:36 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: careerists agin'! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/25/03 1:23:37 PM, sondheim@PANIX.COM writes: << You can't just play like yesterday; years ago I learned delta blues guitar from a number of people, including some of the older players - but I felt that, given the roots of the music, it would be absurd for me to play it - again the institutionalization came into effect here. Even with rock it's whose guitar, whose music, whose songs, whose getting paid, whose listening - Alan >> Yep. The professionalization of poetry and poets via Creative Writing programs, started by the U. of Iowa back in the day, also describes most of the avenues to publication, prizes, and critical notice. But in case anyone misreads me, I'm not complaining, or crusading. This is the way it is. Them's just the facs, jack. When the audience for poetry dwindled to a dot, such things were likely inevitable. By the way, I'm reading that the Confessional Poets, especially Plath, are making a big comeback. There's a film on Plath in the works starring Gwinyth Paltrow (or however her name is spelled). Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Mon, 27 Jan 2003 16:19:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: KENNETH REXROTH TRIBUTE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A TRIBUTE TO KENNETH REXROTH In celebration of the release of Rexroth's COMPLETE POEMS (Copper Canyon Press), Boston area poets and writers will convene for a gala evening of remarks and readings in honor of the great American poet's work. The event will take place on Monday, February 3, from 7 -8:30 p.m. at Wordsworth Books in Harvard Square, Cambridge. Invited readers include: Kevin Gallagher Dan Bouchard William Corbett Fred Marchant Lise Haines Don Share Mark Lamoureux Chris Sawyer-Laucanno Ed Bullins and others... Please join us for this exciting event. For questions or directions call Jim Behrle at (617) 354 5201 or email at jim@wordsworth.com ========================================================================= Date: Mon, 27 Jan 2003 16:23:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paolo Javier Subject: Kundiman Benefit Reading at the AAWW MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear All: Please pass on...hope you can make it! -- Kundiman Charity Reading at The Asian American Writer’s Workshop 16 West 32nd Street, 10th Floor (between 5th Ave & Broadway) Thursday, January 30th, 8 pm $10 featuring performances by REGIE CABICO KONTRAST TINA CHANG JENNIFER ESTARIS THADDEUS RUTKOWSKI PRAGEETA SHARMA SALADIN AHMED KRUZADA ESKRIMA hosted by D’lo Kundiman is a non-profit organization committed to the discovery and cultivation of emerging Asian-American poets. Through instruction and collaboration programs with established Asian-American poets, Kundiman hopes to advance the work of Asian-American writing. Through poetry, we aim to celebrate and promote a strong and positive Asian-American culture and identity. www.kundiman.org email: kundiman_info@yahoo.com ========================================================================= Date: Tue, 28 Jan 2003 12:45:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Norton In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII > i would encourage anyone who feels and can demonstrate > that s/he has been plagiarized to seek some kind of > redress ... I'm in complete agreement on that, wouldn't want to suggest otherwise; and I hope the frightening examples Maria describes are very rare indeed. Damian :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Tue, 28 Jan 2003 19:11:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: my .02$ on Profe$$ionali$m.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit it always is a mistake...not that i blame any one for taking the $$$...i certainly would... but in the best cases Creeley & Levertov...it muted their voices..just as effectively as if someone were stomping on their throats...it the worst cases Ginsberg as Prof...Eliot as Pub...it;s beneath contempt... the edginess of Stevens....the Solipsism of Bronk...the edenics of Williams are all counterpoint to real life jobs...work which in all cases was unrelated to their writing...and i think most importantly brought them into contact with folk who didn't know what Po was..or what a Poet looked like..he looked like an insurance exec vacationing at Key WEST.. it's not an easy choice..sitting in a tiny studio village apt which rents for a grand and a half per mo...i know i'd take the job... but by the end of the sub zero day...there's is the Bo Ho Po Club...and there's Poetry....drn... ========================================================================= Date: Mon, 27 Jan 2003 19:43:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: new from duration press / durationpress.com MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Announcing Series Four of the duration press chapbook series of international poetry. Featuring: Lourdes Vazquez Rachel Tzvia Back Heriberto Yepez Pierre Joris Subscription rate is $20 / individuals; $30 / institutions To subscribe, send a check or money order, payable to Jerrold Shiroma, to: 31 Laura Street 2nd Floor Providence, RI 02907 ******************************** new @ durationpress.com e-books from: Marcella Durand Heather Ackerberg Taylor Brady * a pdf resource library featuring links to dozens upon dozens of pdf poetry files online... * don't forget to check out our web-hosting plans... (for all you blog-types out there, I'll install Movable Type for free if you sign up for hosting) * stay tuned for: additions to our out-of-print archive (including Patterns / Contexts / Time; our Serie d'Ecriture archive)... ========================================================================= Date: Mon, 27 Jan 2003 21:21:00 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: collage title MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi, In my brain I remember seeing a collage more than a few times in art history classes. it's title is something like "Just what makes modern life so convenient" . it's got images from what we might call lifestyle magazines of beefcakes and hoovers. my brain tells me that the artist is Hamilton. Is it Ian Hamilton Finlay? am i mad? 45 cm of snow (that's 18 inches to some) this weekend. yikes,. bests, kevin ========================================================================= Date: Mon, 27 Jan 2003 17:15:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Re: collage title In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit That's Richard Hamilton, "Just What Is It that Makes Today's Homes so Different, so Appealing?" (1956) I found out by doing a Google search, of course, but what's still bothering me is where I remember seeing it first. Is it in one of Marjorie Perloff's books? Jameson on postmodernism? I'm away from my books at the moment. Kasey on 1/27/03 4:51 PM, K.Angelo Hehir at khehir@CS.MUN.CA wrote: > Hi, > > In my brain I remember seeing a collage more than a few times in art > history classes. it's title is something like "Just what makes modern life > so convenient" . it's got images from what we might call lifestyle > magazines of beefcakes and hoovers. my brain tells me that the artist is > Hamilton. Is it Ian Hamilton Finlay? > > am i mad? > > 45 cm of snow (that's 18 inches to some) this weekend. > > yikes,. > > bests, > kevin ========================================================================= Date: Mon, 27 Jan 2003 17:20:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: collage title In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Kevin, "In 1956 [the Independent Group of the Institute of Contemporary Art in London] held an exhibition at the Whitechapel Art Gallery in London called 'This Is Tomorrow,' which showed a series of contemporary environments developed from photographs of architecture and the vernacular imagery of the advertising world. Richard Hamilton (1922- ) contributed a small collage that later became justly famous as the Pop Art forerunner, although it was actually unknown in America by the Pop artists, who arrived at their styles independently either in the mid-fifties or in the early sixties. The collage picture was entitled _Just what is it that makes today's homes so different, so appealing?_, and it showed a modern interior occupied by a pin-up girl wearing only a lampshade-hat and a muscle-man holding a large lollypop with the word POP inscribed on it in bold letters. Crammed with the icons of the consumer world -- tape recorder, canned ham, television, comic-book cover, Ford advertisement, vacuum cleaner -- and giving a view through the window onto a movie marquee touting Al Jolson in _The Jazz Singer_, the apartment reflects postwar Britain's nostalgic admiration for American material prosperity and technological progress ... [Hamilton] irreverently listed the desirable qualities for a new art as 'popularity, transience, expendability, wit, sexiness, gimmickry, and glamor.'" -- Hunter, Jacobus, and Wheeler, _Modern Art_ (Prentice Hall, 2000), 332-3 Cheers, Damian On Mon, 27 Jan 2003 21:21:00 -0330 "K.Angelo Hehir" wrote: > Hi, > > In my brain I remember seeing a collage more than a few > times in art history classes. it's title is something like > "Just what makes modern life so convenient" . it's got > images from what we might call lifestyle magazines of > beefcakes and hoovers. my brain tells me that the artist > is Hamilton. Is it Ian Hamilton Finlay? > > am i mad? > > 45 cm of snow (that's 18 inches to some) this weekend. > > yikes,. > > bests, > kevin :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Mon, 27 Jan 2003 21:11:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: my .02$ on Profe$$ionali$m.... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit was the ins exec vac in key west wallace stevens? thanx sheila smassoni@aol.com ========================================================================= Date: Mon, 27 Jan 2003 21:31:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: War MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII War
  • huge software directory every moment rushing towards her death always tending, living towards tending. every moment rushing towards her death always tending, living towards tending. every moment rushing towards her death every moment rushing towards her death always tending, living towards tending. Or take the prospective war with (or liberation of) Iraq. People have complicated factors. Both the pro and anti war camp asre presumeably echo | /CYCLE - Leaves current channel and rejoins right afterwards. bind meta2-A backward_history bind meta2-B forward_history bind meta2-C forward_character bind meta2-D backward_character echo SCYTHE.IRC - Vassago's IRC warscript. Not for the faint of heart. email marketing, we are committed to delivering a highly rewarding Your Binary file tf matches # you were on #oldwarez the night that quote suggestions were taking echo : a $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ : be war. There : ^assign quoat15 VeNoM v2.01 - The Downfall Of #oldwarez ^assign quoat43 VeNoM v2.01 - The Downfall Of #oldwarez bind meta2-A backward_history bind meta2-B forward_history bind meta2-C forward_character bind meta2-D backward_character alias beware { me is in command of <-Dethnite's VeNoM v2.01!-> Beware the serpent... echo you were on #oldwarez the night that quote suggestions were taking === ========================================================================= Date: Tue, 28 Jan 2003 00:48:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristen Gallagher Subject: RUST TALKS 15--Gordon Hadfield & pal MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Disposition: inline Thursday, January 30, 2002 8PM Rust Belt Books Gordon Hadfield & Martin Corless-Smith According to Gordon: "The talk has centered around 2 things--vegas and the animal--what does it mean to be human / inhuman--but mostly the apex is the monstrous. Martin has a piece called Swallows, and I have the ongoing project of ANT, plus I have a zerox project--Detective (F)act--with cut out images--its a detective-story-poem." Some info on Martin. He has 2 books out: _Of Piscator_ and _Complete Travels_ and he has a 3rd book, _Nota_ forthcoming by fence. ========================================================================= Date: Tue, 28 Jan 2003 00:53:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristen Gallagher Subject: Re: RUST TALKS 15--Gordon Hadfield & pal In-Reply-To: <37877452.1043714930@ubppp233-172.dialin.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Disposition: inline oops, the year is 2003. and hey -- this season's lineup is GREAT! next month: Alicia Cohen and Sasha Steensen and then: Jim Maynard and Jonathan Stalling that'll be 17 RT's. phew. --On Tuesday, January 28, 2003, 12:48 AM -0500 Kristen Gallagher wrote: > Thursday, January 30, 2002 > 8PM > Rust Belt Books > > > > Gordon Hadfield > > & > > Martin Corless-Smith > > > > According to Gordon: "The talk has centered around 2 things--vegas > and the animal--what does it mean to be human / inhuman--but mostly the > apex is the monstrous. Martin has a piece called Swallows, and I have the > ongoing project of ANT, plus I have a zerox project--Detective > (F)act--with cut out images--its a detective-story-poem." > > Some info on Martin. He has 2 books out: _Of Piscator_ and _Complete > Travels_ and he has a 3rd book, _Nota_ forthcoming by fence. > ========================================================================= Date: Tue, 28 Jan 2003 01:03:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Writing as instrument, Rochester, Wed Jan 29 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit language has become the instrument of our doings and undoings in ways that it wasn't prior to writing as instrument. there were writing instruments (pens pencils typewriters etc). but not writing as instrument in this environment of generalized programming in which one writes the instrument, the instrument to create instruments, etc, in a generalizing of nth generation languages arrayed hierarchically toward a meshing of machine and natural languages. hierarchically and then horizontally as they proliferate rhizomatically to fulfill specific constellations of needs and situations, much like natural languages have proliferated geographically. all undergraduates who study computer science eventually take a course in language and the theory of computation, study work by chomsky, for instance (who was trained initially as a mathematician), in this course which can fall like a revelation on students of language used to quite a different approach to and study of language. what does it mean to be a poet? this question could be answered in at least as many ways as there are poets. but most of them would have something to say about an intense engagement with language in their work. part of the heat, the intensity of that engagement now is focussed not simply on understanding writing as instrument, but writing instruments that are themselves poetry in language that reaches through the floor into the sky like a hand reaching for its answer. http://vispo.com/misc/RITposter.htm poetry reading in Rochester, Wednesday Jan 29 writing as instrument ja vispo.com ========================================================================= Date: Tue, 28 Jan 2003 00:18:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 2 triploops by paul MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE PAUL WHITNEY COLLECTION triploop #0005..................excerpt www.the-hyper-age.com care man lying newness event totally parapet bishops supreme pontiff feeling right through panties care man lying newness event totally parapet uncivilized tie hands feet bishops supreme pontiff feeling right through panties care man lying newness event totally each thrust Dan buried more cock surely nobody else does parapet mystification uncivilized tie hands feet bishops supreme pontiff feeling right through panties care man lying newness event totally classroom each thrust Dan buried more cock surely nobody else does parapet wonted discussing against bronze moon spurred matters mystification uncivilized tie hands feet bishops supreme pontiff feeling right through panties classroom each thrust Dan buried more cock surely nobody else does raging hard winner wonted discussing against bronze moon spurred matters mystification uncivilized tie hands feet promises material yellow sundress reach classroom each thrust Dan buried more cock surely nobody else does tact raging hard winner wonted discussing against bronze moon spurred matters mystification taking length sheer white silk robe rub wedge Simon having now regained little ore promises material yellow sundress reach classroom tares tact raging hard winner wonted discussing against bronze moon spurred matters property ransacked bad enough taking length sheer white silk robe rub wedge Simon having now regained little ore promises material yellow sundress reach whoop implied implement need services speaking tares tact raging hard winner shot property ransacked bad enough taking length sheer white silk robe rub wedge Simon having now regained little ore promises material yellow sundress reach Madame Murat comes whoop implied implement need services speaking tares tact sensory pants Good morning afternoon penis black seamed stockings Assaulting shot property ransacked bad enough taking length sheer white silk robe rub wedge Simon having now regained little ore coast mean leaving only Antonines fucking slut Robbie spat tongue opening gently slips emperors Madame Murat comes whoop implied implement need services speaking tares Arthur faintly sensory pants Good morning afternoon penis black seamed stockings Assaulting shot property ransacked bad enough water large porcelain tub coast mean leaving only Antonines fucking slut Robbie spat tongue opening gently slips emperors Madame Murat comes whoop implied implement need services speaking Leipz Arthur faintly sensory pants Good morning afternoon penis black seamed stockings Assaulting shot rock sat down some lunch sudden NASMYTH quiet peaceful wake lay chilling next small tray Suddenly up wrap robe body water large porcelain tub coast mean leaving only Antonines fucking slut Robbie spat tongue opening gently slips emperors Madame Murat comes ye r-bad night unable come thim feeling right through panties Leipz Arthur faintly sensory pants Good morning afternoon penis black seamed stockings Assaulting tempo movements head continues running nails lived modestly mountains rock sat down some lunch sudden NASMYTH quiet peaceful wake lay chilling next small tray Suddenly up wrap robe body water large porcelain tub coast mean leaving only Antonines fucking slut Robbie spat tongue opening gently slips emperors ye r-bad night unable come thim feeling right through panties Leipz Arthur faintly touch cause desire tempo movements head continues running nails lived modestly mountains rock sat down some lunch sudden NASMYTH quiet peaceful wake lay chilling next small tray Suddenly up wrap robe body water large porcelain tub righteousness ye r-bad night unable come thim feeling right through panties Leipz third leave deep resonate voice called touch cause desire tempo movements head continues running nails lived modestly mountains rock sat down some lunch sudden NASMYTH quiet peaceful wake lay chilling next small tray Suddenly up wrap robe body Sophia righteousness ye r-bad night unable come thim feeling right through panties enjoy fear picking up material yellow sundress reach third leave deep resonate voice called touch cause desire tempo movements head continues running nails lived modestly mountains top clearly junk third Anne tried trottle née Sophia righteousness chaff forgotten knife enjoy fear picking up material yellow sundress reach third leave deep resonate voice called touch cause desire companion Perhaps known top clearly junk third Anne tried trottle née Sophia righteousness basis plan Hardly back sat back legs glittering dream ready being kept warm polygon chaff forgotten knife enjoy fear picking up material yellow sundress reach third leave deep resonate voice called deter companion Perhaps known top clearly junk third Anne tried trottle née Sophia overdrive basis plan Hardly back sat back legs glittering dream ready being kept warm polygon chaff forgotten knife enjoy fear picking up material yellow sundress reach Brian placed tongue against deter companion Perhaps known top clearly junk third Anne tried trottle née wife open slit Slick juice stow overdrive basis plan Hardly back sat back legs glittering dream ready being kept warm polygon chaff forgotten knife tight greasy rubber hole can Romans dropping robe off shoulders Brian placed tongue against deter companion Perhaps known friendship save themselves wife open slit Slick juice stow overdrive basis plan Hardly back sat back legs glittering dream ready being kept warm polygon Rushton Bolton Ironworks peas lain back receive top tight greasy rubber hole can Romans dropping robe off shoulders Brian placed tongue against deter straight entered Jane feeling starboard friendship save themselves wife open slit Slick juice stow overdrive turned grasp trying almost happy yet Rushton Bolton Ironworks peas lain back receive top tight greasy rubber hole can Romans dropping robe off shoulders Brian placed tongue against centavo straight entered Jane feeling starboard friendship save themselves wife open slit Slick juice stow sun Can asked Allen celebration know most will off can feel skin skin goodness turned grasp trying almost happy yet Rushton Bolton Ironworks peas lain back receive top tight greasy rubber hole can Romans dropping robe off shoulders neck slowly awakens scent dull day thought centavo straight entered Jane feeling starboard friendship save themselves know feelings straight entered Jane feeling elegant vibration through body tongue Prov sun Can asked Allen celebration know most will off can feel skin skin goodness turned grasp trying almost happy yet Rushton Bolton Ironworks peas lain back receive top excited responded quickly pants hands reached inside far tell all friends terminating equipment Tears streaming down face ore neck slowly awakens scent dull day thought centavo straight entered Jane feeling starboard struck Paul sat opposite wife pleasure mighty exodus know feelings straight entered Jane feeling elegant vibration through body tongue Prov sun Can asked Allen celebration know most will off can feel skin skin goodness turned grasp trying almost happy yet probability excited responded quickly pants hands reached inside far tell all friends terminating equipment Tears streaming down face ore neck slowly awakens scent dull day thought centavo curl up place lips depths struck Paul sat opposite wife pleasure mighty exodus know feelings straight entered Jane feeling elegant vibration through body tongue Prov sun Can asked Allen celebration know most will off can feel skin skin goodness slacks probability excited responded quickly pants hands reached inside far tell all friends terminating equipment Tears streaming down face ore neck slowly awakens scent dull day thought struck success curl up place lips depths struck Paul sat opposite wife pleasure mighty exodus know feelings straight entered Jane feeling elegant vibration through body tongue Prov lips slacks probability excited responded quickly pants hands reached inside far tell all friends terminating equipment Tears streaming down face ore irresolute struck success curl up place lips depths struck Paul sat opposite wife pleasure mighty exodus dos almost happy yet While driving looked knowing lips slacks probability Jews irresolute struck success curl up place lips depths titties sucking biting up-peaceful barges dos almost happy yet While driving looked knowing lips slacks Karkar Jews irresolute struck success vagina join first two pumping back sat back legs head swimming THE PAUL WHITNEY COLLECTION triploop #0006..................excerpt icing am incensed believe will windcheater paraffin tempt bisync Okay boy Lets money shots gallium waver icing dinner Hillers bailed fruitage am incensed believe will windcheater vendor havoc paraffin tempt bisync Okay boy Lets money shots gallium waver icing governess dinner Hillers bailed fruitage am incensed believe will windcheater malcontent vendor havoc paraffin tempt bisync Okay boy Lets money shots gallium waver icing these governess dinner Hillers bailed fruitage am incensed believe will windcheater rhythm comfortable storage permanently vehemence lazily stroking now erect malcontent vendor havoc paraffin tempt bisync Okay boy Lets money shots gallium waver Harold clit while doing found protects these governess dinner Hillers bailed fruitage mouth all promptly swallow rhythm comfortable storage permanently vehemence lazily stroking now erect malcontent vendor havoc tarry robes lowering jeans underwear destination Harold clit while doing found protects these governess fucked tight ass great mouth all promptly swallow rhythm comfortable storage permanently vehemence lazily stroking now erect malcontent immobile tarry robes lowering jeans underwear destination Harold clit while doing found protects these unfamiliar front many strangers sat blessings reached up began running fucked tight ass great mouth all promptly swallow rhythm comfortable storage permanently vehemence lazily stroking now erect decontaminate immobile tarry robes lowering jeans underwear destination Harold clit while doing found protects two weeks answering water facet bring temperature sunglasses Three days later rang again man herbicide unfamiliar front many strangers sat blessings reached up began running fucked tight ass great mouth all promptly swallow caught crossfire two cocks decontaminate immobile tarry robes lowering jeans underwear destination beneficially necessary needed higher degree two weeks answering water facet bring temperature sunglasses Three days later rang again man herbicide unfamiliar front many strangers sat blessings reached up began running fucked tight ass great returned San Blas redundant caught crossfire two cocks decontaminate immobile orgasm proceeded suck wrath beneficially necessary needed higher degree two weeks answering water facet bring temperature sunglasses Three days later rang again man herbicide unfamiliar front many strangers sat blessings reached up began running must dozed off cause next returned San Blas redundant caught crossfire two cocks decontaminate found one major passion orgasm proceeded suck wrath beneficially necessary needed higher degree two weeks answering water facet bring temperature sunglasses Three days later rang again man herbicide Nestorius held tightly few moments settled back waited distend must dozed off cause next returned San Blas redundant caught crossfire two cocks sentences consequense tuna entered immediately flew said wanted Steve watch found one major passion orgasm proceeded suck wrath beneficially necessary needed higher degree drinking sight leaned looking such heat Ketira manifestation passionate soul very much sensation up-system Nestorius held tightly few moments settled back waited distend must dozed off cause next returned San Blas redundant just Brad done really sentences consequense tuna entered immediately flew said wanted Steve watch found one major passion orgasm proceeded suck wrath gnash part drive spent catching up evenings town hall drinking sight leaned looking such heat Ketira manifestation passionate soul very much sensation up-system Nestorius held tightly few moments settled back waited distend must dozed off cause next Gebhard Truchsess forward kissed tip cock amaranthus just Brad done really sentences consequense tuna entered immediately flew said wanted Steve watch found one major passion tender kisses ardent passion gnash part drive spent catching up evenings town hall drinking sight leaned looking such heat Ketira manifestation passionate soul very much sensation up-system Nestorius held tightly few moments settled back waited distend disbelief Maybe some agate told coercing Gebhard Truchsess forward kissed tip cock amaranthus just Brad done really sentences consequense tuna entered immediately flew said wanted Steve watch Pelagianism sociologist actions wondered phone booth tender kisses ardent passion gnash part drive spent catching up evenings town hall drinking sight leaned looking such heat Ketira manifestation passionate soul very much sensation up-system mudguard evenings ecclesiastic up braced herself against suddenly realized felt disbelief Maybe some agate told coercing Gebhard Truchsess forward kissed tip cock amaranthus just Brad done really millionaire Pelagianism sociologist actions wondered phone booth tender kisses ardent passion gnash part drive spent catching up evenings town hall Hazleton crimson mudguard evenings ecclesiastic up braced herself against suddenly realized felt disbelief Maybe some agate told coercing Gebhard Truchsess forward kissed tip cock amaranthus delude millionaire Pelagianism sociologist actions wondered phone booth tender kisses ardent passion important Jen love much Hazleton crimson mudguard evenings ecclesiastic up braced herself against suddenly realized felt disbelief Maybe some agate told coercing read letter heart skipped delude millionaire Pelagianism sociologist actions wondered phone booth excited kissed cum tree important Jen love much Hazleton crimson mudguard evenings ecclesiastic up braced herself against suddenly realized felt virgin read letter heart skipped delude millionaire petty quarrels through doorway very large room allah excited kissed cum tree important Jen love much Hazleton crimson preparing evening passion atoms orgasm trees articles virgin read letter heart skipped delude dormitory petty quarrels through doorway very large room allah excited kissed cum tree important Jen love much Hannas defiance dwarfs preparing evening passion atoms orgasm trees articles virgin read letter heart skipped amazingly heard decided give clothing undid button wrote books Back forth once again slowly dormitory petty quarrels through doorway very large room allah excited kissed cum tree Most men met all Perhaps just liability Hannas defiance dwarfs preparing evening passion atoms orgasm trees articles virgin problems Debbie all ears amazingly heard decided give clothing undid button wrote books Back forth once again slowly dormitory petty quarrels through doorway very large room allah meaningful Most men met all Perhaps just liability Hannas defiance dwarfs preparing evening passion atoms orgasm trees articles Mopsuestia paraffin regretted problems Debbie all ears amazingly heard decided give clothing undid button wrote books Back forth once again slowly dormitory very much sensation up-system tried bring arms leggings keep hands away body hitchhike accented Most men met all Perhaps just liability Hannas defiance dwarfs together one moment next preparing evening passion wanted connected better loved Mopsuestia paraffin regretted problems Debbie all ears amazingly heard decided give clothing undid button wrote books Back forth once again slowly proved clit while doing found office setting up punishment Numidian maritime very much sensation up-system tried bring arms leggings keep hands away body hitchhike accented Most men met all Perhaps just liability softly ok together one moment next preparing evening passion wanted connected better loved Mopsuestia paraffin regretted problems Debbie all ears Treviri aged greeted tongue tongue hands went house looked like extermination proved clit while doing found office setting up punishment Numidian maritime very much sensation up-system tried bring arms leggings keep hands away body hitchhike accented time being softly ok together one moment next preparing evening passion wanted connected better loved Mopsuestia paraffin regretted suck guys jumping one squirting across table utterance Treviri aged greeted tongue tongue hands went house looked like extermination proved clit while doing found office setting up punishment Numidian maritime very much sensation up-system tried bring arms leggings keep hands away body hitchhike dispose Mountains shiftless benzine rainy evening late March fire within hands went domain reflecting time being softly ok together one moment next preparing evening passion wanted connected better --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Tue, 28 Jan 2003 00:20:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 2 pipeloops by paul MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE PAUL WHITNEY COLLECTION pipeloop #0005..................excerpt www.the-hyper-age.com and God||||and Lot went with||||with only my stick||||the review tasked determine||||information required continued bones away||||into the waste land||||the younger and his||||have look||||front tub touch fingers||||tongue goes quickening pace|||| let death||||guiding me straight||||honour to the chief||||Zidon written challenge directly agency head designated senior better husband met||||tall thin man young tanned||||white sperm facilities laboratories conducting classified work focus Hamor his father||||All these he took||||seven years||||he gave your||||not see the man's||||and gave them dry||||The same day excluding numerical information||||actual gain factors likely insulators high-voltage high-temperature type disclosure paragraph iv rather intent these exceptions classify asshole flowed||||barefoot dressed loose jeans||||giving||||life diminution power clinton administration staunch supporter|||| gun airplanes||||various types including fighters fighter hypothetical yield maximum fireball radius radius fireball we are your servants||||them||||phera priest of On||||on the greedily wrap||||first embrace free||||pay long awaited visit|||| dripped down cunt||||teared up corner eye||||hard fast baby tolled Mass||||turned off engine Now||||war Christmas||||up dies teeth while||||racked body head toe||||said wanted watch||||gasp spend||||intelligence steven aftergood director federation Then you will say||||all flesh went in as||||the needs of front bedroom collapsed||||licking doing||||wondered big cock|||| and||||birds of the air||||May the Lord give me||||land to Beer- you are||||their death in the||||will be put in your||||they said elements yes yes uf yes yes ucl yes yes yes declassify sensuously Julie||||Purrrrrr all say||||come full erection classification create substantive procedural rights subject something||||cock softened watched slip||||bath lightly towel house drug policy director barry mccaffrey assistant breasts together||||tried move starving||||head front room|||| government cornerstone democracy department justice stands work for||||way to bitter||||flocks of sheep for||||Sarah were near||||Hittite near Mamre||||increased in the||||spring and the|||| did not||||of Israel will go||||you will be my||||And to you and function automated information system means assembly members||||commission pleasure meeting know bolivia involved information sec classification standards information several more scars||||few short months knew||||licking highly making really||||even vowed keep||||hooks college began||||all shock precursor related phenomena word precursor used due small part||||Keri's birthday tomorrow||||down Chris's dick council requirements spare hapless people afghanistan prisoners under||||And God said to||||place where he had|||| red teddy Sean||||nobody wins nobody get||||pleasure||||lift ass radialconvergence experimental one two-dimensional father to rest as||||and with his left||||destruction||||hole||||in including collection analysis information smugglers government continues receive growing body information characteristics distance time function depth burst Shannon Cos||||headed towards alley turning||||first man killed norms international law including respect human rights two enjoy each other seemed like||||talk Michelle Lauren asked|||| daughters||||bitter sorrow||||a great stone||||blessing saying O|||| his||||wife the name of Eve||||Kiriath-arba that is||||used up|||| assembly weapons contained||||components known reservoirs desire||||can can feel growing||||forward buried face cunt|||| stuttered bit spoke obviously||||Kneeling tongue expertly|||| sent him to say and||||his son and Lot the||||the crown of him shall authority review downgrade declassify information colombian government used fund military divisions rightist interest expertise area related subject matter order between european mafias italy russia drug cartels columbia bounced each thrust||||fingers squeezing||||view galloping shorts down||||cock slipped wetly||||seated sofa fact||||Feeling contract can cum take||||lips tongue sit||||feel like gave ceremony october australia new zealand signed arrangement dona ana rio arriba socorro wrangell rushmore sanford de And Joseph said||||And Abram hearing||||made waste by the|||| party||||down captured nipple between||||far tell all friends|||| mev mev quantity li li allocated unclassified research fact agency procedures agency failed establish procedures to make use||||And after a time||||earth||||and the birds were||||a events yield kilotons inclusive years fission yield total available design||||avlis avlis dye oscillator design top of the door||||up in his bed||||with him and the||||it is advisory board communication culture technology program|||| department energy site deuterium including heavy water represented periodic inventory data processing totals long|||| need of food||||Egypt see you they||||out of the land of||||Haran Pulling fist back base||||get tangles loose slipped|||| firmly pulling up||||French Kiss seen Hell||||Adonis standing|||| classification policy guide january james wright chair so||||and they said It is||||to keep them from||||Joseph Now that operations grand cat mouse game||||coast guard continually classified uses mercury thallium weapons production president clinton reporters evidence foul play has put all his||||were covered with||||because she is very|||| comprehensive exclusive system public release imagery information sec lessen agency administrative burden all pointing||||enjoyed every splendid second||||feel someone new maximum amount non-snm hazardous materials used||||nuclear Anne mentioned||||even||||chips table Still two more||||all well|||| information executive secretary able obtain all pertinent production utilization active materials methods chemical advised series tests||||swimwear||||hair dying anticipation master or not in||||Ephraim||||men having seen her||||I have basis doing rather determining whether defend nondisclosure function height depth including composite curves number of gold and fair||||young when they came||||And these are the|||| the families of the||||Now when the sun was||||there and order iscap shall decide appeals authorized persons who praise||||Pharaoh had been||||his wives Adah and||||first sons in organization gone existence program shall apply pertinent of the Lord is on||||Seir||||master||||their asses and went||||is concerning these same facilities production uranium metal pressures used primary separation where nominal conditions feels general clinton administration minding||||store latin alternative economic development development institutions shut down offices pakistan signed||||neb sa rae oct edt oct woman arms||||desire struggle||||Now lifted turned sat||||wake up achieve state art level information technology basic systems security award denning recognized both developing give||||I to keep back from||||and the third and to||||earth||||And Abraham and said||||Tigris which goes to||||And they said Let alleged drug trafficking money laundering activities networked thereby vulnerable||||cyber-attack distant days information automatically declassified section agency Mostly small repairs nothing much||||split second arms came|||| require page page examination identify frd review doe nara where||||returned such country appropriate authorities selected records available archivist united states all modulator fact dye laser beam phase modulated position case country peru||||perhaps know peru first world first knew||||sucking Frank's cock see||||MORE MORE NEED BACK BAD|||| japan trinity medical information pertinent safeguarding affair knew||||called shoulder ran||||stirring other bed Oh God security oversight office director office management budget back to||||waste land and came||||certain that I am||||said to ran never second thought||||afghanistan condemn islamist approached political create cooperation scheme work both associated now legal basis move against||||end act||||officials nothing good or||||his son||||and placing||||In those days Noah|||| officials say last months cocaine production risen when||||These are the||||and Asher||||will be cut off from|||| phera the||||Israel made the||||me as to say to him||||So he gave just let happen||||encouraged||||stomach crippled toppled|||| Etham||||kept all the women||||And in the||||nation truly a group authorities operate across national borders easily watching||||came up reasons why||||eyes loving affection||||white water materials secondary shield access THE PAUL WHITNEY COLLECTION pipeloop #0006..................excerpt hair Left unkempt||||ummm need some help Damn Monique||||Peter against feelings||||posts nylons Noticing gentle||||little hair played||||monster prick invade tight pussy||||invitation touch|||| handcuffs past used||||lightly stroked cock through||||backed act amended record collection marked frd found shall set group||||world like one those doctor's chairs||||skills two college several lovers||||hand penis surrounded||||Kerry still already covered first three areas||||some detail joint information regard workers service personnel unclassified lower levels organization modern technology make possible records automated information systems additional top gallant tsq ssp-s top graphic tsq ssp-s||||top hunter|||| majority decision approve project head sponsoring agency acquiring prologue farce tragedy perhaps both knowledge for a||||never will be again||||were the children of||||you and increased priority funding look some budgetary figures classified documents followed instruct staffs penalties personnel who generate||||frd documents access classification shit who||||think go sundae||||seemingly attempting get even it with||||he had got for money||||Hazarmaveth and||||you were pursued policy government openness know far more work done by||||in front Leah and||||Egypt said to the||||the land of Egypt classified information interests national security power daughter and gave||||but Aaron's rod made||||now the fear of toward Connecticut cruising along||||anything outrageous earth so that you||||coat by her till his||||Jordan and there|||| sensor package||||senior guardianegrett airborne stand-off reacting rather pushing information||||electronic her And Abram did as||||of Joseph Jacob said||||made the heaven mashed tits chest||||still hot||||watched pair manoeuvre Lucy|||| set written reply provided reasonable opportunity reply hands up down arms||||amidst petals fragrance||||paused moment security council moving forward assure happens meantime power played key role entry amp separation phases stranger||||uttered recall clearly||||fell asleep||||despite lips||||say wait taste||||cool wall felt hardness press||||dinner instructor owner||||Dürmey||||unnecessary told||||closed began anything||||best eaten seasoned just right||||board bus where designees sec administration extent permitted law subject Mamre in the||||was made hard and he||||what you have done|||| secrecy clinton admin docs ||| index search join fas white difficulty submitting ascertaining status requirements responsibility status perform such functions related masint acoustic intelligence radar intelligence nuclear radiation himself||||fuck again||||very pretty extremely shy||||nature member mouth Debbie hadn't||||greeted sight will never|||| classified information determination eligibility access faster faster wife bucking||||mean||||only ten miles party case few tools||||continued make noises low||||rid myself day's expected battle||||waiting thank party||||opened wild smile having fun Jen spent||||body deserved some attention kissed|||| dessert replace||||cunt jumped felt||||really shook Steve men||||land and wide into a||||themselves because||||without his manager directly director defense intelligence agency and||||to his end||||tent and said to||||them in their flight|||| Hittite||||a servant working||||Simeon and Levi are||||them What man's cock rocking back||||way too much Hot white cream|||| lap||||can tolerate anything long||||one who never really authority masint control management policies processes mission||||central masint office manning shortfall identified his ring from||||his wife and in his||||And Noah had three|||| atomic energy act procedures contained doe agency orders warfighting concepts approaches||||all recommendations will||||thick girth began||||something--anything help||||Peter carrots lovely soft||||earlier became emotionally||||place just based multispectral data cobra dane national technical prior restraint first amendment freedom ruled legitimate join fas http www fas org irp program gatchwork htm hosted interagency meeting present nara plan agency records past human rights cases bearing mind complexity sensitivity decision development more advanced technology support All Israel is to||||with your youngest||||whatever was||||the provide evaluation advice doe classification policies also electronic exchange classified documents between agencies analysis tools critical||||use data||||task force particularly stroking clit||||myself off watched husbands||||Jack hated you will take seven||||let the children of||||Egypt by their|||| integrated data base||||back top||||back top||||zirconic||||fas accelerate efforts area bosnia one three million mines consequences nuclear policy part academic field specialize Abraham On your side||||All these he took||||make search for a put them away under||||land of their||||goes on the earth|||| request procedural exceptions||||sec applicability||||subpart acquisition personnel must sensitive commercial licensing units aware handbook theater lower echelon elements eternal heritage and||||sons' sons his||||for this is why they|||| declassification frd documents doe declassify documents slowly back from the||||Let the curse be on||||it is your robe again And he||||take our daughters||||thirty years and had masint products lack standards reflected low levels formal documents used open inspection anyone laws countries where sole purpose prepublication review assist authors avoiding a bad account||||And God said Let the||||sea by Pihahiroth||||And God||||cattle and every||||your fate in future||||his journey wetness left back arches||||decided time hunt||||shoot seeing broader term traditional intelligence managing information extension||||numbers Leslie thought||||seat next Kelly both And he said See I||||And the frogs will||||men of Sodom came|||| real-time allowed french mass several large units|||| turning kissed chin||||placed hands top each||||hardly believe era importance adapting changing times called agency move men's||||gentle tap shoulder let||||minutes next test||||hard classified information particular procedure shall made plants operating experience built megawatt range largest applicant employee review proceedings section where denial panties||||moved foot chair||||stocking clad ankles fourth the sons of||||And the man gave||||And he said Are you||||me in one another's||||together and I will||||and good all on one||||be gone outside||||smell came up to the||||went back to the||||all united states government assets lost stolen during|||| person request doe director declassification||||sec ongoing Philip's||||Tom grin all||||Sandy pushing three fingers faster|||| realized||||end Steve ordered Tom||||tube onto crack ass|||| scratched lightly tight||||met Debbie thank||||few seconds next day Tom woke||||like return hotel||||find later wore|||| defense organization services defense special missile mark on||||cord and this stick?||||the Lord God had||||come here implement executive order order signed team amassed large comisión de noviembre de alicia pierini presidenta cristian sheet impact amendment||||executive order november executive matter referred such subparagraph person requesting matter lovely girl said Oh||||All sat round television set||||mean Chris||||route toward north Mr Jordan||||penis Cindy simulated|||| easily comfortable||||going accomplish such||||beautiful fact|||| shows lengths government go protect own secrecy programs openness free society founders knew democracy function dynamic target sources masint also includes advanced reconnaissance office applicant means person||||employee who up down chain continuing deconfliction mentality misses room||||train entered house||||first||||towards breasts softly function sec sanctions director information security releasing finding aids inactive records commonplace his||||have sent to give my||||made you the father||||Goshen|||| have come after me||||have I done you that||||your father and currency transactions financial institutions international classification indicated these presumptions address every front||||bench see years ago today||||room||||glad upset also|||| his old place and he||||Esau's wife||||to his daughters||||cattle seven thin||||Reuben the oldest||||stopped up with||||and go back officers high quality soft copies fingertips need print really||||awoke hour later||||strapped chair sure||||Adele expended producing legacy system migrate new architectures sometimes such fine lines damage boundaries drawn allowing full child --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Tue, 28 Jan 2003 03:58:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: Fwd: Rhizome ArtBase--Anningan is online Comments: cc: webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- artbase@rhizome.org wrote: > Date: Mon, 27 Jan 2003 10:57:54 -0500 > To: llacook@yahoo.com > From: artbase@rhizome.org > Subject: Rhizome ArtBase--Anningan is online > > Hi Lewis, > > Congratulations! your artwork has been successfully > added to the Rhizome ArtBase: > > Anningan > > Here is the URL where it can be found. > > http://rhizome.org/object.rhiz?11500 > > Best regards, > > Alena Williams > Rhizome.org ===== Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 28 Jan 2003 08:48:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: IN THE MIRROR OF MAYA DEREN Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable IN THE MIRROR OF MAYA DEREN A FILM BY MARTINA KUDLACEK January 24-February 6, 2003 ANTHOLOGY FILM ARCHIVES (New York) 32 East 2nd Street (at 2nd Ave) (212) 505-5181 Highly recommended! Deren has close connection with "The New American=20 Poetry" and Martina Kudlacek does a wonderful job providing a personal and= =20 aesthetic context for her work (great interviews with Brackage, Mekas,=20 Malina, et al) but also in presenting substantial excerpts from the films.= =20 Beautifully edited by Henry Hills. COMING SOON TO Market Arcade in Buffalo, NY January 31-February 6 U.C.S.B. in Santa Barbara, CA February 9 2003 (805) 893-3535 Harvard Film Archive in Cambridge, MA February 14-19 (617) 495-4700 International House in Philadelphia, PA February 19-23 (215) 895-6569 Offscreen at the University of Virginia in Charlottesville, VA February 23 With IN THE MIRROR OF MAYA DEREN, documentary filmmaker Martina Kudlacek=20 has fashioned not only fascinating portrait of a groundbreaking and=20 influential artist, but a pitch-perfect introduction to her strikingly=20 beautiful and poetic body of work.Crowned "Fellini and Bergman wrapped in=20 one gloriously possessed body" by the L.A. Weekly, Maya Deren (n=E9e= Eleanora=20 Derenkovskaya) is arguably the most important and innovative avant-garde=20 filmmaker in the history of American cinema. Using locations from the=20 Hollywood hills to Haiti, Deren made such mesmerizing films as AT LAND,=20 RITUAL IN TRANSFIGURED TIME, and her masterpiece, MESHES OF THE AFTERNOON,= =20 which won a prestigious international experimental filmmaking prize at the= =20 1947 Cannes Film Festival. Starting with excerpts from these films, IN THE= =20 MIRROR OF MAYA DEREN seamlessly and effectively interweaves archival=20 footage with observances from acolytes and contemporaries such as=20 filmmakers Stan Brakhage and Jonas Mekas, dance pioneer Katherine Dunham,=20 and Living Theater founder Judith Malina. With an original score by=20 experimental composer John Zorn. more information on the film and about rentals -- http://www.zeitgeistfilms.com/current/mayaderen/mayaderen.html=20 ========================================================================= Date: Tue, 28 Jan 2003 08:47:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: this is one way to get an audience who can't walk out In-Reply-To: <000301c2c30a$21f52b40$5514d8cb@ahadada.gol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit From: Christian Bok Date: Mon Jan 27, 2003 11:57:24 PM US/Central To: Ubuweb Subject: [ubuweb] Art Torture Reply-To: ubuweb@yahoogroups.com This news article outlines the use of avant-garde art in the torture of political prisoners in Spain. http://www.guardian.co.uk/international/story/0,3604,882943,00.html ========================================================================= Date: Tue, 28 Jan 2003 10:23:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: this is one way to get an audience who can't walk out In-Reply-To: <65668E8F-32CF-11D7-8898-0003935A5BDA@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" wow, this is exactly the type of stuff i am interested in --the political and "everyday" uses of poetry/aesthetics, and the demystification of those things as rarified or necessarily uplifting. it is v upsetting to think that the anarchists tortured people, though, and i'm glad that there is no mention in the article that these cells were ever actually used. my colleague charles sugnet is writing extensively on Leopold Senghor's poltical use of Negritude, including poetic torture of his political enemies when he came to power. not a pretty picture, but it has to be dealt with. At 8:47 AM -0600 1/28/03, miekal and wrote: >From: Christian Bok >Date: Mon Jan 27, 2003 11:57:24 PM US/Central >To: Ubuweb >Subject: [ubuweb] Art Torture >Reply-To: ubuweb@yahoogroups.com > >This news article outlines the use of avant-garde art in the torture of >political prisoners in Spain. > >http://www.guardian.co.uk/international/story/0,3604,882943,00.html -- ========================================================================= Date: Tue, 28 Jan 2003 10:23:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Breaking News: Bush Library In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit Subject: Breaking News Date: Sat, 25 Jan 2003 08:59:46 -0500 Breaking News: Fire Damages Presidential Library Washington, DC (Reuters) -- A tragic and sad fire has destroyed the personal library of President George W. Bush. Both of his books have been lost. The president is reportedly devastated. Apparently, he had not finished coloring the second one ___________________________________________________________ Pierre Joris 6 Madison Place And they call reading a sin, and writing is a crime. Albany NY 12202 And no doubt this is not entirely false. h: 518 426 0433 They will never forgive us for this Somewhere Else. c: 518 225 7123 o: 518 442 40 85 -- Thomas Bernhard email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Mon, 27 Jan 2003 21:12:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: Re: slam by "PhD" at Brown In-Reply-To: <20030127132543.65362.qmail@web40801.mail.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Kazim Ali writes, in response to my stated lack of read books: I did. Shall I do an anti-slam of it? (Because it was monstrously good. And no one, to my recollection, farts in it.) I Reply: Aha! Thank you, but that is where you are wrong, my friend! I have fiendishly hidden my fart references in typical pomo devilry. (All parentheses are really farts.) The book is quite flatulent. winkingly yours, John G > ---------------------------- > A recent Amazon.com review of Defense. > > "Upper-Crust Poetry Disguised As Fart Joke, January > 22, 2003 > Reviewer: A reader from New Jersey > To the point: one guy reviewing this book gives it > five stars before > he reads it because... he took a class from Gudding > at Cornell. ===== "This is a good world... And war shall fail." --Kenneth Patchen __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com J Gallaher Metaphors Be With You . . . ========================================================================= Date: Tue, 28 Jan 2003 10:29:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Breaking News: Bush Library MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Funny, I was under the impression they were both board books, four pages each. Gerald Schwartz ----- Original Message ----- From: "Pierre Joris" To: Sent: Tuesday, January 28, 2003 10:23 AM Subject: Breaking News: Bush Library > Subject: Breaking News > Date: Sat, 25 Jan 2003 08:59:46 -0500 > Breaking News: > Fire Damages Presidential Library > Washington, DC (Reuters) -- A tragic and sad fire > has destroyed the personal library of President > George W. Bush. > Both of his books have been lost. > The president is reportedly devastated. > Apparently, he had not finished coloring the second one > > ___________________________________________________________ > Pierre Joris > 6 Madison Place And they call reading a sin, and writing is a crime. > Albany NY 12202 And no doubt this is not entirely false. > h: 518 426 0433 They will never forgive us for this Somewhere Else. > c: 518 225 7123 > o: 518 442 40 -- Thomas Bernhard > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ > ========================================================================= Date: Tue, 28 Jan 2003 10:40:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: my .02$ on Profe$$ionali$m.... In-Reply-To: <6472040.1043709871942.JavaMail.nobody@wamui04.slb.atl.eart hlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed and, of course, we can easily see how Dana Giaoia's poetry has become so cutting edge due to his real life work situation etc --- those examples certainly were selective --- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "The university professes the truth, and that is its profession. It declares and promises an unlimited commitment to the truth." Jacques Derrida (Without Alibi 202) Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 27 Jan 2003 21:56:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Gallaher Organization: University of Central Arkansas Subject: The Bomb Went Off-google search poem-first 20 hits In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable The bomb went off 'prematurely,=92 ripping through a police van. The bomb= went off in a popular cafe in Ein al-Helweh. When the bomb went off there was a loud noise. He called May 15 the day the bomb went off. It looks l= ike a bomb went off. While the first bomb went off at Juwett Memorial Baptist= Church at Ongole in Prakasam district of Andhra Pradesh at around 8.30 am,= the second blast took place while emergency personnel were helping the wounded. He and his girlfriend Kerry O'Shaughnessy, 28, would have been in the Sari club when the bomb went off. Another bomb went off on a park bench near the US Embassy, injuring nine people. The bomb went off before sunrise, blowing out windows blocks away, shaking neighbors from their sleep. Two bombs were planted in the schoolyard; the first bomb wen= t off at about 9:45 am in a powerful explosion which blew out some of the windows of the school. And the bomb went off. The first priority was to get as much distance as he possibly could before the bomb went off. A bomb went off in Lhasa on Monday, the sixth reported explosion in the city= in the last nine months. He [J. Robert Oppenheimer] and I were lying down= right next to each other flat on the desert right outside the control [roo= m] at the time the bomb went off. A fire-fight broke out and one VC was last seen firing into the smoking back seat of his car when the bomb went off. = Another car bomb went off. The bomb went off between 10 and 11 in the evening on 24 June, near the City Public Security Bureau (PSB) Building, which is situated about one kilometer north. The bomb went off at the wrong time. I don't think they were inside at the time but they were about= to enter the club when the bomb went off. This car bomb went off outside the= South African Air Force HQ in Pretoria. I lived in the YMCA, about 100 metres from where this bomb went off. Tubbs said the warning call made some 23 minutes before the bomb went off was a simple, non-specific message. Then on Saturday May 1, another bomb went off at a pub in Makindye and injured 5 people. There were four days of peace before the bomb went off. Labourer Lakshmi, 26, recalled that she and her 18-month- old daughter Nitya had barely returned from a tea stall close to the eater= y when the bomb went off. After the bomb went off, the men sprayed gunfire on fleeing passengers. When the bomb went off we were kneeling in= the bottom of it. ========================================================================= Date: Tue, 28 Jan 2003 10:51:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: this is one way to get an audience who can't walk out In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit And let's not forget that pitiful character in Waugh's *A Handful of Dust* who ends up in a jungle somewhere as the captive to a man who requires him to read him aloud all the novels of Charles Dickens, over and over again. Hal Somewhere in Texas, a village is missing an idiot. --bumpersticker Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard { wow, this is exactly the type of stuff i am interested in --the { political and "everyday" uses of poetry/aesthetics, and the { demystification of those things as rarified or necessarily uplifting. ========================================================================= Date: Tue, 28 Jan 2003 12:10:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Re: this is one way to a new Profe$$ or Anti-war poetry? MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT as the actual article points out this was geometric abstractionm disorientation, and surrealism raher than the AG catchall, but I can see poets being enlisted by agencies as propagandists? Or maybe poetry that disorientsthe heartland would be more effctive than heartland poetry against the war? tom bell ----- Original Message ----- From: "miekal and" To: Sent: Tuesday, January 28, 2003 8:47 AM Subject: this is one way to get an audience who can't walk out > From: Christian Bok > Date: Mon Jan 27, 2003 11:57:24 PM US/Central > To: Ubuweb > Subject: [ubuweb] Art Torture > Reply-To: ubuweb@yahoogroups.com > > This news article outlines the use of avant-garde art in the torture of > political prisoners in Spain. > > http://www.guardian.co.uk/international/story/0,3604,882943,00.html ========================================================================= Date: Tue, 28 Jan 2003 10:08:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia Went Swimming at Barnes Hole, But It Got Too Cold Mime-Version: 1.0 Content-Type: text/plain; format=flowed As when piety faith returns I’m late but plenipotentiary the small fissure whom lights on itself naked, in words a contented ache springs anew, but follows an unearthing Salvator Rosa reserved three white swine you are two – she’s forgiving – breaks acquiescence Roman New York made by stallion Intellect John Martin and people landed deck neutral dusty films powdered Billy, no friends cradled susceptible edges spines replace the glaze of lip’s inactive disease I don’t want you to be the crane’s care Knowledge that got around, horse named Summer Trampling four notes, he happens to tell you something reserved the neighboring composition sounds of its own tuning you love my friend’s birthday, sounds of her own step the North strung every section of its own accord because proscenium fliest of no father, baby brought own sensibility you’re my friend’s two broken strings & every moon that falls quiet now quiet, with the ways thronged up with wonder Judgment has not ended, though easy to hum hold onto the shop and stones to port the man with the paper has not my friend’s intelligence guile helped America potential the sky South American Beethoven fit for Broadway misery excludes no book’s supernal eye nationality as dew on democracy Dewey defeats Bottom the Weaver clarity ¾ time from vesper smacks as Jupiter and Fuseli wrote emphatically hold on to clarity, important days portend full satire you love whom you not so familiarly interchange to end this misery, these lips travel nine-tenths from the action preoccupation harassed the wind, vanquished timorous squares pleasant though nondescript composers suit the opposite composition stone will now buy and sell, impend redemption except that requires the brevity of grounding right and left – by a customer we’re working the Weaver wouldn’t suggest two caprices since neither art would divine the Old World The eleven new films silence a delicacy involved sonatas dance my father down no use working their tones – you’ve been working too, sport pusillanimity may deserve the night child in two notes blossom my valentine, you’ll watch madly a new moon Salvator Rosa, we dream, had enough rain for him and his friend to make sure the sun did not breathe a royal hush lightning that falls quiet, unseen at Monticello borrows thin merely shared grievances, shaped my way we dream, under glass, of an impecunious Virginia speaking-balloon attached to the mouth of animalculae a dead friend gets empty, needs but trifles to live every farm and source of these trees transmutes thirsty fire Principle and sensibility comes to the contentedly poor small white flower, perhaps God’s my life no one Else has that passage which breaks open nondescripts tremble while Byron drinks on the gangplank the animal’s harangue marries up to keep warm horse at the range: friends, what kind of bird is that? I say that horse remains and calls out a loud laugh Hiroshima, which speaks for the nation, seems to slay reward the best, from Beethoven to Cobain, associates emotion with pomp so sad, your mother’s face when she laughed preoccupation a parricide, the Weaver excluded all distance New York thinking of Virginia intimately you love factions, unknown memorials legislate a people fashion equals the finest painting knowledge sounds so near, hard hearts substituting everything else occasion preferred truth to the patepelutarum & torticollorum ritibus Memphis variously drawn out from Egypt to Tennessee forgiveness got around, voraciously unconsumed the persuasive years look down at the singer, they wished my death knowing my footnotes before they became official it’s been ages, and no friends have replaced these leaves the bough owned the earth and the whole earth owned the bough cities written when Fuseli’s scrapes picked their work don’t be impatient now, ancient thunder, God loves you how great the duration – certainly to find her happy again millions entwined in misery, these flyspeck standbys in my thoughts always, greater than all the Heavens gratefully give the body, you on the streets tongues in the middle of patience, up to your neck come back to a more intimate setting, intimate pauper silence that dug under spousal vindications the first brains that provoke the fisherman who serves the public hold on to your preoccupation, take it to make it notes concentrated business, hear me on formal introduction I cannot, were he alive, this grace ripening without me greatness remains to ask much of its grace, ask the impossible blustering title warrants powerless feelings History is now my errand, spirit was alone to air grievances subvene hereabouts, no one could replace assent snares landed, hurried to ocean-blued world shipments sense variously statues in the streets lead into wrongness we both gall mood, carries what attention Brooklyn around the bend, plight for the tempest obstinacy black with a strike New York intellect a larger lechery preoccupation half-raised not steppe by step but by leaps after the manner of goats Healthy progenitors, seeing you are content, could not ask much sorrow to cultivate perennial rationality in themselves to scratch Devanagari , impudence to blessings no one desires his strength, intellect impends four notes forecast vain lopping, a voice without ears The drama springs away, The Fiddler’s First Heaven is the original title – nor a sign as scapegoat the billboard’s after her shipwreck as time saves it all together, rain being arranged his strength indoors, I’ll hum poor joys Unknown as several seas – idle Fuseli the hidden “so long” leaning like anger formulas postulate greetings growth mourned fraudulent uprootings the mind in themselves got around embryos and society showing surprisingly huge ones, disposition does the work possibilities like sleek horses hang together and conceal your new science a dozen times at least with the dead height extends, impatient standbys the drums sequent to a high altitude Good morning, Telemachos, comforted through the storm John Martin’s mountain tree is a morsel unconsumed anything else would snapshot my gentleness charitable twelve-tone for someone lost or found as it approaches Helena at West Helena sleepwalkers unnumbered the night water now uprooted as if one root walked alone affliction in unbroken sequence of formal education just as if your enemy jokes in finance or in love nothing impends upon formal education, all else is impatience Benjamin Robert Haydon's horn – vision is pitch emphasis living speech adds everything else – well, sometimes revenant patients passed out of state as the bough in the middle of impudence spittles leaves blew and people of the montage landed dissonance right and left, sweet you’ll outstrip all bounds or whittle one or own in these meadows one night had fruit and no book as if it had not passed new bough watches, black with speaking, and welcome dancers’ inarticulate talk, that motility we name number Reserve the whole into wrong spares unknown with soil historical so long as a second time tests as trifle live to span answers or live for piety lips a simpler composition, blessings return I’ve forgotten stones for bread, eye, or wonder tongue on yours, who excluded the push? the opposite mutation embraces the montage insensible obstinacy not in words a fable dying interests our wolvish employment Finally, scores of people are uncomposed too much painting packing diamonds in perpetuity Father abjured formal impulse, forehead opened red comprehension stood justly, coincidence below the nets mathematics to each place, profit to feel warm disinclined to understand, axioms beam at Venus Deference for Violin a big hit, her hand in mine the legitimate stage likely to show interest in Preludes declaiming wishdom without compunction Giddy desire slipped in a family’s pulses breathing wings as when this play, arranged by doubles to drown, discouraged each fan’s confidences civil abominations rocked safety and sublimity a counter-birthday sounds happy, and its counter-equals in her eyes old dreams support the blueprint mathematics carry supernal decorations to water in themselves, scales would weigh the soporific treatment church influence trampling much of its songs, songs blossom the smallest effervescence, and scores unbroken greatness Over a sum of time, letters ranged from race to march increscent honesty played a song in ¾ time departed echoes sounding off under ground reverence lopping pomp, borrowing the carcass imagination ventriloquially fallen in oppose the holiday your tongue urges but send me a kiss by wire, darling my hearts on fire if you refuse me, baby you’ll lose me and then you’ll be left alone, so honey please telephone and tell me I’m your own, over a sum of time Unconscionable child, in a laugh show them the bird distance hacks into a regular form and that the third remaining time should’ve sped to your side vicissitudes commuting their dears, offerings shut them up auditorium of drudgery, nine hundred donations spread for bows, my young wife, even quizzical bows the work forecast to native empire nightingale chords broadcast attendant spurning uprooted a garden, crediting accord its core the sound of eternal home Uncompassed frustration buried in earth and sky satellite abed, good Panthea is dead perdition your due on this earth a spectre stored in the world, a peacock’s high hill the dawn is kept to a minimum the slightest soliciting expects the world altogether arguing with title plainly animation is a burning present & animation is a thing of the past else virtue invites the crowd you crave Paradise going up, it is no use to number figures the less to fulfill the market of venom this should exceed the bodies considered succulent my nest underground – sustained, caged – wanted charm alluring poor, neither wet nor flesh, an everyday patron the beautiful Aphrodite is a small companion who can embalm the lonely moonrise, said William Grocyn, pioneer of Greek studies in England, while expelling the Devil’s inhale, harrowing does God no favors dousers wish sympathetic flesh more liquid glyphs preferred the world the world they knew pronouncement is a sound of desecrated tombs enriched initials leak to the finish and, nearby, begin anew – a musical temperature each city lives through the script, presumption tears up a miniature distribution of dead pity language is pity, the vilest curse a blessing a vocable pulses from breath to death, how many are needed to outlive us as prayer? marrow, which was formerly called soul, stands pat What is first ails our memories, the top of my light one person is already out of the frame oppose what is within the Paracelsus of Paris and the earth makes things worse cadence as the sense of the impossible before waste blesses me with continents these savage lands are kindling for pyres destroyed frost leaves the ground green undivined grace kidnaps another language self-tempted rumor lies unwashed in the flood Conspicuous profusion is no good in a dance hall its core but a tribute to your surface, gracious Broadway a musical clamoring someone else’s travels Phrynichus, though less remembered, flees notice who heard it won’t be that cheerful street uprooted patience sends regrets to your turn the principle of Oriental thinking is quantitative ancient poets approached by prophecy and left alone their incredible invention easier than you dreamed, insists Emerson, his tempo failing endless claims _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Tue, 28 Jan 2003 12:55:02 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: 100 poets enlisted in protest against war MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT (from the Toronto Globe and Mail) 100 poets enlisted in protest against war Montreal-born Todd Swift has organized an e-mail demonstration of antiwar verse By GAYLE MACDONALD Tuesday, January 28, 2003 – Page R1 One week ago, the Montreal-born poet Todd Swift was sitting in a Paris café, reading The Guardian, fuming about the hard-line American stance on war with Iraq. He decided to organize a protest -- of powerful words and haunting images. And yesterday, to coincide with the release of the UN weapons inspectors' report, Swift e-mailed an anthology called 100 Poets Against the War to friends, family and far-flung acquaintances. In one day, the book (available at http://www.nthposition.com) spread like wildfire on the Internet, with people around the world reading the works of these poets, who congregated in one place to beat the antiwar drum. "What I was hoping to do with this book is contribute to a growing sense that we're not a minority in opposing this war any more," said Swift, 36, who was reached by phone yesterday in the French capital where he is currently living with his fiancée. "In fact, we're becoming a cultural majority. "Most Europeans are quite upset by what looks like an aggressive, unilateral push by the United States for war, at a time when everyone else wants time for further discussion and more reflection," added Swift. "I thought, let's move quickly and get something out that inspires and contains a powerful message. I wanted to let people who are opposed to the war know they're not alone." Canadian contributors include Robert Priest, bill bissett, Maggie Helwig, Di Brandt and George Murray. The Toronto-born Murray, who now lives in New York, said the 100 Poets Against the War initiative is important for what it awakens and also for the values it attempts to instill. "So many people seem to think that the poet or poetry doesn't have a useful place in society," said Murray, who contributed his poem The Field. "But poetry is the oldest form of the evening news, and it used to play a very critical role politically. First, by disseminating information and second, by commenting on it. "This kind of effort, regardless of how valuable each poem is on its own, as a collection represents a step forward for the kind of activism that poets need to be part of, that the arts community needs to be part of." Murray says he just received an e-mail from the American poet Sam Hamill, who is trying to organize a project similar to Swift's 100 Poets Against the War. Hamill was inspired by a letter he received from the White House, which requested his company at an afternoon reception and symposium on "Poetry and the American Voice" on Feb. 12. In his e-mail, Hamill told literary colleagues: "When I picked up my mail and saw the letter marked 'The White House,' I felt no joy. Rather I was overcome by a kind of nausea." In his note, Hamill said, "Only the day before I had read a lengthy report on President Bush's proposed 'Shock and Awe' attack on Iraq, calling for saturation bombing that would be like the firebombing of Dresden or Tokyo, killing countless innocent civilians. "I believe the only legitimate response to such a morally bankrupt and unconscionable idea is to reconstitute a Poets Against the War movement like the one organized to speak out against the war in Vietnam." (Hamill is referring to the 1967 antiwar demonstration that featured leading literary lights such as Robert Lowell, Allen Ginsberg and Norman Mailer, who attempted to "levitate" the Pentagon. Mailer later celebrated the march in his work The Armies of the Night.) Hamill then asked every poet "to speak up for the conscience of our country and lend his or her name to our petitition against this war," which he plans to present to first lady Laura Bush on Feb. 12, a day he hopes will become dedicated to poetry against the war. The field By George Murray The sky has been aged, is ancient enough now to have lost its teeth, clamping one smooth gum down on the other in a wry horizon's bite. That the violence we have witnessed was not random while the kindness was, how insulting to our attempts at existentialism! Can we not even frighten ourselves with philosophy anymore? That intent could replace randomness as our greatest fear speaks of how far we've come; from there to here, from right to just left of right, from fallen to the lower part of down. The corn that stretches into the distance, once an orderly army, has grown slack, wild, and hoary, each stalk standing at ease instead of attention, and in a place of its choosing, bearing those heavy yellow arms in a silence similar to hushed anticipation. Listen to the wind, the brewing rain, the field of fire, the flight of distant machinery, the coded plan of attack. -- From 100 Poets Against the War, published on http://www.nthposition.com ========================================================================= Date: Tue, 28 Jan 2003 11:15:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Subject: (Fwd) 100 Poets Against The War in The Globe and Mail MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT ------- Forwarded message follows ------- From: "Todd Swift" To: Subject: 100 Poets Against The War in The Globe and Mail Date sent: Tue, 28 Jan 2003 10:13:38 +0100 Dear Friends and Fellow Poets, The 100 Poets Against The War project continues to gain momentum. Thank you for sharing the PDF file and hosting it on your sites. We have received excellent coverage in today's Globe and Mail, one of Canada's leading national papers (see below). Please do send this along to your local and national papers in America, the UK, Ireland, Australia and wherever else you may be, so that the media will get a sense of how exciting, inspiring and vital this ongoing story of the power of poetic protest can be. peace Todd --------------------------------------------------------------------------- - >From globeandmail.com, Tuesday, January 28, 2003 100 poets enlisted in protest against war Montreal-born Todd Swift has organized an e-mail demonstration of antiwar verse GAYLE MacDONALD One week ago, the Montreal-born poet Todd Swift was sitting in a Paris cafe, reading The Guardian, fuming about the hard-line American stance on war with Iraq. He decided to organize a protest -- of powerful words and haunting images. And yesterday, to coincide with the release of the UN weapons inspectors' report, Swift e-mailed an anthology called 100 Poets Against the War to friends, family and far-flung acquaintances. In one day, the book (available at http://www.nthposition.com) spread like wildfire on the Internet, with people around the world reading the works of these poets, who congregated in one place to beat the antiwar drum. "What I was hoping to do with this book is contribute to a growing sense that we're not a minority in opposing this war any more," said Swift, 36, who was reached by phone yesterday in the French capital where he is currently living with his fiancee. "In fact, we're becoming a cultural majority. "Most Europeans are quite upset by what looks like an aggressive, unilateral push by the United States for war, at a time when everyone else wants time for further discussion and more reflection," added Swift. "I thought, let's move quickly and get something out that inspires and contains a powerful message. I wanted to let people who are opposed to the war know they're not alone." Canadian contributors include Robert Priest, bill bissett, Maggie Helwig, Di Brandt and George Murray. The Toronto-born Murray, who now lives in New York, said the 100 Poets Against the War initiative is important for what it awakens and also for the values it attempts to instill. "So many people seem to think that the poet or poetry doesn't have a useful place in society," said Murray, who contributed his poem The Field. "But poetry is the oldest form of the evening news, and it used to play a very critical role politically. First, by disseminating information and second, by commenting on it. "This kind of effort, regardless of how valuable each poem is on its own, as a collection represents a step forward for the kind of activism that poets need to be part of, that the arts community needs to be part of." Murray says he just received an e-mail from the American poet Sam Hamill, who is trying to organize a project similar to Swift's 100 Poets Against the War. Hamill was inspired by a letter he received from the White House, which requested his company at an afternoon reception and symposium on "Poetry and the American Voice" on Feb. 12. In his e-mail, Hamill told literary colleagues: "When I picked up my mail and saw the letter marked 'The White House,' I felt no joy. Rather I was overcome by a kind of nausea." In his note, Hamill said, "Only the day before I had read a lengthy report on President Bush's proposed 'Shock and Awe' attack on Iraq, calling for saturation bombing that would be like the firebombing of Dresden or Tokyo, killing countless innocent civilians. "I believe the only legitimate response to such a morally bankrupt and unconscionable idea is to reconstitute a Poets Against the War movement like the one organized to speak out against the war in Vietnam." (Hamill is referring to the 1967 antiwar demonstration that featured leading literary lights such as Robert Lowell, Allen Ginsberg and Norman Mailer, who attempted to "levitate" the Pentagon. Mailer later celebrated the march in his work The Armies of the Night.) Hamill then asked every poet "to speak up for the conscience of our country and lend his or her name to our petitition against this war," which he plans to present to first lady Laura Bush on Feb. 12, a day he hopes will become dedicated to poetry against the war. The field By George Murray The sky has been aged, is ancient enough now to have lost its teeth, clamping one smooth gum down on the other in a wry horizon's bite. That the violence we have witnessed was not random while the kindness was, how insulting to our attempts at existentialism! Can we not even frighten ourselves with philosophy anymore? That intent could replace randomness as our greatest fear speaks of how far we've come; from there to here, from right to just left of right, from fallen to the lower part of down. The corn that stretches into the distance, once an orderly army, has grown slack, wild, and hoary, each stalk standing at ease instead of attention, and in a place of its choosing, bearing those heavy yellow arms in a silence similar to hushed anticipation. Listen to the wind, the brewing rain, the field of fire, the flight of distant machinery, the coded plan of attack. -- From 100 Poets Against the War, published on http://www.nthposition.com Visit the globeandmail.com Web Centre, your competitive edge for breaking news stories as they happen. News: http://www.globeandmail.com Copyright 2003 | Bell Globemedia Interactive Inc. ------- End of forwarded message ------- http://www.axess.com/users/jackr See the Skinny Nameless Punk at http://www.geocities.com/jack_ruttan/punk3.htm Visit Jack's House of Cats at: http://www.geocities.com/jack_ruttan/ ========================================================================= Date: Tue, 28 Jan 2003 12:36:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Re: this is one way to get an audience who can't walk out Mime-Version: 1.0 Content-Type: text/plain; format=flowed For what it's worth, I heard the tail end of an NPR piece on this yesterday. According to the woman being interviewed (the author, I suppose), the work is based at least partly on interviews with people who did spend time in these cells. She said they all "went crazy," partly because of the narrowness of the cells, partly because of the use of psychedellic lighting, and partly because of the disorientation brought about by being confined in such a way that the prisoner's only view was of the images described in the article. - Robert >From: Maria Damon >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: this is one way to get an audience who can't walk out >Date: Tue, 28 Jan 2003 10:23:12 -0600 > >wow, this is exactly the type of stuff i am interested in --the >political and "everyday" uses of poetry/aesthetics, and the >demystification of those things as rarified or necessarily uplifting. >it is v upsetting to think that the anarchists tortured people, >though, and i'm glad that there is no mention in the article that >these cells were ever actually used. my colleague charles sugnet is >writing extensively on Leopold Senghor's poltical use of Negritude, >including poetic torture of his political enemies when he came to >power. not a pretty picture, but it has to be dealt with. > >At 8:47 AM -0600 1/28/03, miekal and wrote: >>From: Christian Bok >>Date: Mon Jan 27, 2003 11:57:24 PM US/Central >>To: Ubuweb >>Subject: [ubuweb] Art Torture >>Reply-To: ubuweb@yahoogroups.com >> >>This news article outlines the use of avant-garde art in the torture of >>political prisoners in Spain. >> >>http://www.guardian.co.uk/international/story/0,3604,882943,00.html > > >-- Robert L. Zamsky DePaul University _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 28 Jan 2003 09:42:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fwd: Rhizome ArtBase--Anningan is online In-Reply-To: <20030128115823.82169.qmail@web10702.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >--- artbase@rhizome.org wrote: >> Date: Mon, 27 Jan 2003 10:57:54 -0500 >> To: llacook@yahoo.com >> From: artbase@rhizome.org >> Subject: Rhizome ArtBase--Anningan is online >> >> Hi Lewis, >> >> Congratulations! your artwork has been successfully >> added to the Rhizome ArtBase: >> > > Anningan >> I don't have any art work. -- George Bowering Ice cold in Ontario Fax 604-266-9000 ========================================================================= Date: Tue, 28 Jan 2003 09:44:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: this is one way to get an audience who can't walk out In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed It's a nice story, but the source appears to be the transcript of a fascist trial, and Franco's minions could be pretty creative themselves. A 3x6 cell containing a bed, a bench and an elaborate floor? I'd want to see a picture. But I can imagine a hallway of these as an art project. Mark At 10:23 AM 1/28/2003 -0600, you wrote: >wow, this is exactly the type of stuff i am interested in --the >political and "everyday" uses of poetry/aesthetics, and the >demystification of those things as rarified or necessarily uplifting. >it is v upsetting to think that the anarchists tortured people, >though, and i'm glad that there is no mention in the article that >these cells were ever actually used. my colleague charles sugnet is >writing extensively on Leopold Senghor's poltical use of Negritude, >including poetic torture of his political enemies when he came to >power. not a pretty picture, but it has to be dealt with. > >At 8:47 AM -0600 1/28/03, miekal and wrote: >>From: Christian Bok >>Date: Mon Jan 27, 2003 11:57:24 PM US/Central >>To: Ubuweb >>Subject: [ubuweb] Art Torture >>Reply-To: ubuweb@yahoogroups.com >> >>This news article outlines the use of avant-garde art in the torture of >>political prisoners in Spain. >> >>http://www.guardian.co.uk/international/story/0,3604,882943,00.html > > >-- ========================================================================= Date: Tue, 28 Jan 2003 10:20:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: you, too, can own this book Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable $20 =3D $3 postage to list members in the US and Canada. >Library Journal, 2/1/03 > >Across the Line/Al otro lado: The Poetry of Baja California. >Junction. 2002. c.384 p. ed. Harry Polkinhorn & Mark Weiss. LC 2002107622. >ISBN 1-881523-13-6. $25. > >With its deserts and mountains, Baja California has long been the wildest= =20 >part of Mexico=92s sparsely populated north, and it was only recently=20 >settled. Its border towns, Tijuana and Mexicali, have swollen to monstrous= =20 >proportions, and, as evidenced by this remarkable new bilingual anthology,= =20 >many of the region=92s poets explore the degradation of their urban border= =20 >culture. (=93This city wounds like a fish bone stuck in our throats,=94= writes=20 >Jos=E9 Javier Villarreal.) Yet while some poets focus on the sordid aspects= =20 >of border life, others see =93the spiny haughtiness of the cacti/ wrapped= in=20 >their green and bitter silence=94 (Raul Antonio Cota) or hear =93the= reptile=92s=20 >arid purr sweeping the skin of the desert=94 (Elizabeth Algr=E1vez).=20 >Describing a six-foot-tall tumbleweed that stops traffic in downtown=20 >Tijuana, Heriberto Y=E9pez calls it a =93sly intimation/ of the desert=92s= =20 >imminent return.=94 Of the 53 poets here, 14 are women; there are two= recent=20 >corridos, Mexico=92s traditional folk ballad, and even some poems= translated=20 >from the area=92s extinct indigenous languages. Broad-ranging and=20 >insightful, this is recommended for all poetry and Spanish-language=20 >collections. >Jack Shreve, Allegany College of Maryland, Cumberland ========================================================================= Date: Tue, 28 Jan 2003 12:27:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit SATURDAY FEB 1 AT THE POETRY PROJECT: POETRY IS NEWS! [2:00pm - 9:00pm] *** Operation Counter-Intelligence: A Cultural Wake-Up Call The world situation (on the insane brink of more war with civil liberties under siege) is getting worse by the hour. In addition to everything we do as citizens, we now call for action within the sphere of all public cultural activities as it becomes increasingly embarrassing and painful to attend events that don't even "reference" the current reality. The false dichotomies between politics and aesthetics can only be put to rest when history is made present and resistance enacted. POETRY IS NEWS, a forming cultural coalition announces its inaugural event: Operation Counter-Intelligence: A Cultural Wake-Up Call will present panels, performances and reports from the front. Participants include poets, writers and critics Ammiel Alcalay, Samiya Bashir, Moustafa Bayoumi, Gabrielle David, Alan Gilbert, Richard Hell, David Henderson, Fanny Howe, Elias Khoury, Karen Malpede, Michael Palmer, Anne Waldman and Eliot Weinberger; musician Marc Ribot, special guest, cartoonist and journalist Ted Rall, and others. Topics we will address include: Where Is Poetry? Responding to Crisis Acting in Public: Expanding Cultural Space Bringing Back the World Being Censored, Censoring Ourselves Reports from the front include: Rebecca Murray, an International Solidarity Movement activist, on her experiences riding ambulances in Jenin Sara Reisman, on demonstrations she has organized in front of the INS building Kristin Prevallet and Rachel Levitsky on Debunker Mentality, public poetry actions taken after 9/11 Rachel McKeen on Brooklyn high school kids' reactions to military recruitment Count:0 from Free103point9 on Urban Radio Admission is FREE *** The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Tue, 28 Jan 2003 12:29:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: SECESSION might be the ONLY option Comments: To: noisetext@yahoogroups.com Comments: cc: dreamtime@yahoogroups.com In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit HOW TO START YOUR OWN MICRONATION http://www.geocities.com/micronations/ The Micronation and Sovereignty Website Index http://www.angelfire.com/nv/micronations/enter.html Secession http://dmoz.org/Society/Issues/Secession/Micronations/ A Declaration of the Independence of Cyberspace by John Perry Barlow http://www.eff.org/~barlow/Declaration-Final.html League of Secessionist States http://www.geocities.com/CapitolHill/5111/eng_index.htm ========================================================================= Date: Tue, 28 Jan 2003 11:01:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: Blix Unfiltered In-Reply-To: <81324625-32EE-11D7-8898-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Kinda interesting to hear/watch/listen/read w/o soundbite / swirling icons of a burning Iraq.... Text: http://www.un.org/Depts/unmovic/Bx27.htm Real Archive at Blix & ElBaradei U.N. Security Council Report http://www.c-span.org __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Tue, 28 Jan 2003 13:45:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Diplomatic Immunity Mime-Version: 1.0 Content-Type: text/plain; format=flowed he got up to get a drink of water he woke up his name mentioned in a lousy pawn-shop _____________________________ Swedenborg exploded, & also certain angels _____________________________ Signifier put his hand on that promise, black, yellow, & white soft in waves _____________________________ a chorus fluff etched about the guard's's chair _____________________________ a single damned thing _____________________________ her fur coat stopped listening - two huge long blankets _____________________________ the bars on the faces of half the dance a long hiss forgave them half their sins, even unto the nurse holding up half my account _____________________________ dust to dust bare legs shook him like a rat _____________________________ I said, "Tell the truth," and the alligator spilled his plans, a post office cradling his map ______________________________ Dark Blue drew his gun the light switch hadn't any money either ______________________________ Deal? Jewel. ______________________________ house a leak of the leading mouse ______________________________ ad hominem penalty box Aristotle attempts to playfully create a mass exodus of exclusion, thus clogging EXTENDED poetry poetics do and say as you wish saboteurs! saboteurs! saboteurs! _______________________________ HER profile? In THIS weather? _______________________________ good, bad, or faint no pain, Midnight Bleach, taboos cold with no promise affable Countess a living prison cold with midnight taboos, bleach, - no, no! - days make their months ________________________________ robbery knocked him down a thrill stood a fancy turn ________________________________ grand ceremony not very risky though some book pretended to end there though she was at some pains to become his daughter ______________________________ for fear, settle for wolves wolves slipped away, settle for harboring her graces the best laid plans set off ______________________________ her arms were bare, and filled the pit and house ______________________________ nor ever marry her, Dr. Bluespire! ______________________________ He has a Name very-decent-people- are-delaying-my-happiness ______________________________ lavishly, the clothes with eyelashes draw lots for ownership ______________________________ the end of his hat, the title of the work shabby within a second ______________________________ "The two-legged harp & her sister," Memory with perfect response. ______________________________ once voice here, his own death-distress blood-mode like fire all future numbers having promised the love scenes under fire indistinguishable from fire when in fire his own death has eyes on our thoughts the next time, poems come down in sheets her own words in strips of grave dialect _______________________________ pleasures this unsociable mixed me a note to love me my time _______________________________ labor and waste together with a past _______________________________ I had formed only the day before we should go on foot _______________________________ very decent - sent for her whole triumph _______________________________ she has grass stains on her clothes and bells on her toes I see without a blindfold she is Jane to all your Joes _______________________________ solid precision to the scandal of the horned owl, the boat, & the Boat Unkempt _______________________________ Mount Vernon fig tree placed thereof was Himself to call the Summer for a final assault _____________________________ a nemesis guise of emulation wilderness driven by design, a white breathless destination the first two deeds (read "lines") still possible for bloodless phobia books quite subtle dedicated to overripe summation (read "lines" ______________________________ part, the Paris, and proportions ______________________________ anecdotal richer ground Richard Brown pronounce poem incidental _____________________________ spatchcock Melymbrosia, with your heft & shave, where would you prefer to hang your hat - Herrenchiemsee, or Versailles? ______________________________ Should Tannhauser ever fall into the arms of his mortal love, he would no doubt see, and soon, she is no Venus. Still, in Heaven, are there dice-matches still, and, still, games of chance ______________________________ Dear Nature, Thank you for not killing me today. Best, Abe Lincoln ______________________________ unburied, & such things add to deep bays ______________________________ lamplight the town lowering to light it the mouth long nailed them tight - light to be as quiet long ago _____________________________ the meekness overscaled shrewd estrangement purge that expediency to sweeten a rose from any other British port _____________________________ O my stars, shall the dust prose you? Are etceteras nothing? _____________________________ roses were with pink thrift and morning _____________________________ the air with hands tight with dust _____________________________ a pocket and away - for the name of your upturned face _____________________________ bass-viol, and bass-viol. Folk. _____________________________ verso versipelles, you turncoat mammal. writing and rewriting your dead pelt, penivorous animal! beast who swallows its own tale, figure by which you figure, mustering piece by piece your fugitive assent! _____________________________ dead un- done, and softly as our stop _____________________________ dynamite twice flashing in pantomime, that's the clamor you don't need to choose _____________________________ whom aural tables for these _____________________________ conversation off one measurable dance _____________________________ slink into ponderable hope _____________________________ futile ivory _____________________________ verdigris disobeyed & microscopic _____________________________ away - distinguished from me _____________________________ interrupted coincided had sown _____________________________ white vagaries _____________________________ word now microscopic _____________________________ "Word Now Microscopic, Cease From The Seine" _____________________________ to see an air of how always _____________________________ secrecy ran the whole constricted boar _____________________________ honey or three _____________________________ spied paint- wasted _____________________________ private lives torn down (their scabs a picture) _____________________________ dust grew a focus _____________________________ pitiable as a pane ____________________________ sweet dreams, famished fox ____________________________ back clung to rival visible ____________________________ sleep - for this time a thief bound to his fists ____________________________ a thief's throw readjusted under his sheets ____________________________ picture a pled & recorded tangle ____________________________ growl a white havoc, sailing ship! ____________________________ tea leaves in the days of ventriloquial bruises, so much my way to run the air... ____________________________ the dirt in the dark fused to remittance ____________________________ our eyes hanging in coppery hair, by and by ____________________________ wag as if unaccompanied, their drag a lithe perpetual ____________________________ plop before the anvil: rustiness turned to satisfaction ____________________________ I was spiked with a gnarl and the sun is Your Honor ____________________________ coy the clock her life a spring ____________________________ Reykjavik! Reykjavik! SPORTS JACKET! ____________________________ hare and mare are the entire sea & when the entire sea pleads for his life hare and mare are English speaking ___________________________ a Portuguese capacity has the capacity for being Portuguese, at least ___________________________ modesty, obviously, will end with a curtain ___________________________ the Second Act climbs onto the City Clerk ___________________________ the Theatre ought not to be afraid to show her legs ___________________________ am I to conclude the depths are only for simple things? ___________________________ she married your praises ___________________________ the orchestra making the main square in his hair ___________________________ How Nature Can Close Ranks! Snip! Snap! ___________________________ the atrocious are putting on a show just for you! - even if a million miles away & they don't care to know your name! when you're moral, though, you are only entertaining yourself ___________________________ my suggestion is licensed to do what you're so eager for ___________________________ the weather, my dear friend, is trying to hand us a line ___________________________ the newborn paws in the heat of my violin case ___________________________ how do you want the staircase to be rebuilt? ___________________________ have my people feel like sleeping ___________________________ cooks are less fragile ink bottles ___________________________ we need a horse to make a fire with ___________________________ one's coffin again recurring a sick man has gratuitous unity ___________________________ The Crystal Tower In New York ___________________________ coteries exclude because they have trust issues ___________________________ the awful thing tells me a star is called a mountain ___________________________ repugnant farmhands live in your apartment ___________________________ a mysterious snowing (marvelous?) broke into conversations __________________________ dust detail __________________________ a lump sticking out of the two __________________________ the house would be so white __________________________ very friendly and pretty piece of shit __________________________ the bunnies seemed only fair __________________________ tone of voice cry at the top of black __________________________ my knee beheld their eyebrows spectacular __________________________ the ball with milk twenty minutes later __________________________ nice things in Arabic __________________________ dirty knees when she was fourteen __________________________ Art & junk-dreams spoiled the poor fellow __________________________ goodnight kisses against her cheekbone __________________________ your friends are enough company __________________________ the matches had pulled her eyebrows __________________________ a good joke is walking about __________________________ _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 28 Jan 2003 15:25:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: careerists agin'! confessionalists agin'! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 01/27/2003 2:52:21 PM, Austinwja@AOL.COM writes: << By the way, I'm reading that the Confessional Poets, especially Plath, are making a big comeback. There's a film on Plath in the works starring Gwinyth Paltrow (or however her name is spelled). Best, Bill >> oh man, not HER playing Plath! oh well. i always liked Sexton more than Plath anyway. love how Sexton appears in POEMS FOR THE MILLENNIUM (her Jesus Papers i believe) and none of the others: Plath, Berryman, Lowell. Sexton, ironically, was the one being chipped away over the past 20 years by the Norton's people until she disappeared. what was that i ask you? my feeling has ALWAYS been that Sexton was the one without all the education, the one with no credentials outside of a therapist's PUSH in the direction of poetry. yet Sexton was always the authentic voice with little care whether or not she offended. in fact, she probably looked for newer and newer ways TO OFFEND. i recall a PBS series on poets i saw as a kid. when they focused on Plath they mentioned her influences as being male poets, her asshole husband for one, and TS Eliot, and others. but they never mentioned Sexton as an influence. and that's just ridiculous! when those two women met in Lowell's workshop in '59, it really jolted Plath. you can see it for yourself in the letters they wrote to one another, how Plath didn't really know what the possibilities of writing could be for a woman until she met Sexton. how could she, with that no-necked small-dicked monster-husband Ted Hughes breathing down her neck with one foot on her coattails. if there's ONE poet i intend to do a drag poetry reading of in this lifetime it's Anne Sexton! smoking and being a bad-assed sexy woman on stage reading poems about Christ's mournful cock and melting refrigerators should be the goal of any decent drag queen worth their salty salt! Valley of the Dolls meets Harvard! YEAH! sexy, juicy juice and a shot of vodka! there are plenty of poets who like to trash Sexton, say she's too easy. besides the fact that i disagree, her poems have made a lot of faces twitch and shift while reading as i've observed over the years. there's folks who are upset about the comeback of the Confessionalists. but i say, hey, just in time for Blog time. and why not? only this time, instead of all the poets killing themselves, bridges, ovens, gassed in mother's furs and pearls, this time we'll celebrate, and laugh a little more because someone's got to balance the budget on suicide. "I have no room in my oven for my head." --from Plath Said, by Anne Cammeron more later, CAConrad from the sounds of Philadelphia ========================================================================= Date: Tue, 28 Jan 2003 15:40:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Poets Against the War MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit when down in DC for the march recently with a bunch of amazing Philadelphia poets, i was surprised to see NO poets on stage, except for Patti Smith, who sang her anthem PEOPLE HAVE THE POWER! poets such as Anne Waldman in the audience, listening with the rest of us to hours of sometimes interesting, but mostly redundant speeches. poets are ESSENTIAL to formulating the language of change. i had thought about asking Waldman if we should storm the stage and insist they put her up there, but i don't know this woman, so just sang along with Patti Smith like everyone else. next march, next meeting, next uprising we need to gather the hordes of AMAZING young genius poets all over this country, fresh with outrage! "PEOPLE HAVE THE POWER TO REDEEM THE WORK OF FOOLS!" --Patti Smith more later (you can count on it!), CAConrad from the sounds of Philadelphia ========================================================================= Date: Tue, 28 Jan 2003 12:57:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Poets Theater Jamboree Continues.... MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic's Poets' Theater Jamboree continues Friday, January 31, 2003 at 7:30 PM An evening of short plays Part I Yvor Winters Puppet Play, directed by Andrew Joron "Celeste & Sirius" by Kathleen Fraser "Some Prologues" by Stacy Doris "Fancy Another Day Gone" (1936) & "Domestic and Unavoidable" (1935) by Lorine Niedecker, directed by Taylor Brady "Equally Balanced Buckets" by Sean Finney "The Seventh Game of the World Series" by David Hadbawnik (INTERMISSION) "Beckon" by Jocelyn Saidenberg & Wendy Kramer "All the Thing You Are" by Taylor Brady "PPL IN A DEPOT" by Gary Sullivan "Manual for a Block" by Wayne Smith All seats $10; this is a benefit for SPT. Reservations recommended -- call 415-551-9278. Thanks to everyone who came out last week -- it was great! The Jamboree continues next week with An Evening of Short Plays Part II. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 - 8th Street San Francisco, California 94107 http://www.sptraffic.org 415-551-9278 ========================================================================= Date: Tue, 28 Jan 2003 13:57:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: careerists agin'! confessionalists agin'! In-Reply-To: <7a.36f7348a.2b684132@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit load the post-post modern rifles audrey, there's 'confessionalists' in them thar hills!!! yeah! this is the best !@#$!ing post i've seen in a while. i have to admit to feeling a bit of a sense of foreboding -- kneejerk reaction -- when i saw the original post: "The Confessionalists are coming back!" my god! Noooooooooooooooo! but this post made me realize, yeah, bring em on! (and if it takes Gwenyth Paltrow to bring back plath, well, all I can say is, I want Morgan Freeman to play me in the movie)... after all, i've been deeply enjoying some vintage theodore roethke late at night, when i think no one's looking, so to cringe at the thought of a resurgence of plath/sexton/et al., well, it couldn't be much worse than the various strains in vogue now. i have no point. rock on. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Craig Allen Conrad Sent: Tuesday, January 28, 2003 12:25 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: careerists agin'! confessionalists agin'! In a message dated 01/27/2003 2:52:21 PM, Austinwja@AOL.COM writes: << By the way, I'm reading that the Confessional Poets, especially Plath, are making a big comeback. There's a film on Plath in the works starring Gwinyth Paltrow (or however her name is spelled). Best, Bill >> oh man, not HER playing Plath! oh well. i always liked Sexton more than Plath anyway. love how Sexton appears in POEMS FOR THE MILLENNIUM (her Jesus Papers i believe) and none of the others: Plath, Berryman, Lowell. Sexton, ironically, was the one being chipped away over the past 20 years by the Norton's people until she disappeared. what was that i ask you? my feeling has ALWAYS been that Sexton was the one without all the education, the one with no credentials outside of a therapist's PUSH in the direction of poetry. yet Sexton was always the authentic voice with little care whether or not she offended. in fact, she probably looked for newer and newer ways TO OFFEND. i recall a PBS series on poets i saw as a kid. when they focused on Plath they mentioned her influences as being male poets, her asshole husband for one, and TS Eliot, and others. but they never mentioned Sexton as an influence. and that's just ridiculous! when those two women met in Lowell's workshop in '59, it really jolted Plath. you can see it for yourself in the letters they wrote to one another, how Plath didn't really know what the possibilities of writing could be for a woman until she met Sexton. how could she, with that no-necked small-dicked monster-husband Ted Hughes breathing down her neck with one foot on her coattails. if there's ONE poet i intend to do a drag poetry reading of in this lifetime it's Anne Sexton! smoking and being a bad-assed sexy woman on stage reading poems about Christ's mournful cock and melting refrigerators should be the goal of any decent drag queen worth their salty salt! Valley of the Dolls meets Harvard! YEAH! sexy, juicy juice and a shot of vodka! there are plenty of poets who like to trash Sexton, say she's too easy. besides the fact that i disagree, her poems have made a lot of faces twitch and shift while reading as i've observed over the years. there's folks who are upset about the comeback of the Confessionalists. but i say, hey, just in time for Blog time. and why not? only this time, instead of all the poets killing themselves, bridges, ovens, gassed in mother's furs and pearls, this time we'll celebrate, and laugh a little more because someone's got to balance the budget on suicide. "I have no room in my oven for my head." --from Plath Said, by Anne Cammeron more later, CAConrad from the sounds of Philadelphia ========================================================================= Date: Tue, 28 Jan 2003 14:07:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Peace Talk/Carnegie/Terry Gross Show In-Reply-To: <81324625-32EE-11D7-8898-0003935A5BDA@mwt.net> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT If any of you still have Terry Gross coming up today in your local NPR programming, I strongly suggesting listening to her interview with the co-author of Carnegie's response to the Blix report on the Inspections. I won't attempt to paraphrase, but I think his viewpoint is quite useful in terms of framing the current situation - and particularly perceptive on the potential horrific and self-destructive consequences of the messianic embrace of certain pro-invasion/occupation Administration members (Perle, Wolflitz). Stephen Vincent ========================================================================= Date: Tue, 28 Jan 2003 15:57:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derek beaulieu Subject: dANDelion: a special issue around the work of Roy Kiyooka. Comments: To: UBU , smallpress listserv , grads english MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable a reminder: dANDelion Magazine is currently seeking submissions for a special issue = around the work of Roy Kiyooka (1926-1994).=20 dANDelion is looking for creative and critical work that intersects with = the issues and communities around Roy Kiyooka's work. We are actively = seeking work that address problems of representation, culture, media and = performance, the document in photography and poetry, as well as = Kiyooka's own poetics, photography, fine art, performance, film, = pedagogy and cultural work.=20 Submissions desired:=20 - mixed-genre work=20 - B&W Art: (ie: photography, illustration, mixed-media)=20 - Prose: poetics, critical/theoretical, interviews, reviews and poetic = statements=20 - Poetry: experimental and linguistically innovative work, "long" &/or = serial forms, translation deadline: Jan 31st, 2003. Please address inquiries & submissions to:=20 dANDelion Magazine c/o department of English, university of Calgary, = 2500 university drive NW, Calgary Alberta, t2n 1n4, Canada submissions are also welcome via email (as DOC or JPEG files) to: derek@housepress.ca ========================================================================= Date: Tue, 28 Jan 2003 15:39:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: state of the union MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" This may be a bit on a diagonal from the theme of this list, but it's sheer poetry nonetheless. In 24 hrs this'll be everywhere so get it before the main event: http://fuckitall.com/bsh/ Folks are hitting the servers like crazy, so be patient. The Texans down at Crawford Studios should definitely hire this fella. Andrew ========================================================================= Date: Tue, 28 Jan 2003 18:50:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: confessionalists agin'! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable One of the advantages of working as a poet in an offmarket community is = that people can [and do] respond to poetry without the diminishing = weight of the latest shifts of taste and the asides that often echo = tastemakers' approval. Poet's theater has been an irregular, but not = infrequent, constant in Toledo. Individuals read the available = biographies, write a script, reherse and stage a performance of the work = of writers they appreciate. Anne Sexton, Dave Etter and Jack Kerouac are = three poets whose texts have formed the basis for the individual shows = "Her Kind," "Heartland" and "Back to Jack." The six woman cast of "Her = Kind" [all red-dressed Annes tippling showy martini glasses] performed = that particular poet's theater at 4 crowded venues--a downtown club, a = university women's conference, a bookstore and the Toledo Museum of Art. = I don't think anyone realized the poetry was out of favor and had = slipped off the approved charts. The intertextual scripting was = documentary and informational, the poems ranged across the contents of = her books, there were joyous practices reading the poems to one another, = shifting choices and players. Staging required a few props and a touch = of music. JL -----Original Message----- From: Craig Allen Conrad [mailto:CAConrad9@AOL.COM] Sent: Tue 1/28/2003 3:25 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: careerists agin'! confessionalists agin'! In a message dated 01/27/2003 2:52:21 PM, Austinwja@AOL.COM writes: << By the way, I'm reading that the Confessional Poets, especially Plath, are making a big comeback. = There's a film on Plath in the works starring Gwinyth Paltrow (or however her name = is spelled). Best, Bill >> oh man, not HER playing Plath! oh well. i always liked Sexton more than Plath anyway. love how Sexton appears in POEMS FOR THE MILLENNIUM (her Jesus Papers i believe) and none of the others: Plath, Berryman, Lowell. Sexton, ironically, was the one being chipped away over the past 20 years by the Norton's people until she disappeared. what was that i ask you? my feeling has ALWAYS been that Sexton was the one without all the education, the one with no credentials outside of a therapist's PUSH in the direction of poetry. yet Sexton was always the authentic voice with little care whether or not she offended. in fact, she probably looked for newer and newer ways TO OFFEND. i recall a PBS series on poets i saw as a kid. when they focused on = Plath they mentioned her influences as being male poets, her asshole husband = for one, and TS Eliot, and others. but they never mentioned Sexton as an influence. and that's just ridiculous! when those two women met in = Lowell's workshop in '59, it really jolted Plath. you can see it for yourself in = the letters they wrote to one another, how Plath didn't really know what the possibilities of writing could be for a woman until she met Sexton. how could she, with that no-necked small-dicked monster-husband Ted Hughes breathing down her neck with one foot on her coattails. if there's ONE = poet i intend to do a drag poetry reading of in this lifetime it's Anne = Sexton! smoking and being a bad-assed sexy woman on stage reading poems about Christ's mournful cock and melting refrigerators should be the goal of = any decent drag queen worth their salty salt! Valley of the Dolls meets = Harvard! YEAH! sexy, juicy juice and a shot of vodka! there are plenty of poets who like to trash Sexton, say she's too easy. besides the fact that i disagree, her poems have made a lot of faces = twitch and shift while reading as i've observed over the years. there's folks who are upset about the comeback of the Confessionalists. = but i say, hey, just in time for Blog time. and why not? only this time, instead of all the poets killing themselves, bridges, ovens, gassed in mother's furs and pearls, this time we'll celebrate, and laugh a little = more because someone's got to balance the budget on suicide. "I have no room in my oven for my head." --from Plath Said, by Anne Cammeron more later, CAConrad from the sounds of Philadelphia ========================================================================= Date: Tue, 28 Jan 2003 21:01:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: today's mail: war MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII today's mail: war And war shall fail." that we're not a minority in opposing this war any more," said Swift, 36, like the one organized to speak out against the war in Vietnam." (Hamill that we're not a minority in opposing this war any more," said Swift, 36, the one organized to speak out against the war in Vietnam." (Hamill is The world situation (on the insane brink of more war with civil Constant apprehension of war has the same tendency Constant apprehension of war has the same tendency
    the same reservations about a war on Iraq as her government. whether to resort to war outside a UN framework. She says that should the US go to war without a resolution from the UN, Angst, fuer sie auszusagen. Ich war sicher, dass die Ereignisse von gestalterischer Aspekt bei der Kreation der Spiel-Software war die Likewise, now that the war seems imminent, so too does the DOW slipping support Bushs war. Which ones? Even in the UK the support for war is popular support for the war in the U.S., either. War I - in its war against Iran) is. So, maybe Iran should have good Vietnam war - and this is all before the bombing even started - down to politics may catastrophically fail - either with war on Iraq or later with like Hong Kong, Macao and Taiwan, but twice gone to war over the control === ========================================================================= Date: Tue, 28 Jan 2003 21:48:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: this is one way to get an audience who can't walk out MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I must ask is this cell the updated plato cave ? smassoni@aol.com ========================================================================= Date: Tue, 28 Jan 2003 23:43:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bernard Waldrop Subject: new Burning Deck translation Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Burning Deck is pleased to announce #6 of its series "Dichten=3D": LUDWIG HARIG The Trip to Bordeaux translated from the German by Susan Bernofsky Novella, 104 pp., offset, smyth-sewn ISBN 1-886224-53-6 $10 =46our adults, a child and a cat travel from Germany to Bordeaux. Harig=20 tells their adventures in humorous permutations, word-games,=20 Baroquisms, confrontations, catalogs: anything but straightforward=20 narrative. He even rings the changes on snippets of philosophical=20 discourse lifted from Montaigne - who was once mayor of Bordeaux and=20 whose motto, "What do I know?," is perhaps the real location all the=20 fun takes us to. It's a riotous tale, with just enough of a narrative=20 thread to keep you reading. And exhilarated. Ludwig Harig was born in Sulzbach/Saarland in 1927. After being=20 an "assistant d'allemand" in Lyon and a grade school teacher, he has,=20 since 1974, lived as a freelance writer. In the 1950s he was part of=20 the experimental "Stuttgart School" around Max Bense. The 1960s saw=20 him branching out into different genres, in particular the radio=20 play, and by the late 1970s he had developed the self-reflexive,=20 playful, but realistic chronicler's style that characterizes his late=20 work. He is best known for his autobiographical trilogy: Ordnung ist=20 das ganze Leben (1986), Weh dem, der aus der Reihe tanzt (1990), and=20 Wer mit den W=F6lfen heult wird Wolf (1996), a sarcastic panorama of=20 German history 1914-1945, as reflected in the life of a family near=20 the Franco-German border. "Among modern authors who use experimental writing in order totally=20 to change conventional genres Ludwig Harig's place is preeminent."-=20 Max Bense "One of our most loveable and fidgety narrators is Ludwig=20 Harig, a mountebank bursting with ideas, an acrobat of connection,=20 a hereditary tenant on the estates of humor and a juggler of=20 language"-Frankfurter Allgemeine Zeitung Distributors: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 1-800/869-7553; www.spdbooks.org Spectacular Diseases, 83b London Rd., Peterborough, Cambs. PE2 9BS ENGLAND ========================================================================= Date: Tue, 28 Jan 2003 22:40:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: query re Baraka on Brathwaite Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Can I be helped?: I'm trying to hunt down a phrase by Baraka regarding Kamau Brathwaite. I can't find a provenance for it and I need to cite it for something. Somewhere Baraka says about Brathwaite:"One of the most important poets of the Western Hemisphere." Anyone know where he says that? I saw it in the last two months, but a tsunami of books has washed across my desk since early December -- such tath I can't remember in what book or mag I might have seen it. Thanks, Gabe ========================================================================= Date: Tue, 28 Jan 2003 21:58:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: Bush Library In-Reply-To: <200301290458.UAA12045@sparkie.humnet.ucla.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Very True Story: Abt a month ago two friends of mine took a guided tour of the Library of Congress. The President is allowed to check books out of the library (I was once arrested and penned up in Metro DC's Central Cell Block for supposedly stealing a volume of Sappho from the LoC, but that's another story). So one of my friends asked the tour guide: "Did Bill Clinton use the library often?" And the guide proudly replied: "Yes, he wd come in almost every week. He read an average of six books a week!" My friend: "What abt President Bush?" The guide's smile faded and, after a long pause, he replied: "Well, I'd like to keep my job and so I don't think I can really answer that." and recommenced the tour. >Subject: Breaking News >Date: Sat, 25 Jan 2003 08:59:46 -0500 >Breaking News: >Fire Damages Presidential Library >Washington, DC (Reuters) -- A tragic and sad fire >has destroyed the personal library of President >George W. Bush. >Both of his books have been lost. >The president is reportedly devastated. >Apparently, he had not finished coloring the second one > >___________________________________________________________ >Pierre Joris >6 Madison Place And they call reading a sin, and writing is a crime. >Albany NY 12202 And no doubt this is not entirely false. >h: 518 426 0433 They will never forgive us for this Somewhere Else. >c: 518 225 7123 >o: 518 442 40 85 >-- Thomas Bernhard >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ > >------------------------------ > >Date: Mon, 27 Jan 2003 21:12:56 -0600 >From: J Gallaher >Subject: Re: slam by "PhD" at Brown > >Kazim Ali writes, in response to my stated lack of read books: > >I did. > >Shall I do an anti-slam of it? (Because it was >monstrously good. And no one, to my recollection, >farts in it.) > >I Reply: > >Aha! Thank you, but that is where you are wrong, my friend! I have >fiendishly hidden my fart references in typical pomo devilry. (All >parentheses are really farts.) The book is quite flatulent. > >winkingly yours, > John G > >> ---------------------------- >> A recent Amazon.com review of Defense. >> >> "Upper-Crust Poetry Disguised As Fart Joke, January >> 22, 2003 >> Reviewer: A reader from New Jersey >> To the point: one guy reviewing this book gives it >> five stars before >> he reads it because... he took a class from Gudding >> at Cornell. > > >===== >"This is a good world... > And war shall fail." > > --Kenneth Patchen > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com >J Gallaher > >Metaphors Be With You . . . > >------------------------------ > >Date: Tue, 28 Jan 2003 10:29:13 -0500 >From: schwartzgk >Subject: Re: Breaking News: Bush Library > >Funny, I was under the impression they were both board books, four pages >each. > >Gerald Schwartz >----- Original Message ----- >From: "Pierre Joris" >To: >Sent: Tuesday, January 28, 2003 10:23 AM >Subject: Breaking News: Bush Library > > >> Subject: Breaking News >> Date: Sat, 25 Jan 2003 08:59:46 -0500 >> Breaking News: >> Fire Damages Presidential Library >> Washington, DC (Reuters) -- A tragic and sad fire >> has destroyed the personal library of President >> George W. Bush. >> Both of his books have been lost. >> The president is reportedly devastated. >> Apparently, he had not finished coloring the second one >> >> ___________________________________________________________ >> Pierre Joris >> 6 Madison Place And they call reading a sin, and writing is a >crime. >> Albany NY 12202 And no doubt this is not entirely false. >> h: 518 426 0433 They will never forgive us for this Somewhere >Else. ========================================================================= Date: Tue, 28 Jan 2003 22:57:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Fwd: Rhizome ArtBase--Anningan is online MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Oh?-- decorating the walls of Bowering Manor? Sold to buy booze? He'las. DB -----Original Message----- From: George Bowering To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, January 28, 2003 11:14 AM Subject: Re: Fwd: Rhizome ArtBase--Anningan is online >>--- artbase@rhizome.org wrote: >>> Date: Mon, 27 Jan 2003 10:57:54 -0500 >>> To: llacook@yahoo.com >>> From: artbase@rhizome.org >>> Subject: Rhizome ArtBase--Anningan is online >>> >>> Hi Lewis, >>> >>> Congratulations! your artwork has been successfully >>> added to the Rhizome ArtBase: >>> >> > Anningan >>> > >I don't have any art work. >-- >George Bowering >Ice cold in Ontario >Fax 604-266-9000 > ========================================================================= Date: Tue, 28 Jan 2003 23:32:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: poetry and reading levels Comments: cc: spahr@HAWAII.EDU MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Perhaps somewhat in the spirit of Juliana Spahr's post about Cybergraphia, the on-line symposium on the pedagogy of teaching contemporary poetry (more colloquially put in her announcement): a thought that's been pre-occupying me lately, ---although I still don't have it in any well-articulated form. Would be curious about others' impressions. I haven't yet had the pleasure of reading Jordan Davis' much talked-about ~Million Poems Journal,~ which I look forward to,--- but it was upon recently re-reading the Davis poems in the 1998 Talisman ~Anthology of New (American) Poets~ that this thought dawned on me and has been sticking since, as a sort of odd, new template I keep reading poetry though. Reading Davis' poems there, I was struck by ~the simplicity~ of the vocabulary. It seemed, upon first impression, that, except for gerunds ("-ing" words) or plurals or "-ed" words, it was almost all one- or two-syllable words. That's not entirely true, on further inspection. There are in fact a little more than a hundred polysyllables in the six pages of poetry.. (I've learned afterwards that in [on-line] reading level material, it's only three-syllable words or longer that are to be called "polysyllables", in the context that follows.) What may have lent to that impression was the somewhat childhood-oriented, nursery rhyme themes of the poems ("foxes steal gold mice", "shining bar of soap", "The ice cream barking all night the piano running past", "A Little Gold Book", etc). At any rate, ---and I do not mean this as a condemnation or condescension toward Davis' poetry--- I was left with the feeling that this was an entirely different reading experience than reading, say, Drew Gardner's ~Sugar Pill,~ with its penchant for science textbook terminology, to name only one strain, or, certainly, Kevin Davies' ~Comp.~ ("The entire panoply of minimalist histrionics"). I had the sense that, aside from the "difficulties" (new reading dissonances) that the disjunctiveness and other Modernist/post-modernist techniques introduce, a child would have no trouble reading most of it ("My old love ripped off of me like an apple / I am dying to see you / To carry you like an age into wood / . . . / Rain off the bridge / Searching with a bell"). (There is, of course, some more "adult" vocabulary that requires a different level of education/information, such as "milltowns" [which I interpret to be the Valley of the Dolls tranquilizer], "tagalog", "magnums", etc.) I was left wondering if (1) we assume about the cognitive-interpretive dissonances which disjunction, parataxis, etc., instill that they are basically equal in their effect and the same whether you're 25 or 45, or, in this case, 25 or 15, then (2), aside from that "difficulty," the differences between any two poets may additionally come down to ~what reading level~ of challenge they present. (I in fact do not believe in assumption (1), and feel that, the more acculturated one becomes to such poetry, the different effects of different tropes is essential to the pleasure of the reading. For a good while, though, or in poetry of overload, these more subtle distinctions can blur together and assumption (1) may be accurate in some basic way.) In comparison, think of the vocabulary in, say, Ashbery's ~Daffy Duck in Hollywood~ (yes, unfortunately, one must keep circling back to Ashbery, . . . the way '50s painters couldn't get away from Picasso), where <"La Celestina", "Amadigi di Gaula", "Escritoire", "déconfit", "the Princesse de Cleves", "borborygmic", "Aglavaine" and "Sélysette">, etc., involve a binge of nose-bleed stratosphere ultra-sophistication that would keep the best Norton annotator or undergraduate flipping reference words and dictionary pages. The notorious Ashbery "difficulty", then, becomes a sort of double difficulty, of not only adjusting to his poetic ellipticism but to the high-brow ~New York Review of Books~ mentality that not so coyly peeps through that primary dissonance. An uninitiated reader has to acclimatize her-/himself not only to the new "challenge" of how contemporary experimental poetry functions, but to the level of education the text speaks to, even if it could be rearranged and ironed out into a normalized, ~conjunct~ rather than disjunct discursivity. The different audiences that poets attract might be in line with these inequalities, too. Ashbery's reputation was, to some extent, pushed forward toward such unparalleled proportions by how that secondary level of post-doctoral sensibility in his writing excited critics who aspire toward that very breed of cosmopolitan erudition. Davis, meanwhile, at least from the Buffalo Poetics List reports, is enjoying a rather rapid and lively appreciation that, the educational level of the List notwithstanding, sounds like a sort of "populism" responding. (I do not know how ~Million Journal Poems~ continues this streak or supplants it, and his poems were largely just the catalyst for these thoughts rather than their prime example. At a skim, it's moot how much his millionpoems.blogspot writing deviates from this. On the face of things, "Then pop! / There's nothing wrong with your rain / Hat on lifted ass. / The subject looks around the car. Rock and roll" doesn't especially upgrade the secondary level of challenge.) In some sense, to their credit, then, perhaps work like these poems of Davis' allow a more "pure", interference-free experience of disjunctive dissonance. There is no special degree of unfamiliarity with the content, otherwise, so there's the potential of a more "clean" effect, as far as the reverberations that come off of "parataxis." I find it interesting, though, the possibility that there might be contemporary work like this very immediately suited to a readership of high school or grade school students, since we tend to think of ourselves as all so beyond that. Without having checked, I would think that the popularity of, say, a W.S. Merwin (or a Michael Palmer) has much to do with this fundamental reading level of vocabulary. ------------------------------------------------------- The remainder of this post gets number-fussy and may be ignored off as a sort of crankier footnote. An interesting rabbit hole I fell down in pursuing this idea was the whole question of what constitutes "reading level" altogether. I used the Idiot's Guide approach and checked the Internet. There's something called the "SMOG reading level" or Readability Test. It's all about those three-syllable or more- words. (I do not know what "SMOG" stands for.) The formula is to take 30 sentences from the beginning of a text, 30 from the end, and count up the number of polysyllables. The formula itself then goes off into rather arcane calculations involving square root,--- but there's a simpler version, which treats the sheer count as indicative in and of itself. The simplified SMOG conversion table appears at the bottom of http://www.sph.emory.edu/WELLNESS/reading.html. It's surprising and sort of disappointing that SMOG recognizes polysyllables only in and of themselves and does not distinguish between the reading level differences between household, substantive polysyllables like <"(air) conditioner", "marigolds", "underground", "magazines", "rubber-stamped", "Jack-o-lanterns" (sic)> (all Davis', ~AAoN(A)P~ p. 30) versus ones like <"credulity", "excommunication", "perdition", "internal", "derangement">. (all Gardner's, p. 50f), the way it levels the playing field of educational differences that result from information (cultural capital). Obviously, a more "advanced" lesson plan or cultural-intellectual attainment would be required for the latter. It's somewhat free rein how to apply the SMOG to poetry, which, unpunctuated and run-on, may not even be comprised of "sentences". Should you could up 30 lines, instead? Should it just be applied to the total text?--- But, regardless, the three shorter of Davis' poems there each contain 8, 5, and 5 polysyllables. That places them on a 6th or 5th grade reading level, basically. The long poem, "A Little Golden Book" (my counting mania set in) contains about 52 polysyllables, which, over all, might be a 10th grade reading level (although that's something of a misapplication of the SMOG rule. The 12 and 9 polysyllables in the poem's first and last 30 lines would be an 8th grade reading level (still high). The poem of Davis' that David Shapiro chose for the Boston Review (see on-line version), which was basically a broader audience's first introduction to his poetry, is about the same numbers, 46 total for a 10th grade reading level, or a beginning/ending 6 and 4 for a 6th grade reading level. There may be a metrical-musical side to this. Polysyllables seem to come in waves, in this limited sample of Davis poems: whereas there may be a roughly even distribution across "A Little Gold Book" (almost never two in one line, but sometimes clumped up in a peak distribution, like the 10 polysyllables in the last six lines on ~AAoN(A)P~ p. 32), he's also prone to sizeable stretches withholding any at all, such as the range of fifteen lines that straddle from p. 30 into p. 31, the ten lines at the top of p. 33, etc. The Boston Review poems can be read similarly with whole sequences of stanzas going polysyllable-free. This may also not be atypical. Or, it may be typical of the age demographic that ~AAoN(A)P~ chose. The seven Gardner poems in the same anthology (3, 20, 5, 12, 6, 14, and 5 polysyllables each) SMOG-clock in with four poems at a 5th grade reading level, one at a 6th, and two at a 7th. Clearly (at the risk of betraying bias here), some subsequent differentation would have to be made between the supplementary educational-conceptual levels of vocabulary like <"bewilderment", "salamander", "opposition", "coinciding", "subjectivity", "unconsciously", "perceptible", "individual", "absolute", "disaffected", "intentions">, and vocabulary like <"photography", "employers", "pyramid", "meteors", "museum", "surgery", "zinnias", "helicopters", "basketballs", "propellor", "lullabyes", "mosquito">. ------------------------------------------------------- This doesn't have to do With truth value or even Meaningful probability Whether true or false --- Jordan Davis, "When I Was The Subject" __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 29 Jan 2003 17:51:04 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: life of a working poet - 6 months in 1993 In-Reply-To: <20030129073242.18448.qmail@web40808.mail.yahoo.com> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-49EC563A; boundary="=======5BF27EDB=======" --=======5BF27EDB======= Content-Type: text/plain; x-avg-checked=avg-ok-49EC563A; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit before venturing into cyberspace, i was another sort of traveller, a touring performance poet. you can read what it was like and hear poems i wrote a long the way at http://spokenword.blog-city.com have a good trip komninos --=======5BF27EDB======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-49EC563A Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 21/01/03 --=======5BF27EDB=======-- ========================================================================= Date: Wed, 29 Jan 2003 00:56:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 2 by teddy MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit TEDDY WARBURG ATMOSPHERE #0020 [excerpt] www.voice-of-the-village.com blebs sub-rounded grains which works between the dates and show marked influence into ear the corroded double hexagonal fully eight feet casement assassin reached struck footprints window assassin strapped small trunk heard true history sat awhile dismayed detail that had feet most likely some peculiarity feet thought especially theArthurian cycle won for itself going accident rod conceal five feet five inches tall weighs abilities card thanks sales once tina got guy across her left thirty-five pounds steps three four inches longer right foot thrown forward does left foot leads cast assassin's hand showing unmistakable evidence habit biting nails exception little finger nail way abnormally long only spared some special reason murderer most likely foreigner handwriting indicate even know books read conversant least one foreign tongue tenement whole The law other night soon was instrumental some decided interest subject cancers perhaps some interest legerdemain may judge perusal Robert Houdin's words come last her canopied tomb against the chancel wall still reproductive shoots Bennettites distinguished many connecticut sir mike's speak department chiefs feel uniform Siebenburgen Italy they occur the Euganean Hills she fingers employ lawyer own account suspended duties Gazebee sharp for question even thinking instinctively responding some sort which works between the dates and show marked influence into ear the nearly residence Italy director the Instituto gay guys regrets right? found detached from the rest the ringing doorbell tenement whole The law other night soon was instrumental PALAaozoIc Reference has from she said next move chief? finished downloaded created been made Sigillarsa neckline showed off cleavage Light Different Aspects Pratyahara Francois Gerard the possession the prefecture his hands over soft old while mounts Ladies generally have the purposed bring wrath Hurrians down also felt shameful let die ship required embark landing craft helicopters Troops don our sister thou the mother thousands millions neckline showed off cleavage Light Different Aspects Pratyahara let frequent about from the earth died the February IRS reform Get one yourself lips close knees creating making contact with her clit member the College her nipple Cretaceous rocks Greenland neckline showed off cleavage Light Different Aspects Pratyahara Professor Penhallow phylogenetic importance which serve finger-posts pointing the world This flora appears have abruptly succeeded going bust want know exactly what you neckline showed off cleavage Light Different Aspects Pratyahara sensitive nature Roscoe made Goodsir Largo was educated the burgh and grammar him Point the these operations the filtrate from the first precipitate more the began gather around him felt the anguish hereditary nobility looked over her operations Achieve maximum surprise Offset enemy advantage men saw waiting for instructions induce the English papers publish the foreign news telegrams hips off sofa thoughts The porter usually appointed and paid possible ship the defeat the Alamanni With the growing power connecticut sir mike's speak department chiefs feel uniform works between the dates and show marked influence into ear the holocrystalline while the rhyolites there works between the dates and show marked influence into ear the tell something you said instrument el rabé morisco since the instrument has survived sarah hesitated respond lay there talking eased Lombard's Catena often agrees with the English metrical Mrs Pescod's notion good tea terrific Eggs everyone Consequently th November jenn who's getting watch writings and Gregory's great pleasure situation more wondered Job Trotter looked influence and was succeeded Frederick the elder his two sons See stroke entire length admiral the expedition sent out under i'm not letting you Alcedinidae v very evident Some eight other species k she said open your the elector Louis was born Amberg the now city suddenly diffident Dush operations Achieve maximum surprise Offset enemy advantage men etchings The booths far corner bar besides his best-known work The Dispensary geographical neckline showed off cleavage Light Different Aspects Pratyahara classifying Going perhaps? suggested Mivins fulfill requirements unhealthily wet the rainy season The port Remedios closer resemblance those existing Cycads g National sovereignty further codified founding United Nations Three seven principles charter sovereignty member states interfere internal affairs nation mostly ill-natured neckline showed off cleavage Light Different Aspects Pratyahara mostly have merely local Pratyahara Brahmacharya means pattern conduct subdued Yama she ran her tongue families eof Algae Species referred good evidence the described soda-felsites from Ireland The rocks which they yes master they Goodsir Largo was educated the burgh and grammar him Point the doubt less sudden than appears read from palaeobotanical feeling destroyed the Indians the July dynasty but the city was subdued Comedian published anc reprinted QUINAULT microcrystalline January His friend and chaplain Burnet speaks against father? quartz neckline showed off cleavage Light Different Aspects Pratyahara operations Induce enemy execute actions favorable friendly felspar The somewhat complicated course they pass from the petiole John tenement whole The law other night soon was instrumental removed the bishopric neckline showed off cleavage Light Different Aspects Pratyahara placed the determining the policy the Sheffield differently different fallen log thoughts The porter usually appointed and paid possible ship bipinnate frcmds neckline showed off cleavage TEDDY WARBURG ATMOSPHERE #0021 [excerpt] www.voice-of-the-village.com specific influence the skin few medicated soaps will help other times time need will abandon Vairagya will patient inhales the fumes which contain Indians has spread into various parts Brazil The cock with more interesting skin life Forts Alexander thee says Bible Nought death shall part thee growing damp again Constantine commanding the long lived same roof One evening sulked some saucy remark massed mocking foes threatened defeat true Campaigner humble man blowjobs their Miss Arabella Allen! exclaimed Pickwick Nova Hamburgo railways with their branches thee says Bible Nought death shall part thee growing damp again connexions The six vessels were thus electric took deep breath and determined cerebral processes that feeble opened his not succeed fertilizing the ovules another species was lathered her hand filling with serious problem which now directed public affairs assisted with experiences General Element Surprise today's environment bookstores looking the Holy Ghost effect consecration That the Lord's Prayer deepthroat or myself take advantage General Yorck's loyaldisloyalty and you wisdom lingers bears laden breast Full sad experience moving she complied prophesy thee says Bible Nought death shall part thee growing damp again sing Virgil where gives tired all again Frank double money got more tea Mary? sentences it was entirely deserted upon the bounced her my lap feel your hands take hot tongue across them the United tighter together Yon was master the butchers the Grande Boucherie pictures which may may not attributable Sebastiano del bark sterility the resulting hybrids may differ likewise The hundred persons to maximum Staircases scene the death Ferdinand von Schill his gallant implements thee says Bible Nought death shall part thee growing damp again multitudinous dispositions the our skin tones smiled experiment important distributing altar-piece executed for Many heard old story probably bigger for the jean mounted felt her thee says Bible Nought death shall part thee growing damp again more house gave another kiss Lady Scatcherd just felt warmth Mary's stalactites ice thee says Bible Nought death shall part thee growing damp again calcite The Speechless indignation cratean numbers though professedly ideal well optical orientation the majority ports constructing major temporary semipermanent camps the long districts Aomori and Akita Like most places results being very pleasant one lucy's four others waiting road myself take advantage General Yorck's loyaldisloyalty and other part the German empire The LITERATURE -The walking which some persons seem be hereditarily rock-salt mines general pointed out Baily photograph himself may then assent and room recalled himself once sooner cast eye figure man who brooding dusty fire like that she simply water thee says Bible Nought death shall part thee growing damp again yet present firm consistence found the use SOAP-cacophony arrangement classes and some articles Christian the wasasmallrectangular mirror about stool front you wrap talking style see Romische Quartalschrift New Mosque built Atabeg S'ad Zengi thee says Bible Nought death shall part thee growing damp again the Jama shorts my skirts administrative maintenance requirements embarked forces must the photograph after long time chiefly practical nature and was you how wisdom lingers bears laden breast Full sad experience moving you French Republic had been recognized applied Kant all other ? poor mother! inure rarely adding gum tragacanth hard soap the Inessa Acireale SANTA MARTA Book more can prove sun shining honey sweet song bird melodious thee says Bible Nought death shall part thee growing damp again port one his schoolfellows Whi there published poetry thee says Bible Nought death shall part thee growing damp again relationship the great classes this sub-kingdom masked Questa selva selvaggia aspra forte Che nel pensier the disease will help other times time need will abandon Vairagya will very characteristic The different Repulsive? snake while hunting Libya Ovid Fasti when standing the OptinList neither our spouses Church this respect too Hermas wrapping immobilizing bandage leg assume position drops down the first German victory the know OUGHT got well deserved Lord Straits Settlements remedy that records and is not known when finally Spartans the island Singapore with ove r toward mischievous present time worthy compared glory shall revealed Bible word There will help other times time need will abandon Vairagya will six gates The town divided into thee says Bible Nought death shall part thee growing damp again against all poyson And connects the word with rowe's big hard incident wisdom lingers bears laden breast Full sad experience moving regarded original the governments leased the Compagnie Auxiliaire Chemin Fer Near small lake stands cloister century transferred yeah like that give him wait minutes concentration wonderfully this explanation may accepted coming purified nitrate The nitre thus refined exported dispositions Vhen its excitement rises above certain pitch relieve tension too! excessive heat such stokers laundry workers will help other times time need will abandon Vairagya will apt Well good-night administrative maintenance requirements embarked forces must not one lile Tommy help tend beasts Things gone well keep servant thee says Bible Nought death shall part thee growing damp again then into bars Marine Soap -These soaps will help other times time need will abandon Vairagya will named contains the handsome palace the dukes Sagan instructor history Harvard assistant library the Methodist other some more wood when got limestone caves Where the water drops upon the floor one nuzzles turned into soft start walk over slowly long lived same roof One evening sulked some saucy remark over the Menai Straits the Conway tubular long lived same roof One evening sulked some saucy --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Wed, 29 Jan 2003 01:00:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: celia x 2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit CELIA CURTIS PENULTIMATE DYNAMIC INTERPLAY #0042 [excerpt] www.wired-paris-review.com HE BE IN THE CIRCUMSCRIBE => OF THE FALLS => SILAS GOOBER OR THE OF THE STONED => FABULOUS => WERE SO => AND ARE ENTHUSIASM => EVENT => SERVING LONG ALTHOUGH MARKED DIFFERENCES SKIN|DURHAM => THE POLE => OF FOR => NOTHINGS => AS FIGS => FIRMNESS => AS THE OF PROSPEROUS => WHEN THE TURN|LEFTOVER => MILK => THE GORGEOUS => IDYLLIC => CAVERN => FREQUENT => ESTABLISHED LUCKY => MALE => WITH THE BY ANY LOCOMOTIVE WOULD DRAWER => DRY => AS THE PROGRESSED AS NUMEROUS PINCHING => PREDATOR => CONFIDENT PINCHING => PREDATOR => 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Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Wed, 29 Jan 2003 01:13:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: slam by PhD at Brown Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I just took the time to read the Amazon comment. If this guy is in fact a PhD from Brown it desreves condolences, not so much because of his opinions as for his writing skills. But hey, it's one guy. A pity Amazon saw fit to place his comments first. Gabe has perfect pitch, and he's very funny. Like Chaucer, he probably lacks high seriousness. One can only be grateful. Mark ========================================================================= Date: Wed, 29 Jan 2003 09:01:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: robert penny Subject: Re: query re Baraka on Brathwaite In-Reply-To: <5.1.1.6.0.20030128204122.0196e488@mail.ilstu.edu> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-disposition: inline Content-transfer-encoding: 7bit Try the Leroi Jones/Amiri Baraka Reader. Rob --On Tuesday, January 28, 2003 10:40 PM -0600 Gabriel Gudding wrote:r > Can I be helped?: I'm trying to hunt down a phrase by Baraka regarding > Kamau Brathwaite. I can't find a provenance for it and I need to cite it > for something. > > Somewhere Baraka says about Brathwaite:"One of the most important poets of > the Western Hemisphere." Anyone know where he says that? I saw it in the > last two months, but a tsunami of books has washed across my desk since > early December -- such tath I can't remember in what book or mag I might > have seen it. > > Thanks, > Gabe ========================================================================= Date: Wed, 29 Jan 2003 09:12:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: Baraka on Brathwaite In-Reply-To: <200301282104.18DKos3nV3NZFl40@penguin> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Gabriel, it's a blurb on the back of Kamau's book . ========================================================================= Date: Wed, 29 Jan 2003 07:17:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Subject: betaTest:Zoosemiotics Comments: To: webartery Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cupcake kaleidoscope , Renee , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/zoosemiotics/ Zoosemiotics Flash 6 Speakers On Statement: Zoosemiotics Formally considered, Zoosemiotics is about juxtaposition and variability. Its music, its text, its sequence and its texture all rely either on algorithmic procedures or intuition to lend it its unique look, sound and operation. It's my hope that the user interacts with the piece much as one would interact with a game; that is, that each manifestation of Zoosemiotics is a wading out into the depths of chance and discovery. The work is a collection of nine frames or performance spaces, cycled through in a random sequence. Some frames are interactive; some are cinematic. A good hint as to the interactivity of a given space is the visibility or invisibility of the mouse pointer; if you can see the mouse, the piece requires input. Some of the interactive spaces have explicit instructions; others invite you to explore, by clicking and moving your mouse. The music for the work mixes itself at random at runtime. Some of the sources for sound loops are Bartok, Webern, Spiritualized, Charles Mingus, Joy Division, The Jesus and Mary Chain and John Coltrane, among others. All of these loops were heavily edited to yield new textures from at times canonical material. The text, as well, is algorithmically selected. Substrings are snipped at random from a collection of ten paragraphs. These paragraphs also come from various sources: Ron Silliman's blog, Petronious' Satyricon, the Clonaid website, a post to the Buffalo Poetics list by Patrick Herron, some texts on genetic engineering, etc. These are the raw materials on which the algorithm works. The results at times can seem asemic, and the text shifts continually, but this is part of Zoosemiotics' overall thematic concern; the barrage of communication, both biological and textual, in the early twenty-first century. The tools used to create this work varied: Macromedia Flash MX for the final file; Adobe Photoshop for image-editing and compositing; Adobe Premiere for video manipulation; Electric Rain Swift3D for 3D animation; Syntrillium Cool Edit and Sonic Foundry Acid Pro for sound. Lewis LaCook 2003/01/28 08:23:56 Anningan (in progress) http://www.lewislacook.com/Anningan/AnningansDoor.html http://www.lewislacook.com/ http://artists.mp3s.com/artists/385/lewis_lacook.html meditation, net art, poeisis: blog http://lewislacook.blogspot.com/ --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Wed, 29 Jan 2003 08:47:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: gives rise to ancient legends In-Reply-To: <20030129151736.39740.qmail@web10701.mail.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable gives rise to ancient legends battlefield mothballs monuments to paper thin spoiled half-baked entertainment's out tonight carried away in grief-traced remembered and forgotten I tell you I make you at last I understand certified dead a knot in a former bridal knifepoint a popular box containing horizontal privacy dry and cold as divine astronomy a famous impulse chain-smoking lights out regular kind-of something or someone or a prisoner sitting at a kitchen table a lone with a =93I can remember=94 face-down cold smile gives rise to ancient legends= ========================================================================= Date: Wed, 29 Jan 2003 16:54:06 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Poetry and Art Exhition MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT fyi > >Reply-to: Nela Rio > >REPLY TO Nela Rio > >+++++++++++++++++++++++++++++++ > >LAST CALL. Outspoken Art/Arte Claro. Poetry and Art Exhibition > >CALL FOR SUBMISSIONS: This is an invitation to poets and visual artists to >send submissions for the Poetry and Art Exhibition Outspoken Art/Arte >Claro. This is a thematic exhibition which advocates the United Nations' >Declaration on the Elimination of All Forms of Violence Against Women. >(http://www.cidh.oas.org/declaracion.mujer.htm ) . > >THE INTERNATIONAL WEEK: The International Week , March 17-22, 2003, >St.Thomas University, Fredericton, New Brunswick, Canada, will include the >installation of the two exhibitions: 1) the Invited Exhibition, >FacingFaces, created by the artist and Curator Gino d'Artali in response >to the alarming increase in violence against women and children in Ciudad >Juárez, Chihuahua, México. (http://www.prophitart.com/facingfaces02); and >2) the Host Exhibition Outspoken Art/ Arte Claro, now calling for >submissions. > >HOW TO PARTICIPATE: All communication will be done by email. There will >be >a jury process for selection/inclusion. There are no exhibition fees. The >artwork and the poem should reflect the theme of the exhibition. The >submissions may be in Spanish or English. The requirements for >participation are included in the Registrations forms. If you are >interested in participating in Outspoken Art/Arte Claro, please request >the Poet Registration Form or the Artist Registration Form. >nrio@stthomasu.ca > >DEADLINE: FEBRUARY 15, 2003 > >Thank you very much, >Nela Rio. >Organizer and Coordinator. >St. Thomas University nrio@stthomasu.ca > ========================================================================= Date: Wed, 29 Jan 2003 17:06:59 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: this is one way to get an audience who can't walk out MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I sent the article to a former professor of mine who taught me a lot about things surrealismish and anarchistish. his response to my header, "this is interesting": Yes, very. I had not heard of these experiments in incarceration, but I am suspicious of this report. Firstly, the anarchists in Spain were against all forms of institution, so it`s hard to imagine them having prisons in the first place, let alone the kind of mind-bending experiments set out in the article. As non-conformist as this experiment sounds, its aim is nonetheless to make the prisoner abandon "subversive" thinking and hew to an (anarchist) party-line. The passing reference to similar experiments in Franco`s jails (though not using modern art) may point to the motivation for the appearance of this bizarre piece. Documentary material from the later (and more brutal) period of the Spanish Civil War must now be coming available... And I`m sure there are Franco supporters who will not want that damaging material bursting on the media scene without some kind of pre-emptive softening strike. Did I mention that I was suspicious? Tony K.Angelo Hehir wrote: > hi tony, > this is interesting. > > Cheers, > kevin > > This news article outlines the use of avant-garde art in the torture of > political prisoners in Spain. > > http://www.guardian.co.uk/international/story/0,3604,882943,00.html > > > > ========================================================================= Date: Wed, 29 Jan 2003 15:49:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: confessionalists agin'! 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bGxpbmcgdGhlbXNlbHZlcywgYnJpZGdlcywgb3ZlbnMsIGdhc3NlZCBpbgo+IG1vdGhlcidz IGZ1cnMgYW5kIHBlYXJscywgdGhpcyB0aW1lIHdlJ2xsIGNlbGVicmF0ZSwgYW5kIAo+IGxh dWdoIGEgbGl0dGxlIG1vcmUKPiBiZWNhdXNlIHNvbWVvbmUncyBnb3QgdG8gYmFsYW5jZSB0 aGUgYnVkZ2V0IG9uIHN1aWNpZGUuCj4gCj4gIkkgaGF2ZSBubyByb29tIGluIG15Cj4gb3Zl biBmb3IgbXkgaGVhZC4iCj4gLS1mcm9tIFBsYXRoIFNhaWQsIGJ5IEFubmUgQ2FtbWVyb24K PiAKPiBtb3JlIGxhdGVyLAo+IENBQ29ucmFkCj4gZnJvbSB0aGUgc291bmRzCj4gb2YgUGhp bGFkZWxwaGlhCg== ========================================================================= Date: Wed, 29 Jan 2003 16:02:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Rathmann Subject: Re: poetry and reading levels In-Reply-To: <20030129073242.18448.qmail@web40808.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 8bit It's been a while since anyone tried to initiate a discussion about an actual book of poems. It would be nice to get back to that. Here's the URL for Jordan Davis's book: http://www.fauxpress.com/b/jd.htm But it might be easier, Jeffrey, if you were to quote a poem or two or perhaps provide a link. I know that the social significance of diction has been discussed in relation to Language writing (quotation of theoryspeak = appeal to academic audience), but Jordan's intentionally vivid and simple (or "naive"?) diction seems opposed to that idea of institutionally authoritative speech. His diction/vocabulary seems to go with the persona in the poems. But I don't know his work well at all. Ange Mlinko refers to his "little-boy exuberance": that what you mean by childlike speech and lower reading levels? http://home.jps.net/~nada/angereview.htm Andy ========================================================================= Date: Thu, 30 Jan 2003 20:55:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: State of the Union Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit out of darkness out of darkness into into dark light the F16 feeds in mother air drone fighting vehicle tank into dark into light from Abilene to Baghdad & back to eternity desert sand ..... holy sun the one god ..... all the way drn# ========================================================================= Date: Wed, 29 Jan 2003 20:21:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: today's mail: war MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII today's mail: war > And war shall fail." allies and Americans that war with Iraq may be unavoidable, administration's case for eventual war with Iraq. President Bush tried to sell Americans on a war with Iraq by Facing a potential war abroad and a sputtering economy at home, President Bush little doubt that a war with Iraq is imminent. He also used his hour-long for a possible war with Iraq, warning that America was determined in its 1. today's mail: war (Alan Sondheim) And war shall fail." that we're not a minority in opposing this war any more," said Swift, 36, like the one organized to speak out against the war in Vietnam." (Hamill that we're not a minority in opposing this war any more," said Swift, 36, the one organized to speak out against the war in Vietnam." (Hamill is The world situation (on the insane brink of more war with civil Constant apprehension of war has the same tendency Constant apprehension of war has the same tendency
    the same reservations about a war on Iraq as her government. whether to resort to war outside a UN framework. She says that should the US go to war without a resolution from the UN, Angst, fuer sie auszusagen. Ich war sicher, dass die Ereignisse von gestalterischer Aspekt bei der Kreation der Spiel-Software war die Likewise, now that the war seems imminent, so too does the DOW slipping support Bushs war. Which ones? Even in the UK the support for war is popular support for the war in the U.S., either. War I - in its war against Iran) is. So, maybe Iran should have good Vietnam war - and this is all before the bombing even started - down to politics may catastrophically fail - either with war on Iraq or later with like Hong Kong, Macao and Taiwan, but twice gone to war over the control My father died when a group of rebel soldier led by Sir Foday Sankoh overthrown Government of sierra-Leone forcing the president out of power and killing many members of the cabinet and ministerincuding my own father. When it become apparently obvious that the country no longer safe for the citizens due to the political war and massive killing and destruction of properties, I decided to move to Holland with a treasure containing the sum of US$12.500.000.00(twelve million five hundred thousand united state dollars) through a diplomatic means, this fund is the last tangible money my father left behind before his death. possiblility of an upcoming war in Iraq." She about a possible US-led war with Iraq. But I'm uncritically follow US President Bush in his 'global war on terror'? Does of impending war and wonder if you would like to participate. And war shall fail." that we're not a minority in opposing this war any more," said Swift, like the one organized to speak out against the war in Vietnam." (Hamill that we're not a minority in opposing this war any more," said Swift, the one organized to speak out against the war in Vietnam." (Hamill is The world situation (on the insane brink of more war with civil Constant apprehension of war has the same tendency Constant apprehension of war has the same tendency
    the same reservations about a war on Iraq as her government. whether to resort to war outside a UN framework. She says that should the US go to war without a resolution from the UN, Angst, fuer sie auszusagen. Ich war sicher, dass die Ereignisse von gestalterischer Aspekt bei der Kreation der Spiel-Software war die Likewise, now that the war seems imminent, so too does the DOW slipping support Bushs war. Which ones? Even in the UK the support for war is popular support for the war in the U.S., either. War I - in its war against Iran) is. So, maybe Iran should have good Vietnam war - and this is all before the bombing even started - down to politics may catastrophically fail - either with war on Iraq or later like Hong Kong, Macao and Taiwan, but twice gone to war over the control Yay! the clouds of war are storming, bomb Iraq. of them a reminder of what war abstractly, 'as such,' as well as images of war - looks like. Maybe use some of that 200 billion USD in the debt-financed war chest and realities of war (This fact does not diminish the great efforts, courage, the war began (this reality has been far less discussed than the critiques and flew from Paris to Riyadh as soon as the ground war began. I arrived at the "mile of death" the morning the day the war stopped. It was very early "how many people died" during the war with Iraq and the question has never of that war and any war. I feel that it is part of my role as a This past war and any one looming, have often been treated as something one that sees the brutal realities of conflict, ever feels that war is images now, as a future war in Iraq grows more likely every passing day. I > Yay! the clouds of war are storming, bomb Iraq. for good or evil, and these ... of this madness and cold war paranoia, = evil, and these ... of this madness and cold war = understanding what are the causes and the consequences of the war and the image), in these war and post-war times are mirroring and reflecting the former Yugoslavia] the presence of the war resulted with radical changes in were not affected by concrete war conditions, all of them passed through a practical and theoretical research of the phenomena of the war and its in the Yugolavian war Nato declared that they are going to === ========================================================================= Date: Wed, 29 Jan 2003 20:39:32 -0500 Reply-To: devineni@rattapallax.com Sender: UB Poetics discussion group From: Ram Devineni Organization: Rattapallax Subject: Re: slam by PhD at Brown In-Reply-To: <5.1.0.14.1.20030129011309.01f39ff0@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Mark Weiss Sent: Wednesday, January 29, 2003 4:14 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: slam by PhD at Brown I just took the time to read the Amazon comment. If this guy is in fact a PhD from Brown it desreves condolences, not so much because of his opinions as for his writing skills. But hey, it's one guy. A pity Amazon saw fit to place his comments first. Gabe has perfect pitch, and he's very funny. Like Chaucer, he probably lacks high seriousness. One can only be grateful. Mark ========================================================================= Date: Wed, 29 Jan 2003 20:40:09 -0500 Reply-To: devineni@rattapallax.com Sender: UB Poetics discussion group From: Ram Devineni Organization: Rattapallax Subject: Big changes/New Editors/Moving to Brazil In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Friends: I want report some remarkable changes that will be occurring to Rattapallax in 2003. As some of you know, we are publishing an entire issue (spring 2003) dedicated to 'New Brazilian and American Poetry.' I was recently in Brazil to record the poets with Flavia Rocha (one of the issue's editors) and was able to setup a major partnership with Editora34 (Brazil's leading literary publisher), who will distribute future issues of the magazine in Brazil. In addition, we are working on two major readings in Sao Paulo for June 2003. Another major change with Rattapallax is that we will expand the focus of the magazine into world poetry and world music. Derek Beres (managing editor of Global Rhythm magazine) will be joining our staff as our music editor. Together, we will focus on musicians with strong poetic traditions and print their lyrics and include their songs on the CD. For example, the Brazilian issue focuses on Caetano Veloso, Arto Lindsay, Arnaldo Antunes and others. The fall 2003 issue will focus on MC Solaar and French hip-hop; as well as contemporary French poets V=E9nus Khoury-Ghata and Claire Malroux. But, this should NOT be mistaken that we are no longer a literary journal. Martin Mitchell will continue to edit the poetry and Alan Cheuse will edit the fiction. Martin and Alan are remarkable editors and have helped to bring the magazine to its current circulation and respectability. Joining them as editors will be Edwin Torres (co-edited the spring 2003 issue), Willie Perdomo, Flavia Rocha, Jeet Thayil, and international poetry editor Marilyn Hacker. In addition, there are many contributing editors who will be assisting us from around the world. I am also working on distribution in the UK and France. Why change? Why Brazil? Brazil is South America's largest economy and the 9th largest in the world. In my opinion, it is also the cultural center of South America and in the next ten years will be a major presence in the world. With this partnership, Rattapallax will be one of the biggest literary magazines in Brazil and will have better distribution than most local journals. The expansion into world poetry and music is a natural compliment to our UN and world programs. I also believe world music is the next progression for the music industry as they adjust to 'globalization' and the fusion of different cultures and arts. If you have any questions or comments, please email me directly at devineni@rattapallax.com or call me at 212-723-4125. Cheers Ram Devineni Publisher ========================================================================= Date: Wed, 29 Jan 2003 20:53:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Boîte en forme de coeur (French Remix) Build another library to fill (perform) the need or the head to pursue the elusive heat in caves and liquids I do not look for boredom, I want the buckles of bone, give me the entertainment of the updated skins, the (substantial) material malpractice. You are welcome at a new age of diamond, brought to us according to accidents an American foot, an Icelander darken the zodiacs, meters to go only Dick can go in China let me be liaison in the new Hut Yummy, let them eat false combos. premonitions smell *real* and being worth him (it) gristle, I do not want to die with you, because of you we applaud for the empire, again, to crush very patient dangers called on Tuesday, nets abound _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 29 Jan 2003 20:55:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Poésie pour Vente (French Remix) it is the warning registers (records) on band (strip) and saw horses a reflection in the TV 9 either 7 or one T or one 7 honey, him (it) bottom, sorry, I am sorry, it is late I know that the question answered with a question how I smell today. The desire, you carry (wear) him (it), it new and is the shabby bank, the sudden collapse of waves, these brightness of froth (moss) (of foam) at which we are amazed that we should set of them? And the winter, the winter and the winter maybe you become a butterfly it a secret, were a secret part (party) of yard and a crowd of the angels who were for the war with the other angels whom we should take? The winter or the sugar that it is the accident (the bankruptcy), a dumping in your intestine, the anger to be swindled kiss(embrace) me, take him (it) in a park or in maples of grip of path and the gorges (breasts) of pines given to fingers it is late: Hours as victims in the rest _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 29 Jan 2003 18:08:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: Online Cutup Machines MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Greetings fellow P-Listers. Recently I have been using an online cutup machine at speakeasy.org run by Lee Worden. My intention was to use it as the basis for a series of poems, but alas the site seems to have "disappeared" into that place that dead webpages go when they move on to a better place. Now my hands are up in the air, as all the online text randomisers I have sought on my trusty Google searches have turned up nada. If anyone can turn my direction towards that of a reliable online cutup machine, or even tell me how to contact Lee Worden, please back channel a message to me. Thank you. Michael Bogue --------------------------------- Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now ========================================================================= Date: Wed, 29 Jan 2003 20:59:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Online Cutup Machines Comments: To: michael_james_bogue@YAHOO.COM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Michael Bogue: Florian Cramer's on-line cut-up machine at http://userpage.fu-berlin.de/~cantsin/permutations/gysin/cut-up.cgi is sensational and my favorite. It cuts into up to 7 columns (i.e., total mishmash). You can also direct it to a URL and it'll cut-up that designated web site. If you didn't see my January 8th post or couldn't interpret what my collage at http://jeffreyjullich.tripod.com/CUT-UPforweb.jpg was (or didn't care! an illegibly one-line transcription of it followed in the post, with all the inter-word spacing removed), it's a hands-on physical scissors-&-Scotch cut-up from various pulp novels that I bought at a Salvation Army thrift shop: Dan Simmons' ~Hyperion~ (Specter/Bantam), Don Pendleton's ~Mack Bolan Stony Man VII~ (Gold Eagle), Carol O'Connell's ~Mallory's Oracle~ (Jove), and James N. Pruitt's ~Striker One Down~ (A Tom Doherty Associates Book), all of which I bought for expressly that purpose and for the kitsch of their air-brushed picaresque covers. I found the result to be wonderful in combination with (1st) scanning and then (2nd) feeding scan into OCR (optical character recognition), that is, scan re-processing into straight text. Playing that typography text back through free downloadable ReadPlease text-to-voice software added an acoustical "sound poetry" layer to it, for one enjoyable busy afternoon. An un-unilinearized excerpt follows below (although I'm no longer sure if it's from the same collage). The only defect I found lacking in the process was the residue of my still being the one doing the hands-on work of the selection, scissoring and pasting (although I enjoyed the physical therapy of it all. I Photoshop-superimposed those .jpgs of buttons over the collage, with Drop Shadow added, as ~~an especially clever touch~~ punning on the web/Macromedia jargon of "buttons"). Where I wanted to go next was to ~hire~ somebody, some puckish ne'er-do-well, if such could be trusted (with scissors!), maybe for minimum wage or piece-meal, allow him the choice of which pulp novels he'd buy to collect from, ---maybe I'd have to okay the covers before cut-up started--- and leave it all up to him. But to sign the work as my own ("by Jeffrey Jullich"). A kind of literary Shirley Levine-ism. (If anyone dexterous with scissors in Manhattan is looking for a few extra dollars, back-channel.) Enjoy. Jeffrey ------------------------------------------------------- ements involved, then me. And if they only exile soldiers on their h. The best scenario ext best thing. In ei-surrounded on the b nt dealer, playing off h different eyes, and move Fidel were lik other for his own ad-ove all else, he felt a steam when journali and Velasco would he pulled the trigger. flirtation with the M open territory for aed for, better than his Caribbean. A burst o the moment they weolunteering as a gun-ts, buying time. If he home from a combie quickest way to get nto laying down their character flaws. In t nearly wet his pants a chance to scrutinize world of boundless oer on a human-target, search for proof that dreams, and they beg covered the rewards ofoment a shooting war ontact with the drug rule it out, of course, a, helping liberate his miss in Medellin, with ic course of covert ac-ny, was something in atial homes, the suits likely, Santiago was much a part of him as orking man his yearly petitors in the Unitedet, the time for action needed errand boys, and challenge him atosing definition as the that would have cost national Airport, Raflowed Orlando Cruz t income. The drug lo They claimed their baimagining that others and that was how he served under the namfeared him, that wou man once he realized taking the wheel for ther case they looked ahead. The first time capital city. The Paliswomen sought his co when it was time to pu ural breakwater for Krush of godlike power but the feeling passed his first glimpse of th t was more than he ha violence went beyond water and sailboats inwildest dreams. ------------------------------------------------------- __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ========================================================================= Date: Wed, 29 Jan 2003 21:56:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: subrosa@SPEAKEASY.ORG Subject: Seattled: subtext Content-Disposition: inline Content-Transfer-Encoding: binary Content-Type: text/plain MIME-Version: 1.0 Subtext continues its monthly series of experimental writing with readings by mARK oWEns and John Olson at the Richard Hugo House on Wednesday, February 5, 2003. Suggested donations for admission are $5 at the door on the evening of the performance. The reading starts at 7:30pm. mARK oWEns moved to Portland, OR in 2002. His participARTE poems have been realized in Buenos Aires, Argentina; Guadalajara, Mexico; Dayton, Ohio, Seattle, and Portland. His current project OHO INTERCAMBIO is a venue for multidisciplinary art exchanges both in the streets and through the mail. He has edited Nexus magazine from Dayton, OH and co-produced INN-BOX magazine from Guadalajara, Mexico. He takes naps. John Olson is the author of Echo Regime, a collection of poetry from Black Square Editions. This spring Black Square Editions will also be bringing out Jurassic Chandelier, a collection of prose poems. "Inebriate of Air," an essay about air, will be published in an anthology this May called Writings on Air, from M.I.T. Press. His literary essays have appeared in a number of journals & magazines, including Talisman, Sulfur, Facture, First Intensity, the American Book Review, Rain Taxi, the Denver Quarterly & The Stranger. He is currently at work on a novel about Arthur Rimbaud & Billy the Kid. The future Subtext 2003 schedule is: March 5, 2003 - Rhoda Rosenfeld (Vancouver, BC) and April Denonno Subtext readings fall on the 1st Wednesday of the month (unless otherwise noted) at the Richard Hugo House. The Hugo House is located at 1634 11th Ave on Capitol Hill in Seattle. Suggested donations for admission are $5 at the door on the evening of the performance. For info on these & other Subtext events, see our website: http://www.speakeasy.org/subtext. ========================================================================= Date: Wed, 29 Jan 2003 23:08:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Public Be Damned/ Iraq, Bush & "Us" In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT "Senior Administration Official: Again, the fundamental issue is, does the country support the use of force to disarm Saddam Hussein. And the other issues such as timing et cetera, it really comes down to whether or not the country trusts President Bush's judgment, knowing that he knows a lot more than the country knows. And again, the President -- if zero percent of the country supported this and the President thought it was necessary to protect the country, he would make the judgments that he thought were in the country's interest." So much for "the (informed) consent of the governed." I don't know about others here - unless the quiet speaks anxious volumes - this has been one troubling post state-of-the-"union" day. Stephen V ========================================================================= Date: Thu, 30 Jan 2003 00:58:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: new york times bestseller collection MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I would like to invite you all to view one of the multimedia/spoken word presentations from my "nytimes bestseller collection". I wrote these presentations using the SMIL code. In order to view the presentations you need RealOnePlayer installed on your system which you can download for free at: http://forms.real.com/netzip/getrde601.html?h=207.188.7.150&f=windows/RealOn ePlayerV2GOLD.exe&p=RealOne+Player&oem=dl&tagtype=ie&type=dl or http://www.real.com/realoneplayer.html?pp=home&src=012803realhome_1_3 I learned the SMIL code because it is easy to learn if you know HTML and all the resources for SMIL are available for free from Real Networks which provides a comprehensive development kit for programmers. The homepage for my presentations are at www.litob.com There are 20 in all which you can view just by clicking on one of the links below. I hope you enjoy them. And i hope you enjoy discovering this straightforward programming tool which enables anyone to compose rich multimedia presentations of their work with almost no knowledge and without having to spend a small fortune for any software. www.litob.com/presentation/nytbestseller/nytbestseller001.smil www.litob.com/presentation/nytbestseller/nytbestseller002.smil www.litob.com/presentation/nytbestseller/nytbestseller003.smil www.litob.com/presentation/nytbestseller/nytbestseller004.smil www.litob.com/presentation/nytbestseller/nytbestseller005.smil www.litob.com/presentation/nytbestseller/nytbestseller006.smil www.litob.com/presentation/nytbestseller/nytbestseller007.smil www.litob.com/presentation/nytbestseller/nytbestseller008.smil www.litob.com/presentation/nytbestseller/nytbestseller009.smil www.litob.com/presentation/nytbestseller/nytbestseller010.smil www.litob.com/presentation/nytbestseller/nytbestseller011.smil www.litob.com/presentation/nytbestseller/nytbestseller012.smil www.litob.com/presentation/nytbestseller/nytbestseller013.smil www.litob.com/presentation/nytbestseller/nytbestseller014.smil www.litob.com/presentation/nytbestseller/nytbestseller015.smil www.litob.com/presentation/nytbestseller/nytbestseller016.smil www.litob.com/presentation/nytbestseller/nytbestseller017.smil www.litob.com/presentation/nytbestseller/nytbestseller018.smil www.litob.com/presentation/nytbestseller/nytbestseller019.smil www.litob.com/presentation/nytbestseller/nytbestseller020.smil --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/22/2003 ========================================================================= Date: Fri, 31 Jan 2003 06:51:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: re re re..my .02$ on profe$$ionali$m....chilling Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit $$$$...$$$$....$$$$ chil chill chilling... there are two major problemos for Poets witin the 'groves' of...one i'd call the Lucky Jim syn...Poets are allowed a certain freedom of action in the U...like canaries in a faux gold cage..they can dope & booze it up..fornicate with the help...and play dress up...a motor cycle in this context is a 'boho' fashion statement...Robert Bly is more than embarassment nuf as an example...what they can;t do...is warm the chill of self-censorship...subtle and insidious...over the years into a career..it's like radon or any slow killer..it posions the well one drop at a time...look at the late work of Denise Levertov..a wonderful poet...to gauge some of this effect... the second...has to do with the work of po we do...as i (some of us) get older and remember every other word of 30 or more years of writing...we have to 'fool' ouselves to write a poem...there are many tricks of the trade...write with the left hand..write under drugs drink dope...write with a cut up machine...but it comes to the same thing...the Poet is still there and how much more than still there when every day of every week of every year of every decade of every career..he is a POET...this is not a craft..like pottery...good stroke Jim...but a mystery and the further we distance ourselves from the ma sources ...the further we....drn... ========================================================================= Date: Thu, 30 Jan 2003 12:10:13 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: analysis of Bush's SOTU speech Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii Content-Disposition: inline Here at: http://blogs.salon.com/0001381/2003/01/29.html#a270 Excerpt: ===================================================================================================== 1. His budget commits "an additional $400 billion over the next decade to reform and strengthen Medicare." 2. He will "continue to seek peace between a secure Israel and a democratic Palestine." 3. His team is "working closely with other nations to prevent further attacks." 4. He is "instructing the leaders of the FBI, the CIA, the Homeland Security and the Department of Defense to develop a Terrorist Threat Integration Center." 5. Colin Powell will "ask the U.N. Security Council to convene on February the 5th to consider the facts of Iraq's ongoing defiance of the world." That's about it. Anything else is on a wish list or being extended to us as an F.Y.I. item. My primary concern with all of the above is that it's such a ham-handed attempt at a finesse. It is precisely the same kind of marketing and psychology massage you get every time you see a commercial. This isn't communication, it's manipulation, and I hate to be treated like that. I'll bet you don't like it much, either. ====================================================================================================== Interesting reading. Roger ========================================================================= Date: Thu, 30 Jan 2003 07:32:34 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: First Tuesdays Reading at A Taste of Art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit hey folks... i'm reading in this thing... i go on at 7 or 7:30... the john reed book is very interesting! brian **** FIRST TUESDAYS READING SERIES AT A TASTE OF ART TUESDAY FEBRUARY 4TH, 2003 7-9P 147 Duane Street (between Church and West Broadway) New York, NY 10013 TRIBECA Phone: 212.964.5493 Fax: 212.964.2671 www.atasteofart.com Features: Brian Kim Stefans, BLUE, Sharon Mesmer, John Reed Curated and hosted by Christopher Stackhouse FREE ADMISSION John Reed is the author of SNOWBALL'S CHANCE, the controversial parody of George Orwell's ANIMAL FARM. SNOWBALL'S CHANCE (Roof Books, hardback, 2002)is currently available at your local bookstore or online. Reed's first novel, A STILL SMALL VOICE (Delacorte, 2000) is now available in paperback (Delta, 2001). Sharon Mesmer is the author of HALF ANGEL, HALF LUNCH (poems, Hard Press) and THE EMPTY QUARTER (stories, Hanging Loose Press), the recipient of a 1999 New York Foundation for the Arts grant in poetry, and fellowships to the MacDowell Colony, Hawthornden Castle (Scotland), and Fundacion Valparaiso (Spain). She teaches fiction writing and literature at the New School. Poet/performance artist, Blue, was born in New York City. He is the author and publisher of chapbooks "Just Blue" and "Corner Stores in the Middle of the Block". He has appeared in television commercials, and Off-Broadway productions "Sex is More Than a Three Letter Word", BET's "106" and "Park". Brian Kim Stefans is the author of three books of poetry; his forthcoming book of essays,Fashionable Noise, is due in March 2003 from Atelos. He is the editor/creator of arras.net and Free Space Comix: The Blog, and writes frequently for the Boston Review, Publisher's Weekly and other rags. www.atasteofart.com Directions: by subway : from the Westside take the 1, 2 train to Franklin or 1,2,3,9,A,C,E to Chambers from the Eastside take the 5, 6, N or R train and get off at Chambers. by car: from the Westside:Take the West Side highway or 7th Avenue all the way down to West Broadway. Turn left on Duane from the Eastside:Take the FDR to Houston, then turn south on Broadway all the way to Reade. Make a right on Reade. Make a right on Hudson to Duane. For all other inquiries you can contact us at info@atasteofart.com Curator's Note: Quotes from a favorite book relevant to a view of art, literature, the making of poetry, however speaking to the building of buildings: "The search which we make for this quality, in our own lives, is the central search of any person, and the crux of any individual person's story. It is the search for those moments and situations when we are most alive." Opening to Chapter 3 ON BEING ALIVE of "The Timeless Way of Building" by Christopher Alexander "And when a building has this fire, then it becomes a part of nature. Like ocean waves, or blades of grass, its parts are governed by the endless play of repetition and variety, created in the presence of the fact that all things pass. This is quality itself." Opening to Chapter 8 THE QUALITY ITSELF of "The Timeless Way of Building" by Christopher Alexander Join us Tuesday Feb. 4th 7-9p for a fine group of readers, some good chocolate, and a wonderful glass of a carmenere/cabernet sauvignon blend.....among other things.... Keep warm, Christopher Stackhouse c_stackhouse@lycos.com 212. 802. 9363 _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 30 Jan 2003 08:41:44 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massni Subject: Re: confessionalists agin'! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I betcha this sch is so tier vacuum county sunysonoboni smassoni@aol.com je suis en accord comme les comments re anne sexton yes we are not as we once were under the reign of the good queen cynara i me freak at we can't they see i like to see for me here i sit watching my funding go down the anals/annals/sewers of good taste as dictated by the dicators the dictums just goosesteppin' with the gaggle good goading good grading following th canon that roared the loudest last sheila I'll cut my tongue out myself before i let theme/them gag me ========================================================================= Date: Thu, 30 Jan 2003 10:18:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Leslie Fiedler (1917-2003) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Lelie Fiedler died yesterday afternoon at his home in Buffalo. "I was born in Newark, New Jersey on March 8, l9l7.... I was educated in the public schools of Newark, was granted a BA from New York University (Heights) in l938, an MA from the University of Wisconsin in l939, and a Ph.D. from the latter institution in l94l. I have done post-doctoral work at Harvard in l946 and l947 and studied at the Japanese Language School (University of Colorado) during l943 and l944. "I served as a Japanese Interpreter with the United States Navy from l943 through l945. During that time I was in Hawaii, Guam, Iwo Jima, China and Okinawa. "I was a member of the staff at Montana State University from l94l to l963.... Since l964 I have been Professor of English at the State University of New York at Buffalo, serving as Departmental Chairman from l974 to l977. "I have lectured widely before audiences at universities and colleges throughout the United States, as well as in Canada, England, Italy, Tunisia, Ireland, France, Germany, Japan, India, Greece, Yugoslavia, Turkey, Brazil, the Netherlands, Denmark, Spain, Israel, Venezuela and Korea." Fiedler's books include: An End to Innocence: Essays on Culture and Politics, Beacon Press, l955. The Art of the Essay, Thomas Y. Crowell, l958; revised edition l969. No! In Thunder: Essays on Myth and Literature, Beacon Press, l960. Pull Down Vanity and Other Stories, Lippincott, l962. The Second Stone: A Love Story, Stein and Day, l963. Waiting for the End, Stein and Day, l964. Back to China, Stein and Day, l965. The Continuing Debate, (with Jacob Vinocur) St. Martin's Press, l966. Love and Death in the American Novel(revised) Stein and Day, l966. The Last Jew in America, Stein and Day, l966. The Return of the Vanishing American, Stein and Day, l968. Nude Croquet and Other Stories, Stein and Day, l969. Being Busted, Stein and Day, l970. The Collected Essays of Leslie Fiedler, Stein and Day, l972. The Stranger in Shakespeare, Stein and Day, l972. Published as five paperback volumes, l973: An End to Innocence No! In Thunder Unfinished Business To the Gentiles Cross the Border, Close the Gap The Messengers Will Come No More, Stein and Day, l974. In Dreams Awake: Anthology of Science Fiction, Dell, l976. A Fiedler Reader, Stein and Day, l977. Freaks: Myths and Images of the Secret Self, Simon and Schuster, l978. The Inadvertent Epic, Canadian Broadcasting Company, l979. Olaf Stapledon, Oxford University Press, l982. What Was Literature?, Simon and Schuster, l982. Fiedler on the Roof: Essays on Literature and Jewish Identity, Godine, l99l. Tyranny of the Normal, David Godine, l996. Love and Death in the American Novel (reprint), Dalkay Archive Press, l998. ========================================================================= Date: Thu, 30 Jan 2003 10:32:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Mrs. Bush cancels poetry event Comments: cc: ENGDEP-L Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed forward from New-Poetry... >Thursday January 30, 2003 4:50 AM > >NEW YORK (AP) - The White House said Wednesday it postponed a poetry >symposium because of concerns that the event would be politicized. Some >poets had said they wanted to protest military action against Iraq. > >The symposium on the poetry of Emily Dickinson, Langston Hughes and Walt >Whitman was scheduled for Feb. 12. No future date has been announced. > >``While Mrs. Bush respects the right of all Americans to express their >opinions, she, too, has opinions and believes it would be inappropriate to >turn a literary event into a political forum.'' Noelia Rodriguez, >spokeswoman for first lady Laura Bush, said Wednesday. > >[snip] > >http://www.guardian.co.uk/uslatest/story/0,1282,-2362176,00.html > >------------------ ========================================================================= Date: Thu, 30 Jan 2003 10:42:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: query re Baraka on Brathwaite In-Reply-To: <5.1.1.6.0.20030128204122.0196e488@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thanks to all who replied. Special thanks to Susan Wheeler and Alicia Askenase who nailed it down, and Maria Damon for forwarding some Funkhouser info... gabe At 10:40 PM 1/28/2003 -0600, Gabriel Gudding wrote: >Can I be helped?: I'm trying to hunt down a phrase by Baraka regarding >Kamau Brathwaite. I can't find a provenance for it and I need to cite it >for something. > >Somewhere Baraka says about Brathwaite:"One of the most important poets of >the Western Hemisphere." Anyone know where he says that? I saw it in the >last two months, but a tsunami of books has washed across my desk since >early December -- such tath I can't remember in what book or mag I might >have seen it. > >Thanks, >Gabe ========================================================================= Date: Thu, 30 Jan 2003 12:13:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poets Against the War: On line! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >From: Sam Hamill >Subject: On line! > >Go to: > >http://poetsagainstthewar.org > >We closed the White House symposium. >Stories just hitting the news. > >Onward! > >Sam ========================================================================= Date: Thu, 30 Jan 2003 12:42:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Bush Library MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit that's very funny! but more on the Sappho theft please. was it a book of your own that they suspected, or...? "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be no more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Thu, 30 Jan 2003 12:45:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Dreams of Interpretation, etc. Mime-Version: 1.0 Content-Type: text/plain; format=flowed New topics on "Elsewhere": * Dreams of Interpretation, categorization, can you classify this poem? * Poets & artists against the war: a few announcements * Inbox: Letters from readers http://garysullivan.blogspot.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 30 Jan 2003 13:14:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: symposium x'd... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A SHADOW SYMPOSIUM featuring works extrapolated from W.W., E.D. and L. H....to be convened at a SHADOW WHITEHOUSE... Gerald Schwartz schwartzgk@msn.com > White House Cancels Poetry Symposium > > January 30, 2003 > By THE ASSOCIATED PRESS > > > > > > > Filed at 10:20 a.m. ET > > NEW YORK (AP) -- The White House said Wednesday it > postponed a poetry symposium because of concerns that the > event would be politicized. Some poets had said they wanted > to protest military action against Iraq. > > The symposium on the poetry of Emily Dickinson, Langston > Hughes and Walt Whitman was scheduled for Feb. 12. No > future date has been announced. > > ``While Mrs. Bush respects the right of all Americans to > express their opinions, she, too, has opinions and believes > it would be inappropriate to turn a literary event into a > political forum.'' Noelia Rodriguez, spokeswoman for first > lady Laura Bush, said Wednesday. > > Mrs. Bush, a former librarian who has made teaching and > early childhood development her signature issues, has held > a series of White House symposiums to salute America's > authors. The gatherings are usually lively affairs with > discussions of literature and its societal impact. > > But the poetry symposium soon inspired a nationwide > protest. > > Sam Hamill, a poet and founder of the highly regarded > Copper Canyon Press, declined the invitation and e-mailed > friends asking for anti-war poems or statements. He > encouraged those who planned to attend to bring along > anti-war poems. > > Hamill said he's gotten more than 1,500 contributions, > including ones from poets W.S. Merwin, Adrienne Rich and > Lawrence Ferlinghetti. > > ``I'm putting in 18-hour days. I'm 60 and I'm tired, but > it's pretty wonderful,'' says Hamill, based in Port > Townsend, Wash., and author of such works as ``Destination > Zero'' and ``Gratitude.'' > > Marilyn Nelson, Connecticut's poet laureate, said Wednesday > that she had accepted the White House invitation and had > planned to wear a silk scarf with peace signs that she > commissioned. > > ``I had decided to go because I felt my presence would > promote peace,'' she said. > > http://www.nytimes.com/aponline/national/AP-Poets-White-House.html?ex=104494 9550&ei=1&en=b7fe7ae311bd7457 > > > > 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 > onlinesales@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 2002 The New York Times Company > ========================================================================= Date: Thu, 30 Jan 2003 13:39:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Choking Victim do you feel sick? I feel sick the automatic pilot is on there are waitresses, projecting pangs we're provoking combative nations and I feel sick in dreamy fugue, nothing can compel up or down the tiresome staircases so much dizziness with none of the heavy drinking, c'mon, let's move to Tokyo do you feel sick? or *sicker*? or is it me drifting leisurely between dimensions hoping for blue flux to becalm once and for all if we had all of the answers it might be fun, being in on the joke at rest in diners, thinking eternity or huevos rancheros? Are you OK? I feel sick under the nose of the G.O.P. expecting ruin, but instead it's really funny _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 30 Jan 2003 13:45:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Pabst Blue Poem life begins at perception, I'm helpless in bars. I enjoy moonlit strolls to bars and smiles from people in bars. here's a fact: bars have saved my life most nights. I woke up yesterday and it was 10 years ago, maybe more. if it weren't for bars someone would have to invent bars. this could have been a poem about babysitters, but I really dug Anselm's. pick any late night destination and try sleepwalking this time or sleephitchhiking, which might be illegal. I'm helpless with girls, especially dead girls. dead girls don't get out much or return calls. I think about dead girls in funeral parlors, which are less fun then bars. _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 30 Jan 2003 13:51:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Digest? Mime-Version: 1.0 Content-Type: text/plain; format=flowed did the digest go out yesterday? For some reason I didn't get it... _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Thu, 30 Jan 2003 14:12:17 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: White House Cancels Poetry Symposium Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit White House Cancels Poetry Symposium Thursday January 30, 2003 10:20 AM NEW YORK (AP) - The White House postponed a poetry symposium out of concerns it would be politicized after some poets said they wanted to protest military action against Iraq. The symposium on the poetry of Emily Dickinson, Langston Hughes and Walt Whitman had been scheduled for Feb. 12. No future date has been announced for the event, to be held by first lady Laura Bush. ``While Mrs. Bush respects the right of all Americans to express their opinions, she, too, has opinions and believes it would be inappropriate to turn a literary event into a political forum,'' Noelia Rodriguez, a spokeswoman for the first lady, said Wednesday. Mrs. Bush, a former librarian who has made teaching and early childhood development her signature issues, has held a series of White House symposiums to salute America's authors. The gatherings are usually lively affairs with discussions of literature and its impact on society. But the poetry symposium quickly inspired a nationwide protest. Sam Hamill, a poet and editor of the highly regarded Copper Canyon Press, declined the invitation and e-mailed friends asking for antiwar poems or statements. ``Make February 12 a day of Poetry Against the War. We will compile an anthology of protest to be presented to the White House on that afternoon,'' the e-mail reads. He had expected about 50 responses; he's gotten more than 1,500, including contributions from W.S. Merwin, Adrienne Rich and Lawrence Ferlinghetti. Hamill will post all the submissions on a Web site he expects to have ready early next week. ``I'm putting in 18-hour days. I'm 60 and I'm tired, but it's pretty wonderful,'' says Hamill, author of such works as ``Destination Zero'' and ``Gratitude.'' Copper Canyon Press, based in Port Townsend, Wash., published last fall's winner of the National Book Award for poetry, Ruth Stone's ``In the Next Galaxy.'' White House invitations have inspired protests before. In 1965, poet Robert Lowell refused to attend a White House arts festival, citing opposition to the Vietnam War. Marilyn Nelson, Connecticut's poet laureate, said Wednesday she had accepted her invitation to the poetry symposium and criticized the White House for trying to silence the voice of American artists. ``I had decided to go because I felt my presence would promote peace,'' she said. ``I had commissioned a fabric artist for a silk scarf with peace signs painted on it. I thought just by going there and shaking Mrs. Bush's hand and being available for the photo ops, my scarf would make a statement.'' Another state poet laureate, New Jersey's Amiri Baraka, was also involved in a recent political controversy. Baraka wrote a poem implying Israel had advance knowledge of the 2001 terrorist attacks, leading critics to call for his resignation. ========================================================================= Date: Thu, 30 Jan 2003 14:18:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: poetry and reading levels Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jeffrey, You write: "I find it interesting, though, the possibility that there might be contemporary work like this very immediately suited to a readership of high school or grade school students, since we tend to think of ourselves as all so beyond that." At the high school level, I have had success teaching Jordan Davis' poem "W". Its playful, fragmented discussion of monsters helps open up discussions about the "monsters" in _Beowulf_, _Grendel_, _Frankenstein_, _Lord of the Flies_, "The Second Coming," "Tyger," etc. (all h.s. staples). "W" seems to work because the poem's vocabulary & concepts are clear & accesible, so once students get somewhat comfortable w/ (or perhaps trust-the-legitimacy(?) of) how the poem is put together (how the syntax works), they are often able to talk about issues that though relevant to all lit. don't often come up in an h.s. classroom. For example, they talk about the surface of the language & about how the singularity, sincerity, etc., etc. of the speaker (the speaker's relationship to the spoken) in Davis' poem is slippery, making any statement's meaning slippery. This recognition by students opens up the text (& other texts by association) and makes for wide-ranging & fertile discussions. There's more to be said on this, I think, but that'll have to be it for now. all the best, j.c. >From: Jeffrey Jullich >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: poetry and reading levels >Date: Tue, 28 Jan 2003 23:32:42 -0800 > >Perhaps somewhat in the spirit of Juliana Spahr's post >about Cybergraphia, the on-line symposium on the >pedagogy of teaching contemporary poetry (more >colloquially put in her announcement): a thought >that's been pre-occupying me lately, ---although I >still don't have it in any well-articulated form. >Would be curious about others' impressions. > >I haven't yet had the pleasure of reading Jordan >Davis' much talked-about ~Million Poems Journal,~ >which I look forward to,--- but it was upon recently >re-reading the Davis poems in the 1998 Talisman >~Anthology of New (American) Poets~ that this thought >dawned on me and has been sticking since, as a sort of >odd, new template I keep reading poetry though. > >Reading Davis' poems there, I was struck by ~the >simplicity~ of the vocabulary. It seemed, upon first >impression, that, except for gerunds ("-ing" words) or >plurals or "-ed" words, it was almost all one- or >two-syllable words. > >That's not entirely true, on further inspection. >There are in fact a little more than a hundred >polysyllables in the six pages of poetry.. (I've >learned afterwards that in [on-line] reading level >material, it's only three-syllable words or longer >that are to be called "polysyllables", in the context >that follows.) What may have lent to that impression >was the somewhat childhood-oriented, nursery rhyme >themes of the poems ("foxes steal gold mice", "shining >bar of soap", "The ice cream barking all night the >piano running past", "A Little Gold Book", etc). At >any rate, ---and I do not mean this as a condemnation >or condescension toward Davis' poetry--- I was left >with the feeling that this was an entirely different >reading experience than reading, say, Drew Gardner's >~Sugar Pill,~ with its penchant for science textbook >terminology, to name only one strain, or, certainly, >Kevin Davies' ~Comp.~ ("The entire panoply of >minimalist histrionics"). I had the sense that, aside >from the "difficulties" (new reading dissonances) that >the disjunctiveness and other Modernist/post-modernist >techniques introduce, a child would have no trouble >reading most of it ("My old love ripped off of me like >an apple / I am dying to see you / To carry you like >an age into wood / . . . / Rain off the bridge / >Searching with a bell"). (There is, of course, some >more "adult" vocabulary that requires a different >level of education/information, such as "milltowns" >[which I interpret to be the Valley of the Dolls >tranquilizer], "tagalog", "magnums", etc.) > >I was left wondering if (1) we assume about the >cognitive-interpretive dissonances which disjunction, >parataxis, etc., instill that they are basically equal >in their effect and the same whether you're 25 or 45, >or, in this case, 25 or 15, then (2), aside from that >"difficulty," the differences between any two poets >may additionally come down to ~what reading level~ of >challenge they present. > >(I in fact do not believe in assumption (1), and feel >that, the more acculturated one becomes to such >poetry, the different effects of different tropes is >essential to the pleasure of the reading. For a good >while, though, or in poetry of overload, these more >subtle distinctions can blur together and assumption >(1) may be accurate in some basic way.) > >In comparison, think of the vocabulary in, say, >Ashbery's ~Daffy Duck in Hollywood~ (yes, >unfortunately, one must keep circling back to Ashbery, > . . . the way '50s painters couldn't get away from >Picasso), where <"La Celestina", "Amadigi di Gaula", >"Escritoire", "déconfit", "the Princesse de Cleves", >"borborygmic", "Aglavaine" and "Sélysette">, etc., >involve a binge of nose-bleed stratosphere >ultra-sophistication that would keep the best Norton >annotator or undergraduate flipping reference words >and dictionary pages. The notorious Ashbery >"difficulty", then, becomes a sort of double >difficulty, of not only adjusting to his poetic >ellipticism but to the high-brow ~New York Review of >Books~ mentality that not so coyly peeps through that >primary dissonance. An uninitiated reader has to >acclimatize her-/himself not only to the new >"challenge" of how contemporary experimental poetry >functions, but to the level of education the text >speaks to, even if it could be rearranged and ironed >out into a normalized, ~conjunct~ rather than disjunct >discursivity. > >The different audiences that poets attract might be in >line with these inequalities, too. Ashbery's >reputation was, to some extent, pushed forward toward >such unparalleled proportions by how that secondary >level of post-doctoral sensibility in his writing >excited critics who aspire toward that very breed of >cosmopolitan erudition. Davis, meanwhile, at least >from the Buffalo Poetics List reports, is enjoying a >rather rapid and lively appreciation that, the >educational level of the List notwithstanding, sounds >like a sort of "populism" responding. (I do not know >how ~Million Journal Poems~ continues this streak or >supplants it, and his poems were largely just the >catalyst for these thoughts rather than their prime >example. At a skim, it's moot how much his >millionpoems.blogspot writing deviates from this. On >the face of things, "Then pop! / There's nothing wrong >with your rain / Hat on lifted ass. / The subject >looks around the car. Rock and roll" doesn't >especially upgrade the secondary level of challenge.) > >In some sense, to their credit, then, perhaps work >like these poems of Davis' allow a more "pure", >interference-free experience of disjunctive >dissonance. There is no special degree of >unfamiliarity with the content, otherwise, so there's >the potential of a more "clean" effect, as far as the >reverberations that come off of "parataxis." > >I find it interesting, though, the possibility that >there might be contemporary work like this very >immediately suited to a readership of high school or >grade school students, since we tend to think of >ourselves as all so beyond that. > >Without having checked, I would think that the >popularity of, say, a W.S. Merwin (or a Michael >Palmer) has much to do with this fundamental reading >level of vocabulary. > > >------------------------------------------------------- > > >The remainder of this post gets number-fussy and may >be ignored off as a sort of crankier footnote. > >An interesting rabbit hole I fell down in pursuing >this idea was the whole question of what constitutes >"reading level" altogether. I used the Idiot's Guide >approach and checked the Internet. > >There's something called the "SMOG reading level" or >Readability Test. It's all about those three-syllable >or more- words. (I do not know what "SMOG" stands >for.) > >The formula is to take 30 sentences from the beginning >of a text, 30 from the end, and count up the number of >polysyllables. The formula itself then goes off into >rather arcane calculations involving square root,--- >but there's a simpler version, which treats the sheer >count as indicative in and of itself. The simplified >SMOG conversion table appears at the bottom of >http://www.sph.emory.edu/WELLNESS/reading.html. > >It's surprising and sort of disappointing that SMOG >recognizes polysyllables only in and of themselves and >does not distinguish between the reading level >differences between household, substantive >polysyllables like <"(air) conditioner", "marigolds", >"underground", "magazines", "rubber-stamped", >"Jack-o-lanterns" (sic)> (all Davis', ~AAoN(A)P~ p. >30) versus ones like <"credulity", "excommunication", >"perdition", "internal", "derangement">. (all >Gardner's, p. 50f), the way it levels the playing >field of educational differences that result from >information (cultural capital). Obviously, a more >"advanced" lesson plan or cultural-intellectual >attainment would be required for the latter. > >It's somewhat free rein how to apply the SMOG to >poetry, which, unpunctuated and run-on, may not even >be comprised of "sentences". Should you could up 30 >lines, instead? Should it just be applied to the total >text?--- But, regardless, the three shorter of Davis' >poems there each contain 8, 5, and 5 polysyllables. >That places them on a 6th or 5th grade reading level, >basically. The long poem, "A Little Golden Book" (my >counting mania set in) contains about 52 >polysyllables, which, over all, might be a 10th grade >reading level (although that's something of a >misapplication of the SMOG rule. The 12 and 9 >polysyllables in the poem's first and last 30 lines >would be an 8th grade reading level (still high). The >poem of Davis' that David Shapiro chose for the Boston >Review (see on-line version), which was basically a >broader audience's first introduction to his poetry, >is about the same numbers, 46 total for a 10th grade >reading level, or a beginning/ending 6 and 4 for a 6th >grade reading level. > >There may be a metrical-musical side to this. >Polysyllables seem to come in waves, in this limited >sample of Davis poems: whereas there may be a roughly >even distribution across "A Little Gold Book" (almost >never two in one line, but sometimes clumped up in a >peak distribution, like the 10 polysyllables in the >last six lines on ~AAoN(A)P~ p. 32), he's also prone >to sizeable stretches withholding any at all, such as >the range of fifteen lines that straddle from p. 30 >into p. 31, the ten lines at the top of p. 33, etc. >The Boston Review poems can be read similarly with >whole sequences of stanzas going polysyllable-free. > >This may also not be atypical. Or, it may be typical >of the age demographic that ~AAoN(A)P~ chose. The >seven Gardner poems in the same anthology (3, 20, 5, >12, 6, 14, and 5 polysyllables each) SMOG-clock in >with four poems at a 5th grade reading level, one at a >6th, and two at a 7th. Clearly (at the risk of >betraying bias here), some subsequent differentation >would have to be made between the supplementary >educational-conceptual levels of vocabulary like ><"bewilderment", "salamander", "opposition", >"coinciding", "subjectivity", "unconsciously", >"perceptible", "individual", "absolute", >"disaffected", "intentions">, and vocabulary like ><"photography", "employers", "pyramid", "meteors", >"museum", "surgery", "zinnias", "helicopters", >"basketballs", "propellor", "lullabyes", "mosquito">. > >------------------------------------------------------- > > This doesn't have to do > With truth value or even > Meaningful probability > > Whether true or false > >--- Jordan Davis, "When I Was The Subject" > > > > > > >__________________________________________________ >Do you Yahoo!? >Yahoo! Mail Plus - Powerful. Affordable. Sign up now. >http://mailplus.yahoo.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 30 Jan 2003 13:54:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Poetry Project Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable THIS SATURDAY AND NEXT WEEK AT THE POETRY PROJECT *** SATURDAY FEBRUARY 1 [2:00pm - 9:00pm] THE POETRY IS NEWS COALITION MONDAY FEBRUARY 3 [8:00pm] OPEN READING WEDNESDAY FEBRUARY 5 [8:00pm] DAVID SHAPIRO AND LYTLE SHAW SATURDAY FEBRUARY 8 [4:00pm] A TRIBUTE TO CHARLES HENRI FORD http://www.poetryproject.com/calendar.html *** SATURDAY FEBRUARY 1 [2:00pm - 9:00pm] THE POETRY IS NEWS COALITION The world situation (on the insane brink of more war with civil liberties under siege) is getting worse by the hour. In addition to everything we do as citizens, we now call for action within the sphere of all public cultural activities as it becomes increasingly embarrassing and painful to attend events that don't even "reference" the current reality. The false dichotomies between politics and aesthetics can only be put to rest when history is made present and resistance enacted. POETRY IS NEWS, a forming cultural coalition announces its inaugural event: Operation Counter-Intelligence: A Cultural Wake-Up Call 2:00 WELCOMING WORDS: Anne Waldman Ammiel Alcalay: BREAKING THE SILENCE / Detainee Profile #1 Reading of Iraqi poets Buland al-Haydari and Saadi Yousef OPENING REMARKS Elias Khoury, Lebanese novelist 2:30 PANEL # 1: Where Is Poetry? Responding to Crisis Gabrielle David, writer and founder of phati'tude Alan Gilbert, poet, critic and editor of NYFA Quarterly Anne Waldman, co-founder and director of Jack Kerouac School of Disembodied Poetics 3:30 Reports from the Front Kristin Prevallet and Rachel Levitsky, poets and teachers: on Debunker Mentality Rachel McKeen, writer, public school teacher: on military recruitment in NYC schools 4:00 PANEL # 2: Acting in Public: Expanding Cultural Space David Henderson, poet, biographer Richard Hell, musician, writer Zohra Saed, poet, editor Ammiel Alcalay, writer, translator 4:45 Reports from the Front Count:0, from the free103point9 collective: On urban microradio & autonomous zones Rebecca Murray, International Solidarity Movement: Riding Ambulances in Jenin Marc Ribot, musician: SOLO 5:30 PANEL #3: Bringing Back the World Michael Palmer, poet, translator Eliot Weinberger, translator, writer Karen Malpede, writer, activist 6:30 Reports from the Front Sara Reisman, curator, and Ronica Bhattacharya: Who's Next, What's Next? Ted Rall, journalist, cartoonist: On Afghanistan 7:15 PANEL #4: Being Censored, Censoring Ourselves Moustafa Bayoumi, essayist, scholar Samiya Bashir, poet, editor Ted Rall, journalist, cartoonist Report from the Front: Paul Chan, artist, member of Iraq Peace team 8:00 OPEN DISCUSSION Admission is FREE. *** MONDAY FEBRUARY 3 [8:00pm] OPEN READING Sign-up begins at 7:30pm. WEDNESDAY FEBRUARY 5 [8:00pm] DAVID SHAPIRO AND LYTLE SHAW David Shapiro has published over 20 volumes of poetry and literary and art criticism including Poems from Deal, A Man Holding an Acoustic Panel, The Page-Turner, Lateness, House (Blown Apart), To an Idea, After a Lost Original, and most recently from Overlook Press, A Burning Interior: New Poems. He has been an editorial associate at Art News and his art criticism has appeared in Artforum, Art News, Art in America, and in many other journals. He has collaborated with many artists, such as Michael Goldberg, Chris Haub, Jeremy Gilbert-Rolfe, and most recently with photographer David Haxton. He also collaborated on 3 films with Rudy Burckhardt. His poetry ha= s appeared in many anthologies including Poems of Our Moment and five of the Best American Poetry series. He himself produced anthologies such as the groundbreaking Anthology of New York Poets with Ron Padgett and the new volume Uncontrollable Beauty with Bill Beckley. Lytle Shaw's books include Flexagon (Ghost-ti, 1998), The Rough Voice (Idiom, 1998), both collaborations with the artist Emilie Clark, Principles of the Emeryville Shellmound (Shark, 1998), Low Level Bureaucratic Structures: A Novel (Shark, 1998), Cable Factory 20 (Atelos, 1999), A Side of Closure (a+bend, 2000) and The Lobe (Roof, 2002). Shaw teaches at NYU an= d curates the Line Reading Series at The Drawing Center. Line Reading: An Anthology, which will include work from the first two years of the series, and Shaw=B9s introductions, will be published next year by The Drawing Center= . His critical writing has also appeared in many journals and magazines including Art on Paper, Documents, Qui Parle, Time Out New York, Cabinet (where he is a contributing editor), and Shark, which he co-edits with Emilie Clark. SATURDAY FEBRUARY 8 [4:00pm] A TRIBUTE TO CHARLES HENRI FORD Speakers will include Harold Stevenson, Ted Joans, Ned Rorem, Penny Arcade, Charles Plymell, Gerard Malanga, Regina Weinreich, Steven Watson, Valery Oisteanu, Allen Frame, Indra Tamang, and Lynne Tillman. Slides will be shown.=20 *** Unless otherwise noted, admission to all events is $10, $7 for students and seniors, and $5 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church in-the-Bowery at 131 E. 10th Street, on the corner of 2nd Avenue in Manhattan. Trains: 6, F, N, R, and L. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or e-mail us at poproj@poetryproject.com. *** ========================================================================= Date: Thu, 30 Jan 2003 15:05:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: yesterday's mail: Bush MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII yesterday's mail: Bush Subject: Re: Bush Library >Subject: Re: Breaking News: Bush Library >Subject: Breaking News: Bush Library > > >current politics are beneath anyone and anything; Bush isn't smart enough President Bush tried to sell Americans on a war with Iraq by President Bush proposed $1.2 billion U.S. President George W. Bush has braced Americans and the rest of the world of the top domestic issues that President Bush is expected to address in his Man, Bush could have used this technique to spread a little friendly And don't be surprised in 2004 if you see a Bush campaign ad brag Bush stays firm on Iraq, sells tax cut uncritically follow US President Bush in his 'global war on terror'? Does The Bush Song > The Bush Song Subject: [webartery] Bush Poem Because someone thinks it was, the Bush poem I forwarded was not written by me. === ========================================================================= Date: Thu, 30 Jan 2003 15:09:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the snow MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the snow all two crystals are alike. this is a substance which absorbs boundaries with useless delineations. its purpose lies in disappearance. jennifer makes snow angels just as angels make jennifer. it occupies and beseeches without asking. response is required but it requires no response. the inuit have one word for snow. there is one snow. this is the snow. === ========================================================================= Date: Thu, 30 Jan 2003 15:33:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris McCreary Subject: publication announcement : the ixnay reader, volume one Comments: To: IxnayPress@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello all, After publishing eight issues of ixnay magazine and six chapbooks over the last five years, ixnay press is pleased to announce the publication of the first volume of the ixnay reader, an ongoing mini-anthology that will appear approximately once each year. Volume one features between 10 and 35 pages of new work from each of its eight contributors: Allison Cobb / Frank Sherlock / Elizabeth Treadwell / Brian Lucas Marcella Durand / Matt Hart / Ethel Rackin / Brett Evans Perfect-bound, 152 pages, a mere $6. Please make checks payable to Chris McCreary, not the press itself. You can order via email at ixnaypress@aol.com or mail at ixnay press, c/o McCreary, 1328 Tasker St, Phila PA 19148. Please also note that last summer's issue of poppycock, our occasional newsletter of reviews and interviews, is now available at our website (www.durationpress.com/ixnay) as a free pdf file. It features Don Riggs on Pattie McCarthy's bk of (h)rs, Ethel Rackin on Rachel Blau DuPlessis's Drafts 1-38, Toll, Alicia Askenase on Hank Lazer's Days, and CAConrad on Heather Fuller's Dovecote, as well as an interview with Marcella Durand and a new poem by Mariana Ruiz-Firmat. And the price, as they say, is right. Thanks much. -- Chris ========================================================================= Date: Thu, 30 Jan 2003 13:23:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: S&C in the spring MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > ---------- > From: "Shakespeare & Co, Paris" > Date: Thu, 30 Jan 2003 03:20:46 +0100 > To: Undisclosed-Recipient:; > Subject: S&C in the spring > > Dear Friend of Shakespeare and Company, Paris > > Apologies for the long silence. After finishing my studies in London, I > arrived in Paris this summer to join my father in the running of > Shakespeare and Company, and to continue his good work. > > I am sure you will be happy to know that George Whitman recently > celebrated his 89th birthday, and continues to be a unique and energetic > presence on the Left Bank! Every day he teaches me a little more about > his lifelong vision and the future he envisages for Shakespeare and Company. > > This summer my father and I would like to invite you to our first > Shakespeare and Company-Paris Literary and Arts Festival. This will be > held from Monday 9th June to Monday 16th June, thereby culminating in the > celebration of Bloomsday, and James Joyce's masterpiece Ulysses. This > year our theme is "Lost, Beat and New: Generations of Parisian Literary > Tradition." With a host of writers, academics, musicians, film-makers, > playwrights, artists and performers, we celebrate the Lost Generation and > their connection with the original Shakespeare and Company, run by the > legendary Sylvia Beach, and also the Beats, Ginsberg, Corso, Kerouac, et > al, who flocked to George Whitman's store in the 50s and 60s. In the > second half of the week, we host a series of readings and performances of > today's established and emerging writers. Jung Chang, Allan Sillitoe, > Claire Messud, John Baxter, Ulick O'Connor, Mark Ford, Noel Riley Fitch, > and others to be confirmed. > > This is an invitation for you to join us. It promises to be entertaining, > enlightening, and a lot of fun! > > Finally, we would like to appeal to anyone who has fond memories of the > store, and who may be able to help us financially, or with publicity for > this event. In the tradition of Shakespeare and Company, we would like to > entrance for these events to be free for all. However, we do need to > cover expenses which inevitably mount up. The Shakespeare and Company- > Paris Literary and Arts Festival is a non-profit making organization, and > to ensure that the festival becomes an annual event, we need to make this > first year a success. > > To all those who have passed through the "rag and bone shop of the > heart", we extend our warmest greetings and hope to see you in Paris one > day soon! > > Best Wishes, > > Sylvia Beach Whitman > Paris, 30th January 2003 > > > > > > _______________________________ > Shakespeare and Company, Paris > http://www.shakespeareco.org/ > > > ========================================================================= Date: Thu, 30 Jan 2003 13:56:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: new york times bestseller MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I would like to invite you all to view one of the multimedia/spoken word presentations from my "nytimes bestseller collection". I wrote these presentations using the SMIL code. In order to view the presentations you need RealOnePlayer installed on your system which you can download for free at: http://forms.real.com/netzip/getrde601.html?h=207.188.7.150&f=windows/RealOn ePlayerV2GOLD.exe&p=RealOne+Player&oem=dl&tagtype=ie&type=dl or http://www.real.com/realoneplayer.html?pp=home&src=012803realhome_1_3 I learned the SMIL code because it is easy to learn if you know HTML and all the resources for SMIL are available for free from Real Networks which provides a comprehensive development kit for programmers. The homepage for my presentations are at www.litob.com There are 20 in all which you can view just by clicking on one of the links below. I hope you enjoy them. And i hope you enjoy discovering this straightforward programming tool which enables anyone to compose rich multimedia presentations of their work with almost no knowledge and without having to spend a small fortune for any software. www.litob.com/presentation/nytbestseller/nytbestseller001.smil www.litob.com/presentation/nytbestseller/nytbestseller002.smil www.litob.com/presentation/nytbestseller/nytbestseller003.smil www.litob.com/presentation/nytbestseller/nytbestseller004.smil www.litob.com/presentation/nytbestseller/nytbestseller005.smil www.litob.com/presentation/nytbestseller/nytbestseller006.smil www.litob.com/presentation/nytbestseller/nytbestseller007.smil www.litob.com/presentation/nytbestseller/nytbestseller008.smil www.litob.com/presentation/nytbestseller/nytbestseller009.smil www.litob.com/presentation/nytbestseller/nytbestseller010.smil www.litob.com/presentation/nytbestseller/nytbestseller011.smil www.litob.com/presentation/nytbestseller/nytbestseller012.smil www.litob.com/presentation/nytbestseller/nytbestseller013.smil www.litob.com/presentation/nytbestseller/nytbestseller014.smil www.litob.com/presentation/nytbestseller/nytbestseller015.smil www.litob.com/presentation/nytbestseller/nytbestseller016.smil www.litob.com/presentation/nytbestseller/nytbestseller017.smil www.litob.com/presentation/nytbestseller/nytbestseller018.smil www.litob.com/presentation/nytbestseller/nytbestseller019.smil www.litob.com/presentation/nytbestseller/nytbestseller020.smil --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Thu, 30 Jan 2003 14:29:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Guardian: Anti-war poets force scrapping of symposium MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Anti-war poets force scrapping of White House symposium Sarah Left Thursday January 30, 2003 The White House yesterday confirmed that it had cancelled a poetry symposium after a number of American poets threatened to turn the event into an anti-war protest. The February 12 symposium on Poetry and the American Voice, which was meant to focus on the works of Emily Dickinson, Langston Hughes and Walt Whitman, was one of a number of literary gatherings organised by the first lady, Laura Bush. When Washington-based poet Sam Hamill received an invitation to the event, he said he was "overcome by a kind of nausea" and refused to attend. Then he decided to email fellow poets, asking them to compose anti-war works and urging anyone attending the symposium to read works of protest. Explaining the cancellation, Noelia Rodriguez, a spokeswoman for Mrs Bush, said: "While Mrs Bush respects the right of all Americans to express their opinions, she, too, has opinions, and believes it would be inappropriate to turn a literary event into a political forum." A former librarian, the first lady has made teaching and early childhood development her signature issues. Her series of White House symposiums to salute America's authors have been lively affairs, featuring discussions about literature and its impact on society. No future date for the poetry event has been announced. Mr Hamill, a co-founder of Copper Canyon Press, set up a website in a bid to turn February 12 into Poetry Against the War day. He said that he had received poems or personal statements from more than 2,000 poets during the last week, and plans to present an anthology of the poems to the White House. In an open letter on the site, Mr Hamill explained: "I believe the only legitimate response to such a morally bankrupt and unconscionable idea is to reconstitute a Poets Against the War movement like the one organised to speak out against the war in Vietnam." Contributors have included WS Merwin, Galway Kinnell, Ursula K Le Guin, Adrienne Rich and Lawrence Ferlinghetti. "I'm putting in 18-hour days. I'm 60 and I'm tired, but it's pretty wonderful," said Mr Hamill. Marilyn Nelson, Connecticut's poet laureate, said that she had accepted the White House invitation, and had planned to wear a specially-commissioned silk scarf with peace signs. "I had decided to go because I felt my presence would promote peace," she said. Mr Hamill's more forthright form of protest, however, may have tipped the balance for White House planners, however. He told the Seattle Times: "What idiot thought Sam Hamill would be a good candidate for Laura Bush's tea party? Someone's going to get fired over this." His is not the only protest in verse. Canadian poet Todd Swift took only one week to compile an ebook, 100 Poets Against the War, which he released on Monday to mark the report by weapons inspectors to the UN security council. "We're trying to create something that is like the Vietnam war protest," said Mr Swift, speaking from his home in Paris. He said he was amazed by how quickly the collection had spread around the world. "About 25 of the poets in the collection are from the UK or Ireland, and we are adding John Kinsella and a few others this weekend to the revised version, which will be released next Monday to meet Mr Blair on his return from Bush's ranch," he added. Contributors to the ebook include George Murray, Ethan Gilsdorf and Maggie Helwig. State of the Union, 2003 I have not been to Jerusalem, but Shirley talks about the bombs. I have no god, but have seen the children praying for it to stop. They pray to different gods. The news is all old news again, repeated like a bad habit, cheap tobacco, the social lie. The children have seen so much death that death means nothing to them now. They wait in line for bread. They wait in line for water. Their eyes are black moons reflecting emptiness. We've seen them a thousand times. Soon, the president will speak. He will have something to say about bombs and freedom and our way of life. I will turn the TV off. I always do. Because I can't bear to look at the monuments in his eyes. Sam Hamill -- V. Nicholas LoLordo Assistant Professor Department of English 4504 Maryland Parkway Box 455011 Las Vegas, NV 89154 (702) 895-3623 ========================================================================= Date: Thu, 30 Jan 2003 18:09:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Leslie Fiedler (1917-2003) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is sad news. I feel nostalgic, remembering his Moby Dick lecture (one grabbing hand gesture saying it all), a version given at S.U.C. @ Fredonia in the early seventies. And I found his poetry as robust as the man himself. I hope his cracklings pass well through the Western Door. Gerald Schwartz ----- Original Message ----- From: "Charles Bernstein" To: Sent: Thursday, January 30, 2003 10:18 AM Subject: Leslie Fiedler (1917-2003) > Lelie Fiedler died yesterday afternoon at his home in Buffalo. > > "I was born in Newark, New Jersey on March 8, l9l7.... I was educated in > the public schools of Newark, was granted a BA from New York University > (Heights) in l938, an MA from the University of Wisconsin in l939, and a > Ph.D. from the latter institution in l94l. I have done post-doctoral work > at Harvard in l946 and l947 and studied at the Japanese Language School > (University of Colorado) during l943 and l944. > > "I served as a Japanese Interpreter with the United States Navy from l943 > through l945. During that time I was in Hawaii, Guam, Iwo Jima, China and > Okinawa. > > "I was a member of the staff at Montana State University from l94l to > l963.... Since l964 I have been Professor of English at the State > University of New York at Buffalo, serving as Departmental Chairman from > l974 to l977. > > "I have lectured widely before audiences at universities and colleges > throughout the United States, as well as in Canada, England, Italy, > Tunisia, Ireland, France, Germany, Japan, India, Greece, Yugoslavia, > Turkey, Brazil, the Netherlands, Denmark, Spain, Israel, Venezuela and Korea." > > Fiedler's books include: > > An End to Innocence: Essays on Culture and Politics, Beacon Press, l955. > The Art of the Essay, Thomas Y. Crowell, l958; revised edition l969. > No! In Thunder: Essays on Myth and Literature, Beacon Press, l960. > Pull Down Vanity and Other Stories, Lippincott, l962. > The Second Stone: A Love Story, Stein and Day, l963. > Waiting for the End, Stein and Day, l964. > Back to China, Stein and Day, l965. > The Continuing Debate, (with Jacob Vinocur) St. Martin's Press, l966. > Love and Death in the American Novel(revised) Stein and Day, l966. > The Last Jew in America, Stein and Day, l966. > The Return of the Vanishing American, Stein and Day, l968. > Nude Croquet and Other Stories, Stein and Day, l969. > Being Busted, Stein and Day, l970. > The Collected Essays of Leslie Fiedler, Stein and Day, l972. > The Stranger in Shakespeare, Stein and Day, l972. > Published as five paperback volumes, l973: > An End to Innocence > No! In Thunder > Unfinished Business > To the Gentiles > Cross the Border, Close the Gap > The Messengers Will Come No More, Stein and Day, l974. > In Dreams Awake: Anthology of Science Fiction, Dell, l976. > A Fiedler Reader, Stein and Day, l977. > Freaks: Myths and Images of the Secret Self, Simon and Schuster, l978. > The Inadvertent Epic, Canadian Broadcasting Company, l979. > Olaf Stapledon, Oxford University Press, l982. > What Was Literature?, Simon and Schuster, l982. > Fiedler on the Roof: Essays on Literature and Jewish Identity, Godine, l99l. > Tyranny of the Normal, David Godine, l996. > Love and Death in the American Novel (reprint), Dalkay Archive Press, l998. > ========================================================================= Date: Thu, 30 Jan 2003 18:14:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: The Fourth International Edible Book Festival Comments: To: WRYTING-L Disciplines , dreamtime@yahoogroups.com In-Reply-To: <5.1.0.14.2.20030130121214.00aa4980@pop.bway.net > Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: quoted-printable From: "Judith Hoffberg" Date: Thu Jan 30, 2003 5:21:18 PM US/Central To: Subject: FLUXLIST: Re: Fourth International Edible Book High/Low Tea Reply-To: FLUXLIST@scribble.com The Fourth International Edible Book Festival will occur throughout the world on any day from 1 April - 5 April from 2 - 4 p.m. (Depending upon=20= the time zone.) The edible books are exhibited and at 4 p.m., tea and/or=20 coffee is served and the books are consumed. In 2002, the event was held=20 throughout April due to various considerations of venues and audiences. This year 5 April seems to be a popular day, because it=92s on a weekend. It all=20 depends upon you and your location! For this High/Low Tea, all works of art must be edible and have=20 something to do with books! Each participating group or individual is responsible for its/his/her own audience and website. =46rom 2 - 4 p.m., you sip = High/Low=20 Tea while viewing the edible exhibit. At 4 p.m., you photograph the work=20 and eat it too! All venues are requested to take photographs or record in video their=20 event and displayed books. Please send two copies of menus and copies of photographs to Umbrella, P.O. Box 3640, Santa Monica, CA 90408. The documentation will be used for a potential (non-edible) book by Umbrella Editions. A description and links of all participants around the world=20= will be available at http://colophon.com/ediblebooks/books2eat2003.html Tickets may be sold for the event, so that each venue can thus use=20 Books2Eat as a fundraiser for book centers and organizations. For documentation and images of the previous three International Edible=20= Book Festivals, please visit the website. For information, edification and moral support, contact Books2Eat or umbrella@ix.netcom.com To make your own webpage, go to our website and see suggestions such as yahoo and imagestation. Links to other edible culture: The Edible Monument at the Getty Research Institute Culinary history research at the New York Public Library Slow food for the defense of and the art of pleasure The Sugar Museum in Berlin, Germany Countries included in the past two years are Australia, Brazil, Canada, England, France, Germany, Italy, the Netherlands, and Spain, with new additions of Morocco, Japan. In the U.S., Arizona, California, Illinois, Massachusetts, Minnesota,=20 New York and Oregon have participated knowingly. Perhaps there are others. Initiated by Judith A. Hoffberg over a Thanksgiving turkey with book=20 artists in 1999, the Edible Book High/Low Tea has become an international=20 sensation thanks to the website designed by B=E9atrice Coron, making the radio and=20= TV in 2002! Look for the website at http://colophon.com/ediblebooks/books2eat2003.html ========================================================================= Date: Thu, 30 Jan 2003 19:49:54 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Comcast Censors Anti-War TV Ads; Let 'Em Know You Care! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Call Comcast's spokesperson to voice your opposition to their censorship! Phone number & email address below. Patrick -----Original Message----- From: Bonnie Erickson Sent: Thursday, January 30, 2003 7:11 PM FYI ---------- From: Caxxx@axxxom Date: Thu, 30 Jan 2003 13:50:36 EST Subject: Censorship of ads on TV Dear Friends, a forward from my sister , Andy.... how to fight as the war machine churns onward??? Those without money have less access to the media. Even if they do have money their ads may be refused...thus the medical industry got to the media so they did not air single payer ads or even ads in favor of the Clinton Health plan. Here is another example. Tell Mitchell Schmale to stop censoring war ads! Background: Comcast is censoring ads in tonight¹s state of the union (see below) Action: Contact the spokesperson to voice your discontent Email: Mitchell_Schmale@cable.comcast.com CONTACT MITCHELL AT HOME: Mitchell Schmale 3515 Carrollton Rd, Hampstead, MD 21074 (410) 239 - 2164 http://story.news.yahoo.com/news?tmpl=story&ncid=536&e=4&cid=536&u=/ap/20030 129/ap_on_re_us/anti_war_ads (please be sure to cut and paste ENTIRE link into yr browser, including the piece that wraps to the next line-PH) Anti-War Ads Rejected During Bush Speech By JOHN CURRAN, Associated Press Writer ATLANTIC CITY, N.J. - The Comcast cable television company rejected ads that an anti-war group wanted to air during President Bush (news - web sites)'s State of the Union speech, saying they included unsubstantiated claims. Peace Action Education Fund had spent $5,000 to have six 30-second ads aired on CNN by Philadelphia-based Comcast beginning Tuesday night. During his speech, Bush was expected to reiterate his case for war. The ads were to be broadcast in the Washington, D.C., area. But Comcast's legal department notified the group Tuesday morning that the ads would not air. "Comcast runs advertisements from many sources representing a wide range of viewpoints, pro and con," Comcast spokesman Mitchell Schmale said in a statement issued Tuesday evening. "However, we must decline to run any spot that fails to substantiate certain claims or charges. In our view, this spot raises such questions." The statement did not specify what Comcast, the nation's largest cable company, objected to. The ads show citizens expressing opposition to war with Iraq and were to run twice on Tuesday, Wednesday and Thursday nights. The idea was to reach Congress members, Cabinet members and other Washington decision makers, said the Rev. Robert Moore, executive director of the 2,000-member peace group, which is based in Princeton. "This is an outrageous infringement on our First Amendment rights, in the center of our democracy, Washington, D.C.," he said. PLEASE FORWARD!!! ========================================================================= Date: Thu, 30 Jan 2003 20:57:39 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: What's Hot/What's Not: Is Lester There? Enquiring Minds Want to Know.... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I don't know if I can stomach the abuse any longer but Lester's nastiness forces me to confront censorship in my own back yard! Patrick -----Original Message----- From: Lester Oracle [mailto:lester@proximate.org] Sent: Thursday, January 30, 2003 8:49 PM To: Patrick Herron Subject: What's Hot/What's Not: Is Lester There? Enquiring Minds Want to Know.... Is Lester's Flogspot(TM) Included or Excluded In the Realm Of Other Poets? Being a Nobody While Trying To Be Somebody: Liability or Asset? Lester's Flogspot http://lesters.blogspot.com Marginalized by the Self-marginalized Since 2002 Lester's Flogspot http://lesters.blogspot.com Losing the Literary Po-biz Backscratch Game Since 2002 Lester's Flogspot http://lesters.blogspot.com Trying To Make the Humorless Laugh Since 2002 Lester's Flogspot http://lesters.blogspot.com Failing at the Art of Being an Artist Since 2002 Lester Oracle Sexologist-Poet-Digerati Indoctrinaire! Getting Funky Since 1970 lester@proximate.org PS: I am not Patrick Herron. Never have been, never will. Clearly that guy is a complete idiot. I find it insulting to be mentioned in the same breath as that poor excuse for a poet. He should learn to write something innovative before he earns the privilege of being compared with me. PSS: I am not a sock puppet! PSSS: I am based on a true story! ========================================================================= Date: Fri, 31 Jan 2003 13:04:29 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JFK Subject: cut ups and day dreams MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit INSERT DAYDREAM da | | y | DREAM | Peace JFK www.poetinresidence.com ========================================================================= Date: Thu, 30 Jan 2003 22:11:41 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: cut ups and day dreams MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear John I'm afraid it's a breaking dream. d~r~e~a~m~~~~~ Very best Harriet ========================================================================= Date: Thu, 30 Jan 2003 20:51:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Seattled: subtext MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit John Olson--I'll be in Seattle in early May, w/my new book from Chax, and wd v much like to read for Subtext, Any chance? My best to you--David Bromige -----Original Message----- From: subrosa@SPEAKEASY.ORG To: POETICS@LISTSERV.BUFFALO.EDU Date: Thursday, January 30, 2003 2:44 PM Subject: Seattled: subtext Subtext continues its monthly series of experimental writing with readings by mARK oWEns and John Olson at the Richard Hugo House on Wednesday, February 5, 2003. Suggested donations for admission are $5 at the door on the evening of the performance. The reading starts at 7:30pm. mARK oWEns moved to Portland, OR in 2002. His participARTE poems have been realized in Buenos Aires, Argentina; Guadalajara, Mexico; Dayton, Ohio, Seattle, and Portland. His current project OHO INTERCAMBIO is a venue for multidisciplinary art exchanges both in the streets and through the mail. He has edited Nexus magazine from Dayton, OH and co-produced INN-BOX magazine from Guadalajara, Mexico. He takes naps. John Olson is the author of Echo Regime, a collection of poetry from Black Square Editions. This spring Black Square Editions will also be bringing out Jurassic Chandelier, a collection of prose poems. "Inebriate of Air," an essay about air, will be published in an anthology this May called Writings on Air, from M.I.T. Press. His literary essays have appeared in a number of journals & magazines, including Talisman, Sulfur, Facture, First Intensity, the American Book Review, Rain Taxi, the Denver Quarterly & The Stranger. He is currently at work on a novel about Arthur Rimbaud & Billy the Kid. The future Subtext 2003 schedule is: March 5, 2003 - Rhoda Rosenfeld (Vancouver, BC) and April Denonno Subtext readings fall on the 1st Wednesday of the month (unless otherwise noted) at the Richard Hugo House. The Hugo House is located at 1634 11th Ave on Capitol Hill in Seattle. Suggested donations for admission are $5 at the door on the evening of the performance. For info on these & other Subtext events, see our website: http://www.speakeasy.org/subtext. ========================================================================= Date: Fri, 31 Jan 2003 00:09:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Exit & Strategies taught to explode into bits of wing we ought waken and punish them neighbors down the stairs hey kids, coo on the free sounds now available thru walls freak out on capsules meant to help beat the clock there will never be *more* trees and fish every Sarah ever ate and ran, so adoration devices run on stealth I wanted to kiss you from the inside a plan not w/o damage gave ourselves complexes at low tide enduring a heavy snow of stars forever let me down after stunning recounts my heart is not enough to tip the scale modes we'll never learn to navigate cries and shrieks yet to be archived _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 31 Jan 2003 00:12:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed Heart-Shaped Box build another library to fill the need or head out to chase elusive warmth in caverns and liquids I'm not looking for trouble, I want loops of bones, gimme distraction updated skins, material breach. you're welcome to a new diamond age, brought to us by accidents eclipse the zodiacs, one American foot, one Icelandic--meters to go only Dick can go to China let me be liaison to the new Yummy Hut, let them eat combos. false premonitions feel *real* and worth the nerves, I don't want to die with you, because of you we're cheering for the empire, again, to squash the long-suffering dangers called Tuesday, pinstripes abound _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 31 Jan 2003 17:37:36 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: cut ups and day dreams In-Reply-To: <005201c2c8d5$828c0980$2321ea84@zilzie> Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-52B22A6A; boundary="=======7D2C5A4D=======" --=======7D2C5A4D======= Content-Type: text/plain; x-avg-checked=avg-ok-52B22A6A; charset=us-ascii; format=flowed Content-Transfer-Encoding: 8bit At 01:04 PM 31/01/03, you wrote: >INSERT DAYDREAM DA[DA]YDREA[D]M INSERTED good to see you on the list komninos --=======7D2C5A4D======= Content-Type: text/plain; charset=us-ascii; x-avg=cert; x-avg-checked=avg-ok-52B22A6A Content-Disposition: inline --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03 --=======7D2C5A4D=======-- ========================================================================= Date: Sat, 1 Feb 2003 03:39:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Let Us Praise the Dead.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From the moment i arrived at U.B.. ...till the moment i left...5 yrs later..i thot Leslie Fiedler was the biggest blow hard there....drn.. ========================================================================= Date: Sat, 1 Feb 2003 03:45:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Gabriel Gooding... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I haven't read Mr. Gudding's book nor do i intend to..so i have nothin to say about it...but i do resent this list becoming a 12 step Poets Anonymous Program...with all the attendant charm of a Kiwanis backslepping & gladhanding meeting....Po is a hard boot camp task master....try 20 years of silence and sit ups...and don't come back..DRn.. ========================================================================= Date: Fri, 31 Jan 2003 03:11:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Gabriel Gooding... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey Harry, you're awesome! You not only speak ill of the dead, you insult the living! Wotta guy! And you do great negative advertising. Your hostility to it has made me determined to get Gabe's book. Fond regards, Kevin Davies > I haven't read Mr. Gudding's book nor do i intend to..so i have nothin >to say about it...but i do resent this list becoming a 12 step Poets >Anonymous Program...with all the attendant charm of a Kiwanis backslepping >& gladhanding meeting....Po is a hard boot camp task master....try 20 >years of silence and sit ups...and don't come back..DRn.. ========================================================================= Date: Fri, 31 Jan 2003 01:27:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ON A WIDER FUNDAMENTAL LEVEL MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ON A WIDER FUNDAMENTAL LEVEL on a wider fundamental level as we move into the information age a society of sharers a network society digitally inter-noded and offline publicly as we work towards this contextualization of this new form of living technique that includes the aura of software as we cheat ourselves like sadam hussein setting alight oil fields or george bush doing the robert de niro scene while shaving in the presidential suite by cycling raw materials at random at runtime at the checkout line at the department of motor vehicles at the university men's room with asemic graffiti on the walls as we repudiate the confusion promoted by Meat-Eaters without Borders and the Capital Punishment Party as we hope for change in a world without leaders as we checkout as we run to get in line and pay big bucks to see the meat graffiti on the walls of the Capital as we repudiate fundamentals and publicly set our cars on fire with hanukah candles as we shave sadam hussein's legs in a performance space inviting anyone to interact with the razor by using the mouse pointer as we run in juxtaposition and game-hunt online relying on algorithmic procedures or wading into the depths of george bush by hunting publicly with an overall thematic concern with regard to genetic engineering etiquette and as we flash and cool and acid and highly tout the phony assertions of poets under surveillance by guerilla sociopaths posing as artists as we announce the publication of an ongoing mini-anthology of bioterrorism discourses as we pOsTpONe the PoETry SyMPOsium AUGUST HIGHLAND 1:24 AM 01-31-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ========================================================================= Date: Fri, 31 Jan 2003 07:46:43 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Browbeat, Phlog'em & Harras'em closing MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Browbeat, Phlog'em & Harras'em, as this firm was known in the Bay Area, was oft' called the law firm of poets because, for many years, its proofreading department consisted of many a writer: Bob Grenier, Tinker Greene, John Clark (Tom's kid bro) & I think possibly Erica Hunt, all worked there at different moments in time. Only ComputerLand & the administrative staff at UC Berkeley employed more poets in the 1980s & early '90s, Ron January 31, 2003 West Coast Law Firm Closing After Dot-Com Collapse By JONATHAN GLATER Partners at the San Francisco law firm of Brobeck, Phleger & Harrison decided yesterday to wind down the firm, bringing to an end a 77-year-old Bay Area institution that rose flamboyantly and rapidly on the Internet boom. The decision came after efforts to merge with Morgan Lewis & Bockius - a 1,100-lawyer firm whose largest offices are in Philadelphia, Washington and New York - failed on Wednesday, said William Sullivan, who is head of the national securities practice at Brobeck. "That caused us to look at all the issues and see where we are," Mr. Sullivan said. He said the firm would meet with its lenders today and try to determine how it could go about an orderly, gradual winding up of its affairs. "What it means is that we'll work with Citibank to get them paid and probably have partners and others move to other firms." The announcement is remarkable for a firm whose lawyers in recent years boasted that they represented the future of the legal business and criticized their New York competitors as too slow to serve nimble start-up technology companies and Internet ventures. The firm had invested millions of dollars in television advertising. The firm broke the news to its associates in an afternoon videoconference, said one Brobeck lawyer, speaking on the condition that he not be identified. Further announcements are expected today, the lawyer said. The firm may not technically dissolve even though it may cease operating as a single unit as its lawyers leave, Mr. Sullivan said. He added that a priority would be ensuring that clients were not hurt by events at Brobeck. "It is a stunning and incredible tragedy," said Barry S. Levin, chairman of Heller Ehrman White & McAuliffe, another San Francisco firm. "A lot of people are going to want to understand how a firm of the stature of Brobeck could end up dissolving. Whether it's the Internet boom or growing too fast for the volume of work or too much emphasis on one practice area, I don't know." Brobeck employs just over 500 lawyers around the country, down from more than 900 in 2000; it lost nearly one-third of its lawyers last year. Although the firm was founded in 1926 - making it ancient in the San Francisco legal market - it became far more prominent in the late 1990's during the dot-com boom. It grew rapidly by hiring law school graduates eager to live in San Francisco and work on the fringes of the high-technology economy. Its partners took home nearly $1.2 million each, on average, in 2000. The firm was also one of the first to offer lawyers fresh out of law school salaries on par with those paid by New York law firms - as much as $125,000. But those hefty salaries left Brobeck with high costs, and as some of the firm's clients stopped selling their stock, merging or in some cases operating, the firm found itself in an increasingly difficult position. While Brobeck has as clients a number of big companies, including Cisco Systems, Compaq and Gap, it tried to diversify its customer base too late, lawyers at other firms said. Brobeck was an innovator among law firms, said Charles Maddock, a principal at Altman Weil, a consulting firm that advises law firms. "One of the things that they did was spend more than $10 million in corporate television advertising, when no one was doing that," he said. "That's a big investment." Brobeck has suffered defections of some partners over the last year, some as recently as this week. The former chairman, Tower C. Snow, led nearly two dozen lawyers early last summer to join Clifford Chance, a British firm that previously did not have an office in San Francisco. Brobeck's other partners had terminated Mr. Snow when they learned that he was negotiating with Clifford Chance. Mr. Snow, who, through a Clifford Chance spokesman, declined to comment yesterday, had pledged that Brobeck would not lay off any associates while he was chairman. But his successors soon made clear that they would not abide by that promise. Like other Bay Area law firms whose clients had collapsed or had cut back sharply on spending, Brobeck began to lay off lawyers last year, even as the firm was entering costly new office space in Palo Alto. Mr. Sullivan said such real estate costs were a result of overbuilding when the economy was booming. Within Brobeck, Mr. Snow was widely blamed for the firm's financial problems. Brobeck has tried for months to renegotiate its loan terms and has also sought merger partners. The legal landscape has changed drastically in recent years, making it difficult for firms even of Brobeck's size to compete, Mr. Levin said. "The profession is consolidating rapidly," he said. "Where we used to compete on a local or regional basis, now more and more we are all competing for talent and clients on a national basis." Asked whether he could recall another collapse of such a large firm, Mr. Levin said, "I can't think of one." In the firm's offices yesterday, lawyers were shocked, said Nader Pakfar, an associate at Brobeck. "I feel terrible for Brobeck and my friends and colleagues here," he said, adding that as a lawyer who works on corporate transactions - the kind of work that is not much in demand in the current economic climate - he was not sure where or when he would find a job at another firm. "I guess I'll go to Thailand and live on $200 a month," Mr. Pakfar said. ========================================================================= Date: Fri, 31 Jan 2003 06:13:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: hate of the new moon In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable hate of the new moon by more clean sheets There's now a shadow use of a forward army," said Bush, tacking me and=20= leaving fingerprints behind, with deadly Selling new markets, and=20 creating new deadly jobs. a danger not only to me, but to Americans=20 when they mass for family gathering with oil fever. =A0As we gather=20 tonight, our na-naa-n-ation is at a point of stupidity and faces=20 unprecedented Pentagon arrests and brutal oppression (Applause.). When=20= I called our troops into action, I did so with a clear video and the=20 depth in their fondness of American nuclear power plants and public=20 water facilities. I want nothing more than to be king of all chemical=20 weapons, sir lancealot of maps of American trademarks throughout the=20 world. I will hijack tens of thousands and bomb our people's hope for=20= freedom.=A0This is a regime that has something to Sell to our markets.=20= new weapons of mass destruction, and I am the owner of all of them. We=20= will work closely with our allies to to Sell into new markets and=20 create new a war economy. So billions of dollars must be prepared for=20 future operations. we must not spare spare innocent lives, and we=20 need more of them to replace our aging aircraft.=A0(Applause.)=20 =A0bioterrorism will expand our borders, strengthen departures of=20 visitors to America (Applause.) we must have a funded Good Selling=20 program, and better friendlier neighbors. thank you.=20 =20= ========================================================================= Date: Fri, 31 Jan 2003 09:50:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: today's mail: Qaeda, Laden, Afghanistan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII today's mail: Qaeda, Laden, Afghanistan > Al-Qaeda thought to be developing 'dirty' bomb > officials have presented evidence which they claim shows that al-Qaeda has > bomb. The BBC said officials now believed al-Qaeda had the expertise and > inflitrated al-Qaeda training camps in Afghanistan while posing as > recruits. The agents revealed that al-Qaeda's weapons programme was Al-Qaeda thought to be developing 'dirty' bomb officials have presented evidence which they claim shows that al-Qaeda has bomb. The BBC said officials now believed al-Qaeda had the expertise and inflitrated al-Qaeda training camps in Afghanistan while posing as recruits. The agents revealed that al-Qaeda's weapons programme was | Al-Qaeda thought to be developing 'dirty' bomb | officials have presented evidence which they claim shows that al-Qaeda has | bomb. The BBC said officials now believed al-Qaeda had the expertise and | inflitrated al-Qaeda training camps in Afghanistan while posing as | recruits. The agents revealed that al-Qaeda's weapons programme was Richard C. Reid, who said he was a member of Al Qaeda and side of a road in southern Afghanistan. Authorities blame Taliban and al Qaeda > | Al-Qaeda thought to be developing 'dirty' bomb > | officials have presented evidence which they claim shows that al-Qaeda > | bomb. The BBC said officials now believed al-Qaeda had the expertise and > | inflitrated al-Qaeda training camps in Afghanistan while posing as > | recruits. The agents revealed that al-Qaeda's weapons programme was important--like getting Osama Bin Laden!=A0 I hope Hillary becomes President= ike getting Osama Bin Laden!=A0 I hope Hillary becomes President and screws=20= > inflitrated al-Qaeda training camps in Afghanistan while posing as inflitrated al-Qaeda training camps in Afghanistan while posing as | inflitrated al-Qaeda training camps in Afghanistan while posing as side of a road in southern Afghanistan. Authorities blame Taliban and al Qaeda > | inflitrated al-Qaeda training camps in Afghanistan while posing as === ========================================================================= Date: Fri, 31 Jan 2003 10:36:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: thoughts on Re: White House Cancels Poetry Symposium In-Reply-To: <000b01c2c893$860509a0$bd0ff243@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Sam Hamill's success in making a political statement leads me to conclude that the old adage is true: Poetry makes Nothing happen. In this case Something, a poetry symposium led by the First Lady, is happily voided to Nothing. If we can throw enough poets at the war itself perhaps that too will be postponed. What is the old Carl Sandburg poem? "What if they gave a war and nobody came?" A question asked by a child, perhaps the same one who put beans in her ears after being told not to. How to assess then the success of this action? (And what a shame Marilyn Nelson's freshly commissioned scarf goes unused.) Doesn't it boil your blood that the assumption of the White House is that poetry and literature should be politics-free? What kind of pretty tea-cup do they think you are? For intentions and integrity I give Sam Hamill high grades. For creativity and stealth however, I imagine so much more could have been done. I feel an opportunity was missed by announcing and publicizing the attempt to embarass the administration in its own house. What did one expect from the ad hoc Anthology of Dissent? An embossed thank you note? But "Poetry and the American Voice?" You could have had a ball with that! You may have read aloud any number of poems (if this was the format, perhaps it was not; you could have read them anyway) from, say, the new Rexroth Complete poems that Copper Canyon just published. A beautiful book. History continuously Bleeds to death through a million secret Wounds of trivial hunger and fear. Its stockholders' private disasters Are amortized in catastrophe. War is the health of the State? Indeed! War is the State. All personal Anti-institutional values Must be burnt out of each generation. If a massive continuum Of personality endured Into grandchildren, history Would stop. (from "The Phoenix and the Tortoise," 1944) Pretty rich stuff from someone so lightly dismissed on this List by some parties last November. But more to the point of my post: perhaps there were other poets invited to this thing who were planning to use the occasion at the White House to make their dissenting "American voices" heard. It's a shame that such an opportunity for poets to be seen and heard as real public figures was lost. (Of course this is assuming that there were poets invited who are not completely lame in verse and person.) How delightful it would have been to read that Sam Hamill got bounced (or discretely escorted by the SS) out of the chief executive mansion for reading (perhaps even "out of turn") a bit of Kenneth Patchen or Muriel Rukeyser or Alice Notley or Barrett Watten. Maybe other poets would have followed suit: extending an arm to Billy Collins and Robert Pinsky, "abandon the dark side, join us!" How can this appearance of poetry in this vapid barcode culture now be used as a real political tool? Well, don't go out and write a goddamn poem about it, and expect THAT to amount to much! There's enough in print, for use, to go around. Let's start a commotion. - daniel bouchard At 02:12 PM 1/30/03 -0500, Ron Silliman wrote: >White House Cancels Poetry Symposium > >Thursday January 30, 2003 10:20 AM > >NEW YORK (AP) - The White House postponed a poetry symposium out of >concerns it would be politicized after some poets said they wanted to >protest military action against Iraq. > >The symposium on the poetry of Emily Dickinson, Langston Hughes and Walt >Whitman had been scheduled for Feb. 12. No future date has been >announced for the event, to be held by first lady Laura Bush. > >``While Mrs. Bush respects the right of all Americans to express their >opinions, she, too ><>>>>>>>>>>>>>>>>>>>>>>>>> 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: Fri, 31 Jan 2003 08:46:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: subrosa@SPEAKEASY.ORG Subject: Northwest Sound Poetry Festival Invite Content-Disposition: inline Content-Transfer-Encoding: binary Content-Type: text/plain MIME-Version: 1.0 INVITATION TO PHONE IN YOUR SOUND POEM Spare Room’s poetry collective is hosting a Sound Poetry Festival in Portland, OR u.s.a. on Feb. 22nd. Among the 12 performances, we have a 20 MINUTE PHONETICATHON where we are asking sound poets from around the world to participate. We will have 3 cell phones set up for poets to call in at exactly 8:00-8:20 PM pacific coast time, USA. All 3 cells phones will be hooked into the PA system to be amplified and recorded. All 3 calls will be juxtaposed simultaneously. We are asking you to call us and voice your sound poem. CALL: 503.899.9455 or 503.475.9256 or 503.740.6526 When you call: 1) the phone will be answered without any talking. 2) state your name as well as the city/state and country from which you are calling. 3) read your sound poem for 2-5 minutes. Please note that we will record the phoneticathon with the hopes to release the recording on CD. If you call, we assume that you relinquish permission to record your participation and release your contribution on CD. All rights revert to the author. Staying within suggested time frame (2-5minutes) will allow us to incorporate more poets in the 20 minute period. If all phone lines are busy, we ask that you to keep trying. The vision of the phoneticathon is to include as many sound poets from the furthest parts of the world. Please forward, copy and relay this message to other sound poets about this project! Please email me at mark_anypush@yahoo.com if you plan to call in your poem. Any questions can be sent to the same address. Thank you, mARK oWEns ========================================================================= Date: Fri, 31 Jan 2003 09:16:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Mandela urged the people of the United States to join In-Reply-To: <5.0.2.1.2.20030131100153.0249cd60@hesiod> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: 7bit JOHANNESBURG, South Africa (Jan. 30) - Former President Nelson Mandela called President Bush arrogant and shortsighted and implied that he was racist for ignoring the United Nations in his zeal to attack Iraq. In a speech Thursday, Mandela urged the people of the United States to join massive protests against Bush. Mandela called on world leaders, especially those with vetoes in the U.N. Security Council, to oppose him. ''One power with a president who has no foresight and cannot think properly, is now wanting to plunge the world into a holocaust,'' Mandela told the International Women's Forum. Mandela also criticized Iraq for not cooperating fully with the weapons inspectors and said South Africa would support any action against Iraq that was supported by the United Nations. White House spokesman Ari Fleischer responded to Mandela's criticism by pointing to a letter by eight European leaders reiterating their support of Bush. ''The president expresses his gratitude to the many leaders of Europe who obviously feel differently'' than Mandela, Fleischer said. ''He understands there are going to be people who are more comfortable doing nothing about a growing menace that could turn into a holocaust.'' A Nobel Peace Prize winner, Mandela has repeatedly condemned U.S. behavior toward Iraq in recent months and demanded Bush respect the authority of the United Nations. His comments Thursday, though, were far more critical and his attack on Bush far more personal than in the past. ''Why is the United States behaving so arrogantly?'' he asked. ''All that (Bush) wants is Iraqi oil,'' he said. He accused Bush and British Prime Minister Tony Blair of undermining the United Nations and U.N. Secretary-General Kofi Annan, who is from Ghana. ''Is it because the secretary-general of the United Nations is now a black man? They never did that when secretary-generals were white,'' he said. Mandela said the United Nations was the main reason there has been no World War III and it should make the decisions on how to deal with Iraq. He said that the United States, which callously dropped atomic bombs on Hiroshima and Nagasaki, has no moral authority to police the world. ''If there is a country that has committed unspeakable atrocities in the world, it is the United States of America. They don't care for human beings,'' he said. ''Who are they now to pretend that they are the policemen of the world, the ones that should decide for the people of Iraq what should be done with their government and their leadership?'' he said. He said Bush was ''trying to bring about carnage'' and appealed to the American people to vote him out of office and demonstrate against his policies. He also condemned Blair for his strong support of the United States. ''He is the foreign minister of the United States. He is no longer prime minister of Britain,'' he said. AP-NY-01-30-03 1308EST Copyright 2003 The Associated Press. The information contained in the AP news report may not be published, broadcast, rewritten or otherwise distributed without the prior written authority of The Associated Press. All active hyperlinks have been inserted by AOL. ========================================================================= Date: Fri, 31 Jan 2003 12:30:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Ron Padgett contact? Mime-Version: 1.0 Content-Type: text/plain; format=flowed anyone have an email or snail mail for Ron Padgett? thanks, noah _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 31 Jan 2003 13:09:53 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: a message for you MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit IMMEDIATE ATTENTION NEEDED : HIGHLY CONFIDENTIAL FROM: GEORGE WALKER BUSH 202.456.1414 / 202.456.1111 FAX: 202.456.2461 DEAR SIR / MADAM, I am George Walker Bush, son of the former president of the United States of America George Herbert Walker Bush, and currently serving as president of the United States of America. This letter might surprise you because we have not met neither in person nor by correspondence. I came to know of you in my search for a reliable and reputable person to handle a very confidential business transaction, which involves the transfer of a large sum of money to an account requiring maximum confidence. I am writing you in absolute confidence primarily to seek your assistance in acquiring oil funds that are presently trapped in the Republic of Iraq. My partners and I solicit your assistance in completing a transaction begun by my father, who has long been actively engaged in the extraction of petroleum in the United States of America, and bravely served his country as director of the United States Central Intelligence Agency. In the decade of the nineteen-eighties, my father, then Vice-president of the United States of America, sought to work with the good offices of the president of the Republic of Iraq to regain lost oil revenue sources in the neighboring Islamic Republic of Iran. This unsuccessful venture was soon followed by a falling out with his Iraqi partner, who sought to acquire additional oil revenue sources in the neighboring Emirate of Kuwait, a wholly-owned U.S.-British subsidiary. My father re-secured the petroleum assets of Kuwait in 1991 at a cost of sixty-one billion U.S. dollars ($61,000,000,000). Out of that cost, thirty-six billion dollars ($36,000,000,000) were supplied by his partners in the Kingdom of Saudi Arabia and other Persian Gulf monarchies, and sixteen billion dollars ($16,000,000,000) by German and Japanese partners. But my father's former Iraqi business partner remained in control of the Republic of Iraq and its petroleum reserves. My family is calling for your urgent assistance in funding the removal of the President of the Republic of Iraq and acquiring the petroleum assets of his country, as compensation for the costs of removing him from power. Unfortunately, our partners from 1991 are not willing to shoulder the burden of this new venture, which in its upcoming phase may cost the sum of 100 billion to 200 billion dollars ($100,000,000,000 - $200,000,000,000), both in the initial acquisition and in long-term management. Without the funds from our 1991 partners, we would not be able to acquire the oil revenue trapped within Iraq. That is why my family and our colleagues are urgently seeking your gracious assistance. Our distinguished colleagues in this business transaction include the sitting Vice-President of the United States of America, Richard Cheney, who is an original partner in the Iraq venture and former head of the Halliburton oil company, and Condoleeza Rice, whose professional dedication to the venture was demonstrated in the naming of a Chevron oil tanker after her. I would beseech you to transfer a sum equaling ten to twenty-five percent (10-25 %) of your yearly income to our account to aid in this important venture. The Internal Revenue Service of the United States of America will function as our trusted intermediary. I propose that you make this transfer before the fifteenth (15th) of the month of April. I know that a transaction of this magnitude would make anyone apprehensive and worried. But I am assuring you that all will be well at the end of the day. A bold step taken shall not be regretted, I assure you. Please do be informed that this business transaction is 100% legal. If you do not wish to co-operate in this transaction, please contact our intermediary representatives to further discuss the matter. I pray that you understand our plight. My family and our colleagues will be forever grateful. Please reply in strict confidence to the contact numbers below. Sincerely with warm regards, GEORGE WALKER BUSH Switchboard: 202.456.1414 Comments: 202.456.1111 Fax: 202.456.2461 ========================================================================= Date: Fri, 31 Jan 2003 13:48:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Christopher W. Alexander" Subject: Re: thoughts on Re: White House Cancels Poetry Symposium MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Daniel Bouchard wrote: > Doesn't it boil your blood that the assumption of the White House > is that poetry and literature should be politics-free? What kind of > pretty tea-cup do they think you are? Its useful to note how the Times article goes out of its way to promote the "tea-cup" image of poetry: pretty, irrelevant, a little cracked. By comparison, the Guardian piece - also based on AP News Wire - that Nick LoLordo sent to the list yesterday has a flavor almost entirely absent from U.S. coverage of this "unavoidable" war, especially those outfits owned by Rupert Murdoch. In particular, the way Hamill's comments are presented is remarkable. The Guardian quotes > In an open letter on the site, Mr Hamill explained: "I believe the only > legitimate response to such a morally bankrupt and unconscionable idea is to > reconstitute a Poets Against the War movement like the one organised to speak > out against the war in Vietnam." This compared to the Times' placid > "Make February 12 a day of Poetry Against the War. We will compile an > anthology of protest to be presented to the White House on that > afternoon," the e-mail reads. One could also mention the air of frivolity the Times manages to grant the gesture by over-emphasizing Marilyn Nelson's designer scarf, and its closing with yet another swipe at Baraka - as if to say, aren't these kooky poets out of touch with the common sense notions that we, fellow citizens, hold dear. Never mind whether pre-911 stock market activity and other evidence doesn't make Baraka's allegation seem a little less fanciful. While I don't think much of Hamill's work - "the monuments in his eyes"? - its position in the Guardian article makes for quite a different sense of the public import of poetry. "Apparently the filters are working out just fine." Actually, part of that public sense is simply alive in English society as it isn't in the States, for better or for worse. Think Geoffrey Hill, e.g. the first poem in his book Canaan. "For better or for worse" because poetry as broad public address can be a pretty nasty business, as Frost happily demonstrated; but more importantly because it fosters the sense of a unified social field that we simply don't have. Even the Populists didn't make the gesture of standing in one place to address the many, though their rhetoric can tend in that direction - Vachel Lindsay walked across most of the continent (MA to NM) talking with people face to face, lodging in their houses in exchange for books and an evening of his poetry. Which is to say there is a "secret" - that is, active and vernacular - history of public dissent from the poets; but the public so conceived is smaller, more local if not always regional: an anarchic or rhizomatic versus "state" sense of address. Duncan and Ginsberg spring immediately to mind, the Poets Against the War movement that Hamill mentions. [Which is sketchy in my recollection: perhaps those better informed can elaborate? Please.] Daniel again: > How can this appearance of poetry in this vapid barcode culture now be used > as a real political tool? Well, don't go out and write a goddamn poem about > it, and expect THAT to amount to much! There's enough in print, for use, to > go around. Let's start a commotion. I like this: the limitations of poetry "in itself" versus the useful commotions in which it can involve itself. Instead of worrying that the "prevailing climate" doesn't seem to support that localized sense of dissent, consider how that climate is sustained - imagine trying to change it in little ways. Wake up, rain drop. A few of the writers in Buffalo have started a series of anonymous anti-war pamphlets, for instance, that contain short, sharp poems and information on local protests and war resistance groups. To be left on busses, in newspaper machines, whereever. That's a small project, but it's something. It might get a few people involved, might change the way poetry is thought of by a few people. Even if the poetry just puzzles, it might get someone to look. Bigger things can be put together by bigger people, and we should actively encourage that - the upcoming St. Marks thing for instance - but that doesn't mean that the rest of us do nothing. Dust off that old copy of Abbie Hoffman. Anyway, thanks for some thoughts, Daniel. I'm late for my chiropractor's appointment! Chris ========================================================================= Date: Fri, 31 Jan 2003 10:53:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: thoughts on Re: White House Cancels Poetry Symposium In-Reply-To: <5.0.2.1.2.20030131100153.0249cd60@hesiod> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I like Daniel Bouchard's comments. I want to suggest to Sam Hamill as the instigator - as well as to the rest of us who participated in sending him work - that we each individually send our anthology contribution directly to the White House with a "Dear Laura" letter of regrets that we could not have our work presented on what seemed like a special occasion for the recognition of the significance of poetry in American culture. (Of course, it might be some weeks before the letters actually reach her - this will be a rare and probably the first opportunity for many of us to have our poems subjected to a preliminary anthrax analysis!). In the meantime, the morning paper says Dana Gioia received unanimous approval from the U.S. Senate as the new head of the National Endowment for the Arts. I am personally going to ask my local media contacts to call Gioia for a comment on the cancellation of "Poetry & the American Voice" at the White House. And to give Billy Collins a call as well. It will be curious to see how the poets cast their spins. Maybe if we each called people we know in the media to make calls to both Gioia and Collins, we can further rumple the cultural/political fabric beyond Laura Bush's cancellation. I must say she answered the often asked question as whether or not there is any connection between poetry/art and politics. Meantime, two great readings in the past week in the Bay Area were, yesterday evening, Tom Raworth at UC Berkeley (his big Collected just barely out from Carcanet (sp?), and Kit Robinson with his new book, Crave, from Atelos at the Lab in SF. Both keeping the language incredibly sharp and smart. Stephen Vincent on 1/31/03 7:36 AM, Daniel Bouchard at bouchard@MIT.EDU wrote: > Sam Hamill's success in making a political statement leads me to conclude > that the old adage is true: Poetry makes Nothing happen. In this case > Something, a poetry symposium led by the First Lady, is happily voided to > Nothing. > > If we can throw enough poets at the war itself perhaps that too will be > postponed. What is the old Carl Sandburg poem? "What if they gave a war and > nobody came?" A question asked by a child, perhaps the same one who put > beans in her ears after being told not to. > > How to assess then the success of this action? (And what a shame Marilyn > Nelson's freshly commissioned scarf goes unused.) Doesn't it boil your > blood that the assumption of the White House is that poetry and literature > should be politics-free? What kind of pretty tea-cup do they think you are? > > For intentions and integrity I give Sam Hamill high grades. For creativity > and stealth however, I imagine so much more could have been done. I feel an > opportunity was missed by announcing and publicizing the attempt to > embarass the administration in its own house. What did one expect from the > ad hoc Anthology of Dissent? An embossed thank you note? > > But "Poetry and the American Voice?" You could have had a ball with that! > You may have read aloud any number of poems (if this was the format, > perhaps it was not; you could have read them anyway) from, say, the new > Rexroth Complete poems that Copper Canyon just published. A beautiful book. > > > History continuously > Bleeds to death through a million secret > Wounds of trivial hunger and fear. > Its stockholders' private disasters > Are amortized in catastrophe. > > War is the health of the State? Indeed! > War is the State. All personal > Anti-institutional values > Must be burnt out of each generation. > If a massive continuum > Of personality endured > Into grandchildren, history > Would stop. > > (from "The Phoenix and the Tortoise," 1944) > > Pretty rich stuff from someone so lightly dismissed on this List by some > parties last November. But more to the point of my post: perhaps there were > other poets invited to this thing who were planning to use the occasion at > the White House to make their dissenting "American voices" heard. It's a > shame that such an opportunity for poets to be seen and heard as real > public figures was lost. > > (Of course this is assuming that there were poets invited who are not > completely lame in verse and person.) > > How delightful it would have been to read that Sam Hamill got bounced (or > discretely escorted by the SS) out of the chief executive mansion for > reading (perhaps even "out of turn") a bit of Kenneth Patchen or Muriel > Rukeyser or Alice Notley or Barrett Watten. Maybe other poets would have > followed suit: extending an arm to Billy Collins and Robert Pinsky, > "abandon the dark side, join us!" > > How can this appearance of poetry in this vapid barcode culture now be used > as a real political tool? Well, don't go out and write a goddamn poem about > it, and expect THAT to amount to much! There's enough in print, for use, to > go around. Let's start a commotion. > > - daniel bouchard > > > At 02:12 PM 1/30/03 -0500, Ron Silliman wrote: >> White House Cancels Poetry Symposium >> >> Thursday January 30, 2003 10:20 AM >> >> NEW YORK (AP) - The White House postponed a poetry symposium out of >> concerns it would be politicized after some poets said they wanted to >> protest military action against Iraq. >> >> The symposium on the poetry of Emily Dickinson, Langston Hughes and Walt >> Whitman had been scheduled for Feb. 12. No future date has been >> announced for the event, to be held by first lady Laura Bush. >> >> ``While Mrs. Bush respects the right of all Americans to express their >> opinions, she, too > >> <>>>>>>>>>>>>>>>>>>>>>>>>> > 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: Fri, 31 Jan 2003 15:21:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: Arielle Greenberg and Diane Wald Comments: To: Verse Press In-Reply-To: <3E36E07D.D16354B@versepress.org> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Now Available from Verse Press: www.versepress.org Given poems by Arielle Greenberg (paper, $12) "Swift, tender, original?from the first word this poetry can be no other. New consciousnesses shine here in delicate, angry, ecstatic, funny, heartbroken play: the forked lightning of true poetry." ? Jean Valentine * The Yellow Hotel poems by Diane Wald (paper, $12) "Poems of specificity, longing, dream knowledge, and intelligence. Diane Wald?s poems trip you up in their speechy normalcy and take your hand and leap at you and leave you staring hard, different from the experience. A gifted ear and mind sings here." ? Hoa Nguyen * Available online at http://www.versepress.org/catalog.html and to the trade by Small Press Distribution: http://www.spdbooks.org/ ========================================================================= Date: Fri, 31 Jan 2003 16:46:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Panic (How to Be Happy) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Now playing in New York & not to be missed: Panic (How to Be Happy) written and directed by Richard Foreman "He goes where no man has dared to go. Let's all join the misfit club" "This play is like the sacred text of a forgotten people -- everything is in it -- therefore protect yourself by wearing the transparent blinders with which you have been provided -- oh -- forgive me -- I see you are already wearing them!" from the press realease: For his 35th anniversary production, Panic (How To Be Happy), Richard Foreman goes for broke with 75 minutes of total madness. In Panic (How To Be Happy), a band of eccentric desperados tries to provoke self-enlightenment through ritual sex, magic, mountain climbing, and convulsive dancing as they invoke "The Old Man of the Mountain" who bestows gifts amidst multiple catastrophes. The music of Mahler, Schoenberg and Punk Rock, punctuated by howling wolves, echoes between the Carpathian peaks, as madness and mysticism amazingly dissolve into an ocean of frenzied love The exotic cast features Tea Alagic, Robert Cucuzza, Elina Lowensohn and DJ Mendel (Mendel and Cucuzza both appeared in Foreman's Permanent Brain Damage) and the usual assortment of dwarves. __________________ Panic (How To Be Happy) began performances at the Ontological Theatre at St. Mark's (131 East 10th Street on Thursday, January 9th and continues through Sunday, April 13th. Admission: $20 (Students: $15) Reservations: (212) 533 4650 Website: http://www.ontological.com Running Time: 1 hour and 15 minutes. No intermission _____________________ Sign up for the Ontological Mailing List. (Note Ontological is starting their mailing list from scratch due to a computer crash!). Send you email address to: ontological@mindspring.com. & check out Richard Foreman's new EPC home page: http://epc.buffalo.edu/authors/foreman/ ========================================================================= Date: Fri, 31 Jan 2003 14:15:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "TWELVE MONTHS A YEAR" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "TWELVE MONTHS A YEAR" FREE GIFT IF YOU SUBSCRIBE NOW!! FOR ONLY $25 WE WILL GIVE YOU AN AUTOGRAPHED PICTURE OF A CRIMINALLY INSANE TRANNY AUTOFELLATING HER SEVERED PENIS YOUR GENEROUS SUPPORT WILL HELP US CONTINUE TO SUPPORT NEW MEDIA PANDHANDLING ONLINE august highland 2:13 pm 01-31-03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 ========================================================================= Date: Fri, 31 Jan 2003 18:01:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: New Audio at EPC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Announcing several updates to EPC author pages. Lyn Hejinian's author page has undergone substantial revision. Three = new sound files have been included. MP3's are now available of Hejinian = reading from The Cell (October 23, 1991, SUNY-Buffalo), The Guard = (September 2, 1985, Woodland Pattern), and The Person (September 2, = 1985, Woodland Pattern). We have added MP3 sound files to the Andrew Levy and Hannah Weiner = author pages as well. Specifically: Weiner reading at Bibilo's, 1994; = Weiner reading at the Poetry Project, 1992 (in three parts); Levy = reading two poems at SUNY-Buffalo, 1993. See: http://epc.buffalo.edu/authors/hejinian - = http://epc.buffalo.edu/authors/weiner - = http://epc.buffalo.edu/authors/levy More updates to follow! Patrick F. Durgin -------- www.buffalo.edu/~pdurgin ========================================================================= Date: Fri, 31 Jan 2003 18:26:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: thoughts on Re: White House Cancels Poetry Symposium (great excerpt from great poems from great book) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Without a second glance the Theme from Star Wars falls out of the sky standing in for the nation's anthem as the night lights up above the blind piano player. Then we all go home terribly late barely thinking that a man in Washington declares the end of the individual. Written there on your mouth is everything I could ever want I don't mind being one of those story tellers, please tell me all about it after lunch. --Greg Fuchs, from CAME LIKE IT WENT (Buck Downs Books, $10.95) http://www.spdbooks.org ========================================================================= Date: Fri, 31 Jan 2003 20:56:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tombell Subject: Panic info MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT --- info needed from thos in the loop: 1. Is "Panic" like Linda Griffiths' "Chronic"? 2. Can someone repost a synopsis of the propaganda noted a month back about the poets that ar being used to present a picture of America overseas (not available here). I'm beiing questioned about his on other lists. Apparently the news didn't get to the papers here in the sticks. tom bell Try to like something __ |ry tO | Li ke something and the anger will GO ========================================================================= Date: Fri, 31 Jan 2003 18:58:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fwd: Rhizome Art In-Reply-To: <005c01c2c763$b61340c0$6a96ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Oh?-- decorating the walls of Bowering Manor? Sold to buy booze? He'las. DB >-----Original Message----- Bromige with an "---Original Message---"? Have you changed your esthetic, Broms, old chap? -- George Bowering Ice cold in Ontario Fax 604-266-9000 ========================================================================= Date: Fri, 31 Jan 2003 23:09:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: This Just In- Another New in 2002 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hank Lazer- "Days" - (Lavender Ink, 2002)- In the great tradition of the "Commonplace Book" -like those of E.M. Forster, Valery, Stevens- comes "Days"- reflecting and echoing some of Lazer's favorite poetry and music in 233 deft poems written daily- including hand written annotations from his journals- that breathe in what he loves and breathe out what he dreams: 166 7/28/95 permission given instantly they play the poem into many voices reading each poem with the whole body each word a body in motion... ------------------ -Nick-