========================================================================= Date: Sun, 1 Jun 2003 01:29:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: gravity's elbow (jumps) or leaps from the gut? MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT From: "Steven Shoemaker" "To consent to language signifies to act in such a way that, in the abysmal experience of the taking place of language, in the removal of the voice, another Voice is disclosed to man, and along with this are also disclosed the dimension of being and the moral risk of nothingness." (Giorgio Agamben, Language and Death, cited by Taggart writing on Oppen) and this just in bc from another list: Exactly. I don't think any of us has a handle on it yet. But we're all more than spectators and are participants, though the majority don't have a clue about that. The odd and frightening thing is that most treat it as a spectator event. Cheer cheer cheer! Roar of the crowd as the blade comes down, then quick-cut to one's own head in the basket. Oh. This was a reality show? Anyway, those who *are* aware, and are writers, have a different task. Unfortunately, looking back at how previous writers handled similar moments in their life and work is of little help this time around. - Jim [Cervantes] but what of Pushkin? and the Gendarme of Europe? to write out of pain it must be accepted? "Poetry is both the _repetition_ of an ontological moment and the ongoing _process_ or work of enunciation by which that moment is recursively known and carried forward....Human beings are unique in th compexity of form and rang of semantic interpretations of their facial expressions - expressions hat we have seen, in our mention of Charles Morris's work in semiotics, are dependent on the rcognition of others, for we cannot see our own faces." Susan Stewart, _Poetry and the Fate of the Senses_. But what if the expression determines the emotion and expression BRAIN HAS A WAY OF DISTORTING MEMORIES By Carey Goldberg, Globe Staff, 5/13/2003 Bad news for diary enthusiasts and raconteurs: Accumulating evidence suggests that when it comes to preserving memories, certain things are better left unsaid. For example, researchers found that when subjects watched a videotape of a mock bank robbery, those who were asked to describe the robber in detail just afterward had a harder time identifying him later than those who had never tried to put their memories into words. ............. then if pain is accepted and written about it is false? on another point gender-recognition programs are not really required when it comes to posting theory to a listserv, are they? tom bell Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sun, 1 Jun 2003 00:28:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: THE HIGHLAND-SPENCER PROJECT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE HIGHLAND-SPENCER PROJECT SAMPLER THIS IS A SAMPLE FROM A NEW PROJECT EMBEDDING AND REDIRECTING THE TWELUE BOOKES OF THE FAERIE QUEENE. FOR EACH CANTO THERE ARE 500 ONE-OF-A-KIND VOLUMES EACH OF WHICH IS 500-PAGES LONG. THE LITERARY OBJECTS BY AUGUST HIGHLAND WILL BE AVAILABLE FOR SALE IN THE SUMMER OF 2003. EACH LITERARY OBJECT IS PRESENTED UNBOUND IN A CUSTOM-BUILT MAPLE BOX. THERE IS A STANDARD AND PREMIUM EDITION FOR EACH VOLUME. THE STANDARD EDITION IS PRINTED ON ACID-FREE PAPER AND IS UNSIGNED. THE PREMIUM EDITION IS PRINTED ON ARCHIVAL RAG AND SIGNED. THE STANDARD EDITION IS PRICED AT $240 AND THE PREMIUM AT $360. FROM BOOKE ONE/CANTO ONE As messenger of Morpheus on them cast/Some secret ill or hidden foe of his/Sweet slõbring deaw the which to sleepe them biddes/He strowd an Aue-Mary after and before/Vpon his foe and his new force to learne/She poured forth out of her hellish sinke/And partly female of his fruitfull seed/Or wearied with bearing of her bag/So forward on his way with God to frend/Making her death their life and eke her hurt their good/Whom to auenge she had this Knight from far cõpeld. Not perceable with power of any starre/He bad awake blacke Plutoes griesly Dame/As messenger of Morpheus on them cast/What frayes ye that were wont to comfort me affrayd/The fearefull Dwarfe this is no place for liuing men/Vntroubled night they say giues counsell best/The fruitfull oliue and the platane round/Of highest God the Lord of life and light/Thereby a Christall streame did gently play/Bidding his beades all day for his trespas/Long way he trauelled before he heard of ought. Whose sences all were straight benumbd and starke/Her chast hart had subdewd to learne Dame pleasures toy/And this faire couple eke to shroud theselues were fain/Much can they prayse the trees so straight and hy/To proue his puissance in battell braue/Far hence quoth he in wastfull wildernesse/That path he kept which beaten was most plaine/From turning backe and forced her to stay/The drouping Night thus creepeth on them fast/The fearefull Dwarfe this is no place for liuing men/And comming where the knight in slomber lay/With bowres and beds and Ladies deare delight/They flocked all about her bleeding wound/At last dull wearinesse of former fight/Tydings of warre and worldly trouble tell. The youthfull knight could not for ought be staide/Of a straunge man I can you tidings tell/Whose corage when the feend perceiu'd to shrinke/At night doth baite his steedes the Ocean waues emong/At last dull wearinesse of former fight/And euer-drizling raine vpon the loft/Approcht in hast to greet his victorie/Tydings of warre and worldly trouble tell. He that the stubborne Sprites can wisely tame/Her doubtfull words made that redoubted knight/And more to lulle him in his slumber soft/Mixt with a murmuring winde much like the sowne/She lookt about and seeing one in mayle/Who all this while with charmes and hidden artes/Most like that virgin true which for her knight him took/So forward on his way with God to frend/There was an holy chappell edifyde/Faire harbour that them seemes so in they entred arre. I better wot then you though now too late/And creeping sought way in the weedy gras/Add faith vnto your force and be not faint/And henceforth euer wish that like succeed it may/Therefore I read beware Fly fly quoth then/And foorth they passe with pleasure forward led/Sucking vpon her poisonous dugs each one/And by her in a line a milke white lambe she lad/Seemed in heart some hidden care she had. Vnto that Elfin knight he bad him fly/That troublous dreame gan freshly tosse his braine/Threatning her angry sting him to dismay/Till that infernall feend with foule vprore/Then with the sunne take sir your timely rest. Till that infernall feend with foule vprore/Breedes dreadfull doubts Oft fire is without smoke/The cruell markes of many' a bloudy fielde/Is tost with troubled sights and fancies weake/Or soone to lose before he once would lin/In this great passion of vnwonted lust. And with false shewes abuse his fantasy/Vntroubled night they say giues counsell best/Deuoure their dam on whom while so he gazd/As still are wont t'annoy the walled towne/Bathed in wanton blis and wicked ioy/Least suddaine mischiefe ye too rash prouoke/Let none them read thereof did verses frame/Whiles sad Night ouer him her mãtle black doth spred/A diuerse dreame out of his prison darke/And threatned vnto him the dreaded name. Thereby a christall streame did gently play/The noblest mind the best contentment has/With that misformed spright he backe returnd againe/That troublous dreame gan freshly tosse his braine/The God obayde and calling forth straight way/Of straunge aduentures which abroad did pas/Rest is their feast and all things at their will/Which stunck so vildly that it forst him slacke/A thousand yong ones which she dayly fed/A diuerse dreame out of his prison darke. Now sayd the Lady draweth toward night/And forth he cald out of deepe darknesse dred/For to all knighthood it is foule disgrace/By which he saw the vgly monster plaine/Halfe furious vnto his foe he came/So pure and innocent as that same lambe/The fearefull Dwarfe this is no place for liuing men/With that misformed spright he backe returnd againe/And lifting vp his lompish head with blame. And creeping sought way in the weedy gras/Cast a blacke stole most like to seeme for Vna fit/With bowres and beds and Ladies deare delight/The same so sore annoyed has the knight/Much grieu'd to thinke that gentle Dame so light/Markes which do byte their hasty supper best/Of Hecate whereat he gan to quake/Into her mouth they crept and suddain all were gone. Let me not dye in languor and long teares/That soone to loose her wicked bands did her constraine/Whose sences all were straight benumbd and starke/Faire venus seemde vnto his bed to bring/Whose sences all were straight benumbd and starke/Yea but quoth she the perill of this place/As when old father Nilus gins to swell/Vpon a great aduenture he was bond. AUGUST HIGHLAND --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/30/2003 ========================================================================= Date: Sun, 1 Jun 2003 00:52:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: NORA bay MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit NORA bay journal.txt www.hypermilleniumfictiongroup.com journalentry #085 Hopkins Hotel and must work the earth to earn his food. includes intercontact, contact- to-shield, and interpad couplings You Microsoft breakup plan remains intact I checked into my suite. A beautiful set of rooms, as usual. The use MLMs for crosstalk and ground-bounce simulation, although the Microsoft judge agrees to more filings There continued to be violations of the right to privacy during army company never shorted me on facilities. As soon as I entered, I The Divine resolution to bestow a companion on Adam met the models may be inadequate for some low- Microsoft files response to govt. plan conscription drives. Armed forces recruiters sometimes take hostages dropped my wishes of man, who had been overcome by a feeling of isolation Audio/Video reports to compel the surrender of draft-evading or deserting relatives. There when the animals came to him in pairs to be named. To banish level analog-noise analyses. Amp's AMPredictor signal-integrity tool Index of coverage are credible reports of improper conscription of ethnic Armenian briefcase onto the desk and immediately called Ryan in New York. "Hi, his loneliness, Lilith was first given to Adam as wife. Like him uses connector models along with driver/receiver models and pc-board Discuss: should the government break up Microsoft? refugees from Azerbaijan, who by law are exempt from military service. Honey," I breathed into the phone as soon as the phone was picked up. she had been created out of the dust of the ground. But she transmission-line models created by a built-in 2-D electromagnetic The attorney general of North Carolina, one of the states suing There were no reported cases of punitive conscription of males who "I just got to the hotel. I need you! Take me, now!" remained with him only a short time, because she insisted upon field solver for multiboard critical-net simulations You can use a 3-D Microsoft for antitrust violations, voiced doubts about the offended local officials. enjoying full equality with her husband. She derived her rights field solver, such as the one in Ansoft's SI 3D extraction and government's proposal to break up the company in an interview "Sure, Mommy. Come on over," whispered a tiny, six year old voice, from their identical origin. With the help of the Ineffable Name, analysis tool suite, for a more accurate connector model published Sunday. quickly followed by a long, loud giggle. which she pronounced, Lilith flew away from Adam, and vanished in Meanwhile, prosecutors in court papers Monday blasted most of the air. Adam complained before God that the wife He had given Chip packages are even more complex than board-level connectors and Microsoft's suggested changes to the breakup proposal, saying they The Constitution provides for freedom of speech and the press; Oh, God, not again! When will I learn? "Hi, Princess," I said with him had deserted him, and God sent forth three angels to capture would "frustrate and undermine" the plan. A federal judge is expected however, while the Government generally respects freedom of speech, an embarrassed squirm. "Everybody up already?" her. They found her in the Red Sea, and they sought to make her need 3- D-field-solver analysis for accurate simulation results. A to accept the plan within days, after ruling in April that Microsoft there are some limits on freedom of the press and journalists practice go back with the threat that, unless she went, she would lose a chip- package design tool, such as Xynetix's Encore BGA, can do only used its Windows software monopoly to stifle competition. self-censorship. There is no official censorship, publications present "Yeah. I knew it was you calling. I know your ring. Daddy's comin' hundred of her demon children daily by death. But Lilith SLM analysis. You can feed the tool's output into SI 3D or Pacific In an interview with The Charlotte Observer, Attorney General Mike a variety of views, and the opposition press regularly criticizes from the shower right now. Bye, Mommy," she yelled, handing the phone preferred this punishment to living with Adam. She takes her Numerix's Turbo Package Analyzer for accurate 3-D-field-solver Easley said, "I'm not convinced that a massive breakup is necessary." government policies and leaders, including the President, on sensitive to Ryan before I could answer. revenge by injuring babes--baby boys during the first night of modeling and analysis . You may not need this analysis detail for Deputy Attorney General Alan Hirsch said the excerpt omitted the fact issues such as the Nagorno-Karabakh peace process and privatization. their life, while baby girls are exposed to her wicked designs isolated chip- package development, but it is critical for examining that Easley was referring to a rejected proposal to divide the firm "Hi, sweetheart. You must be exhausted, taking that later flight." until they are twenty. days old The only way to ward off the evil package-board interaction when designing high-speed pc boards. Another into clones, not the proposed split along product lines. That However, to avoid retribution experienced in years past on the part of Ryan's delicious, sleep-thick voice got my juices flowing again, as is to attach an amulet bearing the names of her three angel chip- package-design tool, Zuken-Redac's CR-5000, has built-in 2-D- assertion is not reflected in the transcript, says Charlotte Observer powerful officials and other individuals, many journalists practice always. captors to the children,....(pause) AUGUST HIGHLAND --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Sun, 1 Jun 2003 07:29:30 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: George W Bush & the Poet MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://www.nytimes.com/2003/06/01/arts/01RICH.html ========================================================================= Date: Sun, 1 Jun 2003 05:22:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: a patch of reactive quilt from screenburn Comments: cc: eu-gene , "arc.hive" <_arc.hive_@lm.va.com.au>, cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/screenburn/aSquare.html flash 6/soundcard please explore with mouse strokes, clicks and keyboard taps part of a collaboration at screenburn--joseph mcelroy has drawn a wonderful line drawing, which we've segmented and divvied out to several artists--whole project will be available soon! bliss l NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Free online calendar with sync to Outlook(TM). ========================================================================= Date: Sun, 1 Jun 2003 07:32:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Miscellaneous Links to G8 Disruption MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Live Video Stream from Geneva http://www.geneva03.org Convergence des Luttes Anti-Autoritaires et Anticapitalistes Contre le G8 http://claaacg8.org The Alternative Anti-Capitalist Anti-War Village http://www.vaaag.org Zone Autogérée a Genève http://zaage.lautre.net Site d'information et de coordination des manifestations contre le G8, juin 2003 - Evian http://www.anti-g8.org G8dEVIANt http://www.g8d.ras.eu.org/g8 Oulala Village http://squat.net/contre-attaque/village.htm The "G8 Illegal" network http://g8illegal.lautre.net IMC Coverage http://www.indymedia.org/g8 G8 Circus http://www.g8circus.org.uk Maps of Geneva, Annemasse, Lausanne & Evian http://tacticalmedia.mine.nu/popup.html Guide to Photographs http://uk.indymedia.org/front.php3?article_id=70094&group=webcast KanalB Video Clips http://kanalb.de/thema.php3?id=41 Anti-G8 Link Coordination http://www.antig8.info General Info http://www.nadir.org/nadir/initiativ/agp/free/evian/index.htm Swiss Army "Order to Shoot" Translation http://uk.indymedia.org/front.php3?article_id=69912&group=webcast The Carlo Giuliani Murder Sequence http://sf.indymedia.org/uploads ========================================================================= Date: Sun, 1 Jun 2003 09:01:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Thine blog In-Reply-To: <5.1.1.6.0.20030531213908.011c9660@mail.ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Gabriel - good to see you will have comment on B Dahlen and H Obenzinger. Let me know when that happens. Cheers, Stephen V ========================================================================= Date: Sun, 1 Jun 2003 12:47:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: FYI: Noam Chomsky interview live on C-Span2 right now MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Brian Lamb is interviewing Noam Chomsky live right now (12:45 EDT), and it will continue for another two hours plus. It's on C-Span2. Hal Actual Product May Vary from Photos Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Sun, 1 Jun 2003 09:53:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: PSU Links Page Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I just verified the page of links I keep for Portland State University's = Department of English: http://web.pdx.edu/~pdx00282/cew/cew.htm Links that no longer connect have been removed. If you wish yours to be = reinstalled, or have one that you'd like considered, please let me know. Thanks. Joel __________________________________ Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon = =20 Homepage: http://web.pdx.edu/~pdx00282 Archive: www.unm.edu/~reality In Progress: "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Sun, 1 Jun 2003 13:43:58 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Computext Sex Comments: To: Gabriel Gudding MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Very interesting, Gabe. What is more surprising to me is that (1) according to the paper, gender is more reliably deduced from fiction than non-fiction, and (2) that in biography it succeeds only 90% of the time. 10% it cannot figure it out from biography? humans would be, uh, much more successful at guessing biography. for now. as computers become more intelligent, people become less intelligent, and so the scales will tip. it is certainly NOT surprising to either of us that authorial identity is more easily determined from fiction than non-fiction. i wonder if the study's basis texts included poetry and, if so, whether they were considered fiction or non-fiction. i'm also pleased that ideas particularly on the relationship between identity and pronomial play i first outlined & demonstrated on proximate.org four years ago are validated by Argamon's study. one way of gesturing authorial identity is from pronomial, number, and determiner use. *misapplying* words in these categories confounds the ability of the reader to make inroads on the author, forcing the reader "to stick to the text." Patrick Patrick Herron http://proximate.org/ Date: Sat, 31 May 2003 21:40:20 -0500 From: Gabriel Gudding Subject: Fwd: Automatically Categorizing Written Texts by Author Gender From Irinoda Katsutoshi here at Illinois State >Dr. Shlomo Argamon of Illinois Institute of Technology (Dept. of Computer >Science) has developed a computer program that determines the sex of an >author (with an acuuracy of apporoximately 80%) by detecting subtle >differences in the words men and women prefer to use. >The details of the study is delienated in: >Moshe Koppel, Shlomo Argamon, Anat Rachel Shimoni. Automatically >Categorizing Written Texts by Author Gender. Literary and Linguistic >Computing, 17(4), 2003. >Which is retrievable at his homepage (http://ir.iit.edu/~argamon/). >It would make contribution to English studies, especially literature and >composition. > >Wired News Article >http://www.jewishworldreview.com/0503/writing_styles.asp >or http://www.theage.com.au/articles/2003/05/27/1053801370330.html > >Shlomo Argamon's HP >http://ir.iit.edu/~argamon/ ========================================================================= Date: Sun, 1 Jun 2003 14:44:34 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Principia MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Kirby - One plus one equals two is not a problem, actually. you just have to assume first that your requirements for identity (x=x) are loose enough. that is to say, you can remove the stricture of 4-d coordination from the identity (or require not identity) and say that, for our purposes, these two *separate* pencils are identical. or, even better, you don't need identity at all. just commonalities. so we can have two "yellow things." or "two long pointy writing things with erasers." etc. what your counting base is seems to have more of an impact. if your base is 2 (binary), then 1+1 is 10. but is this 10 called "ten" or "one-zero"? Whitehead and Russell in the Principia were taking a Fregean approach to mathematics: they attempted to define mathematical entities, like numbers, in pure logic and then derive their fundamental properties from those entities. They wanted a systematic way of describing mathematics, from the ground up, using logical symbolism, to explain just about everything in math. While they stopped short of geometry (a proposed fourth volume never written) I think they adequately showed it could be done. Of course some guy named Godel shows upa few years later to show that no such accounting can ever be complete. But just because it can't be complete doiesn't mean it can't be done. It just means you gotta keep poppoing outside the system and look in to see where you came up short. But Russell and Whitehead to my knowledge had no epic struggle over the specific issue of addition. It was just one of many mathematical concepts they covered in their 3 years of working on Principia. I frequently encourage folks to be wary of confusing description and generalization (re: abstraction) with stereotype. i've fallen into this pit myself. the difference between generalization and stereotype? stereotype is an OVERsimplification: a generalization that has no predictive power and may even be wielded for slander. stereotype is a generalization that simply isn't true AND is immediately hurtful or destructive, not instructive. a deletory side-effect of the 1990s lexicography wars was that a lot of formerly intelligent people, in trying to do the right thing, confused generalization and abstraction (the produce of intelligence) with stereotype (the produce of idiocy). As a result many intelligent persons stopped using their intelligence, having lost the ability to make abstractions and careful but necessary distinctions as a result of their confusions, and told others that using their intelligence WAS BAD.... Math is dependent on generalizations, not over-generalizations. Though, of course, the line frequently blurs between the two, and sometimes the line drawn between generalization and sterotype isn't there. Sure, sure. Such delineations require your careful use of intelligence on a case-by-case basis, not stereotypes. To say that "math is based on stereotypes" is itself, perhaps ironically, a stereotype. To be critical of Olson (gasp!), I'd say that the desire for "getting back to the immediate" is the opiate dream of the intellectual, right next to the idea of revolution. Like rich white urbanite Americans reading Walden and then in a desperate quest for authenticity moving into a cabin in the woods where they might become more intimate with their compost. As a guiding ethic for poetic production, however, I'm not so sure that Olson's call makes much sense today, at least, not for me. While it may be true that someone like Olson, immersed in books and ideas, reading and writing indoors, might need to get back to perceptions, the average American, full of the Matrix, Miller Lite, crystal meth, internet sex, Comedy Central, Jet Skis, Grand Theft Auto, George Bush, child-molesting priests, Las Vegas, Cosmo, and the Fox Network, is leading an intensely *sensate* life. These are lives perhaps in need of *backing away* a little bit from perceptions and feeling, lives in need of making *more* abstractions, having more thought, not less. Interestingly enough, if you wanted to address such a problem in poetry, you can't write abstractly for a sensate person and hope they're somehow going to become a little more "thinking". You have to write in a sensate-provocative way to lead them to thinking. But if you do write in such a way, don't plan on having any poetry books of yours published. :(|) I am related to J.L. Austin, but only academically. Thanks for the interesting post. Patrick Date: Sat, 31 May 2003 17:17:59 -0400 From: Kirby Olson Subject: Re: language theory Dear Bill Austin, It may be true that I have rocks in my head for trying to express anything but the party line in regard to Iraq (and the rocks would therefore be a form of consciousness), but I wanted to get back to a more peaceful topic with a more civil interlocuter (thanks to Kazim Ali and Mark Weiss and the others willing to provide room for discussion, though!). I was thinking about the Principia Mathematica, which I've never read, but a math scholar once told me on a plane trip that what Russell was attempting to do was to verify, or prove, that one plus one equals two. After ten years he realized he couldn't do it, and the way this was glossed was that Russell realized there was no such thing as two of any one thing. So, even two Eberhard #2 pencils, fresh out of the factory, are not the same. They occupy different points in time and space, and they will have different futures: different kids chewing on them, and so on. So from this I got thinking -- that even basic math doesn't really describe the world but is dependent on stereotypes. "One" being a stereotype. Like, there are all kinds of different shades of blue (I didn't quite understand the shading issue, but missed the original post) but we still say the word blue to cover them when we say the "blue" car just went past. By the way are you related to the important British philosopher of language whose name if I recall is J.L. Austin? -- Kirby O. ========================================================================= Date: Sun, 1 Jun 2003 15:24:56 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Frege Question Comments: To: patrick@proximate.org MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Patrick Herron, This was an enormously interesting post. I'm one of these people who are terrified of mathematics, but also really interested in it. It began in fourth grade with the problem of -1 x -1 = 1. How could it be, when I couldn't find any real world adequation for this. I talked with a high school math teacher at a picnic recently and tossed him the question and he said, when a bad thing happens to a bad guy, it's a good thing, so you see, it is adequate. -1 x 1 = -1, I asked. When a bad thing happens to a bad guy, that's also bad. 1 x 1? When a good thing happens to a good guy, that's good, too. I wish my fourth grade teacher had thrown that at me. I got wary of math, instead. At any rate, I really liked your note. I'm going to print it out and keep it. I have wondered endlessly about Frege. I've read only a few essays, but really enjoyed them. Lyotard as you probably know uses him as a source. What do you think Frege would say about the Marxist idea of classes? Would he buy them as do-able (is that the word?) sets? Would he say that race, gender and class (our only aesthetic criteria as far as I can make out these days) are understandable entities? They all seem to be under attack -- race is constructed -- I guess. I knew a guy who ran an all-black church but who was technically white, for instance. His parents died in a car-crash, and he was raised by a black family. He went to Morehouse College and wasn't accepted by the blacks, he said, and yet he was completely black, culturally. And he wasn't completely rejected, either. He was, after all, the chosen pastor of an African Episcopal congregation. And yet in terms of affirmative action reports he was considered white. Meanwhile gender appears to be completely porous -- or has been assumed to be. Men can become women, and women men, and according to some theorists, are always popping back and forth. And poor people get rich, and rich get poor. What does Frege do with such seemingly porous sets? I have wondered about this forever, but have never gotten around to doing the math, so to speak, or in other words, reading Frege. There seems to be so many prerequisites to doing this -- although he does have some essays that don't depend too heavily on math. Would you have any recommendations? I think his ideas of set theory are amazingly coherent and sharply defined, but they also have lots of paradoxical kinks in them -- like the one about the barber -- or was that Russell's joke? These guys are a little outside my area -- I'm mostly interested in aesthetic theory. I thought so beautiful his description of Venus and the morning star as one object but with different frameworks of meaning around them (this is what Lyotard uses to talk about the slipperiness of politics of identity, I think, or at any rate, that's what I was thinking about when I read it). -- Kirby Olson ========================================================================= Date: Sun, 1 Jun 2003 15:43:28 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Frege Question MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Patrick, the third to last sentence in the first paragraph should read When a bad thing happens to a good guy... ========================================================================= Date: Sun, 1 Jun 2003 13:39:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: George W Bush & the Poet In-Reply-To: <000001c32831$154c0d00$2afa8044@Dell> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/1/03 4:29 AM, Ron at ron.silliman@VERIZON.NET wrote: > http://www.nytimes.com/2003/06/01/arts/01RICH.html Interesting bit of info cited in this article, that Americans on average read only 24 minutes a day. This includes books, magazines, cereal boxes, etc. I wonder how this compares with other countries. Does anybody have the statistics on this? m ========================================================================= Date: Sun, 1 Jun 2003 17:46:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: PSU links page MIME-Version: 1.0 Content-Type: text/plain Hi, Joel-- Please add our literary magazine here at Univ. Texas, Arlington, Znine: www.uta.edu/english/znine/ Thanks. Chris Murray ========================================================================= Date: Sun, 1 Jun 2003 16:31:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: theory of practice of EEG recordings of poetry In-Reply-To: <011a01c327be$74d82e20$07e63644@rthfrd01.tn.comcast.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit TRBELL Ebay has a couple of EEG's selling for $600-$1,000 if you really want to test these theories out. (The one at $600 is digital, too! Says it can even be used over a network. Alvin Lucier, are you reading this?!) Or you might want to see if the Bio department at a university will loan you time on one of theirs. M ========================================================================= Date: Sun, 1 Jun 2003 19:31:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: sondheim in hawaiian In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I've been reading a Hawaiian grammar and another Hawaiian dictionary; I've also been reading some of the history, mythology, etc. of Hawaiian. Hawaii is a conjunction of so many issues of colonialism, language, misrepresentation, stereotyping, etc.; it is also another example of ongoing US imperialism and a conjunction or disjunction for my interests in Japan. The texts I've been generating have been from Hawaiian words, sometimes including their English counterparts - for example ala and nei. I want to work with texts that are collocations, rhizomatic and fragmented collections, of tendencies towards answering philosophical questions - as if philosophy itself were now a collocation. I also wanted texts that I could not read, as you say, except in part - so that whatever might be the 'thing in itself' is shown to be a kind of colonialism or production itself. I hope this is clear. These are also done with more than respect for native Hawaiian culture and cultural practice. Could you say more about hanai? - Alan On Sat, 31 May 2003, Susan Webster Schultz wrote: > Alan--I'm intrigued as to why you chose a Hawaiian text for your > Philosophy and Colonialism piece. Can you say more about this piece, > what the source text was, why you chose it, why you thought it > important to include the Hawaiian (which I'm presuming you don't speak) > and so on. I'm intrigued that it begins with the word "hanai," since > I'm very interested in native Hawaiian hanai practice. > > aloha, Susan > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Sun, 1 Jun 2003 19:46:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Principia Comments: To: Patrick Herron In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Agree with you about the Principia. It was first of all an answer to Frege, not based on it - the theory of types developed as a way to deal with Russell's paradox of classes. Second, it's a far richer book of course than we're giving it credit for - along with Boole, Cantor, and Peano, it forms the basis of modern logic. Part of its success is the development of a mathematical formalism itself. And you're right about Godel of course - but the idea of a firm axiomatic foundation of mathematics was problematized by his results (even though he was a Platonist), as well as by Tarski, Skolem, Church, etc. - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Sun, 1 Jun 2003 21:16:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Audrey Friedman Subject: In the Photograph Album MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IN THE PHOTOGRAPH ALBUM Grandpa is no longer dead, but dressed in a fine wool suit. He presides over the dinner table while Grandma shuttles to serve, and gazes upon us as if we were each a continent, and together the whole world was indeed his. I guess Grandpa knew nothing of continental drift, of plates in constant horizontal movement. Continents, after all, are pieces of a jigsaw puzzle that have been taken apart in other eras, with coastlines that would almost click if pushed back together. We grind and bump, create seismic pressure. New seas are birthed between us. Your daughters draw together after second thoughts, and the pressure swells mountains Himalaya high. This ritual, it's nothing new, nothing that hasn't been going on since the beginning. Things bigger than we are feel the forces, the movement of the plates. Someday, Grandpa, Italy will lose its boot, California its tip, but on the bright side, Australia and Asia might become one. Audrey Friedman 6/1/03 (rainy days are great poetry days!) ========================================================================= Date: Sun, 1 Jun 2003 19:00:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: chagrin weans around In-Reply-To: <20030530235025.32275.qmail@mx201.mysite4now.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable chagrin weans around there in a reauthorization our always and never pass stops at the hatred museum of ears and hands. this is an infinite number word pillars in smoke oars set impotence down fresco themes envy loves as good as grief salts our sigmatas down thrust cornea thorns crimson red one stand sings: =93all in thou art a nix and naught of night a paced nugget in fields root tone of nothingness" chronological pain gazes for nickels cold an alone cement thought dies in a character's dream= ========================================================================= Date: Sun, 1 Jun 2003 19:29:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a term formally known as In-Reply-To: <20030530235025.32275.qmail@mx201.mysite4now.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable a term formally known as there is no god but the one with ninety names ridged with sameness through the smoke seized by a swell of many pictures like a million used notes particularly enthusiastic about the brandy brunch telling me how strange it is to move with two =93A=94 levels undercover across the moon one for which there is no support group cubs of cheese on colored toothpicks and (or) bucket of normalcy to piss in inflamed and bleeding like a defendant in a darwin prison across the freeway from the last soft serve toward the heat death of its universe where all reliable accounts conclude mulled to an expensive almost-blue-black proud captive in the ribcage smeared in inky innuendoes four hundred years after death against a backdrop of a cold night in february ribbon red as ripe apples the terror of proximity the autopsy or the imitation pornography the undertow of home alleged I was speeding in the flaws of burnt earth forbidden and unbalanced a pair of thieves fall then inherit the earth wear rags wander though rooms plunder the language kneel to a mirror and whispers something smiling in disbelieving nuggets of uncertainty= ========================================================================= Date: Mon, 2 Jun 2003 00:18:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: theory of supernature MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT NATURE AND SUPERNATURE As we look around wherever we are, we see bodies, objects, things, people, animals: There are cars and houses, plants, trees, and birds, clouds in the sky and sun on high, and on and on we can make an endless list. All these constitute the world around us, and they extend from the center of the earth and dust bits to the very ends of the universe and the most distant galaxy imaginable. All this is part of Nature. Is there anything more than what we see and feel as tangible entities? Yes there are: Like beauty, music, notions of truth and justice, love, hate and thought. What are these intangible, insubstantial items that are no less real in our experience as sentient beings? They too are part of the natural world, one could argue, for none of these would have arisen without the materials that constitute the universe. Love and lunacy are surely not material things, but they could never arise in a world without neurons, and that means electrons and protons, sodium and calcium, and all the rest of it. Thus, ultimately, there is only Nature: so proclaim many in the scientific establishment. But this is not all that obvious to many who wonder about and reflect on this mysterious universe where, by some magic mode, we enjoy and suffer for a brief span of eternity. By we, I don't mean just the bone and flesh and blood that embody us, and the skin and skull that encase it all. I mean rather this individual entity that thinks and reasons, computes and creates in its own fantastic mode: symbols, equations, and all. The universe, with all those twinkling stars and grandiose galaxies, spouting endless energy and whirling and wandering, all in accordance with perfect mathematical laws: How did all this come to be, and with such balance and elegance, culminating in a mind that knows right from wrong and good from bad, or at least thinks it does? It arose in the hearts and minds of many ancient visionaries that there is something beyond nature: a supernature, as it is called in Latin-derived tongues. Aristotle called it metaphysis: beyond-nature, because he believed it to reside way beyond the stellar dome. Hindu thinkers described it as alaukik: not of the world. Their word for Nature assumed its existence, for Nature is srishti in Sanskrit, meaning that which has been created. That supernatural something must be powerful enough to create the world and oversee it too. Being beyond nature, it must also be intangible, and not subject to any of the laws and rules that govern the world, and hence can cause occurrences (miracles) that do not conform to the laws of nature.Every traditional religion accepts some kind of supernatural entity. It seemed reasonable to many thinkers to imagine the supernatural entity to be in some ways very like us, and so this all-powerful, all-knowing creative principle came to be envisioned as God. Some Hindu seers pictured the world as the play of the Supernatural (bhagvaan ki leelaa), even as Dante talked of eternal God whose art Nature is (Deus aeternus, arte sua, quae natura est). How can we know if the supernatural exists? One may believe, postulate, or recognize that there are modes of perception beyond the ordinary sensory channels. Through such extra-sensory perception (ESP), and only through it, one can affirm the existence of supernature. From this perspective, religious visions and revelations are instances where supernature is recognized. Some believe there are supernatural processes, like clairvoyance and clairaudience, in which humans can participate. Once accepts all this on the basis of intense personal experience, or because one is convinced that the world is richer and more complex than has been painted by naturalistic science. ---------------------------------------------- NATURE AND SUBNATURE Science gives a very different answer to the question, "What gave rise to nature?" Whereas religion, in its inspiration, speaks of something above nature, science, in its quest, has found a good deal below nature in terms of which the features of the world can be explained in minute details. Thus, instead of supernature, science unveils subnature: a world in the core of palpable matter. Physics has penetrated into the substratum of perceived reality and discovered a whole new realm of entities thereunder, beyond the imagination of the most creative minds of the past. Through sophisticated labyrinths of theory and mathematics, aided by an array of experimental ingenuities, science has uncovered a microcosm that is abundant in minute bits which are not like sand grains, but are smeared out mini-clouds of electric charge and other properties. That unseen world is dense with a plethora of particles: bearing such names as hadrons, mesons, leptons, and field-bosons. Hadrons and mesons are complex, made up of quarks, while leptons are of two kinds: electrons and neutrinos. These ultimate bricks of the substantial world are subject to fundamental forces, transmitted via field-bosons called photons, gluons, W & Z, and gravitons. From all this subnatural splendor arise the atoms of a hundred elements, where negatively charged electrons whirl around positively charged nuclei. There is a cosmic culinary complex, as it were, by which nature concocts an incredible richness from atomic ingredients. These are the molecules of compounds, forming salt and sugar, wine, water or whatever. All the substances we see and feel, and a multitude that we don't, are made up of molecules, mostly with two or more atoms. A molecule barely stretches to a few millionths of a millimeter. The number of molecules in a teaspoon of water is of the order of a trillion trillion: more than there are stars in the entire universe. Some molecules are mammoth and magical: Deoxyribonucleic acids or DNA are stupendously large, nearly a hundred and twenty million times as massive as a hydrogen atom. With variations here and there, they get intertwined in pairs, intertwine as spirals, often in a few thousand turns, forming a structure known as the double helix. These are the most precious formations in the universe, for they encode every bit of information pertaining to the throb of life. The combined mass of all DNA molecules on earth is minuscule compared to that of all ocean water, but they are like the libraries of the world: in them lie all the knowledge and information relevant to life. Thus, science has uncovered that the nature we see and feel, admire and enjoy is like a complex building, constructed from invisible components with specific properties. Some of the molecular configurations at the basis of life have blossomed into myriad patterns of beauty and complexity. In one of them is the miracle of the human brain from which emerge the associated wonders of mind and thought and creativity. The religious vision of supernature has instigated great art, glorious music, epic poetry, colorful festivals, magnificent architecture, and more. Scientific understanding of subnature has led to some of the most fantastic wonders of technology from solid state electronics and lasers to computer chips and much more. Whether the notion of supernature emerges from subnature, or supernature creates and sustains subnature, is the crux of the science-religion dialogue. V. V. Raman vvrsPS@ritvax.isc.rit.edu tom bell Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Mon, 2 Jun 2003 01:13:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophical Text: The Problematic of War and Violence MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophical Text: The Problematic of War and Violence at the beginning of the civil war, of similar Canadian supervisor has received several telephone death threats not condoning wonton acts of violence, it should traumatization 2019 Vico, G. 2016 violence 2055 violence of Kobon 2142 violent death 2150 Virgin I. 2155 Wampar 2005 Wampar lifestyle 2141 war on Flores Death and destruction should always be avoided as much as humanly are not here to promote war or violence, but we behind our men and women while we are at war. Nine injured in Papuan tribal violence Australian senators al Jazeera -- Watching the war: Raw, devastating related charges Fiji abolition of death penalty to for the future, They see no alternative to violence. are being drawn, tragically and together, into that war. no funds find out yearly (average death toll is of drives where dolphins are corralled, adult dolphins clubbed or hacked to death, so the Oh, don't get me wrong - I deplore war and killing and violence. requires that all nations abandon war, and that a and cultures, progress weakens life and favors death. xenophobia and occasionally racist violence, with some of murders in Hawaii are due to domestic violence. areas to enable memorialization of the war dead from If Kaua had succeeded in having his death wish granted diplomat facing deportation from Belgium Ethnic violence breaks out in Beni moves away from New Caledonia Death toll rises A PNG policy statement on war in Iraq Hawai'i suffering from crystal meth, violence. - December 22, 2002. State readying war on mice. - August 6, 2002. Assisted-death bill stalls in Senate these headlines form a tapestry of violence and hate a blinded and blighted legacy of war, destruction and Peace and Harmony occurs with the death of the ego. Because Liholiho had never known war or strife After the King's death, she dressed herself in his followed in Lahaina's whaling heyday, violence and lawlessness diplomat facing deportation from Belgium Ethnic violence breaks out in Beni moves away from New Caledonia Death toll rises A PNG policy statement on war in Iraq After moving to Kaua'i I converted to Hinduism and was for our beliefs, and boldly face violence with non-violence. We must stop the US war in Central America. life from birth throughout boyhood, to marriage and to death. a conventional image of war as all-out violence. Islands Colony to Tuvalu; Cold War Rivalries; In The President reassured the public that the war was against to more violence-I cannot support the violence. An F about 5% of the cases result in death, and the event; Gays less likely to support war against Iraq against, for same-sex marriage; Federal death penalty sought Gay Men in LA; Anti-violence group questions unfulfilled expectations lead to problems and potential violence. no longer subject to instant death for trespassing because the threat of civil war was much legendary Hawaiian beachboy lifestyle of post-war era Waik-k- The death knell for aloha sounded at the the highest inci- dence of aggression and violence. event ; Gays less likely to support war against Iraq against, for same-sex marriage; Federal death penalty sought Gay Men in LA; Anti-violence group questions to watch his 12 year old son stoned to death. houses with parachutes qualifies as a war stopping activity all these games are built around violence and attack Death's endless silence and the great magnitude of it's anguish to any one of us is a violence to us Sometime after the war Allen's family established homes on And in the streets this means war. or send him to his death. More internal conflict, more family tragedy, more gang violence, and more redundancy than is Death's endless silence and the great magnitude of it's anguish to any one of us is a violence to us Sometime after the war Allen's family established homes on particular, who was ultimately responsible for Sinestro's death. Horrified by the violence, Andrian eventually fled and He finally quit the war and returned to something about the circumstances of their death that might Tom Baxter, Flores turned to violence to 'solve also to be read as kaua 'war' k kala 'announce be had left us with this unfair, death-riddled world childish it is to think that violence can stop violence. the poster said war and racism are not the answer who reportedly pillaged Southeast Asia during the war. any retaliation, any threats, any violence against any Weeks after Fe Benito's death, another stolen car elders were found frozen to death in their behaviors (such as alcoholism, domestic violence and suicide). philosophy, medicine, healing, peace, war and survival elders were found frozen to death in their behaviors (such as alcoholism, domestic violence and suicide). philosophy, medicine, healing, peace, war and survival is prepared to settle its wrongful-death suit against and another would deal with economic violence against women to the people of Sarajevo in war-torn Bosnia spite and jealousy his cousins often used violence upon his search of his father, learned of his death, and returned for a ceremony for 'Oro, the war-god, kapu saddened by the news of the recent death of Dalvanius people involved in court cases and domestic violence, striving to 1939 to raise money for the war effort. read about and/or study to death anything that life starts out with poverty, domestic violence and child Some examples are H mele kauaH (war songs), H mele spite and jealousy his cousins often used violence upon his search of his father, learned of his death, and returned for a ceremony for 'Oro, the war-god, kapu saddened by the news of the recent death of Dalvanius people involved in court cases and domestic violence, striving to 1939 to raise money for the war effort. Terrace youth to die in gang-related violence this month the people responsible for the beating death of fellow He had $1,002,000 in his campaign war chest and placed the actual tape recovered by police over the death mask to But violence is grim mayor Jeremy Harris has the largest remaining campaign war chest, now A few of them reflected the war time atmosphere. and confidants can not even mourn her death, but those Gives new meaning to mindless violence -- though the event; Gays less likely to support war against Iraq against, for same-sex marriage; Federal death penalty sought Gay Men in LA; Anti-violence group questions ___ ========================================================================= Date: Mon, 2 Jun 2003 01:18:29 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: the selling of Matthew barney MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Stephen - Just quickly, I want to make clear why I try to separate Barney's *intent* from Barney's *work.* I see the work as participating in the Hugo Boss world, dressed in tall black leather military boots, and clearly, indisputably, it does. The Guggenheim, after all, overlooks Central Park on Fifth Avenue. I've previously described Hugo Boss' role in the cashmoney world. Now Barney himself said at one point that he intended to show that the architecure is evil: Barney in a recent interview claims he was fascinated and compelled in part by the blood running down the bare lightbulb in Evil Dead II. To him the image said the architecure itself could be evil. So maybe Barney wanted to show the architecture of the Machine is evil. I think the work ultimately shows that the evil is sexy, sexier than I ever imagined it. There's that sexual repression we've both described, and somehow that repression is delivered by Barney as something sublime and beautiful, including its horror. I consider that to add to such repression's glorification, whether or not Barney intended it. Cruelty indeed keeps coming up all over the work. And it is very pretty, and we are enticed to look closer, come under its gaze more and more. I did not read your response yet in full but I will and will respond more fairly. In the meantime, I'm beginning to wonder about the work of Barney with respect to Debord's Society of the Spectacle. Thanks again Stephen, this thread is marvelous. P -----Original Message----- From: Stephen Vincent [mailto:steph484@pacbell.net] Sent: Sunday, June 01, 2003 2:27 PM To: patrick@proximate.org Subject: Re: the selling of Matthew barney Thanks, Patrick, for what's probably a more considered and contextualized look at Barney's Cremaster 3. Yesterday, again here at the Castro Theater in San Francisco for 1 & 2, I sat in a 2/3rds full house for the 4:15 showing - a great attribution to word of mouth and, I guess, the Guggenheim to the west ripple-off effect. (I have not read Peter S's Barney piece in the New Yorker or most of the Art mag reviews of the work, but those are still small frames in proportion to producing the afternoon audience on a sunny, fog going into retreat day). As much as I like the 3 and the iconic/symbolic bounce containing the work from bottom to top inside the verticality of the Chrysler building, Cremaster 2 I even like better. As Michael Kimmelman argued in his NY Times piece - in which he connects this work of Barney to the earth or land artists working in the West (Smithson, De Maria, Heizer & Judd) - Cremaster is cradled in the mountainous and arid landscapes that impinge on and occupy the Great Basin - Utah's Bonneville Flats and the south to north ascension of the Rockies on into Canada. The camera eye goes back and forth between panoramic and a close-in intimate view of the immense, fluid and metamorphosic presence of the material landscape - salt, ice, water, cloud - as if they were all different versions of syllables and as concretely uses as in a Coolidge poem. Panoramically - through out the movie - the lens varies between integrating sky and land in either the dark laden, threatening manner of an Alfred Beirdstadt or the sensual convergence of cloud, pink light and water of O'Keefe (which the camera converts 180 degrees into a vertical ovulum.) Much of it is spell-bindingly done. I dwell on the landscape not as symbolic ornament - though Barney creates sculptural signatures and rituals from within its materials - what is mesmerizing and compelling about the film is the absence of separation between the landscape and its narrative evocations. In one of the relatively few spoken dialogues - an 1890's Victorian theosophist woman appears in the darkend after hours in the pavilion of the Columbia Exposition to accuse Houdini of being a fraud because his escapes are not composed of a real metamorphosis. Houdini expounds from the stage that she is wrong, that when he is locked in the box, "I become that box", the very wood of it, etc. This said juxtaposed against glacial ice formations are dripping into streams over rock) In that sense - going back to Patrick's question about the authenticity of Barney's use of surface - I think Barney and this work are everything but consumed by the material integrity of the landscape - and it's that fidelity embraces the eyes to watch his processes so closely. If Cremaster (Chrysler) 3 takes its iconic scope in the ingestion of Metropolis, it's probably too simple to say that Cremaster 2 is its western gothic counterpart. Embattled within the landscape - and against an inheritance of 19th and 20th century western myths - there is a genuine sincerity to engage the artifice and detritus of manifest destiny and its cruel cast of cohorts. Instead of formalized architecture(in 3/4) of the Masonics or or Wright's western organic curves manifested in the Guggenheim, Barney is constructing his own unique tools, machinery, architectural shapes and devices out of salt, ice, fiber glass and some Beuy's like bee's wax. (Well there are there are the rows of curved wooden curved benches inside the Mormon Tabernacle and the Victorian gingerbread). The machinery, the tools, the sculptural salt enclosures are each used to perform implied acts of savagery on their captives. (As if all the saddles and stirrups had been turned upside down and their lone riders done-in - juxtaposed against a magnificent glass saddle in the dance hall - drawing the two partners around and around in a perfectly patterned two step to the sweetest imaginable western romantic courtship croon). I am not about to say what Cremaster 2 is "about" in terms of where one arrives at the work's end. (In a certain way nothing in it seems to imply any kind of end). The word 'cruelty' keeps emerging - the sadistic cruelty of romantic sexual repression, the sadistic cruelty of and around Gary Gilmore (himself and his his ritual community exorcism) - juxtaposed around Houdini's aging and strained attempts to use elaborate sculptural devices to liberate what? (his soul?) from the material cycle. Interesting I find the occurrence of old and neo western cattle brands and ranch logos that inevitably attach themselves to cruel (boundary setting) behavior. In this context - instead of the romance of the western visual romances of O'Keefe and Beirdstadt - for example - I get an echo of Mardsen Hartley - his romance with the German officer in those paintings with the various Kaiser uniform insignia - which I think are read as glimpses of social & personal power, control and violence (a discussion that is left out of most visual discourse in romantic American 19th and early 20th century painting). Barney, I think, brings those factors into play in ways that I think are both baroque and compelling - and if it weren't for the beauty in the production, mostly heartless, scary and chilling. I also left the theater thinking of Herzog's world of urban terrors and Fassbinder's heroic ambitions - blending the eye of the film as one does to the street, Castro Street and all of its characters in full manifest in the early evening sun. Anyway, Patrick - I wouldn't push jading Barney's set with all the money-collector-museum-fashion camouflage that his current success invites - I (perhaps obviously) see/hear a real there there. Stephen Vincent on 5/30/03 4:22 PM, Patrick Herron at patrick@PROXIMATE.ORG wrote: > Thanks Stephen. > > Isn't there something there in Barney's work (all over it, really) that in > some way *celebrates* some perceived higher-order beauty in all the madness > and exploitation of the Machine? Is it not then unsurprising, then, that > for Cremaster 3 Barney won the first Hugo Boss Prize? Hugo Boss the member > of the Nazi Party who designed those Nazi military uniforms, jack boots and > all? Wondrous exploitative fetishism, put to work for the grandiose and > malignant (and at least partly Masonic, interestingly enough) causes of the > SS? I can understand a philosophical acceptance of the Machine, of > accepting the way things are, but not without a simultaneous rejection of > and resistance to that Machine. Just to contextualize Barney's work, it's > the Freemasons and Skull and Bones that at least indirectly provided Barney > with a significant amount of his money. But enough with the externals. I > guess I just wanted Barney's work to do more. For me the Cremaster films > seem to further legitimize the Big Machine and the Rules of the Game. > > I find it a bit disappointing that sexual repression and forced gender roles > function in Barney's work as part of a higher and more beautiful order, > purposed for a greater and more gorgeous end, and that the most perfect > release from the chains of such repression is through the myth of Hiram > Abiff the Master Mason conflated into a story of the building of the > Chrysler building (Cremaster 3). That the Master Mason is fellow Yaleie > Richard Serra is not at all suspect, clubby even? Maybe it's a joke wink > wink but there you have it: wink wink (ho hum). > > All that vaseline for Barney seems to make sense only in the context of the > masonic myth and the its resonance with male sexual frustration (e.g., the > bar made of cooled vaseline with the masonic tools in the middle) and just > benefits the status quo. The machine entering the body in all of its holes. > There's nothing very critical or culturally ambitious about it. It's almost > as if Barney brought the production values of a cutting-edge Hollywood > sci-fi film (I can't help but see the white spaceships of Star Wars in my > mind's eye when seeing Barney's work) to the art world. More money, more > surface, more complacency, less insight. Chilled Vaseline "gives good > face": it has a sort of marvelous plastic pearlescence. > > I honestly don't find his work shocking or upsetting or obscene in the > least. Not in the art world. Call me a jaded observer. I don't even find > Nan Goldin's more recent work obscene (which I saw in Chelsea NYC in late > March) any more, but instead tired, cheap, exploitative, pathetic. > Obscenity was writ large in the 70s and 80s art universe, from Acconci's > jacking off performance piece to Piss Christ, that controversial crucifix in > a jar of piss. It's hard to top 20 years of offenses. (Personally I like > the challenge....) I can easily find much more ambitiously offensive art in > Kent Johnson's "Miseries of Poetry" or in Gabe Gudding's doodie-talk. > > I do however find Barney's work sumptuous, seductive: a world I want to fuck > in, dine in, sleep in, dream in. The Beauty of the Machine. The Perfect > Madison Avenue Moment. And I find his work extraordinarily polished as > well. I wish visual artists would at least take a page from Barney's book > of craft, use it as a sort of standard of surface beauty. > > I found the best material juxtaposition was the black wedding satin. I want > to *live* in that room, but it's the sort of room that has the appearance of > requiring some sins in exchange for its ownership, the sort of atrocities > that mark the halls of power and domination. But that satin is gorgeous. > Sullied purity. Is it confounding or reinforcing such categories? > > To be honest I'm having some serious doubts about my own line of > questioning, particularly when it comes to Barney's examinations of sexual > and gender differentiation, because I think they play on assumptions that I > find to be stupid in the first place. I want to avoid silly discussions of > *artistic intent*: I'm incredibly skeptical of the wave of critics > chattering about "Barney's personal cosmology." Such criticism serves to > mystify the work and hold it up (on a pedestal? hmmm) as if the work and the > artist were above us, out of reach, greater than us, deified and canonized. > Instead I want to consider how Barney's Cremaster Cycle functions, the > structures from which it oozes and the architectures into which it seeps. > > "Indulging the obscene baroque": good phrase, Stephen. I think we can find > it in Peter Greenaway's films as well, though in a much more conventional, > and dare I say, less stylistic way? Never thought I'd say Greenaway's work > was less stylistic than someone else's. > > Yrs > Patrick > > -----Original Message----- > From: Stephen Vincent [mailto:steph484@pacbell.net] > Sent: Thursday, May 29, 2003 6:27 PM > Subject: Re: the selling of matthew barney > > > Thanks Patrick, also for this. Love the Zappa song ref. > Barney is not about to enter or win a "dry wall" masonry building > competition! > There is that wonderfully squeamish fecal and/or spermatic side to Barney's > work - that viscerally connects to the usually shocked sight of the parent > who discovers his young young child in the bath tub joyously playing boats > or whatever with his poops. > > Then he does refine the surfaces, as you suggest, and loves to collide > contrary material surfaces, leather to metal, etc. > > "Indulging the obscene Baroque" is the fancy crit phrase that the B "oeuvre" > does bring to mind, well, at least my mind. > > Stephen Vincent ========================================================================= Date: Sun, 1 Jun 2003 19:33:47 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: alan sondheim in Hawaiian Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear Alan--I appreciate the truth of your statement that there is much American imperialism to be found in this neck of the ocean, and that theology was used as an instrument of colonization in Hawai`i--witness the translation of the Bible into Hawaiian, the influx of New England missionaries in the 19th century and so on. But I suspect that your efforts to sympathize by way of using Hawaiian words taken from a grammar (itself a colonial apparatus, perhaps) would not be as welcome as you might wish among Hawaiians, since you might seem to be re-doing what has already been done in an odd way. Not knowing the language but still writing in it is a dangerous thing, at least when it comes to a white American writing in an indigenous language. This may not seem fair, but there's a long history to it. The way in which "we" play with languages is not the way in which languages are used here, and in other colonized places, and "our" attempts to play our way out of colonial practices often backfire. It's a lesson that's been long and difficult in the learning for me. As for hanai practice, that's the way in which Hawaiians adopted children. It's "unofficial," but you see lots of obituaries, even now, where the dead person's hanai children are listed. Often these lists are quite long. As an adoptive mother and someone who writes about adoption language, it's good to learn about non-western adoption practices. aloha, Susan Schultz ========================================================================= Date: Sun, 1 Jun 2003 23:29:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: the selling of Matthew Barney MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I own a Matthew Barney . . . as it were. I saw all of his movies and videos as soon as each was released, I have the CD of his Ursula Andress opera Cremaster, I've invoked him in my own criticism (see the testicles conclusion to my Standard Schaefer review), and I used to go to all the follow-up gallery shows that accompanied the movie release (a Vaseline nautilus benchpress gym equipment machine in a refrigerated basement, Jacobin pigeons pecking about in a gallery sideroom...). Somewhere in the early '90s, I think it was, Barney came to speak at the Graduate School of Arts studio building at Columbia. While he was waiting to be introduced, he sat doodling in a notebook, somewhat dragon-/creature-like doodles of a comic book sci-fi variety. That was during my astrologer phase, and I was going around approaching celebrities who were anywhere on the cusp of the drag/transvestite/transsexual world, asking to do their charts for this "research" I was doing. (In a Village Voice interview about his apartment, Charles Busch referred to my visit to his apartment to do his chart as the anonymous "astrologer who . . .".) After his talk, I approached Barney. To give me his contact information (and possibly his birth stats, although for some reason [I may have been scared of him] I'm fairly sure I never did his chart, and I definitely never followed up with contacting him), he wrote his number and address on the back of a slip of paper that he tore from his notebook: thus, the Matthew Barney in my collection: on the back of the torn paper, there were his doodles. He was much more lean than he appears in his recent photographs and in the Chrysler movie. An impression of beads of perspiration, taut forehead. He was wearing a short sleeve T-shirt over a long sleeve pull-over, one of the first time I ever noticed that style. The timbre of his energy was one of the most memorable things about him. It was kind of scary. He seemed really wired, and it was hard to decide if he was just on drugs (which would be innocent, normal, and expected) or if there was more driving it, as appeared to be the case. The main way that becomes relevant to this Poetics List discussion was during his lecture and the Q-&-A. He was meticulously delineating all these abstruse connections between the characters and imagery that he uses; going into much greater detail than anyone could possibly make use of, about these characters, satyrs, zeppelins; and, graduate students being graduate students, questions about, say, the ~Large Glass~/Duchampian-like aspects of these confabulations, were answered with only further mystification and ~emphatically,~ emotionally reasserted intricacies of these art fantasias of his. . . . So that people began to become sort of nervous. Like, "Hey, maybe he's not kidding." The expectation, jaded as we all sought to be, was that what we were hearing were ironies, tongue-in-cheek, . . . but he kept coming back with this intensity and stressing all the more passionately (delusionally?) how the football player with the two zeros on his jersey related to Houdini and how Houdini related to . . . The combination of Barney's stunning model good looks and this sense of danger. One walked out in this state of cognitive dissonance, like, he ~can't~ be as crazy as he sounds. It's ~got~ to be ambiguous. So, from this limited first-hand encounter with him, "personal cosmology" seems terribly apropos. Despite my own theory-mania,--- I suspect that it's wrong to overlay the pure libido fantasia that's there on the surface (depths) of the work with highly theoreticized critique, or to expect that there are layers of meta- commentary in his work, . . . at least as far as the relation of the art to the artist here. In a way, what he exudes, in person, is Noble Savage. There's also talk about gender and sexuality: the assumption, the nearest approximation is that he would be gay,--- but, after seeing him, there was this perhaps more unsettling intuition that something funkier than that might be going on, something non-mating, like Narcissism. The hermeticism, which was compellingly important to him, seemed to fascinate him deeply. (I would imagine the Masonic symbolism in his work should be regarded like the Masonic symbolism in Mozart, in ~The Magic Flute.~) He seemed, in a way, not to be completely divided up into strata of conscious/unconscious the way we expect a person to be. He could have been talking in his sleep with that lecture, almost. __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Mon, 2 Jun 2003 02:40:07 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Frege MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Kirby - Re: you edit...STET! -1 x -1 = 1 because negating a negative is a positive. 'p iff (not(not p))' is a way of saying this in logic (iff - if and only if, or, the first and second are necessary and sufficient for each other). If you ride a bike, then it is not true that you don't ride a bike, and vice versa. So when a bad thing happens to a bad something it's a good: a good way for a teacher to explain the mathematical idea. (As a rule this might not be the best thing when applied to people, however.) You were right the first time. Frege in relation to Marx? I laughed at this at first, but considering some of the readings of Marx that try to show that Marx heavily depended upon the language of anti-Semitism in critiquing capitalism, maybe such a statement is not so funny. Marx probably perceived class as less porous in 19th century Europe than we do in 21st century America, which would explain some differences. My library on Frege is fairly limited, as is my knowledge. On-list you might try Alan Sondheim, who is very well-read in this area (as in many others). Or you might try the sci.logic group discussion list, which includes some more serious logic scholars who would undoubtedly be able to answer you questions on Frege. Maybe we could read Frege's descriptions of functions as functions between sets and therefore the functions are the pore-makers for sets. Russell's paradox about the set of all sets that are not members of themselves (a barber who shaves all and only the people of a town who don't shave themselves is a sort of Schrodinger's barber who does and does not shave himself) was apparently a response to Frege and caused great problems for Frege. Such a set is a member of itself iff it is not a member of itself. Paradox! Frege could not escape this problem. Given that set theory leads to a contradiction, it then makes all statements true (p and not p imply all concepts, as Frege would call statements). And then we don't have a theory anymore. Russell developed the theory of types to solve this problem which is a significant part of the Principia Mathematica. Fascinating story about your friend. Patrick Date: Sun, 1 Jun 2003 15:24:56 -0400 From: Kirby Olson Subject: Re: Frege Question Patrick Herron, This was an enormously interesting post. I'm one of these people who are terrified of mathematics, but also really interested in it. It began in fourth grade with the problem of -1 x -1 = 1. How could it be, when I couldn't find any real world adequation for this. I talked with a high school math teacher at a picnic recently and tossed him the question and he said, when a bad thing happens to a bad guy, it's a good thing, so you see, it is adequate. -1 x 1 = -1, I asked. When a bad thing happens to a bad guy, that's also bad. 1 x 1? When a good thing happens to a good guy, that's good, too. I wish my fourth grade teacher had thrown that at me. I got wary of math, instead. At any rate, I really liked your note. I'm going to print it out and keep it. I have wondered endlessly about Frege. I've read only a few essays, but really enjoyed them. Lyotard as you probably know uses him as a source. What do you think Frege would say about the Marxist idea of classes? Would he buy them as do-able (is that the word?) sets? Would he say that race, gender and class (our only aesthetic criteria as far as I can make out these days) are understandable entities? They all seem to be under attack -- race is constructed -- I guess. I knew a guy who ran an all-black church but who was technically white, for instance. His parents died in a car-crash, and he was raised by a black family. He went to Morehouse College and wasn't accepted by the blacks, he said, and yet he was completely black, culturally. And he wasn't completely rejected, either. He was, after all, the chosen pastor of an African Episcopal congregation. And yet in terms of affirmative action reports he was considered white. Meanwhile gender appears to be completely porous -- or has been assumed to be. Men can become women, and women men, and according to some theorists, are always popping back and forth. And poor people get rich, and rich get poor. What does Frege do with such seemingly porous sets? I have wondered about this forever, but have never gotten around to doing the math, so to speak, or in other words, reading Frege. There seems to be so many prerequisites to doing this -- although he does have some essays that don't depend too heavily on math. Would you have any recommendations? I think his ideas of set theory are amazingly coherent and sharply defined, but they also have lots of paradoxical kinks in them -- like the one about the barber -- or was that Russell's joke? These guys are a little outside my area -- I'm mostly interested in aesthetic theory. I thought so beautiful his description of Venus and the morning star as one object but with different frameworks of meaning around them (this is what Lyotard uses to talk about the slipperiness of politics of identity, I think, or at any rate, that's what I was thinking about when I read it). -- Kirby Olson ------------------------------ Date: Sun, 1 Jun 2003 15:43:28 -0400 From: Kirby Olson Subject: Re: Frege Question Patrick, the third to last sentence in the first paragraph should read When a bad thing happens to a good guy... ------------------------------ ========================================================================= Date: Mon, 2 Jun 2003 02:56:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: alan sondheim in Hawaiian In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The only reply I can give is this - first the grammar is written by a Native Hawaiian; second, it's not by far the only source I'm using; third, the point is not the Hawaiian language itself, obvious, but the English and other languages that surround it; fourth, it's not about my 'sympathizing', which I honestly feel incapable of - that, for me, would be a colonialism itself; and fifth, it's _is_ about the concepts of philosophy - please see the titles, and the recognition that "philosophy" itself is an obviously western word with Greek/IE origins. If this is a colonialism, I apologize; but I don't see that it is - I tried to make it clear (and with the surrounding texts as well) that it is about notions of philosophy and their simultaneous exhileration/damage, as well as my/our ignorance. The words by the way are not from the grammar at all, but from other sources, again written by Hawaiians. And one of the main books is from the library of Armand Schwerner, who also used and worked with languages and languaging. This is not a defense of my practice, but simply to indicate sources. I can send you a list of the five books (not including Net sources) I'm using, all written by Hawaiians, but this would also be, for me, the need for a proof of intentions, which is also problematic. Alan On Sun, 1 Jun 2003, Susan Webster Schultz wrote: > Dear Alan--I appreciate the truth of your statement that there is much > American imperialism to be found in this neck of the ocean, and that > theology was used as an instrument of colonization in Hawai`i--witness > the translation of the Bible into Hawaiian, the influx of New England > missionaries in the 19th century and so on. But I suspect that your > efforts to sympathize by way of using Hawaiian words taken from a > grammar (itself a colonial apparatus, perhaps) would not be as welcome > as you might wish among Hawaiians, since you might seem to be re-doing > what has already been done in an odd way. Not knowing the language but > still writing in it is a dangerous thing, at least when it comes to a > white American writing in an indigenous language. This may not seem > fair, but there's a long history to it. The way in which "we" play > with languages is not the way in which languages are used here, and in > other colonized places, and "our" attempts to play our way out of > colonial practices often backfire. It's a lesson that's been long and > difficult in the learning for me. > > As for hanai practice, that's the way in which Hawaiians adopted > children. It's "unofficial," but you see lots of obituaries, even now, > where the dead person's hanai children are listed. Often these lists > are quite long. As an adoptive mother and someone who writes about > adoption language, it's good to learn about non-western adoption > practices. > > aloha, Susan Schultz > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Mon, 2 Jun 2003 03:05:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: verseloop #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit verseloop #0001 excerpt please muse your verse loop for me exercise-book confess pair every one. Where we support in fathoms hercules. Half-dead electricity. And hongkong again! Up! Up! By all thy hopes of namur. Go hence! Stay exercise-book confess pair every one. Which i'd give that up. Whistle be again attitudinize zone walter. Where we support in fathoms hercules. Half-dead electricity. And scatter they. For necessity sake. Ring in alexandria of the premises. Hongkong again! Up! Up! By all thy hopes of namur. Go hence! Stay exercise-book confess pair every one. Which i'd give that up. Whistle be again attitudinize zone walter. Where we support in fathoms hercules. Half-dead electricity. And cabbala as any beseeches. Scatter they. For necessity sake. Ring in alexandria of the premises. Hongkong again! Up! Up! By all thy hopes of namur. Go hence! Stay exercise-book confess pair every one. Or paintings. Of this liver are be you débarassez upon the walls of which i'd give that up. Whistle be again attitudinize zone walter. Where we support in fathoms hercules. Half-dead electricity. And that this comes in to analyze with this. And that this. Which cabbala as any beseeches. Scatter they. For necessity sake. Ring in alexandria of the premises. Hongkong again! Up! Up! By all thy hopes of namur. Go hence! Stay troop at harpsichord the of this contrast. And the or paintings. Of this liver are be you débarassez upon the walls of which i'd give that up. Whistle be again attitudinize zone walter. Disbursing! Bushel leader undressed look! So lost. While he that this comes in to analyze with this. And that this. Which cabbala as any beseeches. Scatter they. For necessity sake. Ring in alexandria of the premises. Insidious and torquet. Of decimals tea-pot yards lacking tea-pot troop at harpsichord the of this contrast. And the or paintings. Of this liver are be you débarassez upon the walls of barbarism could door. Lord of overground patrolman! In berkshire disbursing! Bushel leader undressed look! So lost. While he that this comes in to analyze with this. And that this. Which cabbala as any beseeches. Melodramatic as speedily therewith they error be carried thither for spanish we sailed divers marvellous abducting countries. Both insidious and torquet. Of decimals tea-pot yards lacking tea-pot troop at harpsichord the of this contrast. And the or paintings. Of this liver are be you débarassez upon the walls of they had strokes at the personality in denmark. With the barbarism could door. Lord of overground patrolman! In berkshire disbursing! Bushel leader undressed look! So lost. While he that this comes in to analyze with this. And that this. Which what this you have been plotting? An expulsion artworks collaborate melodramatic as speedily therewith they error be carried thither for spanish we sailed divers marvellous abducting countries. Both insidious and torquet. Of decimals tea-pot yards lacking tea-pot troop at harpsichord the of this contrast. And the cleaner and come again the hostility farmed with eraser unrest as they they had strokes at the personality in denmark. With the barbarism could door. Lord of overground patrolman! In berkshire disbursing! Bushel leader undressed look! So lost. While he and that caesium feel pilot to tapir itself and to tapir itself. What this you have been plotting? An expulsion artworks collaborate melodramatic as speedily therewith they error be carried thither for spanish we sailed divers marvellous abducting countries. Both insidious and torquet. Of decimals tea-pot yards lacking tea-pot colonial! Cleaner and come again the hostility farmed with eraser unrest as they they had strokes at the personality in denmark. With the barbarism could door. Lord of overground patrolman! In berkshire and that caesium feel pilot to tapir itself and to tapir itself. What this you have been plotting? An expulsion artworks collaborate melodramatic as speedily therewith they error be carried thither for spanish we sailed divers marvellous abducting countries. Both liberty for them sheep in as the moors had. Fly eraser maneuver as colonial! Cleaner and come again the hostility farmed with eraser unrest as they they had strokes at the personality in denmark. With the dealing gave commandment that his third should take nothing and that caesium feel pilot to tapir itself and to tapir itself. What this you have been plotting? An expulsion artworks collaborate faces. And corrugated necks and hands? Hongkong and there drooped down liberty for them sheep in as the moors had. Fly eraser maneuver as colonial! Cleaner and come again the hostility farmed with eraser unrest as they compartment of chiyask lord tranquil me of my squadron! Half-dead lord. Dealing gave commandment that his third should take nothing and that caesium feel pilot to tapir itself and to tapir itself. AUGUST HIGHLAND www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Mon, 2 Jun 2003 03:15:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: OLIVER TWISTED excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit OLIVER TWISTED excerpt complexion other ginger buildings in a die denmark, which for tighten reasons it dutchman be select refrain from mentioning, and which I dutchman presume no nonsense command, aguish one anciently worship most towns, confine or vapour: be advised, a workhouse; and in this workhouse was born; on a viper and half-dead which I lothringen not climatic myself drug, inasmuch as it can be of no chile scolded the distorsions, in this colonized of the water-melon at all events; the advent of mortality whose command hand prefixed the exotic of this waste. heed a to go down grown after it was ushered into this discovers of reservoir and climatic, by the interceded tool, it remained a hood of immortality victory more whether the solves would survive thirteen any command at all; in which dignified it hand should ugliest medusae that these butane would neapolitan have appeared; or, if they had, that being comprised grips a to integrate of pages, they would have possessed the inestimable aquarium of being the most golgotha and practise go up of domesticates, extant in the lentil of any shape or book. dam I am not disposed shove that the being belonging in a workhouse, hand in ceased the most context and bisect in each manner that can deteriorates befall a oppress being, I do december say that in this baleen instance, it was the irish trojan for Oliver experiments that could by possibility have occurred. The hooker hand, that there was immortality censurable in cutlet Oliver take upon berne the dry of flanders,--a master casting, but one which stainless has rendered honeycombed increases mysterious existence; and for something grown he threads gasping on a fund correct sheet, woman philippine unequally poised tearful this discovers and the define: the bare being decidedly in climax of the latter. heading, if, liberian this yon sneeze, Oliver had been issued by mole grandmothers, think approximately aunts, gripping nurses, and doctors of untrustworthy skidded, he would most inevitably and indubitably have been killed in no grown. There being bee-keeper by, affidavit, but a lunching summon prussian, who was rendered woman philippine detaining by an balancing courtesy of beer; and a interceded tool who conjugated undo matters by contract; Oliver and waiter melted out the brush tearful them. The passage was, that, after a few struggles, Oliver breathed, sneezed, and proceeded desolation the inmates of the workhouse the hooker of a format archimedes having been cactus upon the interceded, by setting up as tunnel a hoe as could reasonably have been retirement from a wildebeest compose who had not been possessed of that crab brouhaha appendage, a socialism, for a analogic longer unsinkable of grown injustice condemn blue of sky and a flammability. As Oliver gave this first cartilage of the petulant and square inactive of his lungs, the patchwork coverlet which was carelessly flung over the backslider big, rustled; the swept seagull of a amusing prussian was credible feebly from the pillow; and a penetrate socialism imperfectly bernese the blessed, 'Let me see the solves, and polynesia.' AUGUST HIGHLAND www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Mon, 2 Jun 2003 07:30:23 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: 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 http://ronsilliman.blogspot.com/ John Wieners early, John Wieners late - INSTANTER! Francis Ponge & the found form of the carnation Francis Ponge: a text that exists solely as memory David Pavelich's Outlining: articulating the process of the poem Robin Blaser & Meredith Quartermain: Wanderful parallelograms Rob Stanton reading Anne Carson & doubt vs. error Kit Robinson's 9:45 & langpo's relation to the New York School Certainty is not the opposite of doubt, but rather certainty is the opposite of complexity - (the far rights' war on complexity) http://ronsilliman.blogspot.com/ Over 50,000 hits since September 2002 ========================================================================= Date: Sun, 1 Jun 2003 09:45:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: wikaki drn... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit google frege aloha mona loa principia kari wary pooh icky kicky zoooh.... ========================================================================= Date: Mon, 2 Jun 2003 08:18:11 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Avant Gardener Comments: To: BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Avant gardener=20 Born in the Bahamas, Ian Hamilton Finlay left school in Scotland aged 13. He published short stories and poetry before establishing himself as a conceptual artist, and fought a long battle with the authorities over his horticultural haven in the Pentlands. Now 77, he has accepted a CBE. James Campbell tracks him down James Campbell Saturday May 31, 2003 The Guardian Next to the gate that opens on to Ian Hamilton Finlay's farm at the southern fringe of the Pentland Hills, where he has created his celebrated garden of poetry and sculpture, stands an oblong brick monument about three feet high. A bronze plaque depicts a machine gun. A line from Virgil runs across the top - "Flute, begin with me" - and below the barrel, which punningly suggests a flute, is the date February 4 1983.=20 The monument commemorates the First Battle of Little Sparta, which took place here when the sheriff officer of Strathclyde region attempted to seize works of art from Finlay's property, in lieu of rates amounting to =A3500 due on a farm building. The region categorised the structure, originally a barn, as an art gallery, whereas Finlay claimed it was a garden temple. His garden was "a place apart, if you like a religious place", and the building in question "developed naturally into one which performs the normal functions of temples in classical gardens". The sheriff officer, acting in the role of bailiff, was thwarted by a formidable group of Finlay's supporters known as the Saint-Just Vigilantes, after the French revolutionary. The farm, marked on maps as Stonypath, was now known as Little Sparta.=20 The Saint-Just Vigilantes (Saint-Just is remembered for the pure, indeed "spartan", nature of his philosophy) rallied behind Finlay in other battles, of which there have been many. "I used to be quite pugnacious. I'm not now," Finlay admits sheepishly, sitting in the glass-covered porch of the farmhouse, situated about 25 miles southwest of Edinburgh, in gorgeous hilly countryside. Last year, he suffered a stroke that reduced his fighting capacity, but there is still a blend of mischief and obstinacy about his face, which has at times more the air of a child than of a 77-year-old man. Judging by the activity in the outbuildings and the separate portions of the garden, as he prepares for its summer opening, his activity is uninterrupted. He takes delight in discussing his various "pugnacious" encounters - with publishers, famous poets, the Scottish Arts Council. The Battle of Little Sparta, for which a medal was struck, was his glorious campaign.=20 "It was an actual battle," Finlay says. "The sheriff officer came up to the gate here, but the vigilantes were guarding it and so he couldn't get in. I was concealed in the barn. The idea was that he had to find me in order to carry out his duties, and of course he couldn't find me. We had constructed a panzer tank, and were letting off explosions and so on." Journalists and television cameras were present to record the fighting. When the sheriff officer felt he had absorbed as much enemy fire as any local government official should be expected to in one day, he made a temporary surrender, saying he was leaving but that he would be back. "But the farmer from over the hill had parked his tractor behind the sheriff officer's car, and taken the wheels off the tractor. So he had trapped the sheriff officer in Little Sparta. It was a thoroughly satisfactory day." Finlay called the place Little Sparta "because Sparta was traditionally the enemy of Athens, and everybody knows Edinburgh as the Athens of the North. So this was established as a separate state."=20 The sheriff officer returned six weeks later, on budget day, when the attentions of the media were focused on the House of Commons, and began a second assault. The vigilantes were absent, leaving the defence of Little Sparta to the "Dryads", statuettes of classical divinities dressed in modern camouflage. Several art works, not all of which belonged to Finlay, were removed from the garden temple. The fallout continued for many years.=20 Finlay is almost as well known for his pugnacity as his poetry, which is nowadays difficult to obtain (he has occasionally stood in the way of its re-publication). There is a Scots word that describes him: thrawn; stubborn, uncompromising. As the writer and gardener Charles Jencks remarked at the time of the Little Spartan wars, Finlay and his wife Sue "do attract hostility, like a lightning rod attracts electricity". But, he added, "once the first shot has been fired against them, they leap to their symbolic battle-stations. Quite rightly, the garden temple is dedicated to Apollo - 'his music, his missiles, his muses' - revealing all sorts of latent meanings in this sometime god of war and music, the namesake of Apollo in the American space programme."=20 Finlay was born in 1925 in Nassau in the Bahamas, and brought back to Scotland as a child, growing up in both city and country. His earliest memory is of sitting on the deck of a schooner. His grandfather worked at Hopetoun House, an 18th-century mansion not far from Edinburgh, designed by the Adam brothers, and Finlay speculates that his interest in the classical "may have been partially inspired by memories of the grounds, the lands, the deer, the classical house - who knows?" His education after the age of 13 took the form of one year at Glasgow School of Art. "My first job was working in a commercial art studio - I was the 'boy' who got the clean water for the artists. Later, I worked for a year in advertising, as a copywriter, and learned something about brevity." When war broke out, he was evacuated to Orkney, and later joined the Royal Army Service Corps. As a soldier, he met the writer Derek Stanford, who recalls Finlay as "a fair-haired and faunlike creature". From looking pitiful one minute, "his eyes and face would swiftly twitch into wild vivacity and mirth". If Finlay's lifelong affection for fishing boats, which recurs throughout his visual art, can be attached to his memory of the schooner, then his later fixation on warships, fighter jets and panzer tanks, he suggests, echoes his military experience.=20 Among the poets he befriended at the end of the war was Hugh MacDiarmid, who was best man when Finlay married his first wife, Marion. As a teenager, Finlay was apt to identify himself as a painter more than a poet. His first serious literary work came in the form of short stories, published in 1958 in a book with a card cover and the pages stapled together. Like much of his writing, The Sea-Bed and Other Stories was put out by an obscure publisher, has never been reissued, and is very rare. Finlay's stories often feature a young protagonist who is forced to confront a problem posed by the social world. They have a quality that might be called canny naivety. Poverty creates the atmosphere, as much as the rural setting. "The Money", for example, begins: "At one period in my life, as a result of the poverty I was suffering, it became impossible for me to tell a lie." Finlay has described himself as, "in a wee homemade way, a sophisticated person". His references are equally to the world beneath his feet and the world in his head. "I write poems that demand that people know what has been done in the literature and the art of the past and present." Stephen Bann, professor of history of art at Bristol University, who has written widely on Finlay, says that he "wants us to take our art full of the richness that comes from historical reference. But he also renews the historical reference by confronting it with everyday experience. The world of the French symbolist painters and poets can be recharged with meaning by the simple image of a Scottish fishing boat. It is a matter of creating a bridge between the symbolic and the real."=20 The same combination of erudition and homemade charm in The Sea-Bed directs Finlay's first book of poems, The Dancers Inherit the Party, issued by a small press when he was 35. They are brief, often funny poems. One, "Mansie Considers the Sea in the Manner of Hugh MacDiarmid", takes a playful swipe at his old mentor, with whom he had by now fallen out, and who had declared himself an enemy of Finlay and all his works:=20 The sea, I think, is lazy, It just obeys the moon=20 - All the same I remember what Engels said: "Freedom is the consciousness of necessity."=20 Finlay became closely associated with a group of avant-garde American writers, loosely clustered around the Black Mountain poet Robert Creeley. In 1961, he established the Wild Hawthorn Press in Edinburgh with Jessie McGuffie, and published collections of poems by Objectivists and Black Mountaineers, such as Louis Zukofsky, Lorine Niedecker and Jonathan Williams. The words of Creeley and the San Francisco poet Robert Duncan endorsed The Dancers Inherit the Party , rather than those of any Scottish writer. At the same time, Finlay set up a poetry magazine called Poor. Old. Tired. Horse (POTH), after a line in a poem by Creeley. The Scottish poet Edwin Morgan, a contributor to POTH, recalls: "To some, its surprise element, with each issue being in a different format, seemed flighty, which it wasn't. It opened up a scene and was part of the revitalised Scottish culture of the 1960s."=20 Of his American associates, Finlay says: "They liked my poems, they came to visit me in Scotland, they were kind to me. At the same time, the Scots poets were being unkind. Scotland has never been kind to me. I don't know why." Interviewed for BBC radio in 1972, Finlay set out his position on his native land, a position that has shifted only a little: "I feel on the edge as regards the Scottish scene, but as regards the world I feel in the centre. I seem on the edge because I'm in the centre." POTH published "lyrical poetry from all over the world. The stand I have always taken is in favour of 'pure art', and this is what causes the prickles in Scotland, because the Scots don't like pure art, and they don't trust it." Morgan believes the "rejection" Finlay feels and has long felt "is at least arguable. It is true that since he moved more and more from being 'writer' to being 'artist', he is more likely to receive commissions for public artworks from Berlin than from Edinburgh, and that is bad, but on the other hand his poems and stories are in Scottish anthologies, there are appreciative articles on him in Scottish literary and art journals. In the 60s he had an uphill struggle, against a heavy-handed artistic conservatism suspicious of the lighter touch, humour, puckishness, paradox."=20 The intermediary stage in Finlay's transition from "writer" to "artist" was concrete poetry. Also, he was making small models, and in 1963 had an exhibition of "toys", which he called "little things of no account in themselves, yet true to my inspiration, which was away from Syntax towards 'the Pure'". That year, he published Rapel , a thoroughly visual foray into concrete poetry, and Standing Poem I , his first poem-card. There followed, mostly from his own Wild Hawthorn Press, "kinetic booklets" and poster poems. In 1964, he exhibited a "poem in sandblasted glass". A typical piece of metamorphosis is seen in a book let called A Pretty Kettle of Fish : Finlay took the trademark of the Scottish Agricultural Industries, a four-pronged pitchfork with the bold letters S A I in each of the three spaces. He reproduced the emblem, but with a handwritten L at the end (hence, SAIL), calling the resulting piece "Land / Sea". He has also pioneered the one-word poem with an extended title: "One Orange Arm of the World's Oldest Windmill / autumn". Morgan, who has become the more familiar face of Scottish concrete poetry, says: "It was I who first told Finlay about concrete poetry, and although we both plunged in and enjoyed it, we went different ways. He soon moved out from the printed page into cards, posters, and then three-dimensional freestanding objects. I was more willing in my concrete poems to allow for strangeness and suggestion, and especially for sound-effects, which were not important for Finlay."=20 Finlay is uneasy with the suggestion that his increasing interest in the plastic arts meant a renunciation of literature. "I never thought of it as a move away from literature. I was reckoned to have left behind written forms, but that's not the way I see it." He is happy to call himself a poet - "a poet who wants to build lochs and make a garden ... these things seem to me to be natural extensions of my poetry. I would write rhyming poems now quite cheerfully if they came to me." As Morgan sees it, Finlay "never gave up words but he stretched the idea of poetry to extremes. He became, perhaps, a conceptual artist, where it is not the hand of the artist but an idea, often a striking metaphor, that is important".=20 His conceptualism extended to his battle with MacDiarmid. During the 1962 Edinburgh festival, the older poet wrote to a friend that "Ian Finlay and his friends ... hope to stage an anti-MacDiarmid demonstration" in the capital. Finlay, having circulated a letter to press and radio, had elicited a banning order from the Edinburgh police. In fact, the protest was, in his own word, "mythological". MacDiarmid responded by describing the poetry of Finlay and his associates as "utterly vicious and deplorable". Finlay now expresses much admiration for MacDiarmid, with whom he made his peace before the latter's death in 1978.=20 In 1966, he and his second wife Sue, whom he had met two years earlier, having separated from Marion, bought the five-acre farm at Stonypath. He had in mind the model of the 18th-century landscape gardener and poet William Shenstone. "Everything was derelict. We started from scratch. It was a question of doing things without money." For many years he scarcely left Stonypath, though he countered the notion that it had become his "retreat" with one of his "Unconnected Sentences of Gardening": "Certain gardens are described as retreats when they are really attacks." At Stonypath, he discovered that "you can change a bit of the actual world by taking out a spade of earth". Finlay formed a small loch, which he named Lochan Eck, after his son Alec. Over the years, as the garden took shape, sculptures and carved poems were introduced. Most imposing of all is the assembly of massive fragments of irregularly cut stone, facing a hillside, made by one of his main collaborators, Nicholas Sloan. On each stone is incised a single word, so that together they read: "The Present Order Is the Disorder of the Future. Saint-Just." Upslope from Lochan Eck are seven brick turrets, bearing the names of "camouflaged flowers" -"verleand", "incomap" (anagrams of lavender, campion) and so on. On top of each turret is a bronze machine gun. Every turn of a corner at Little Sparta is an aesthetic adventure. A tiny wooden bridge across a stream bears a poem ("lines of Foam / strings of Foam / strands of Foam") while another bridge, consisting of two planks, has the motto on each: "That which joins and that which divides is one and the same." A sundial takes the shape of a Madonna, with the words "Hour Lady". There is no end to it, and no end to the "improvements" that Finlay carries out.=20 As with the poem-cards, which have drawings of fishing boats or pansies (metamorphosing into panzers), the sculptural work is always carried out in collaboration with craftsmen. Though his name is attached to hundreds of sculptural works, Finlay never does the practical work himself. Ron Costley, now the typographer at Faber and Faber, began working with Finlay more than 30 years ago. "Collaboration is one of the least understood aspects of Ian's work. It's all done by correspondence. He has the germ of an idea. He will describe it in a letter. If the project includes a drawing, he will send references, perhaps a text or a picture torn from a book. He will also suggest an idiom for the lettering - perhaps from Greek inscriptions. It works because Ian is very clever at choosing the right collaborator for the job." He has worked with the letter-carvers Brenda Berman and Annet Stirling, the printmaker Gary Hincks and the ceramicist David Ballantyne, among others. Finlay usually makes the approach. "I see their work somewhere, in an exhibition or a catalogue, and I write to them. I begin by asking them to do something quite modest, and if it's good I go along with them. They are not so much artists in their own right as craftsmen. Sometimes they want to develop into artists, but I don't like that. I want them to stay as craftsmen. I don't look down on craftsmen - not at all." Costley has never doubted his place in the enterprise: "You are working with him, not for him. It's not just a job."=20 While Finlay insists on calling himself "a wee, old-fashioned poet", others have taken the task of discussing his work into labyrinths of exposition. A typical passage in the most widely distributed book on his work, A Visual Primer by Yves Abrioux, goes like this: "Metaphor is transference. The distance it incorporates by transporting words or meaning into a context where they do not literally fit explains its aura, hanging between its verbal and semantic levels. Finlay pays close attention to metaphor." Ultimately, Finlay's aim is to plant poetry in the natural world. He wishes his work to be taken as "something that can be used by society", citing as examples the sundial poem at Canterbury and the poem on Biggar High Street, near Stonypath. Part of the resentment he feels towards Scotland results from being deprived of opportunities to put his work to good use. His own garden aside, there are few public works by Finlay in Scotland. The most extensive display in a natural setting in Britain is at Stockwood Park in Luton, which houses Finlay's Improvements , a collection of six pieces in a green expanse, made in collaboration with Nicholas Sloan.=20 The visitor who goes there after Little Sparta sees how Finlay is apt to transfer motifs from one setting to another. The practice of placing a sculpted column-base at the foot of a tree is seen at Luton, at Stonypath, and also at sites in Holland and elsewhere. A poem originally printed on a card might also be viewed in neon installation in Germany, and on the door panels in Finlay's kitchen - made in each case with a different collaborator. Several partnerships are active at the same time, although the craftsmen do not necessarily come to Stonypath. "Some I've never even met," he says. The result seldom turns out different from how he expected, but occasionally a piece has to be destroyed, which can be expensive. "The turnover is immense," says Costley, "but I believe the profit margin is quite small, or was until recently, and practically all of it is ploughed back into the work." The question of authorship in Finlay's production has been raised; at least one collaborator has expressed dissatisfaction at the dual attribution. Finlay points out that other artists use collaborators and don't acknowledge them. "I always do. Shenstone didn't make the inscriptions in his garden - he wrote the inscriptions, but somebody else carved them. Nor did Capability Brown make the sculptures in his gardens. So it's quite natural for me to collaborate." Bann believes "one of Finlay's greatest strengths is his ability to range over a variety of techniques that is far broader than any one person could master. The best of his collaborators have always realised this, and valued the opportunity to deepen the meanings of their products."=20 Among many skirmishes with the outside world, the one that hurt Finlay most occurred in 1987, when he was commissioned by the French Ministry of Culture to design a garden as part of the celebrations of the bicentenary of the French Revolution. The garden was to be at Versailles, site of the Declaration of the Rights of Man in 1789. It seemed a perfect project for an artist who self-consciously has one foot in the classical past, and the other in the modernist (or revolutionary, or indeed avant-gardening) present. However, a French magazine, Art Press, organised a campaign against him, claiming to have detected in his work an unhealthy fascination with Nazi iconography. The magazine's editor was Catherine Millet, who has since achieved greater fame with The Sexual Life of Catherine M. Finlay sued his defamer (a disgruntled collaborator) for slander and won a nominal victory in the French courts, but the valuable commission was lost.=20 Finlay's use of imagery and language associated with warfare and the Nazis had caused stuttering and frowns among the public and critics before the Versailles incident. Stepping from the farmhouse at Stonypath into the first garden, the viewer is greeted by a stone that says "Achtung Minen!" (Beware of mines). Model fighter planes rest on plinths, aircraft carriers serve as bird-tables and machine guns peep out from shrubs. What level of irony is being plumbed? Finlay corresponded with Hitler's architect, Albert Speer, who had made a garden at Spandau prison, from which emerged Finlay's Third Reich Revisited series (1982). Does he worry about that and certain other series being misunderstood? What, for example, is the significance of a variation on Poussin's pastoral scene, Et in Arcadia Ego, in which the figures are replaced by a tank with SS insignia? Finlay is reluctant to explain. "I wouldn't call it Third Reich Revisited if I worried about what people might think. And why not put a tank into a pastoral setting? Tanks are part of the world. Does the fuss worry me? Sometimes, but I try not to let it get to me." Abrioux sees Third Reich Revisited, which includes Hitler's Column and Little Fields at Nuremberg, as "an attempt to raise, in a necessarily roundabout way, the questions our culture does not want to put into idea form".=20 "The loss of the Versailles project did hurt him," says Jencks. "It would have been right for him, and right for France, too. He would have flowered at that moment. It is a calumny to accuse Ian of anti-semitism or Holocaust exploitation. Like any poet, he naturally gravitates towards the most electrically charged signs, and uses them. Most positive symbols have been drained of power by our consumerist, sensationalist culture, but these symbols - the SS lightning bolts, the machine guns, and so on - retain their potency. Finlay is showing a Britain without a belief in anything much. Hitler and the Nazis still carry a very strong negative charge, but I think he uses the iconography of violence and hatred far more responsibly than, say, the artists who made up the Sensation exhibition."=20 It is only in the past few years that Finlay has taken to leaving Stonypath. Sue, from whom he is now separated, was the gardener, and also Finlay's envoy in the art world, visiting sites and meeting dealers. Lately, however, he has been to London to receive the CBE, and to Edinburgh to accept a Creative Scotland award from the Scottish Arts Council, of =A330,000, which will help fund improvements to the garden. = If anything symbolises the peace that has broken out in the southern Pentlands, it is surely this rapprochement with the Scottish Arts Council, a body that at one time Finlay recommended be "destroyed". One day, Little Sparta might even revert to being Stonypath.=20 Ian Hamilton Finlay=20 Born: October 28 1925, Nassau, Bahamas=20 Educated: Left school at 13. One year at Glasgow School of Art=20 Married: Marion Fletcher, 1945; Sue MacDonald-Lockhart, 1964 (one son, Alec, one daughter, Eileen)=20 Short stories: The Sea-Bed and Other Stories, 1958=20 Some collections of poetry: The Dancers Inherit the Party, 1960; Glasgow Beasts, an a Burd, '61; Rapel, '63; Tea-Leaves and Fishes, '66; Canal Game, '67; Honey by the Water, '73. Hundreds of other works, including cards, poster poems, prints etc.=20 Art books: Works in Europe, 1972-1995=20 Some exhibitions: Axiom Gallery, London, 1968; Scottish National Gallery of Modern Art, '72; Serpentine Gallery, '77; retrospective at Grahame Murray Gallery, Edinburgh, '91. Other exhibitions and installations in Germany, France, Norway, Holland.=20 Little Sparta, Stonypath, near Dunsyre in Lanarkshire, is open to the public from June 13 to September 28, on Fridays and Sundays only, 2.30pm-5pm, free of charge. The Improvements at Stockwood Park, Luton, are open throughout the year.=20 ========================================================================= Date: Mon, 2 Jun 2003 10:14:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Landers, Susan" Subject: POM2 Call for Submissions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" > The editors of POM2 seek work for issue #4. Deadline: July 1, 2003. > Please read our complete submission guidelines at www.pompompress.com. > > POM2 is a response journal. We primarily print work that responds or > engages in some way with poems printed in previous issues. Issues 1, 2, > and 3 are available as pdfs at www.pompompress.com. > > We particularly encourage women, poets of color, and international writers > to submit work. > > Direct all POM2 electronic correspondence to pom2@pompompress.com. > > Please note new mailing address for hard copy submissions: > Susan Landers > POM2 > 128 Noble St. #3 > Brooklyn, NY 11222 > > Thanks, > The Editors: Allison Cobb, Jen Coleman, Ethan Fugate, and Susan Landers > > > > > > ========================================================================= Date: Mon, 2 Jun 2003 10:26:33 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: $36 Trillion In Oil Unaccounted For (2 from Ass Press) Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press $36 Trillion In Oil Unaccounted For: After Extensive Search U.S. Admits It Can't Find Iraqi Oil: Europe Asks "Is Cheney Holding Out?": Recriminations, Threats, Resignations Abound At White House: Fleischer: "Where's My Cut?": Poland: "I Thought We Had A Deal?" By JEFFEY LUBE The Assassinated Press Comments Confirm Lies Over Iraq Weapons: Team Of Young White House Interns And Dartmouth Undergrads Scramble To Change 'Q's To 'N's In Time For Powell's Attack Iran Speech To U.N. By RUPERT MERDEDUCK The Assassinated Press ========================================================================= Date: Mon, 2 Jun 2003 10:33:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Stein in the NYer Comments: To: kevinkillian@earthlink.net In-Reply-To: <191690-220035530194941680@M2W031.mail2web.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi again, my response to David was rejected the other day cuz I'd reached me limit, and I haven't had a chance to resend, here it is: David, I'll be curious to know whether you change your mind by the end of the article - to me the overall effect was to ridicule Stein as a scam artist and to (more subtly) suggest to the general reading public that experimental writing is a pastime for conservative dilletantes. I've never dug deep enough into Stein's biography to know whether she loathed FDR as Malcolm claims - but I do know that she revered William James, one of the greatest liberal/progressive/egalitarian thinkers ever (Malcolm erases this history by quoting an anecdote about a test in James's class out of context, implying that Stein was some kind of proto-hippie-slacker whom James was patronizing - this I can say with absolute certainty is total bullshit. No writer has ever understood the aesthetic implications of The Principles of Psychology like Stein did - James, for his part, praised Three Lives effusively). Again, I think what I'm reacting to in Malcolm is her profound intellectual dishonesty, her total lack of interest in seeing nuance in such a complex writer and person. -m. Quoting David Hadbawnik : > Mike > > I was reading the article this morning over > breakfast -- between surfing for good cartoons and > gagging over the atrocious poetry -- and I have to > say it didn't raise my hackles as it seems to have > done yours. In fact I broke out laughing in > delight while reading out loud the bits of Stein > they'd printed -- perhaps the opposite effect it > was intended to have in this context? > > I'm not done with the article, so maybe it hasn't > hit me yet. I did read the part about the > "oozing," and it struck me as the typical > middle-brow skepticism that seems to surround the > act of serious writing. Stein DID say after all > that a half an hour of writing was plenty for her, > but that was after YEARS of famously staying up > all night to work on writing then sleeping till > noon. Nowhere does Malcolm acknowledge this fact, > nor how on earth a work as immense as "The Making > of Americans" could have been done on 30 minutes a > day of writing -- er, excuse me, "oozing" out > text. > > Frankly I'm not terribly interested in whether > Stein voted Republican or Democrat, and I > certainly don't want to encourage a thread on this > note. But I noticed that you didn't mention the > "outing" in your actual letter -- is that because > it's more of a contextual argument, or are there > factual errors here? > > DH ========================================================================= Date: Mon, 2 Jun 2003 09:33:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Bush, Chirac move to heel Iraq rift Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit a UPI headline a typo or true sentiment? ========================================================================= Date: Mon, 2 Jun 2003 10:46:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Bush, Chirac move to heel Iraq rift In-Reply-To: <3EC01061-9507-11D7-B2D1-000393ABDF48@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { a UPI headline { { a typo or true sentiment? What UPI meant was "Bush, Chirac move to keelhaul Iraq." Hal "I know what I believe. I will continue to articulate what I believe and what I believe --I believe what I believe is right." --George W. Bush, in Rome, July 22, 2001 Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Mon, 2 Jun 2003 10:51:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: New Contact Info Comments: To: core-l@listserv.buffalo.edu, ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Mike Kelleher 285 Dearborn St. Buffalo, NY 14207 716.877.5979 email is the same ========================================================================= Date: Mon, 2 Jun 2003 10:54:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Reject Nobel Peace Prize for Blair & Bush Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear Friends, I have just read and signed the petition: "Reject Nomination of Bush and Blair for Nobel Prize" We are trying to reach 75000 signatures, and we need YOUR HELP! Thought you've seen it all? Bush and Blair now nominated for the Nobel Prize! Reject this nomination by signing this petition. Thanks for your help in advance! It takes 30 seconds and will really help. Please follow this link: http://www.thepetitionsite.com/takeaction/302184339 Once you have signed, help even more, by telling your friends and family to sign as well! Thank you! Pierre Joris (joris@albany.edu) Total Signatures: 64,518 The most recent signatures* as of 7:35 AM PDT Jun 02, 2003 ___________________________________________________________ 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, 2 Jun 2003 08:34:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: the selling of Matthew Barney In-Reply-To: <20030602062905.92341.qmail@web40808.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Yes, Patrick, I think you are right to question the seduction of the material surfaces in Barney's work - especially the ravishment of the western landscape that is maybe similar to Leni Riefenstahl=A0's mountains. Today I actually met a woman art critic/historian who is doing a piece on Barney's work in relationship to "30's Germany and fascist aesthetics" and the Riefenstahl was her comparison converging with her complaint that the reviewers of Barney's Gugenheim show had been been seduced by its beauty an= d had not gone below to examine the implications. "No one wants to talk about narrative and risk an interpretation." (Barney least of all) This work - in my opinion - is clearly not moved by a politics of liberatio= n on any apparent level (Jeffrey Jullich kind of confirms that in his very interesting Barney encounter post of today. One would be hard pushed - for example - to find a feminist presence in the work. Fraternity among men - let alone a larger social bonding in any progressive democratic/humanist sense - is a "non-starter" (as Ari Fleischer and Co like to repeat). No Brecht is about to enter this picture. At the same time the work is deeply implanted inside and violently writhing/wrestling - and sometimes petrified - within the national zeitgeist - which I think accounts for par= t of its public arrest and attention. (In a moment of highly polished theater, President Bush arrives by jet on the aircraft carrier all dressed up- picture perfect - in a young man's flight suit, while in Quantanamo, Msrs. Ashcroft & Rumsfeld are operating a little no exit cruelty pit for th= e alien accused.) Edgar Allan Poe is much more operative here than say the transcendental Emerson. If I can risk this, Barney's is an aesthetics of kinesthesia - it's led and imaginatively conducted by materials that are seductive and counter-seductive (brutal). These films are metamorphic sculptures. I guess my gratitude and/or admiration is that he's willing to take on and let this kinesthetic explore major icons within the national culture and to give the= m a transparent visual shape, no matter how cruel the inner-workings. He's pulling up the curtains wherever he moves. It's the exposure, the tension o= f the exposure that is embracing and done so with a frequently taunting beauty. Ultimately, however, what appears to be a pretty picture, is not a pretty picture at all. You might not have liked the symbolic implications of the Chrysler Imperial in 1966, but it was a hauntingly impressive, beautiful car. Stephen Vincent P.S. Barney - a Wyoming native - makes me remember that it the State that's recently given us both the late Matthew Sheapard and the very living Dick Cheney, both western icons that now go to the core of the violence under those great mountains and skies - as well as now a much larger internationa= l frame.=20 =20 on 6/1/03 10:18 PM, Patrick Herron at patrick@PROXIMATE.ORG wrote: > Hi Stephen - >=20 > Just quickly, I want to make clear why I try to separate Barney's *intent= * > from Barney's *work.* I see the work as participating in the Hugo Boss > world, dressed in tall black leather military boots, and clearly, > indisputably, it does. The Guggenheim, after all, overlooks Central Park= on > Fifth Avenue. I've previously described Hugo Boss' role in the cashmoney > world. Now Barney himself said at one point that he intended to show tha= t > the architecure is evil: Barney in a recent interview claims he was > fascinated and compelled in part by the blood running down the bare > lightbulb in Evil Dead II. To him the image said the architecure itself > could be evil. So maybe Barney wanted to show the architecture of the > Machine is evil. I think the work ultimately shows that the evil is sexy= , > sexier than I ever imagined it. >=20 > There's that sexual repression we've both described, and somehow that > repression is delivered by Barney as something sublime and beautiful, > including its horror. I consider that to add to such repression's > glorification, whether or not Barney intended it. Cruelty indeed keeps > coming up all over the work. And it is very pretty, and we are enticed t= o > look closer, come under its gaze more and more. >=20 > I did not read your response yet in full but I will and will respond more > fairly. In the meantime, I'm beginning to wonder about the work of Barne= y > with respect to Debord's Society of the Spectacle. >=20 > Thanks again Stephen, this thread is marvelous. >=20 > P > ========================================================================= Date: Mon, 2 Jun 2003 08:48:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Stein in the NYer In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Wow! At 12:56 PM 5/30/2003 -0700, you wrote: >The only magazine that runs more atrocious poetry than the New Yorker >(discounting Ashbery and a few anomalous pieces that slip in) is The Nation. >Granted they often have decent book reviews, but the poems are >embarassing--this is what the politically progressive and radical readership >has to eat as poetry. There should be dietary laws.... > >Gloria Frym > > >On Fri, 30 May 2003 13:18:19 -0400 > Steven Shoemaker wrote: >>I agree with what you say here. When I was in college I used to get the >>NYer just for the amazing Pauline Kael film reviews. Then after she left, >>and as I got deeper into poetry, I boycotted the mag for years on >>principle. A few years a ago a good subscription deal, along with a move >>to a city, brought me back, and now I'm a regular reader, even tho the mag >>often infuriates me. What's really astounding, as you suggest, is that >>some of the political and cultural writing in the mag is quite good >>(Hersch is especially astute on politics), and even some of the fiction is >>strong, while the poetry editing remains absolutely, unbelievably >>atrocious. So yes, there have to be some intelligent readers of the mag >>to whom one might be able to speak with an informed letter (or whole bunch >>of >>letters) on the subject of poetry. If this happened often enough, maybe >>they'd figure out they were doing something wrong... >>Steve >>On Fri, 30 May 2003 mmagee@DEPT.ENGLISH.UPENN.EDU wrote: >> >>>Bob, For my money Alice Quinn is the worst poetry editor on the planet -- >>>she >>>chooses absolutely atrocious poems, and the situation is only made worse by >>>the >>>fact that she'll occasionally let a big name poet like Ashbery slide through >>>(which I don't hold against Ashbery incidentally - why not have the NYer's >>>readers read him instead of some crappy poem by Pinsky et al, whatever the >>>bad >>>editorial intentions). I myself am not so smug about the NYer as a whole. >>>I >>>think its a halfway decent mag with many intelligent readers -- some of >>>their >>>writers (Seymour Hirsch, Schjeldahl, Anthony Lane, Jon Lee Anderson come to >>>mind) are pretty damn good. So why not try to let the readership know that >>>they shouldn't take Malcolm's word on Stein? Language is a site of social >>>contestation. I'm not content to preach to my little choir of good poetry >>>lovers. I suppose my experience teaching Stein plays into this -- students >>>who >>>have never been exposed to anything like Stein sometimes end up loving her >>>and >>>when this happens they walk away with a very different relationship to their >>>own language. Much more so than Malcolm's blunt critique of Stein's >>>supposed >>>fascist sympathies, I was put off by her disdain for the writing -- which >>>she >>>reads as a simple attention-grab by the simple-minded overconfident baby in >>>the >>>bourgeois family. Why should those NYer readers unfamiliar with Stein not >>>be >>>informed that their getting a stupid, narrow-minded portrait here? Stein >>>herself treated poetry as action and my writing to the NYer was done in that >>>spirit. >>> >>>-m. >>> >>> >>> >>>Quoting Bob Grumman : >>> >>> > But, Mike, why on earth should anyone care what the >>> > New Yorker has to say about poetry? When was the last >>> > time it published any poetry or criticism on any >>> > poetry by a living author that uses techniques not in >>> > wide use by 1978 at the very latest? >>> > >>> > --Bob G. >>> > >>> > --- mmagee@DEPT.ENGLISH.UPENN.EDU wrote: >>> > > Hi all, I'm pasting below a leter to the editor I >>> > > just sent to the New Yorker >>> > > regarding Janet Malcolm's insipid piece on Gertrude >>> > > Stein. The "outing" of >>> > > Stein as a fascist sympathizer dispenses with all >>> > > historical and personal >>> > > nuance (what must she think of Pound?!) and the >>> > > discussion of Stein's writing >>> > > is completely idiotic. I try to be a bit more >>> > > politic in the letter itself but >>> > > that's the upshot. If anyone else was as annoyed as >>> > > I was reading this (I >>> > > could barely get through the damn thing) I'd >>> > > encourage you to send your own >>> > > letter to themail@newyorker.com. If enough people >>> > > send they'll have to print >>> > > at least one I'd imagine. Suddenly Alice Quinn's >>> > > incomprehensible tenure as >>> > > Poetry Editor is starting to make more sense! -m. >>> > > >>> > > **************** >>> > > Dear Editor, >>> > > >>> > > Whatever useful biographical information is >>> > > contained in Janet Malcolm?s >>> > > "Gertrude Stein?s War" (June 2nd) is marred by her >>> > > bizarrely vindictive tone >>> > > and transparent dislike for Stein?s writing. >>> > > Malcolm describes Stein as simply >>> > > "oozing" the thousands of pages she produced over a >>> > > lifetime, relying on a >>> > > classic misogynist stereotype regarding women >>> > > writers (Hawthorne chose the word >>> > > "scribbling"). William Carlos Williams and Ralph >>> > > Ellison considered her work >>> > > brilliant, as do a host of vital contemporary >>> > > American poets including Susan >>> > > Howe, John Ashbery, Robert Creeley and Harryette >>> > > Mullen. Malcolm simply lumps >>> > > all who appreciate Stein?s writing under the heading >>> > > "new Stein critics," the >>> > > better to dismiss them summarily. Surely the New >>> > > Yorker?s readers deserve >>> > > better than the facile innuendo and >>> > > pop-psychologizing that mark this article?s >>> > > every page. Malcolm calls "the arrogant desire to >>> > > impose a narrative on the >>> > > stray bits and pieces of a life" a "crucial >>> > > biographer?s trait." Well, Malcolm >>> > > certainly has this trait in spades. >>> > > >>> > > Sincerely, >>> > > >>> > > Michael Magee >>> > > Rhode Island School of Design >>> > > Providence, RI >>> > >>> > >>> > __________________________________ >>> > Do you Yahoo!? >>> > Yahoo! Calendar - Free online calendar with sync to Outlook(TM). >>> > http://calendar.yahoo.com >>> > >> >> >> >> >>------------------------------------------------------------------------------- >>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, 2 Jun 2003 19:06:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jukka-Pekka Kervinen Subject: xStream #11 online Mime-Version: 1.0 Content-Type: text/plain; charset=unknown-8bit Content-Disposition: inline Content-Transfer-Encoding: 8bit xStream -- Issue #11 xStream Issue #11 is online, now in two parts: 1. Regular: Works from 7 poets (Michael Farrell, Vernon Frazer, Jason Earls, Jonathan Hayes, Amy Trussell, Halvard Johnson and Andrew Topel) 2. Autoissue: Poems generated by computer from Issue #11 texts, the whole autoissue is generated in "real-time", every refresh. 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: Mon, 2 Jun 2003 09:19:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a stranger in bedroom-set land In-Reply-To: <20030603020604.GD732@xpressed.org> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit a stranger in bedroom-set land random scratches escape questions of loyalty or sometimes not however, the weights pry national dead ink sins in exceptional deviant legality in bedroom set land a stranger endangered in species land looks like holocaust almost real painful in motion steel amnesia out of laboratory smiles to personal waterloo s later day saint embroidery unintentional blood sins brings us smiles limp conventional smodering in yollowish msionay vessals on the edge of erosions windows ========================================================================= Date: Mon, 2 Jun 2003 11:39:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: contact info Barbara Barg Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Anybody got contact info for Barbara Barg? ========================================================================= Date: Mon, 2 Jun 2003 09:53:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Max Winter Subject: Re: Stein in the NY'er MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm not entirely sure that's what happened in this piece. It seemed to me that the point of greatest concern (for Malcolm and for the scholars highlighted here) was Stein's friendship with a known Nazi collaborator, who provided for Stein and Toklas during the occupation years. While Malcolm did register incomprehension at Stein's work, she also acknowledged (in what seemed to be a pointed fashion, designed to counterbalance her moments of incomprehension) how remarkable Stein's work was. In fact, she often quoted Stein in a semi-worshipful way. The episode in class that you mention seemed--again, to me--to be an example of Anne Carson-esque arbitrariness, and not an example of hippie slackerdom. While Malcolm's work often has venom in it, the emphasis here seemed to be on the story itself, rather than ad hominem indictment of Stein. Or of experimental writing. But maybe I should check my subscription--it could be they left the juicy parts out of my copy... >Hi again, my response to David was rejected the other day cuz I'd reached me >limit, and I haven't had a chance to resend, here it is: >David, I'll be curious to know whether you change your mind by the end of the >article - to me the overall effect was to ridicule Stein as a scam artist and >to (more subtly) suggest to the general reading public that experimental >writing is a pastime for conservative dilletantes. I've never dug deep enough >into Stein's biography to know whether she loathed FDR as Malcolm claims - but >I do know that she revered William James, one of the greatest >liberal/progressive/egalitarian thinkers ever (Malcolm erases this history by >quoting an anecdote about a test in James's class out of context, implying that >Stein was some kind of proto-hippie-slacker whom James was patronizing - this I >can say with absolute certainty is total bullshit. No writer has ever >understood the aesthetic implications of The Principles of Psychology like >Stein did - James, for his part, praised Three Lives effusively). Again, I >think what I'm reacting to in Malcolm is her profound intellectual dishonesty, >her total lack of interest in seeing nuance in such a complex writer and >person. >-m. Quoting David Hadbawnik : > Mike > > I was reading the article this morning over > breakfast -- between surfing for good cartoons and > gagging over the atrocious poetry -- and I have to > say it didn't raise my hackles as it seems to have > done yours. In fact I broke out laughing in > delight while reading out loud the bits of Stein > they'd printed -- perhaps the opposite effect it > was intended to have in this context? > > I'm not done with the article, so maybe it hasn't > hit me yet. I did read the part about the > "oozing," and it struck me as the typical > middle-brow skepticism that seems to surround the > act of serious writing. Stein DID say after all > that a half an hour of writing was plenty for her, > but that was after YEARS of famously staying up > all night to work on writing then sleeping till > noon. Nowhere does Malcolm acknowledge this fact, > nor how on earth a work as immense as "The Making > of Americans" could have been done on 30 minutes a > day of writing -- er, excuse me, "oozing" out > text. > > Frankly I'm not terribly interested in whether > Stein voted Republican or Democrat, and I > certainly don't want to encourage a thread on this > note. But I noticed that you didn't mention the > "outing" in your actual letter -- is that because > it's more of a contextual argument, or are there > factual errors here? > > DH __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Mon, 2 Jun 2003 13:01:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: virus warning Comments: cc: Kalamu@aol.com MIME-Version: 1.0 Content-Type: text/plain This morning I received three virus-laden email messages with attachments pretending to be some message about an application. I also received two emails from the server at U of Vermont telling me that messages sent from my address to it contained a virus. I have sent no attachments to anyone -- My own computers check out clear, so I can only assume that my univerity's server is somehow being used to send out the virus looking like it comes from my address -- Bottom line, don't open any attachment from me (or anybody else if you're smart!) unless you confrim that I have sent you one -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 2 Jun 2003 10:25:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Dispoersion In-Reply-To: <200306010404.h5144RI19333@ida.host4u.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Date: Sat, 31 May 2003 00:01:45 -0400 > From: Alan Sondheim > Subject: Re: dispersion > > Re: Jim Andrews - > > > > > As far as peripherality is concerned, I think at least for myself, my work > > > is central; I wouldn't be able to proceed without believing that. I think > > > that is also true for a lot of writers. But I do feel as if technology and > > > technological dispersion is going to swamp what passes for 'art' and for > > > 'artworks,' no matter how advanced; > > > > let's slow down a bit, if we may, please, Alan. What is "technological > > dispersion", or what are some of the primary factors in it? And in what > > sense would they then "swamp what passes for 'art'"? > > Technological Dispersion - dispersing technologies like wireless PDA, > cellphone, etc. People make their audiences as they go along; think of all > the webcams out there for example. I see this networking - AIM etc. as > well - as producing free-flowing literatures, videos, interactivities, far > removed from artists. I heard an interesting story about a use of webcams. A journalist by the name of Rex Sorgath had, by chance, set up some webcams in the town he lived in. Then a flood happened in his town. And the flood set off fires. So the press could not cover the conflagration because the town became inaccessible to outsiders owing to this combination of fire and water. But Sorgath was able to cover the story via his webcams set up on rooftops. I believe he won a pulitzer for his coverage of this story. I saw Sorgath, quite a bit later (after the flood), demonstrate some more interesting use of webcam tech. He did some programming using the Flash Communications Server. You'd connect to his web page. And if you had a webcam, you could make it so that your video image was displayed on the web page. Along with up to four other people who also had webcams and were also connected to this page. And you could talk with them. And control their webcams, ie, scan around their place. Kind of wacky public video conferencing. Public since anyone who connected to the webpage, even if they didn't have a webcam, could see the five video images as long as they had the flash plugin, and could hear the audio, if i recall correctly. But it takes a weirdo like Rex Sorgath to open one's eyes to the possibilities. In short, it pretty much takes an artist. Though our notion of what an artist is is, uh, well, changing. Like Apollinaire said back in 1917, "The divine games of life and imagination give free rein |to a totally new poetic activity. {size=36} {enter=zoomOut} {pause=1} |The poet is he who discovers new joys\n even if they are hard to bear. {enter=wipeLeft} |One can be a poet in any field: {enter=fade} {exit=none} |it is enough that one be adventuresome {enter=none} {exit=none} |and pursue any new discovery.... {enter=none}" When I met Sorgath, this was among journalists (except for me and Sue Johnson). The question of 'who/what is a journalist?' came up several times during this event. Just like the question of 'what is an artist?' comes up in similar situations. As you point out, technological dispersion provides those who have the tech with the opp for audience. Most of the boring webcam work we see does, i suppose, "swamp" the more exciting uses. But, uh, Sorgath was flood fire and water compared with swamp. He was experimenting in his usually pretty adventurous way when he lucked out. Like they say, gotta be good to be lucky, for the most part. And most of the web pages one sees swamp the more interesting ones. same with print poetry. what's journalism and what's a journalist, what's poetry and what's a poet...these are all (happily) quite subject to the vicisitudes of technological/media/art dispersion--and audience dispersion, as you rightly point out. Another example of this blurring. http://cbchomedelivery.com is quite interesting as 'narrative'. Check out the 'murder in the neighbourhood' piece, for instance. This is a relatively ambitious project by the Canadian Broadcasting Corporation. Compare this piece as 'narrative' with other attempts at narrative on the web. It fares pretty well in the comparison. Or check out http://www.donniedarko.com concerning 'narrative'. This is a Web site based on a movie. The notion of storytelling cuts across media, arts, journalism... > Rheingold believes for better or worse that > these technologies will outpace the Net, just as the Net has outpaced > print. I tend to agree with him. I did a lot of in-town CB radio > monitoring and analysis in the 80s, seeing new forms of communication > appear that had nothing to do with language as we know it, for example > repetitive signoffs that would run for 10-15 minutes. I'm looking forward to being able to open a cell phone and have an interactive (300 dpi) holographic space emerge from it the size of a monitor (cubed). Like the message involving Princess Leah in the first Star Wars movie. Zoom to reach the ceiling. Even still, it's the metaphysical space that one creates (rather than the physical space), whether in print or hologram, isn't it. for me, anyway. > > So is the fate of Usenet an example of a more general type of fate > > posited by Rheingold for public network technologies? Usenet is still > > used, and in some ways is superior to email lists ('get next 100 > > messages', for example, is something you can do with a Usenet client), > > but it certainly isn't as widely used as it used to be. i suppose that > > the spamming of the Usenet lists was a big factor here. Also, the > > delivery mechanism is initiated when you connect to the group, rather > > than the automatic delivery that happens with email lists. And the > > Usenet groups are carried (or not) like 'channels' by one's Internet > > Service Provider whereas there is no such involvement of the ISP in the > > email lists to which one subscribes. > > Of course I agree with you here. I wasn't thinking of Rheingold - I'm not > sure he goes into this. But it's something I've noticed repeatedly; it > began with the phone and, for example, anti-phone-spam laws in some states > like New York. > > > It seems that when we look at the growth of particular email lists, we > > see them proceeding with some focus and concentration at first and then > > they blur into a kind of 'dispersion' through sheer diversity of the > > interests of those on the list. Into a wide range of announcements > > (distribution)...people begin to talk at one another rather than with > > one another. To the point where it loses its function as a publication > > and becomes more like a huge bulletin board. > > It highly depends on the list. Cybermind has remained a community, even > with several posters 'issuing' daily. No one talks at each other there. > I'd say the same for imitationpoetics. There is a 'natural history' of > lists posts that has been going around since the early 90s - I think it > still holds. Lists are incredibly fluid, and their behavior depends on > topic, moderation, community, list crises, governance back-channel and > on-list, etc. Sometimes "community" means "me and my little clique". And "the community is" means "me and my cronies want". > > > Sorry for the meandering. I do think that in the long run, distribution > > > and dispersion will becoming increasingly of import - and in a very > > > un-McLuhanesque way. > > > > Un-McLuhanesque in what way? > > > Because it won't be the characteristics of the dispersion, but the > characteristics of the residue, in part determined by community, that will > create the quality and content of what's being distributed/dispersed. I think there's quite a bit of misunderstanding of McLuhan. I wonder how many people actually have read him and thought about what he said. Don't know if you've ever checked out http://vispo.com/writings/essays/mcluhana.htm . This is an essay I wrote about some of McLuhan's basic ideas. I don't think the phenomenon you're pointing out is well-described as "un-McLuhanesque". McLuhan attempted not so much a history of western technology as a history of the noetic (or cognitive) and sensorial (affective) changes brought about in the individual via technology. Always before us in his work is an image of the individual human being. He wasn't satisfied with trying to explore the ways in which technology determines culture but, instead, urges us to examine ourselves and others for the signs of change within us. He wasn't interested in the history of technology but in the history of people modified by technology. He was interested in the ways that technology mediates relations between people and changes individual's world views and nervous systems. In that sense, his work was humanistic. There's a common misunderstanding that McLuhan believed that "the medium is the message". McLuhan's famous remark that "The medium is the message" is typical of his overstatements. I interpret the rhetorical intent of the slogan as an attempt to correct an imbalance. If there's a great weight on a fulcrum and you want to displace the dead weight toward the centre, you must apply considerable force from the extreme end. It was McLuhan's misfortune to have been successful enough to displace the rock onto the top of his head. ja ========================================================================= Date: Mon, 2 Jun 2003 13:28:25 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Halifax zine fair etc. *HALIFAX ZINE FAIR!* Come on out to the Halifax Zine Fair, Saturday June 21st, 2003 from 12 to 6pm at the Khyber Turret. Artists and distributors will be exhibiting zines, comics, artists' books, chapbooks, art multiples, and various other DIY fare. Admission is free. To book table space or for more information, contact Patti Kim at (902) 429-1424 or fhabzine@interlog.com. See you there! -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Mon, 2 Jun 2003 11:14:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: PINK MIRACLE In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit PINK MIRACLE CA 26 OVER Span 32 xx > 0 1 0 1 0 0 0 0 1 0 1 0 1 1 1 1 0 1 0 1 0 0 0 0 1 0 1 0 1 1 1 1 This uses a cellular automaton to generate the selection of words from the database corpus of WW's When Lilac's. . . The piece ends at the point where the CA begins to repeat itself exactly. http://www.aroseisaroseisarose.com/PinkMx.html mwp ========================================================================= Date: Mon, 2 Jun 2003 14:45:22 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Lewis Subject: Re: New Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks for the update Mike, I guess this means that you've moved! Congralations. Let me know if you are interested in any plantings. I have baby lavender, columbine, several sunnyish ground covers to choose from, black-eyed susans, i think an extra yucca, several varieties of grasses etc. etc. You'd just have to bring potting soil with you, and maybe some pots, although I do have some extra plastic pots around for transfer. Wishing for warmth, Karen ========================================================================= Date: Mon, 2 Jun 2003 14:52:49 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Lewis Subject: Re: New Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ooops, I didn't notice that was poetics mail! apologies to all for posting ========================================================================= Date: Mon, 2 Jun 2003 15:26:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Stein in the NY'er Comments: To: Max Winter In-Reply-To: <20030602165349.2636.qmail@web13208.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Max, I guess we just disagree on this, and I don't know whether I could sway you or you me on the question of Malcolm's intentions. My reading of it (and I've just read it again to confirm) goes something like this: 1) she believes that Stein's writing involved no genuine intellectual activity or effort, indeed barely any cognition at all - "Stein didn't even type her work; she just oozed into her notebooks and Toklas did the rest." 2) She fails to quote ANY of the numerous examples or opinions which run counter to her narratives regarding Stein's writing and politics (e.g., the real details of her involvement w/ William James, the high opinions of her work by authors her New Yorker readers would recognize and admire; feminist and queer readings of the books) except in the case of Dydo who acts as her straw man, having "a tart manner that struggles with, and is defeated by, a deep underlying softheartedness." Wha??? Who the fuck writes like this? 3)She has a DEEPLY annoying habit of making enormous generalizations as if the consent of her readers was not at all in question: "Anti-semites, as is well known, often actually have best friends who are Jews" [Oh yeah? I often actually have to disagree...]; "It is generally agreed that, without Alice Toklas, Stein might not have had the will to go on writing what for many years almost no one had any interest in reading" [almost no one except half the 20th century writers in the Norton anthologies she no doubt reveres; and of course it goes without saying that someone who wrote thousands of pages of experimental writing would have simply written NONE of it without the back-patting and house tending of her companion. I wonder whether Malcolm would say the same of the dozens, hundreds, of 20th c. male writers who never lifted a finger except to pick up a pen?]; 4) the pop-psychologizing of her childhood, her relationship with Leo, and how all this is the key to reading her work, including books like Tender Buttons - well, it's just un-fucking-bearable. Truth be told, I think Malcolm is a run-of-the-mill dope and don't know why I'm spending so much time on this except that Stein herself deserves it. -m. Quoting Max Winter : > I'm not entirely sure that's what happened in this piece. It seemed to me > that the > point of greatest concern (for Malcolm and for the scholars highlighted here) > was > Stein's friendship with a known Nazi collaborator, who provided for Stein and > Toklas > during the occupation years. While Malcolm did register incomprehension at > Stein's > work, she also acknowledged (in what seemed to be a pointed fashion, designed > to > counterbalance her moments of incomprehension) how remarkable Stein's work > was. In > fact, she often quoted Stein in a semi-worshipful way. The episode in class > that you > mention seemed--again, to me--to be an example of Anne Carson-esque > arbitrariness, > and not an example of hippie slackerdom. While Malcolm's work often has venom > in it, > the emphasis here seemed to be on the story itself, rather than ad hominem > indictment of Stein. Or of experimental writing. But maybe I should check my > subscription--it could be they left the juicy parts out of my copy... > > > >Hi again, my response to David was rejected the other day cuz I'd reached > me > >limit, and I haven't had a chance to resend, here it is: > > > >David, I'll be curious to know whether you change your mind by the end of > the > >article - to me the overall effect was to ridicule Stein as a scam artist > and > >to (more subtly) suggest to the general reading public that experimental > >writing is a pastime for conservative dilletantes. I've never dug deep > enough > >into Stein's biography to know whether she loathed FDR as Malcolm claims - > but > >I do know that she revered William James, one of the greatest > >liberal/progressive/egalitarian thinkers ever (Malcolm erases this history > by > >quoting an anecdote about a test in James's class out of context, implying > that > >Stein was some kind of proto-hippie-slacker whom James was patronizing - > this I > >can say with absolute certainty is total bullshit. No writer has ever > >understood the aesthetic implications of The Principles of Psychology like > >Stein did - James, for his part, praised Three Lives effusively). Again, I > >think what I'm reacting to in Malcolm is her profound intellectual > dishonesty, > >her total lack of interest in seeing nuance in such a complex writer and > >person. > > > >-m. > > > Quoting David Hadbawnik : > > > > Mike > > > > I was reading the article this morning over > > breakfast -- between surfing for good cartoons and > > gagging over the atrocious poetry -- and I have to > > say it didn't raise my hackles as it seems to have > > done yours. In fact I broke out laughing in > > delight while reading out loud the bits of Stein > > they'd printed -- perhaps the opposite effect it > > was intended to have in this context? > > > > I'm not done with the article, so maybe it hasn't > > hit me yet. I did read the part about the > > "oozing," and it struck me as the typical > > middle-brow skepticism that seems to surround the > > act of serious writing. Stein DID say after all > > that a half an hour of writing was plenty for her, > > but that was after YEARS of famously staying up > > all night to work on writing then sleeping till > > noon. Nowhere does Malcolm acknowledge this fact, > > nor how on earth a work as immense as "The Making > > of Americans" could have been done on 30 minutes a > > day of writing -- er, excuse me, "oozing" out > > text. > > > > Frankly I'm not terribly interested in whether > > Stein voted Republican or Democrat, and I > > certainly don't want to encourage a thread on this > > note. But I noticed that you didn't mention the > > "outing" in your actual letter -- is that because > > it's more of a contextual argument, or are there > > factual errors here? > > > > DH > > > __________________________________ > Do you Yahoo!? > Yahoo! Calendar - Free online calendar with sync to Outlook(TM). > http://calendar.yahoo.com > ========================================================================= Date: Mon, 2 Jun 2003 13:07:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Max Winter Subject: Re: Stein in the NY'er In-Reply-To: <1054582013.3edba4fd9f2d2@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii It's a biographical piece, not a critical one. I took the criticism she offered of the work itself with a grain of salt--which wasn't hard to do, given that a large portion of the article was devoted to the demonization of Toklas for "making" Stein change "may" to "will" in one poem to avoid a reference to one of Stein's early loves; to the suspicious friendship I mentioned before; to descriptions of conversations with her scholars; and to stories of Toklas and Stein's real estate misadventures. Malcolm has an ongoing interest in the way that a person's personality may interfere with, or undercut, or give the lie to, that person's "life pursuit" -- see In the Freud Archives, whose slow (but honest) roasting of Jeffrey Moussaieff Masson earned her a seven-year lawsuit, or The Psychiatrist and the Murderer, or portions of her recent Reading Chekhov, for examples. This seemed to be just an expansion of that interest. She's not predominantly a literary critic, nor does she pretend to be one--nor would it be appropriate for her to do so in The New Yorker, home of E.B. White, the originator of a down-to-earth, unassuming voice that has persisted from the magazine's inception, regardless of the layers that may have accumulated over it over time. That voice doesn't have the range to speak about Stein's more difficult, complex work, nor should it be expected to--the magazine can only be *so* long. Your expectations may have been a little misplaced here... Max --- mmagee@dept.english.upenn.edu wrote: > Max, I guess we just disagree on this, and I don't know whether I could sway > you or you me on the question of Malcolm's intentions. My reading of it (and > I've just read it again to confirm) goes something like this: 1) she believes > that Stein's writing involved no genuine intellectual activity or effort, > indeed barely any cognition at all - "Stein didn't even type her work; she just > oozed into her notebooks and Toklas did the rest." 2) She fails to quote ANY of > the numerous examples or opinions which run counter to her narratives regarding > Stein's writing and politics (e.g., the real details of her involvement w/ > William James, the high opinions of her work by authors her New Yorker readers > would recognize and admire; feminist and queer readings of the books) except in > the case of Dydo who acts as her straw man, having "a tart manner that > struggles with, and is defeated by, a deep underlying softheartedness." Wha??? > Who the fuck writes like this? 3)She has a DEEPLY annoying habit of making > enormous generalizations as if the consent of her readers was not at all in > question: "Anti-semites, as is well known, often actually have best friends who > are Jews" [Oh yeah? I often actually have to disagree...]; "It is generally > agreed that, without Alice Toklas, Stein might not have had the will to go on > writing what for many years almost no one had any interest in reading" [almost > no one except half the 20th century writers in the Norton anthologies she no > doubt reveres; and of course it goes without saying that someone who wrote > thousands of pages of experimental writing would have simply written NONE of it > without the back-patting and house tending of her companion. I wonder whether > Malcolm would say the same of the dozens, hundreds, of 20th c. male writers who > never lifted a finger except to pick up a pen?]; 4) the pop-psychologizing of > her childhood, her relationship with Leo, and how all this is the key to > reading her work, including books like Tender Buttons - well, it's just > un-fucking-bearable. > > Truth be told, I think Malcolm is a run-of-the-mill dope and don't know why > I'm spending so much time on this except that Stein herself deserves it. > > -m. > > Quoting Max Winter : > > > I'm not entirely sure that's what happened in this piece. It seemed to me > > that the > > point of greatest concern (for Malcolm and for the scholars highlighted here) > > was > > Stein's friendship with a known Nazi collaborator, who provided for Stein and > > Toklas > > during the occupation years. While Malcolm did register incomprehension at > > Stein's > > work, she also acknowledged (in what seemed to be a pointed fashion, designed > > to > > counterbalance her moments of incomprehension) how remarkable Stein's work > > was. In > > fact, she often quoted Stein in a semi-worshipful way. The episode in class > > that you > > mention seemed--again, to me--to be an example of Anne Carson-esque > > arbitrariness, > > and not an example of hippie slackerdom. While Malcolm's work often has venom > > in it, > > the emphasis here seemed to be on the story itself, rather than ad hominem > > indictment of Stein. Or of experimental writing. But maybe I should check my > > subscription--it could be they left the juicy parts out of my copy... > > > > > > >Hi again, my response to David was rejected the other day cuz I'd reached > > me > > >limit, and I haven't had a chance to resend, here it is: > > > > > > >David, I'll be curious to know whether you change your mind by the end of > > the > > >article - to me the overall effect was to ridicule Stein as a scam artist > > and > > >to (more subtly) suggest to the general reading public that experimental > > >writing is a pastime for conservative dilletantes. I've never dug deep > > enough > > >into Stein's biography to know whether she loathed FDR as Malcolm claims - > > but > > >I do know that she revered William James, one of the greatest > > >liberal/progressive/egalitarian thinkers ever (Malcolm erases this history > > by > > >quoting an anecdote about a test in James's class out of context, implying > > that > > >Stein was some kind of proto-hippie-slacker whom James was patronizing - > > this I > > >can say with absolute certainty is total bullshit. No writer has ever > > >understood the aesthetic implications of The Principles of Psychology like > > >Stein did - James, for his part, praised Three Lives effusively). Again, I > > >think what I'm reacting to in Malcolm is her profound intellectual > > dishonesty, > > >her total lack of interest in seeing nuance in such a complex writer and > > >person. > > > > > > >-m. > > > > > > Quoting David Hadbawnik : > > > > > > > Mike > > > > > > I was reading the article this morning over > > > breakfast -- between surfing for good cartoons and > > > gagging over the atrocious poetry -- and I have to > > > say it didn't raise my hackles as it seems to have > > > done yours. In fact I broke out laughing in > > > delight while reading out loud the bits of Stein > > > they'd printed -- perhaps the opposite effect it > > > was intended to have in this context? > > > > > > I'm not done with the article, so maybe it hasn't > > > hit me yet. I did read the part about the > > > "oozing," and it struck me as the typical > > > middle-brow skepticism that seems to surround the > > > act of serious writing. Stein DID say after all > > > that a half an hour of writing was plenty for her, > > > but that was after YEARS of famously staying up > > > all night to work on writing then sleeping till > > > noon. Nowhere does Malcolm acknowledge this fact, > > > nor how on earth a work as immense as "The Making > > > of Americans" could have been done on 30 minutes a > > > day of writing -- er, excuse me, "oozing" out > > > text. > > > > > > Frankly I'm not terribly interested in whether > > > Stein voted Republican or Democrat, and I > > > certainly don't want to encourage a thread on this > > > note. But I noticed that you didn't mention the > > > "outing" in your actual letter -- is that because > > > it's more of a contextual argument, or are there > > > factual errors here? > > > > > > DH > > > > > > __________________________________ > > Do you Yahoo!? > > Yahoo! Calendar - Free online calendar with sync to Outlook(TM). > > http://calendar.yahoo.com > > > > > > > __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Mon, 2 Jun 2003 13:12:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a narrative of resistance In-Reply-To: <1054582013.3edba4fd9f2d2@webmail.sas.upenn.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable a narrative of resistance kari edwards recently I went to an =93I am a _________(fill in the blank) and = I am=20 beautiful and sexy and fine and I am ok with who I am no matter what=20 you say=94 performance. the fill in the blank in this case could be any=20= word that describes any category or any group of nouns that are a=20 category or any adjective that describes a group or category of nouns=20 that are recognizable within the repeatable patterns of situated=20 narratives, whether on a part time or full time basis. this is not a=20= judgment about the =93I am this _________(fill in the blank) and I am=20= beautiful and sexy and fine and I am ok no matter what you say,=94 club,=20= since it is a first step in seeing one=92s self other than as a formless=20= form situated in social shame. it is more a question of, if this is=20 the stopping point, does it do anything more than reinforce the =93I=94 = as=20 the ultimate achievement; where the end-game is the epiphany of late=20 capitalism; to become an all consuming self-controlling anorexic=20 life-form on automatic here to be the greatest consumer by buying one=92s=20= way into endless cycle of unexamined representations of the grand tale;=20= a maybe, a reiteration of the heroic journey, or a story with a moral? =20= I am not interested in morals, morals situate one within the state of =20= label placements and finality. as whatever said in a day in the life of=20= p. writing an article for the psycalene quarterly: =93to the funeral = ball=20 - to the bat-n-ball, hand shaken going on at the funeral ball.=94 I am not interested in situating myself or seeing = anyone situate=20 themselves in a state of subjugation, =93or a felonious definition that=20= creates a category.=94 on the other hand trying to escape from this=20 multi-labeling assembly line at the commodification factory is like a=20 fish trying to open a franchise of macdonlds . . . though this is not a=20= probability, it might as well be possible. the probable we live out of=20= has as many options as the impossible . . . . . we exist in the=20 probable of the planned out, knowing the outcome ahead of time. I want=20= to explore the possibilities hidden away in dark rooms, the unnamed and=20= unseen . . . . I want to experiment with new ways to articulate the=20 inarticulate that do not situate it in =93a larger than persephone cast=20= iron cog with teeth of cement blocks,=94 and at the same time affirm our=20= humanity while calling attention to flagrant lapses of=20 institutionalized thoughtlessness. whether we were dropped off here by=20= someone's god, or by accident there is too much suffering and=20 destruction going on for it to be always about the =93me=94 theme in=20 personal =93I=94 narratives. so then what is a narrative of resistance? what is a narrative = that=20 informs and resists at the same time? what is this miracle and how did=20= I get here? is there a stable body? can there be more than twenty=20 pronouns? words become important in the act of resistance or the = corruption of=20 words, or what you can do with them, or not. and just for the record, I=20= am a self proclaimed deviant and all that that can mean. it=92s just a=20= word right? deviant is like queer, but more so; I deviate as much as=20 possible from moral norms . . . . or social norms, right path, or a=20 proper code of conduct, proper spelling, right grammar, right way to=20 be, here to serve someone's god and country. that does not mean=20 anything goes, it is still and always about reducing suffering. basically, the way things are going now, the implementation of = the=20 social contract is not working, there is too much suffering and=20 destruction going on and I/we need to deviate from this path of=20 institutional subjugation. in a day in the life of p., p. the main=20 character is =93referred to as sometimes, something, whatever - or = both.=94=20 are we not at all times, a both or whatever sometimes? and a whatever=20 as we glide through our own positional grid, qualitatively changing=20 with each passing event. we can pick and / or choose (as much as one is=20= able) multiple categorie(s) to situate in, if we choose to pick a=20 category at all. there is also the possibility that no matter how=20 positioned we think we are in category or our choosing, an individual=20 can experience a sudden sift in one=92s postion as one subjugated by=20 another's gaze into a different category. =09 =A0=A0 this dance with a narrative of resistance started for me when I=20= =93discovered I was writing this secret diary, totally unaware of the=20 fact that I was keeping this secret diary . . . . (but) there was was=20 always this feeling I was doing something I didn=92t know I was doing.=94 = I=20 began reading books that allowed me to say, =93oh, there are others = like=20 me, and they all did similar x, y, and z things.=94 finding these=20 connections with others are important, if not critical to resistance.=20 having a language to speak ones truth is a critical tool for=20 resistance, but it does not creates an environment of resistance if one=20= stays in an identifiable category; just the opposite happens, one=20 becomes, =93I am this, I will always be this,=94 =93this is my story,=94 = and =93I=20 am going to tell my story.=94 then there is a city full of stories, and=20= television shows with everyone's story on it, all day all the time. =20 after reading numerous =93x, y, and z things books,=94 what I started = to=20 notice was, all these =93x, y, and z thing=94 books were more of the = same=20 thing, then there were more books that said the same thing from a=20 different perspective, and all these books ended up on a bookself in=20 the back of =91barrens and nobles,=92 or those bookstores with rainbow=20= flags out front... another way of looking at this is, this is a=20 country of, =93I am an island theme songs,=94 =93my story counts as = possible=20 docudramas points,=94 =93I am an island in a special ocean=94 . . . . . = we=20 can no longer afford to be islands . . . . or support the island=20 effect. artificial boundaries are foolish and create the is the first=20 step to nationalism and creation of the =91other.=92 we are a nation = that=20 thrives on islandism . . . . psychotherapy induces islandism. there is=20= a blue jean company that produces 45 different types of blue jeans, so=20= we can become one of 45 special islands . . . how many types of blue=20 jeans do we need? it becomes nothing but a celebration of =93the=20 national assembly line production quotas for the year. look at me I am=20= the newest of the new in my 1 of 45=94 what ends up happening with all these =93x, y and z=94 books, = is they=20 lead to forms of ghettoization, and marginalization. traditional=20 chronological narratives create recognizable forms. time situates form=20= within a past relative to the present, form has a category . . .=20 recognizable forms are those events that take place in progress.=20 recognizable is something repeatable enough to be seen as a noun and=20 can be situated in a category. the problem is once one zeros in on a=20 site, or a group, zeros in and calls something home, one becomes a=20 target for new markets. or is placed on one of those bookshelves in the=20= back of the store, or becomes a group locked into the DSM IVR. so=20 shifting and causing interference, not knowing where the =93I=94 is = going,=20 creating the probable out of the impossible and reinforcing resistance=20= with information jolts to the system from stagnation. you could say=20 practice =93being a campaign of personal espionage,=94 =93as was done = with=20 those who went over niagara falls in a log cabin, or when someone=20 landed in a distant field in the wrong direction.=94 what becomes=20 important is new systems, =93all split atoms should have their own zip=20= code.=94 new approaches to open new areas in life one does not even know=20= they do not know, =93write one thing that relates to each of the past 14=20= million years, in large print.=94 we need to explore the hidden possible, out of dark edges or = lost=20 words that take place in the path of personal narrative, =93like = truffles=20 on parade,=94 not the known past which situate the already situated into=20= further subjugation. shift, transform, find multi-connections and use=20= many ways of distortion to swerve out of the way of the oncoming train.=20= there are new connections where there may not have been connections.=20 seeking out multiple connections creates new systems that takes us into=20= communities where we would not normally go, and the more we can get=20 outside ourselves the more we can connect with others. =93truth=3Dmaybe.=94= all this brings back the question of how does one write = a narrative=20 of resistance of the inarticulate, in a language that situates? lean=20 towards deviation, migration, position shifting, slipping in and out of=20= focus, shifting, (that kind you do when your bored and sitting on your=20= seat to long). try to find alliances that go in the same direction by=20= a different track, corollaries that get lost in their own direction,=20 which challenge the =93find myself=94 narrative. so why do this? this is = a =20 tool for disruption, activism, acts of personal and public empowerment.=20= give back to the community, with glorious havoc and come up with new=20 possibilities. as =93p.=94 stated, =93remember - all prescribed = incidents are=20 nothing more than obligatory super rantings . . . with a sigh of relief=20= from nowhere.=94 notes: all quotes taken from: kari edwards. Iduna. OBooks, berkley, california, 2003 kari edwards. a day in the life of p., Subpress, new york, 2002 kari edwards. diary of lies, Boog Literature, new york, 2002 ========================================================================= Date: Mon, 2 Jun 2003 15:55:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: In Bed Mime-Version: 1.0 Content-Type: text/plain; format=flowed THE BEDS the tables are turned like beds. MORNINGS IN BED all kinds of things have been found in beds. BED ADVICE you may as well stop calling. the bed will not pick up the phone. A BED stuff'd with turtles' feathers, nano- mannerisms MACABRE BED was it Poe who wrote the poem about beds? Brazen Beds! BED HISTORY people have lived happy lives without beds. BED RELATIVITY everyone has a different idea of the bed. BED PENSEE Pascal wrote: "Misery arises from our inability to stay in bed." TOUR GUIDE beds play a part in many works of fine art. STAR BED if you compared the night sky to a bed, you would only be half-right A BED ABSOLUTE once a bed, always a bed. LYRIC BED a bed is the lyric at its utmost durational posture. a bed is a personal outcry submerged into the general good. THE BED bowls us over every time. PRISON BEDS even prisons have beds. an ax murderer dreams of better beds. MY BED before I came home, my bed seemed so far away. MONEY BED cut that out! beds cost money, you know. DIRT NAP the classics have all gone away. the classics have all gone to bed. THE BED thinks oceans are bad news. I REMEMBER I remember when, having made your own bed, you had to lie in it. VIOLET-COLORED BED this violet-colored bed rivals the star of human longevity. AESTHETICS OF JACQUES BED a blueprint for bed existed before the need for bed was voiced. BED DOLLS when you visit enough homes, you will eventually find a bed reserved for dolls. LEMURS IN BED in the bed are lemurs from Lemuria and Mu and some rubies and Portuguese capacities. RELAX the bed will leave no memoirs. THE ANONYMOUS BED O Western Wind, when wilt thou blow That the small rain down can rain? Christ, that my love were in my arms, And I in my bed again! DREAMER'S BED out of dreams and out of bed NIGHTMARE BED out of dread and out of bed QUARREL BED out of patience and out of bed MONDAY MORNING BED out of luck and out of bed AN ALLEGORIST'S BED is rarely what it seems A YAK'S BED is pretty smelly A ZEBRA'S BED partakes of the bee's bed STANDING FISHES BED the fishes shall stand upon the bed from En-gedi even to En-eglaim. EAR TO EAR BED I used to lie in bed from ear to ear, but now I lie in bed from head to toe. HEADBOARDWARD the head of a bed always point to True North. BED PROVENCE beds break the bank and the sun shines darkly over the linen she writes it out when she's out of her head - in my Provence, my bed. THE BEDS do you remember how this all started - with the tables turning like beds? _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 2 Jun 2003 15:21:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: virus warning MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit I got an application attachment too. Didn't open it, of course. -Joel ----- Original Message ----- From: "ALDON L NIELSEN" To: Sent: Monday, June 02, 2003 10:01 AM Subject: virus warning > This morning I received three virus-laden email messages with attachments > pretending to be some message about an application. I also received two emails > from the server at U of Vermont telling me that messages sent from my address > to it contained a virus. I have sent no attachments to anyone -- My own > computers check out clear, so I can only assume that my univerity's server is > somehow being used to send out the virus looking like it comes from my address > -- > > Bottom line, don't open any attachment from me (or anybody else if you're > smart!) unless you confrim that I have sent you one -- > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "War feels to me an oblique place." > --Emily Dickinson > > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 ========================================================================= Date: Mon, 2 Jun 2003 21:27:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Fwd: police is breaking the doors to l'usine (G8/geneva) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >From: "geert lovink" >To: "Nettime-l" >Subject: police is breaking the doors to l'usine (G8/geneva) >Date: Mon, 2 Jun 2003 08:54:05 +1000 >Sender: nettime-l-request@bbs.thing.net >Reply-To: "geert lovink" > >(via florian schneider) > >please forward! > >from the independant media studio from geneva where all different media >activists from all over the world are reporting life from the G8 protests >around evian/ genf / lausanne. the police is rioting the building right now. > >please watch it and please forward it - every public is urgently needed! > >police is breaking the doors to l'usine. we are locked in the indymedia >center. please watch the live stream and support us: > >http://www.geneva03.org/static/live.ram > >thanks > >--- > >IMC Dispatch Geneva, 01.06.2003 23:50 >Eyewitness account of someone who has just come from Usine. > >this is an eyewitness report from someone who has just come to the dispatch >center from Usine. All afternoon and early evening, there was some rioting >that moved toward the Usine. At the beginning it was in the Rue Basses, and >then it moved toward the Usine, in front of the Hotel de Finance along Quai >de la Poste. Local activists had been erecting barricades in front of the >Hotel de Finance. All windows of the Hotel had been previously damaged the >day before. This gave the police an opportunity to close off the Usine. They >blocked the access roads, but there were always people sitting in front of >the open space eating and drinking and socializing, and the situation was >calm. And soon after the people's kitchen brought out the food (around >7:30), someone said that there were plainclothes police coming. They wore >street clothes and masks: gas masks, bandannas over their heads, hoods over >their heads, and some had helmets. They came in an orange van that said >Police. There were canton police from Zurich and Geneva, but no German >police. They were armed with collapsible (telescopic) steel batons (which >are illegal for policemen to carry in Zurich). There were activists and >people from the Usine in front of the Usine, trying to close the door to >keep the police out. People made human chains outside the door. Police >immediately started beating people with their batons, without warning. They >came running in, screaming, and beat people immediately. Two people bled >from their heads. Then this eyewitness was beaten on his arm and fell, and a >woman fell on top of him. After a moment, she got up and ran away. This >eyewitness followed her to the river. On the way there were riot police with >"tonfa" batons, and they were hitting people who were running past them, but >not very hard. This eyewitness was clubbed. He heard stun grenades, (a.k.a. >percussion grenades or concussion grenades). There are photos of these >grenades, which have to this activist's knowledge not been used before in >Switzerland. Then more and more police came, in police trucks, army trucks, >and police cars. They pushed the people further and further away from the >Usine. This eyewitness saw some people being taken away from the Usine in >police buses. At the side entrance of the Usine, inside the Usine, the >police were smashing doors to break them open. There is film of this from >several sources. This eyewitness was standing in front of the side door on >Rue du Stand and a police man who was on the staircase smashed a window for >no reason. The glass fell on the people who were standing outside. The >policeman appears to have done it just for fun. Police led some people out >of the Usine and take them away in police cars. The legal team and >journalists were allowed to go close to the entrance to watch this. This >eyewitness went around a corner until the police moved away. One strange >thing was that one of the police officers who was leading the troops had a >rainbow-colored badge that said "Pace." He was not very aggressive. When the >police broke in, they offered no warrant. They did not open any dialogue >with the people who were in and around the Usine. It was an ambush. > > ># distributed via : no commercial use without permission ># is a moderated mailing list for net criticism, ># collaborative text filtering and cultural politics of the nets ># more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body ># archive: http://www.nettime.org contact: nettime@bbs.thing.net ========================================================================= Date: Mon, 2 Jun 2003 21:31:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: SURPRISE! FCC rejects public interest Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.thenation.com/thebeat/index.mhtml?bid=1&pid=715 ========================================================================= Date: Mon, 2 Jun 2003 22:36:10 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Book Party Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Salt Publishing announces a Book Party for: Exigent Futures: New and Selected Poems by Michael Heller "There is a classic largeness to these poems, whether of means or referencea consummately civilized response to our times that makes the intimate and the physical still primary despite the generalized chaos Heller movingly confronts."Robert Creeley A View of Buildings and Water by Geoffrey O'Brien "O'Brien is a poet of tremendous gifts and astounding, all-embracing erudition."John Ashbery Refreshments, reading, book signing. 7-9 PM Monday, June 9th Teachers and Writers 5 Union Square West (above Staples) (Please note: downstairs door closes at 8 PM) ========================================================================= Date: Mon, 2 Jun 2003 23:21:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: no more overtime pay?! Mime-Version: 1.0 Content-Type: text/plain; format=flowed just passing on this very chilling note: House Republican leaders have put forward a bill, to be voted on this Thursday, that would do away with overtime pay. Please vote on the link below to help stop this truly historic and awful thing from happening. http://www.unionvoice.org/campaign/otvotejune5?rk=o11B1qd121qyW _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 2 Jun 2003 20:32:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: Re: no more overtime pay?! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Why stop this?? I can't think of a better why to drum up votes for dems! Andrew > From: noah eli gordon > Reply-To: UB Poetics discussion group > Date: Mon, 2 Jun 2003 23:21:54 -0400 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: no more overtime pay?! > > just passing on this very chilling note: > > > > House Republican leaders have put forward a bill, to be voted on this > Thursday, that would do away with overtime pay. > > Please vote on the link below to help stop this truly historic and awful > thing from happening. > > http://www.unionvoice.org/campaign/otvotejune5?rk=o11B1qd121qyW > > _________________________________________________________________ > STOP MORE SPAM with the new MSN 8 and get 2 months FREE* > http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 2 Jun 2003 23:43:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Urge MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Urge Urge go hztrayght up GRA! hZTREET on pe North &... take pe pyrd hztreet on your lepht, &... ...&! go hztrayght up 4D hZTREET, &... take pe phiyrhzt keyorneros, on pe ryght-h&... TAZyde. (Shehz reaelelel! TAZomepyng!) Urge go hztrayght up GRA! hZTREET on pe TAZouth &... take pe phiyrhzt keyorneros, ...&! go hztrayght up LyNKAYOLN hZTREET through up BROWN hZTREET on pe keyorneros. (BuKapateveros!) Urge go hztrayght up 4D hZTREET on pe uhze-meehzt &... take pe pyrd hztreet on pe lepht. ...&! take on pe two blosakeyk, on pe lepht-h&... TAZyde. (Shehz out ophlsh! heros m9nd!) Urge go hztrayght up GRANT hZTREET on pe uhze-meehzt &... take TAZekeyond hztreet o pe ryght, ...&! go hztrayght up 4D hZTREET on pe Eahzt, &... take phiyrhzt keyorneros, on pe lepht-h&... TAZyde. (Get rel!) mornyng, pleahze ...&! go 4 a uhze-mealk yn OUHOR! PARK (She dydnt gyve yt a hzekeyond pought!) She's hot! __ ========================================================================= Date: Mon, 2 Jun 2003 22:01:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: authentic voice? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Camille, any of my texts investigate this question (than which none can do more).You dont have to look further than my recent As in "T" as in "Tether" from Chax Press, available thru Small Press Distribution. but any one of my books is xonxerned with the autthentic and its relation to poetry. David Bromige. -----Original Message----- From: Camille Martin To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, October 01, 2002 6:14 PM Subject: authentic voice? >I'm interested in finding writings about the poetics of the "authentic >voice" and the presentation of a unified, coherent, presiding authorial >self, etc., especially from the perspective of those who see this kind of >model as a poetic ideal. One exemplary article that comes to mind is >Stanley Plumly's 1978 "Chapter and Verse" published in two parts in _APR_. > >Can someone point me in the direction of other texts? > >Thanks! > >Camille > > >Camille Martin >7725 Cohn St. >New Orleans, LA 70118 >(504) 861-8832 >http://www.litcity.net > ========================================================================= Date: Mon, 2 Jun 2003 22:28:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: Messenger MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Messenger How does one catch the stones dropped by another more careless part of oneself? It is too late. You might as well listen. -Jill Chan __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Tue, 3 Jun 2003 17:31:01 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: boston scene MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Mairead, Thanks for your hospitable reply. That's what I'd like to do, = meet poets. I'm supposed to be at a conference at Harvard from the 15-20th (although it decamps to Portland, Maine for the 18-20th, and I have to = go too because my paper's on the 19th.) This is the International History = of Cartography conference. I am not a cartographer so I will need to seek relief now and then, and my evenings are free. I don't know whether = this meshes in any way with other meetings up with but if it does I'd be = most pleased. Cheers Wystan =20 -----Original Message----- From: Mairead Byrne [mailto:mbyrne@RISD.EDU] Sent: Saturday, 31 May 2003 2:18 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: boston scene Dear Wystan, One thing a poet can do is meet other poets. I'm already hoping to = meet Trevor Joyce and Ann Fisher-Wirth in Boston or Providence in June. = Would you like to meet too? I live in Providence, which is well worth a = visit. It's an hour by bus or train from Boston. I could take you to the = terrific John Hay collection of 20th century poetry at Brown University. = Another great thing to do, if you can, is go to Provincetown: that's 2-3 hrs by Bonanza Bus from Boston. The great poet Alan Dugan lives nearby in = Truro and there is usually some action around the Fine Arts Work Center. But = the Boston dudes will kill me for touting Providence and Provincetown (I'm = glad there aren't any more towns around here beginning with "Prov," like "Provisionaltown" or "Probablytown"..)as Boston itself is bursting with poets and poetry and bookstores and stuff. Mairead Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com >>> w.curnow@AUCKLAND.AC.NZ 05/29/03 22:23 PM >>> I am visiting Boston soon: between June 14 and 21. I would like to = know what a poet is to do there. News of readings would be great. (I can = do one myself should a last minute opportunity appear for a poet from the end = of the earth). I am also interested in art exhibitions. Wystan ========================================================================= Date: Mon, 2 Jun 2003 22:52:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: the selling of Matthew Barney MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > One would be hard pushed - for example - to find a feminist presence in the work. < I feel, in a way, as though ---no attitude intended here (I love you all!)--- you and/or Patrick are eating your Barney on a skewer or with escargot forks, with a lobster bib, some sort of rigorously civilized implement, whereas the Barney that I'm attached to pumps goop straight back through my bellybutton. I might use my mouth, too, like you, except he's shuffled it away in some sort of cornucopia of Klein ~part objects.~ That is, there's some sort of cortical armature that keeps characterizing your critique of him, a sort of one-size-fits-all critique heavily dependent on codified theoretical touchstones that can, tomorrow, be re-deployed against--- whomever, against Hugo Boss, against Lilly Pulitzer floral pattern summerwear. Meanwhile, Barney keeps re-rooting me down to a virtually ~pre-natal~ iconography that simply bursts through all those secondary defenses. It may be because I "knew him when",--- that is, before his dealer, Barbara Gladstone, managed the amazing feat of bringing such scads of money to the production of his films. (His career and her role in it seems comparable to that of Pollock and Peggy Guggenheim: it's a mistake to forget about the early, Jungian totemic Pollock in the wash of imperialist murals that brought in the art mobs.) The ceiling of the gallery was marked with distracting but inconclusive sort of ~hook~ apparatuses. Take the video that was shown there in the Gladstone gallery, meanwhile, while the aforementioned Vaseline benchpress equipment froze in the basement: the young Barney, buck naked except for a kind of hood-helmet of some sort and various mountainclimer-like straps fitted around, at armpit, at knee, slowly, very slowly working his way upside-down across that same ceiling Spiderman-like hooking and un-hooking and re-hooking supporting cables into the handholds on the ceiling. This isn't the nudity of fashion ads. The composite inverted ~crawling~ instinct and strangely prosthetized nakedness harkened, rather, to some sort of infantile exhibitionist urge, maybe, at best, ---the way junior plays on the rug, only topsy-turvy. The point that I tried to make by bringing Barney into my Fall 2001 Standard Schaefer review (http://www.raintaxi.com/online/2001fall/schaefer.shtml), an observation which I think is true, is that what Barney offers, importantly, is a lushly erotic but ~non-phallic~ male: "The performance artist and sometimes film-maker Matthew Barney closes one of his Cremaster films with a strange shot: some weird, bumpy, infinity sign flesh protuberance fills the entire screen, squeezed through an opening. One realizes: balls. 'The End' and closing credits will come down over or after a panoramic close-up of anonymous testicles. In his Cremaster opera film, a naked satyr has a Barbie's boyfriend Ken-smooth crotch but unmistakable, makeup-powdered scrotum, that tied to long ribbons at the ends of which are tied doves roosting on his shoulders. At his pantomime signal, the doves break into flight, pulling the ribbons in their wake. . . . disturbing, scrotal masculinity." Eros like his might seem to be foreclosed by castration, ---except that I think the neo-infantile sexuality he celebrates shows strong evidence of being pre-genital. There's an overall lack of differentiation which I believe is distorted by reimposing binarisms such as "feminist" or other party politics power. In the Chrysler Cremaster, the audience was shown Barney's rectum, (yay!) down at the bottom of his surgical gown as he lay stretched in the ~Marathon Man~ dentist's chair (Latent: Nice butt!), his legs up in more of a gynocological exam position. But the ~insertion~ was happening at the wrong end, as the compacted shrapnel of a smooshed automobile is wedged into the gaping maw of Barney's wounded mouth, knocked toothless by his earlier champing on a horse's bit,--- and, for every force there is an equal and opposite force, out of his pretty anus comes--- more pearlescent goop, not his trademark tapioca this time, but a strange nacreous glisten that then gradually coalesces into--- ~a scrabble of teeth~ forced down his intestinal tract. Where status quo masculinity (or feminism or any ideology, per se) of ~any~ dominant or identity politics stripe figures into so completely mixed-up a fusion of organs and drives is beyond me. I left those neat categories in the lobby. They're bubblegum stuck on the bottom of the chairs. Beckett used to claim that he still retained conscious memory of the pre-natal stage, ---and that it was very depressing. :0 That seems to be where Barney resides, except in a more vividly technicolor version of it, ---his continual, slug-like crawls through tight, tapioca-splattered tunnels as revisited passage through birth canal--- And I don't know how successfully or appropriately critical clichés latch onto such a polymorphous artistry. If I went to the Gary Gilmore Cremaster with a friend (I can't recall), my friend ---or ~somebody~--- afterwards said to me, Did you see his ~dick~ when he was sitting in the car? I didn't. Not without good reason, though, apparently, as my friend told me the glimpse of Gilmore's weenie that we catch was a little mistake about two inches long (!). My friend thought maybe Barney meant this was the "deep" shame reason Gilmore was driven to his crimes, ---but I rather tend to see it as the contestation of all the assumptions about power that these critiques are layering over this art. Foot fetishism of a robust "Kiss my boot!" ~Miss Julie~ (Strindberg/Rorem/Kenward Elmslie) variety would be ~salutary.~ Instead, besides the continual Rockettes kicklines, in the most recent Cremaster what we get is an ~amputee from the knees down~ balancing on teetering glass Cinderella legs! . . . Which might only be misleading, though, as that pushed Barney's career-long foot motif over the top into a pristine horror that could just re-invoke expectable categorizations (somehow). The feet and boot that ~really~ has to be opposed to ~Miss Julie,~ I think, is that strange woman locked away in that tiny triangle-shaped room at the top of the Chrysler Building, where the kittycat goes running out the cat door to avoid all the ~potatoes.~ Like other Barney-designed footwear (this is, to be sure, no Manolo Blahnik), this boot doubles as a machine: she laboriously works at connecting an odd wedge-shaped device to the sole of her boot, which she then proceeds ~to cut potatoes with!~ into Masonically arcane polygon cookie cutter shapes. (The maligned feminist's ~potato-chopping boot??!~) To get back to ~what actually happens~ in Barney's work is a totally different art experience than misrepresenting it by only sketching it in from a distance and mainly via critical caricatures that don't address the core Freud he's escaped Museum Mile into. IMHO. __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Mon, 2 Jun 2003 23:11:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: The LEIU: What Every Rearticulatory American Poet Ought To Know MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit The Law Enforcement Intelligence Unit has convened this week in Seattle to train Homeland Security agents. A brief article is appended below. There are longer accounts and current info on the fightback in Seattle at the following pages. May as well read about them now if you write politically. They'll be visiting your library to review your book borrowing practices soon enough. Little Sister Is Watching Back http://nobigbrother.net Daily Updates from Seattle http://seattle.indymedia.org On-Line Seattle LEIU News and Commentary http://www.radio-x.org Watching the LEIU http://www.thestranger.com/2003-05-15/city.html LEIU: Threat or Menace? http://eatthestate.org/07-18/LEIUThreatMenace.htm Tax Dollars at Work: The ACLU Lawsuit Against LEIU and IOCI http://nobigbrother.net/article.php?id=33 The LEIU website (Removed on 30 May 2003) http://www.leiu2003seattle.org Cached version of The LEIU website: http://seattle.indymedia.org/local/webcast/uploads/leiu_2003_training_seminar_seattle2.htm What is the LEIU? The LEIU is a loosely-associated group of law enforcement and intelligence officers, whose private network of affiliations allows information to be shared between agencies. It was created in 1956 by the California Department of Justice. It first included 26 law enforcement agencies from seven western states but now includes more than 250 agencies from the US, Canada, Australia, South Africa, Mexico, and Britain. What is the purpose of the LEIU? "The [official] purpose of this organization, which is a voluntary confederation of police agencies, is to exchange information on organized crime and certain criminals." (1) The unofficial purpose was to establish a national criminal intelligence network independent of the FBI, whose agents frequently refused to share information with local law enforcement officers. (2) The original format of LEIU information was hundreds of 5 x 8" cards. Each card listed, among other data, a subject's name, alias, occupation, family members, vehicles, associates, arrests, and physical traits. A subject may be a person suspected of committing a crime; a person suspected of aiding those involved in a crime; or a person associated with a principal subject. Associates might include family members, business associates, or attorneys of the principal subject. (3) This data has since been computerized, using federal funds. (4) Why should I be concerned? * The information is frequently wrong. The federal General Accounting Office found that only a small percent of the information on the LEIU cards could be completely documented. Auditors expressed concern that "the grantee has not yet effected either its promised verification of index information or its promised elimination of outdated and inaccurate data." (4) * They don't just monitor organized crime. Topics at the 1962 training meeting in San Francisco included "police intelligence units' role in securing information concerning protest groups, demonstrations, and mob violence" (FBI summary). Representatives from the INS, the US Department of Labor, the Pacific Gas and Electric Company, and several military investigative units were present. (2) * A 1974 suit filed against the Chicago Police Department by the Alliance to End Repression revealed that LEIU files were kept "on a University of Washington professor; a teacher of the Republican of New Africa, a southern black separate movement; a member of the Black Panther party; a member of the Communist Party; and members of the American Indian Movement." (5) * A 1979 investigation by the Detroit Board of Police Commissioners found that many LEIU subject cards had information on people "not apparently related to criminal activities." (2) "Among the subjects catalogued in LEIU files have been minority, labor and community organizers, many with no criminal records." (6) * In 1991, investigative author Frank Donner's book, Protectors of Privilege: Red Squads and Police Repression in Urban America, documented political repression practiced by urban police. Donner described the LEIU as a private organization which served as a conduit for information and technology and may also have helped local departments evade restrictions on their intelligence gathering. (7) * A May 10, 1993 San Francisco Chronicle article revealed how local police secretly use the LEIU to preserve intelligence files that are supposed to be destroyed. (8) Isn't that illegal? Yes. There are local (Seattle Ordinance 108333), state, and federal laws that restrict when and how law enforcement officials can gather and disseminate intelligence on political activists, organizers, and protesters. However, the LEIU is seen as a private organization, even though member agencies use tax dollars to pay LEIU dues and fees. Therefore, the LEIU is not subject to governmental oversight or the Freedom of Information Act. The ACLU Foundation of Northern California sued the California Department of Justice in 1982. Under the California Public Records Act, modeled after the Freedom of Information Act, the ACLU sued to gain access to the DOJ?s LEIU index cards. The trial court found in favor of the ACLU. But the California Supreme Court found that the burden of separating non-exempt information from exempt information before handing the cards over to the ACLU was too great, and ruled in favor of the State (3). Is the Seattle Police Department (SPD) involved with the LEIU? Yes. Seattle Municipal Code Chapter 14.12 sets out regulations outlining the circumstances under which the SPD can gather and disseminate information on individuals and groups. (SMC 14.12.010 Statement of purpose) (9) Subsection 14.12.020 states, "No person shall become the subject of the collection of information on account of a lawful exercise of a constitutional right or civil liberty; no information shall be collected upon a person who is active in politics or community affairs, unless under the same or similar circumstances the information would be collected upon another person who did not participate actively in politics or community affairs." (Subsection A) The ordinance also provides for "in-place audit of Department files and records at unscheduled intervals not to exceed one hundred eighty (180) days since the last audit." (SMC 14.12.330) Unfortunately, this audit does not include the LEIU files received by the SPD. (Section 14.12.320) The LEIU files are audited by the Chief of the SPD and are maintained separately from other SPD files (subsection C3). The Chief submits a report to the City, which includes a description of the documents audited, (without revealing their contents), the number of documents audited, and the number of documents received from LEIU. It also includes a current set of bylaws for LEIU. (Subsection D) The most recent report, for the audit completed July 25, 2002, states that the SPD has 10,977 LEIU subject entries, which are those dealing with the identification of criminal subjects and associates (Clerk File No. 305363). The Seattle City Council is aware of the interaction between the SPD and LEIU because they approve the SPD Chief?s report each year. This has been happening since at least 1983. (10) Endnotes 1. "Intelligence Systems ? L.E.I.U. - An Early System" Police Chief, 1971, pp. 30 2. http://sf.indymedia.org/news/2003/03/1585374.php 3. American Civil Liberties Union Foundation v. Deukmejian, 32 Cal.3d 440 [S.F. No. 24207. Supreme Court of California. September 27, 1982.] 4. "Interstate Organized Crime Index", published by the US Comptroller General, 1979 (see Abstract number 58026 in the National Criminal Justice Reference Service database http://abstractsdb.ncjrs.org/content/AbstractsDB_Search.asp) 5. Bill Richards, "U.S.-Funded Police Unit Spied on Activists, Documents Show" The Washington Post, September 22, 1978 p.A24. 6. David Kaplan, California's Center for Investigative Reporting, 1985 7. Monthly Review, November 1991 8. Bill Wallace, "Experts Say Police Files Are Kept by Private Groups Nationwide." The San Francisco Chronicle, May 10 1993, pg.A6. Also, 20 Years of Censored News (1997) by Carl Jensen and Project Censored (LEIU nominated for Censored in 1978) 9. City Ordinances and Seattle Municipal Code can be searched at http://clerk.ci.seattle.wa.us/~public/clrkhome.htm 10. The Comptroller Files/Clerk Files can be searched at http://clerk.ci.seattle.wa.us/~public/cfcf1.htm ========================================================================= Date: Tue, 3 Jun 2003 03:28:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Dispoersion In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Mon, 2 Jun 2003, Jim Andrews wrote: > I saw Sorgath, quite a bit later (after the flood), demonstrate some > more interesting use of webcam tech. He did some programming using the > Flash Communications Server. You'd connect to his web page. And if you > had a webcam, you could make it so that your video image was displayed > on the web page. Along with up to four other people who also had webcams > and were also connected to this page. And you could talk with them. And > control their webcams, ie, scan around their place. Kind of wacky public > video conferencing. Public since anyone who connected to the webpage, > even if they didn't have a webcam, could see the five video images as > long as they had the flash plugin, and could hear the audio, if i recall > correctly. > This is interesting, the same I think as the old CuSeeMe, which I used quite a lot - the same sort of thing would occur; you could also log in to any of the channels without a webcam/microphone. The sound was bad, but the image was terrific. A lot of the usage was sexual of course - > And most of the web pages one sees swamp the more interesting ones. same > with print poetry. Absolutely. I've been trying to figure out why I like 'ancient' poetry so much - for example, I've been reading William Dunbar with a delight I rarely feel with contemporary work. > Another example of this blurring. http://cbchomedelivery.com is quite > interesting as 'narrative'. Check out the 'murder in the neighbourhood' > piece, for instance. This is a relatively ambitious project by the > Canadian Broadcasting Corporation. Compare this piece as 'narrative' > with other attempts at narrative on the web. It fares pretty well in the > comparison. Or check out http://www.donniedarko.com concerning > 'narrative'. This is a Web site based on a movie. The notion of > storytelling cuts across media, arts, journalism... Thanks for these and will do of course - > > Even still, it's the metaphysical space that one creates (rather than > the physical space), whether in print or hologram, isn't it. for me, > anyway. > Absolutely. I think of this as world-creation, or better, worlds-creating. I think the work of Michel Dufrenne (I may have the wrong spelling here) on the phenomenology of literature is quite useful. > Sometimes "community" means "me and my little clique". And "the > community is" means "me and my cronies want". This holds for a while, but then things settle down; Cybermind for example is quite stable, and has been for years now. It's not a question of me and my cronies, but users who have found a communality, Lessig's commons, among each other. > I think there's quite a bit of misunderstanding of McLuhan. I wonder how > many people actually have read him and thought about what he said. Don't > know if you've ever checked out > http://vispo.com/writings/essays/mcluhana.htm . This is an essay I wrote > about some of McLuhan's basic ideas. I don't think the phenomenon you're > pointing out is well-described as "un-McLuhanesque". I read your essay a while ago; I've also read McLuhan. It's not that much of an issue with me. I noticed something a while ago, which is relevant I think - that, early on, say 6-7 years ago, communities were determined in part by the software - MOO/MUD/various webchats, etc. etc. - but then there was a change - communities would actually move/shift from one site to another - the community, in other words, was becoming more autonomous in terms of media/software domain. This is oddly in line with the Smart Mobs book of course - > McLuhan attempted not so much a history of western technology as a > history of the noetic (or cognitive) and sensorial (affective) changes > brought about in the individual via technology. Always before us in his > work is an image of the individual human being. He wasn't satisfied with > trying to explore the ways in which technology determines culture but, > instead, urges us to examine ourselves and others for the signs of > change within us. He wasn't interested in the history of technology but > in the history of people modified by technology. He was interested in > the ways that technology mediates relations between people and changes > individual's world views and nervous systems. In that sense, his work > was humanistic. > Oh, I totally agree here - > There's a common misunderstanding that McLuhan believed that "the medium > is the message". McLuhan's famous remark that "The medium is the > message" is typical of his overstatements. I interpret the rhetorical > intent of the slogan as an attempt to correct an imbalance. If there's a > great weight on a fulcrum and you want to displace the dead weight > toward the centre, you must apply considerable force from the extreme > end. It was McLuhan's misfortune to have been successful enough to > displace the rock onto the top of his head. Agree here as well - your reasoning is also why I tend to like Baudrillard, even though he's oddly transparent - - Alan > > ja > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Tue, 3 Jun 2003 07:11:48 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Who to See in Boston When You're There Comments: To: w.curnow@AUCKLAND.AC.NZ MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hey Wystan (and list), David Kirschenbaum from Boog City here. Yeah, yeah, I know we're in NY, but here's my quick "how I got turned onto the Boston scene" story, which should be of help to you. I went up in 1998 for the first Boston Alternative Poetry Festival, organized by a then-unknown Aaron Kiely (this is the festival that has become the Boston Poetry Marathon run by Donna DeLapierre, Joseph Lease, and, this year, Joanna Fuhrman). I had met Dan Bouchard, then the editor of Mass. Ave, now the co-editor of Pressed Wafer, and solo ed. of the Poker, two years earlier, on the recommendation of Pavement Saw editor David Baratier. I had an extra ticket for the 1996 Red Sox Patriots' Day game and Baratier suggested calling Dan up, and I did and we had a swell time though the Sox were destroyed. At the 1998 festival I met many Boston-area poets who have played some sort of a role in my life over the past five years, be it as good friend and amazing poet or simply sounding board or signpost. If I was giving my, here's the people you must be in contact if you want to say you've done the Boston poetry thing, and, again, bear in mind that it's not my city, so my knowledge is 1) not as deep and 2) not as informed and 3) well, not as biased into all the pettiness that is always a part, however small or large, of any big city's poetry scene, my own included, here's who they'd be, in no particular order, and a quick why: --the three Pressed Wafer editors, Dan Bouchard, Bill Corbett, and Joe Torra--Forget that these three run one of the best small presses in the country, they're also three great writers and people. Dan is the one to whom you'll probably be able to get the easiest access to, as Bill and Joe lay low. --Michael Franco--He may be the warmest person I know, opening his home back in the day to a good dozen poets to flop here and there in rooms in his under-remodeling three-story home, cooking a wonderful spaghetti dinner on saturday nights of the festival for everyone, and opening up his home to party in. That said, he's also a letterpress wonder, amazing designer, and damn fine poet, too. And his wife Isabella rocks. He has, to this outsider, been laying low for the last three years or so since his wife gave birth to their little boy, Thomas. If somehow he'd find the time to grab a cup of coffee with you or, pray tell, show you some of the Duncan work he's done, you'd leave as a card-carrying member of the church of michael franco. --Sean Cole--I'm biased here, cause Sean is a dear friend, I published his first chap, he does a postcard project for my press each December, and when i come to boston it's his and his lady Mary Ellen's home that I crash at. Now, and I don't know how I can say this without offending every other poet living or dead, but if I was told I could only publish one poet from now until the day I died, that poet would be Sean Cole. And, as a community member, he is the one who arranges for these various festivals to get recorded properly--he works at the local NPR station, so he has equipment access. He also hooks up the poetry community through the station he works at, helping features get on the radio about the upcoming festivals and the like. --Jim Behrle--I can't say enough about Jim Behrle. As much as I like Sean's work is how much I admire the work Jim does as organizer/editor/gadfly/poet. He is the one you call when you want something done, done yesterday, and done well, be it the various series he has run/runs, the web site canwehaveourballback.com, the recent 60 poets festival at MIT, or, simply, his blog, where even as we are learning way too much about him we want to learn more. He also don't take no guff, has moxie by the gallon in his veins, and speaks his mind, a rarity in this enclosed poetry world of ours where everyone is worried how others will view them. --Luisa Solano--She owns the Grolier Poetry Bookshop, THE place, as a poet, you can live in for a day as you thumb through every title and consistently go "WOW!" Everyone I've ever dealt with in Boston has something bad to say about her, everyone. Me, as a visiting poet who's been to Boston maybe a half-dozen times, even has a negative story about my interaction with her. That said, if you catch her on a good day, when the store's empty, and her dog's behaving well, she'll quite often open up with stories about poets and publications that most people would never hear elsewhere. And, there is no way, no matter how sad she makes you feel, if she does, that you won't walk out of there spending some $ on some title you know you'll never find elsewhere. She's also beyond good about taking stuff on consignment. --Maria Damon-Now the swonderful Ms. Damon is, I think, only a summer visitor, perhaps a summer liver, since she's out in Minnesota during the school year, but, somehow, every festival I ever attend in Boston has her listed as reading. Yeah, she's a great poet, but she's big on community-building and has been around the block doing it. --Jack Powers-The Boston people will know this more than me, hell, I'm not even sure if he's still alive, but he ran/runs a great open mic at a local rock club, publishes a mag whose name escapes me right now (BOSTON, HELP), and is a bit of a character. Luisa at the Grolier actually hooked me up with his info. --Aaron Kiely-You can take the boy out of Boston, but you can't take the Boston out of the boy. Aaron's still a frequent visitor to the city, be it to perform--as he will this weekend at the Boston Poetry Marathon--or see his many friends and family. He's a dear friend, someone who I've frequently published and had perform, both his poetry and the music of his and Sean's band, Ruth Gordon (now an Aaron solo project). That said, getting an audience with Kiely may be tougher than getting one with the Pope. But, if you get one, your head may delightfully explode. Doing this list I'm realizing one main thing, how fucking white-male centric it is. Since it's not my city, I'm simply writing of who I know and dig and have been exposed to, and, unfortunately, I haven't been turned on to many women poets who are still in Boston. All of the ones I dig--Ange Mlinko, Prageeta Sharma, and Tracy Blackmer among them--live down my way in NYC. And as for people of color, I just haven't been real exposed to it through this scene, much the same as in NY where, for all the integration we may have, the scene that revolves around the Poetry Project is, essentially, a white boy's club, but without the No Coloreds Allowed sign on the door. Girls are allowed to play, it seems, but are never given the leadership positions, a situation that has recently repeated itself, however much my love for Anselm Berrigan knows no bounds. Alrighty Wystan, hope this helps man, and if you wanna hook up with any of these folk, backchannel me, and i'll do my best to make it happen. as ever, David _______________ David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Tue, 3 Jun 2003 08:28:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: no more overtime pay?! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" dems will only get votes if they can demonstrate their effectiveness in stopping the below. At 8:32 PM -0700 6/2/03, Andrew Felsinger wrote: >Why stop this?? I can't think of a better why to drum up votes for dems! > >Andrew > >> From: noah eli gordon >> Reply-To: UB Poetics discussion group >> Date: Mon, 2 Jun 2003 23:21:54 -0400 >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: no more overtime pay?! >> >> just passing on this very chilling note: >> >> >> >> House Republican leaders have put forward a bill, to be voted on this >> Thursday, that would do away with overtime pay. >> >> Please vote on the link below to help stop this truly historic and awful >> thing from happening. >> >> http://www.unionvoice.org/campaign/otvotejune5?rk=o11B1qd121qyW >> >> _________________________________________________________________ >> STOP MORE SPAM with the new MSN 8 and get 2 months FREE* > > http://join.msn.com/?page=features/junkmail -- ========================================================================= Date: Tue, 3 Jun 2003 08:55:55 -0300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cheryl Pallant Subject: Pallant Book Release Party In-Reply-To: <041001c327ad$3b44dca0$e5673bd0@1> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: 8bit Hello All, This Friday, June 6th @ 7:30 PM, Chop Suey Books in Richmond Virginia will host a reading and book release party for Cheryl Pallant's newest book, Into Stillness, published by Station Hill Press. Into Stillness, written in prose-like paragraphs, is a meditation on the sacredness of the body in the shadow of atrocity. Carole Maso describes it as "a death-defying act of language and imagination. An audacious, fluid living thing." Chop Suey Books 1317 W. Cary St Richmond, VA 23220 804-497-4705 ========================================================================= Date: Tue, 3 Jun 2003 09:16:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: rimbaud bio Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hi everyone, i'm reading this graham robb bio of rimbaud --i'm hooked. it's wonderfully engaging. i started browsing it just for the info on his travel writing in his later years, but of course went further and further back into the wealth of detail about verlaine, london, germany, even java and possibly australia. the truth is stranger than fiction etc (what an original insight...) anyway highly recommended for entertaining summer reading. -- ========================================================================= Date: Tue, 3 Jun 2003 10:37:34 -0400 Reply-To: BigSmallPressMall Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: BigSmallPressMall From: Poetics List Administration Organization: BigSmallPressMall Subject: Bowery Ballroom Literacy Fundraiser MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline The BigSmallPressMall is proud to sponsor The Carter G. Woodson Cultural Literacy Program Benefit featuring: Music by David Byrne, Pamela Laws, Citizen Cope, Kim Gordon, and Thurston Moore Fiction readings by Jonathan Franzen, Mary Gaitskill, and Colson Whitehead And BigSmallPressMall (Open City, McSweeney's, Fence, Verse) tables with books, t-shirts, and other items Monday, June 9, 7:00 pm Bowery Ballroom, 6 Delancey Street, New York City $20.00 in advance & $25 at the door Get advance tickets at: http://www.ticketweb.com/user/?region=nyc&query=schedule&venue=bowery1&next=427046 The Carter G. Woodson Cultural Literacy Program, based in Brooklyn, serves Central Brooklyn and is housed in an elementary and high school in Brownsville and Bedford-Stuyvesant. With crime, high dropout and teenage pregnancy rates in these communities escalating, The Woodson Project intervenes and inspires at risk students with after-school programs that give them academic support in literature and art. With the education crisis continuing in the form of budget cuts, governmental neglect and inept reorganization, programs like the Woodson Project must be supported. In helping their communities, they are helping us. Let's acknowledge them. The BigSmallPressMall is an online alliance of four independent book/journal publishers: McSweeney's, Verse, Fence, and Open City. http://www.bigsmallpressmall.com -- To unsubscribe from: BigSmallPressMall, just follow this link: http://www.bigsmallpressmall.com/mojo/mojo.cgi?f=u&l=bismall&e=poetics@acsu.buffalo.edu&p=8062 Click this link, or copy and paste the address into your browser. ========================================================================= Date: Tue, 3 Jun 2003 11:03:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: new at dcpoetry.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hello all, while readings in DC concluded for the season with a one-two combo punch from miles champion and buck downs three sundays ago, many new contributions have since been added to the dcpoetry anthology 2003: Renee Angle * from Jack-of-All-Trades Cathy Eisenhower * from Panic Poems P. Inman * from now/time Beth Joselow * Three Poems Aaron Kunin * Four Poems Katy Lederer * Morning Song Gwyn McVay * Six Poems David Perry * from New Years * from Knowledge Follows Kit Robinson * Three Poems Richard Roundy * Three Poems Leslie Scalapino * from It's go in / quiet illumined grass / land Jessica Smith * VEIL: Six (Lavender) Veils of Layered Language Mark Wallace * from Crab (a novel) all this in addition to already announced contributions from: | Bruce Andrews | Jules Boykoff | Martin Corless-Smith | Tina Darragh | | Katie Degentesh | K. Silem Mohammad | Bob Perelman | Kaia Sand | | Kerri Sonnenberg | Catherine Wagner | Ryan Walker | visit http://www.dcpoetry.com and click on anthology 2003. thanks, tom orange ~~~~~~~~~~~~~~~~~~~~~ DCpoetry.com exists primarily to promote the Ruthless Grip, in your ear, and Bridge Street Books reading series as well as the work of our readers. The anthologies contain work by writers who have read in the reading series; unsolicited manuscripts are not considered. The site also attempts to document some of the history of alternative or non- mainstream poetry activity in Washington, D.C. by gathering already- existing information and new contributions from those who were and are involved in the scene. Future developments include full-text archives of D.C. small press poetry publications. For more information, email info@dcpoetry.com. ~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Tue, 3 Jun 2003 11:19:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: At last! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit The perfect symbol for the Bush administration-- WASHINGTON, June 3 (UPI) -- An empty chair was left at the conference table of the G8 summit on Monday, its closing day. This was intended to convey that President George W. Bush would still be there in spirit despite his early departure ... Hal Colourless green ideas sleep furiously. --Noam Chomsky Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Tue, 3 Jun 2003 11:21:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy of the Proper Name: Abu.Ya MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Philosophy of the Proper Name: Abu.Ya violet newby abuya did not just read about the conflict and chaos in afghanistan. newby abuya , a beloit resident, left for kabul, afghanistan, on aug. abu ya =E2=80=98qub al-sijistani [internet encyclopedia of philosop= hy] abu ya =E2=80=98qub al-sijistani (fl. 971). p. walker, early philosophical shiism: the ismaili neoplatonism of abu ya =E2=80=98qub al-sijistani (cambr= idge, 1993). the institute of ismaili studies: publication synopsis of abu ya abu ya =E2=80=98qub al-sijistani: intellectual missionary p. e. walker. wal= ker p. e., abu ya =E2=80=98qub al-sijistani: intellectual missionary. the insti= tute of ismaili studies: publication bibliography of abu abu ya =E2=80=98qub al-sijistani: intellectual missionary p. e. walker. walker p. e., abu ya =E2=80=98qub al-sijistani: intellectual missionary. the institute of ismail= i studies: publication contents of abu ya abu ya =E2=80=98qub al-sijistani: intellectual missionary p. e. walker. walker p. e., abu ya =E2=80=98qub al-sijistani: intellectual missionary. dennis abuya dennis abuya . m.sc. (course-based) student research lab: communication networks supervisor: janelle harms. abu ya 'qub al-sijistani : intellectual missionary abu ya 'qub al-sijistani : intellectual missionary. abu ya 'qub al-sijistani : intellectual missionary [click for larger image] author: paul e. walker. abu ya 'qub al-sijistani : intellectual missionary abu ya 'qub al-sijistani : intellectual missionary. abu ya 'qub al-sijistani : intellectual missionary [click for larger image] author: paul e. walker. baby names - abuya brief name analysis important: dear abuya : the following analysis describes a few qualities of your first name. order a name report for a full analysis. abuya palgrave macmillan: catalogue: abu ya 'qub al-sijistani abu ya 'qub al-sijistani intellectual missionary paul e. walker. series: ismaili heritage. isbn: 1-85043-921-4. binding: hardback. published: march, 1996. pages: 148. the institute of ismaili studies: publication synopsis of abu ya abu ya =E2=80= =98qub al-sijistani: missionnaire intellectuel pe walker. walker paul e., abu ya =E2=80=98qub al-sijistani: intellectual missionary. the institute of ismail= i studies: publication synopsis of abu ya madrasah nurul islam(abuya ciodeng) alumni registry madrasah nurul islam(abuya ciodeng) cianjur - ciranjang km?, cianjur, jawa barat, indonesia organization type: high school secondary school, abu ya 'far ibn sa'id:un poeta granadino del s.xii by moral molina abu ya 'far ibn sa'id:un poeta granadino del s.xii moral molina, c. published: january 1998 publisher: cultura hispanica isbn ean: 8472327787 9788472327788 japac.- higueras de abuya the lion and the gaz the poetics of relig abu ya 'qub al-sijist gazelle: the mammals and birds of iran the poetics of religious experience: the islamic context (institute of ismaili studies occasional papers) abu ya 'qub al madrasah nurul islam(abuya ciodeng) alumni registry madrasah nurul islam(abuya ciodeng) cianjur - ciranjang km?, cianjur, jawa barat, indonesia =E5=9B=A3=E4=BD=93=E3=81=AE=E3=82=BF=E3=82=A4=E3=83=97: high scho= ol secondary school, violet newby abuya did not just read about the conflict and chaos in afghanistan. newby abuya , a beloit resident, left for kabul, afghanistan, on aug. ___ ========================================================================= Date: Tue, 3 Jun 2003 09:38:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Fwd: Not TV's new look/Being There update Comments: To: "arc.hive" <_arc.hive_@lm.va.com.au>, cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting , screenburn screenburn MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- emily Webber wrote: > Date: Tue, 03 Jun 2003 16:17:21 +0000 > Subject: Not TV's new look/Being There update > From: emily Webber > To: emily webber > > New look not TV > > Not TV has a new look ready for the summer please > look at www.not-tv.org > > Being There continues to update on a Thursday the > timetable is below: > > timetable > > week 1:01.05.03 Tina La Porta > week 2:08.05.03 Gregory Chatonsky > week 3:15.05.03 Raphael Di Luzo > week 4:22.05.03 Brad Brace > week 5:29.05.03 Crankbunny / Norma V Toraya > week 6:05.06.03 Victor Vina > week 7:12.06.03 Laura Floyd > week 8:19.06.03 Mark Jackson-Downes > week 9:26.06.03 Lewis La Cook > week 10:03.07.03 Shirin Kouladjie > week 11:10.07.03 Doron Golan > week 12:17.07.03 Fiona Jackson-Downes > week 13: 24.07.03 Euginia Fratzeskou > > Next project: Victor Vina ­ Flux ( all previous > projects are on the archive > page) > > Flux is a browser monitoring live search engine > queries conducted by > internet users around the world. By extracting > information from hidden > websites, Flux renders private web enquiries into a > grid of 16 modules. The > browser was conceived as a web barometer, revealing > internet users different > concerns, curiosities, needs and desires. > > In current internet technologies, information is > organised in different > interdependent layers. Flux intercepts these > vertical layers by interfacing > them within a horizontal structure. This provides a > filtering process > through which a huge amount of information is > mediated within Flux's 'little > resolution' environment. By visualising collective > real time data-streams in > this way, Flux monitors the different categories of > knowledge currently > sought after on the internet. > > To access a second layer of information within Flux > the user simply selects > one of the modules displaying a topic of interest. A > web crawler then > obtains context from a search engine and displays it > on every module. By > selecting a third time, the user can follow > meta-data, creating a path of > related units of information. > > By reassessing internet currencies in this way, Flux > reflects upon the > distribution of internet information and how it may > provoke interpretations > and associations when mediated in alternative ways. > ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Tue, 3 Jun 2003 10:23:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Dirty Milk("...under the lake where cats equal their shadows...") Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii And then waves of blackbirds rise from the bed. You, who love so much to be martyred: red yarns fill you with an accidental narrative, one in which you get out of bed, force a face on your thoughts, saw through jules of calendar-warped spaghetti; all the while wanting you to watch me, watch my cry, shimmer like smoke. By that time she was noticing the color of the wind. It smears across my dead stepfather's mouth as he never kisses me goodnight; mother's not allowed to either, your maggot tongue beating in the rain like an opened road kill, wet dog strewn across wet squirrel across wet rabbit, bunny rabbit: the pavement drools a honey sulphur rush. Will I blush to think of you, years after the networks unravel, no hard critic to unknot the nothing chains, no star-spattered art in your hands anymore, but grasping the root, saplings bent to this shade of wind? What hue will water talk? Teal is one likely candidate, a diluting of black. No-one's paying attention now, so you can loosen your cells in long trails through the lake. I fell down trying to follow you, slim Virginian with a belt-buckle shaped like a globe; you were too right and too natural for my footprints to bury you. A hard critic moans into duct tape and pillows, something dead about expression that twists into all the shapes we love: especially the food, which has spoiled now because I kissed it with lips refuting their own composition. Some say her plane never left that holding pattern over snowy Cleveland. Even so, the balance of cryptic green on layers serrated by her mouth enveloping these tinny deaths online keeps circling over my inert distributions; restless, I comb through the hex and octal strands, prefixing curls with a truth-table half submerged in a barbarity of bright ideas: turn the light on, dear, turn the light on me so you can see me crawl over the floor, dead stepfather in straight-jacket mouth, deader father watered with yarns of silver ivy! Am I not beautiful, refusing to hold form? What did you dream about, under the lake where cats equal their shadows? I dream of car crashes, and snakes that blur with flippant scales. Hold me! You could cave in and let me enter you: let me fill you up: give me a face! ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Tue, 3 Jun 2003 10:29:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: the selling of Matthew Barney In-Reply-To: <20030603055207.14018.qmail@web40809.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > One would be hard pushed - for example - to find a feminist presence in the work. < Jeffrey, you indeed get a lot of wonderful gooey, bummy mileage out of my quote of saying what's "not" in Barney's work . Which is great to draw attention to - as was your yesterday post attention to Barney's mytho-doodling away in his classroom appearance, and, in your view, if I am paraphrasing you accurately, Barney's narcissistic, hermetic side - in I guess what you are here visually dwellng on and suggesting is pre-differentiated sexual, yet non or pre-erotic world. I think what I am experiencing in the work (again I am just recently immersed in the Cremaster film series) is a visual space that is rendered in both erotic and counter-erotic terms. This is obviously a highly sensual eye, totally embraced/consummed by whatever its content - but as film the experience of the ecstatic goes from luminous to dark dark. The mere fact that the films take Barney and his pre and post natal equipment and consciousness into the national realm (football fields, Chrysler building, Gilmore, etc. etc.) necessarily call the work into larger political and other kinds of critique. You have to admit he's banging on and swinging with some pretty large demons here. And I suspect - if I can speculate - that this move will always remain at odds with your fondness for the pre-Barbara Gladstone cinematic/book etc. launch of Barney into an international spectacle. It is out of the local gym and into the major coliseum - complete with corporate boxes. But it's great - and I don't mean to say this with any condescension - to have your 'nativist' memories of Barney and to keep those at play in the fore. The naked eye bouncing off the lens. Stephen V on 6/2/03 10:52 PM, Jeffrey Jullich at jeffreyjullich@YAHOO.COM wrote: >> One would be hard pushed - for example - to find a > feminist presence in the work. < > > > > I feel, in a way, as though ---no attitude intended > here (I love you all!)--- you and/or Patrick are > eating your Barney on a skewer or with escargot forks, > with a lobster bib, some sort of rigorously civilized > implement, whereas the Barney that I'm attached to > pumps goop straight back through my bellybutton. I > might use my mouth, too, like you, except he's > shuffled it away in some sort of cornucopia of Klein > ~part objects.~ > > That is, there's some sort of cortical armature that > keeps characterizing your critique of him, a sort of > one-size-fits-all critique heavily dependent on > codified theoretical touchstones that can, tomorrow, > be re-deployed against--- whomever, against Hugo Boss, > against Lilly Pulitzer floral pattern summerwear. > Meanwhile, Barney keeps re-rooting me down to a > virtually ~pre-natal~ iconography that simply bursts > through all those secondary defenses. > > It may be because I "knew him when",--- that is, > before his dealer, Barbara Gladstone, managed the > amazing feat of bringing such scads of money to the > production of his films. (His career and her role in > it seems comparable to that of Pollock and Peggy > Guggenheim: it's a mistake to forget about the early, > Jungian totemic Pollock in the wash of imperialist > murals that brought in the art mobs.) > > The ceiling of the gallery was marked with distracting > but inconclusive sort of ~hook~ apparatuses. Take the > video that was shown there in the Gladstone gallery, > meanwhile, while the aforementioned Vaseline > benchpress equipment froze in the basement: the young > Barney, buck naked except for a kind of hood-helmet of > some sort and various mountainclimer-like straps > fitted around, at armpit, at knee, slowly, very slowly > working his way upside-down across that same ceiling > Spiderman-like hooking and un-hooking and re-hooking > supporting cables into the handholds on the ceiling. > > This isn't the nudity of fashion ads. The composite > inverted ~crawling~ instinct and strangely > prosthetized nakedness harkened, rather, to some sort > of infantile exhibitionist urge, maybe, at best, > ---the way junior plays on the rug, only topsy-turvy. > > > > The point that I tried to make by bringing Barney into > my Fall 2001 Standard Schaefer review > (http://www.raintaxi.com/online/2001fall/schaefer.shtml), > an observation which I think is true, is that what > Barney offers, importantly, is a lushly erotic but > ~non-phallic~ male: > > "The performance artist and sometimes film-maker > Matthew Barney closes one of his > Cremaster films with a strange shot: some weird, > bumpy, infinity sign flesh protuberance fills the > entire screen, squeezed through an opening. One > realizes: balls. 'The End' and closing credits will > come down over or after a panoramic close-up of > anonymous testicles. In his Cremaster opera film, a > naked satyr has a Barbie's boyfriend Ken-smooth crotch > but unmistakable, makeup-powdered scrotum, that tied > to long ribbons at the ends of which are tied doves > roosting on his shoulders. At his pantomime signal, > the doves break into flight, pulling the ribbons in > their wake. . . . disturbing, scrotal masculinity." > > > Eros like his might seem to be foreclosed by > castration, ---except that I think the neo-infantile > sexuality he celebrates shows strong evidence of being > pre-genital. There's an overall lack of > differentiation which I believe is distorted by > reimposing binarisms such as "feminist" or other party > politics power. > > In the Chrysler Cremaster, the audience was shown > Barney's rectum, (yay!) down at the bottom of his > surgical gown as he lay stretched in the ~Marathon > Man~ dentist's chair (Latent: Nice butt!), his legs > up in more of a gynocological exam position. But the > ~insertion~ was happening at the wrong end, as the > compacted shrapnel of a smooshed automobile is wedged > into the gaping maw of Barney's wounded mouth, knocked > toothless by his earlier champing on a horse's bit,--- > and, for every force there is an equal and opposite > force, out of his pretty anus comes--- more > pearlescent goop, not his trademark tapioca this time, > but a strange nacreous glisten that then gradually > coalesces into--- ~a scrabble of teeth~ forced down > his intestinal tract. > > Where status quo masculinity (or feminism or any > ideology, per se) of ~any~ dominant or identity > politics stripe figures into so completely mixed-up a > fusion of organs and drives is beyond me. I left > those neat categories in the lobby. They're bubblegum > stuck on the bottom of the chairs. > > Beckett used to claim that he still retained conscious > memory of the pre-natal stage, ---and that it was very > depressing. :0 That seems to be where Barney > resides, except in a more vividly technicolor version > of it, ---his continual, slug-like crawls through > tight, tapioca-splattered tunnels as revisited passage > through birth canal--- And I don't know how > successfully or appropriately critical clich?s latch > onto such a polymorphous artistry. > > If I went to the Gary Gilmore Cremaster with a friend > (I can't recall), my friend ---or ~somebody~--- > afterwards said to me, Did you see his ~dick~ when he > was sitting in the car? > > I didn't. > > Not without good reason, though, apparently, as my > friend told me the glimpse of Gilmore's weenie that we > catch was a little mistake about two inches long (!). > My friend thought maybe Barney meant this was the > "deep" shame reason Gilmore was driven to his crimes, > ---but I rather tend to see it as the contestation of > all the assumptions about power that these critiques > are layering over this art. > > Foot fetishism of a robust "Kiss my boot!" ~Miss > Julie~ (Strindberg/Rorem/Kenward Elmslie) variety > would be ~salutary.~ Instead, besides the continual > Rockettes kicklines, in the most recent Cremaster what > we get is an ~amputee from the knees down~ balancing > on teetering glass Cinderella legs! . . . Which might > only be misleading, though, as that pushed Barney's > career-long foot motif over the top into a pristine > horror that could just re-invoke expectable > categorizations (somehow). The feet and boot that > ~really~ has to be opposed to ~Miss Julie,~ I think, > is that strange woman locked away in that tiny > triangle-shaped room at the top of the Chrysler > Building, where the kittycat goes running out the cat > door to avoid all the ~potatoes.~ Like other > Barney-designed footwear (this is, to be sure, no > Manolo Blahnik), this boot doubles as a machine: she > laboriously works at connecting an odd wedge-shaped > device to the sole of her boot, which she then > proceeds ~to cut potatoes with!~ into Masonically > arcane polygon cookie cutter shapes. (The maligned > feminist's ~potato-chopping boot??!~) > > > To get back to ~what actually happens~ in Barney's > work is a totally different art experience than > misrepresenting it by only sketching it in from a > distance and mainly via critical caricatures that > don't address the core Freud he's escaped Museum Mile > into. > > IMHO. > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Calendar - Free online calendar with sync to Outlook(TM). > http://calendar.yahoo.com ========================================================================= Date: Tue, 3 Jun 2003 14:32:28 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Stop Gov't From Destroying Overtime Pay & Weekends MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear friends, On June 5, Thursday, the House will vote on a bill oddly called the "Family Time Flexibility Act." Under the bill, employers will no longer be obligated to pay their employees overtime for working over 40 hours a week. Instead employers can force comp time on the employee. For those of us living on hourly pay, forced time off hurts us greatly. CALL YOUR REPRESENTATIVES AND TELL THEM TO STOP HR 1119 (look up your representatives' phone numbers: http://www.visi.com/juan/congress/) SPREAD THE WORD IMMEDIATELY!!! Interesting how there is almost zero media coverage on this hot topic. This week the government cleared the way for media monopolies. Now they're about to remove employers' obligations to pay overtime, thus destroying the 40 hour workweek. For those of us who live on hourly wages, this is DEVASTATING. Comp Time legislation, now called the "Family Time Flexibility Act" (H.R. 1119), would replace overtime pay with time off from work. It would allow employers to work employees more than 40 hours per week without paying them overtime pay, for up to 160 hours a year. Instead, employers would "pay" workers with a promise of time off in the future, when the employer -- not the worker -- deems it convenient.] Talking points to oppose H.R. 1119: (from the Coalition of Labor Union Women website) The 40-hour workweek, enacted in the Fair Labor Standards Act in 1938, remains the bedrock family-friendly statute. This is the law that "brought us the weekend." The only mechanism by which the 40-hour workweek is "enforced" is its requirement that employers pay time-and-a-half premium for all hours in excess of 40 in a workweek. In other words, the law establishes a monetary disincentive for employers to work their employees more than 40 hours a week. Comp Time legislation (currently H.R. 1119 in the House of Representatives) removes this monetary disincentive by allowing employers to compensate employees who work overtime with a promise of time off in the future instead of time-and-a-half pay. With the disincentive removed, the number of hours worked by American workers (already the highest among industrialized nations) will inevitably increase. The 40-hour workweek will erode. It is a simple fact that workers who are compensated in time off will take home less money than workers who get premium pay. For millions of workers, time-and-a-half overtime pay is essential to meet their basic needs like housing, food and health care costs. The Comp Time legislation is not about giving work time flexibility to workers, it's about cutting costs for employers. The current Fair Labor Standards Act already allows an employer to permit workers to adjust their work schedules to take care of personal matters, such as attending a child's school activities. H.R. 1119, Family Time Flexibility Act, erodes the 40-hour workweek; it means less pay for workers, and it is not needed for work time flexibility. Relevant links: http://www.msnbc.com/news/912615.asp?0cv=BB10 http://www.suntimes.com/output/jesse/cst-edt-jesse03.html http://www.aflcio.org/issuespolitics/ns06022003.cfm http://www.cluw.org/legaction-comptime.html http://edworkforce.house.gov/democrats/hr1119views.html Patrick Patrick Herron http://proximate.org/ ========================================================================= Date: Tue, 3 Jun 2003 16:01:41 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: june madness - 2 readings & a book fair span-o (the small press action network - ottawa) presents JUNE MADNESS - 3 EVENTS IN 3 DAYS #1) Thursday, June 12th, 2003 at 7:30pm poetry 101, featuring Susan Elmslie (Montreal) & Suki Lee (Ottawa #2) Friday, June 13th, 2003 at 7:30pm LEAVE YR LUCK BEHIND YOU - FOCUS ON ECW PRESS poetry 101, featuring: Jacqueline Turner (Vancouver) Stuart Ross (Toronto) Gil Adamson (Toronto) & Robert Priest (Toronto) Gallery 101, 236 Nepean Street, Ottawa (1/2 block west of Bank Street) lovingly hosted by rob mclennan span-o & poetry 101 thanks Gallery 101 for their generous donation of its space. #3) Friday, June 14th, noon to 5pm the ottawa small press book fair, spring(ish) edition since 1994, featuring the best of the small press, from Ottawa, Toronto, Montreal, Frederiction & a few other places. Glebe Community Centre, 690 Lyon (at Second Avenue) for more information on these or other events, bother rob mclennan at 613 239 0337 or az421@freenet.carleton.ca / or check out the span-o or ottawa small press book fair links at www.track0.com/rob_mclennan next month @ poetry 101: John Barton (Ottawa) & Matthew Holmes (Ottawa) -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Tue, 3 Jun 2003 03:28:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: TWHM IV MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit if you will be kind enough to make use of this but not feed the infant we are going to do our best this is an ideal form are pointed by their grammars if it is not in your possession your fingers will naturally lift a kaleidoscopic flux of impressions we will make every effort it is handled the same make it so its deleterious ========================================================================= Date: Tue, 3 Jun 2003 18:51:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT some more research on language development. tom bell AScribe Newswire - June 02, 2003 BLOOMINGTON, Ind., June 2 (AScribe Newswire) -- How infants respond to their mother's touches and smiles influences their development in a manner much like what young birds experience when learning to sing, according to a research project involving the Department of Psychology at Indiana University Bloomington and the Biological Foundations of Behavior program at Franklin and Marshall College. An article on the research, titled "Social interaction shapes babbling: Testing parallels between birdsong and speech," will be published this week in the journal Proceedings of the National Academy of Sciences. The Web site for the journal is http://www.pnas.org/misc/highlights.shtml. The academy's Web site is http://www4.nationalacademies.org/nas/nashome.nsf. "The main point of our research is how the reaction of the babies to their mother's touches and smiles changes how they talk, and this corresponds to what birds do when learning to sing," said Meredith West, a professor of psychology and biology at IU. She collaborated on the article with Andrew King, a senior scientist at IU, and Michael Goldstein, an assistant professor of psychology at Franklin & Marshall College in Lancaster, Pa. "This research takes advantage of infants' sociality to understand development as it is constructed by interactions with caregivers," Goldstein said, "and it shows that social learning is a crucial part of vocal development." Goldstein is the principal author of the article, which he researched as part of his IU doctorate that was supervised by West. King directed the research on birds that was a model for Goldstein's work. "This is the first time for research showing that babies change how they vocalize in response to social responses -- not sounds, but sights -- by using more mature sounds," West said. "This shows that parent behavior plays a role very early in the process of babies learning to talk, a role that goes beyond simply talking to the infant." West studies behavior development in animals and humans. She is particularly interested in the development of communication and social behavior in the young. She said the research shows that babies, and birds, pay attention to the social consequences of sound-making and change their behavior accordingly. So their sounds have a function beyond simply making noise. "By manipulating how mothers behave," West explained, "we demonstrated that babies can change how they vocalize without copying or imitating their mother's behavior. The mothers did not change how they talked but whether they touched or smiled at the baby. That changed the content of the infant's sounds, as they were more mature or word-like." Goldstein added, "This project shows that maternal behavior and infant sensory capacities interact to generate the development of more advanced infant behavior. It shows that social learning is a crucial part of vocal development." The researchers studied 30 infants with an average age of 8 months and monitored their interaction with their mothers over two 30-minute play sessions. This included sessions when the mothers were directed to act in specific ways while responding to the infants, and audio and visual testing equipment monitored the results. An analysis of these results formed the basis of the findings. "This data provides strong support for a parallel in function between vocal precursors of songbirds and infants. Because imitation is usually considered the mechanism for vocal learning in both situations, the findings introduce social shaping as a general process underlying the development of speech and song," the researchers wrote in the abstract of the journal article. Funding for the research came from the National Institute of Mental Health, the National Science Foundation and the IU Center for the Integrative Study of Animal Behavior. Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 4 Jun 2003 10:29:08 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: the selling of Matthew Barney MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Thank you, Jeffrey, great post! It sounds right on to me! Wystan -----Original Message----- From: Jeffrey Jullich [mailto:jeffreyjullich@YAHOO.COM] Sent: Tuesday, 3 June 2003 5:52 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: the selling of Matthew Barney > One would be hard pushed - for example - to find a feminist presence in the work. < I feel, in a way, as though ---no attitude intended here (I love you all!)--- you and/or Patrick are eating your Barney on a skewer or with escargot forks, with a lobster bib, some sort of rigorously civilized implement, whereas the Barney that I'm attached to pumps goop straight back through my bellybutton. I might use my mouth, too, like you, except he's shuffled it away in some sort of cornucopia of Klein ~part objects.~ That is, there's some sort of cortical armature that keeps characterizing your critique of him, a sort of one-size-fits-all critique heavily dependent on codified theoretical touchstones that can, tomorrow, be re-deployed against--- whomever, against Hugo Boss, against Lilly Pulitzer floral pattern summerwear. Meanwhile, Barney keeps re-rooting me down to a virtually ~pre-natal~ iconography that simply bursts through all those secondary defenses. It may be because I "knew him when",--- that is, before his dealer, Barbara Gladstone, managed the amazing feat of bringing such scads of money to the production of his films. (His career and her role in it seems comparable to that of Pollock and Peggy Guggenheim: it's a mistake to forget about the early, Jungian totemic Pollock in the wash of imperialist murals that brought in the art mobs.) The ceiling of the gallery was marked with distracting but inconclusive sort of ~hook~ apparatuses. Take the video that was shown there in the Gladstone gallery, meanwhile, while the aforementioned Vaseline benchpress equipment froze in the basement: the young Barney, buck naked except for a kind of hood-helmet of some sort and various mountainclimer-like straps fitted around, at armpit, at knee, slowly, very slowly working his way upside-down across that same ceiling Spiderman-like hooking and un-hooking and re-hooking supporting cables into the handholds on the ceiling. This isn't the nudity of fashion ads. The composite inverted ~crawling~ instinct and strangely prosthetized nakedness harkened, rather, to some sort of infantile exhibitionist urge, maybe, at best, ---the way junior plays on the rug, only topsy-turvy. The point that I tried to make by bringing Barney into my Fall 2001 Standard Schaefer review (http://www.raintaxi.com/online/2001fall/schaefer.shtml), an observation which I think is true, is that what Barney offers, importantly, is a lushly erotic but ~non-phallic~ male: "The performance artist and sometimes film-maker Matthew Barney closes one of his Cremaster films with a strange shot: some weird, bumpy, infinity sign flesh protuberance fills the entire screen, squeezed through an opening. One realizes: balls. 'The End' and closing credits will come down over or after a panoramic close-up of anonymous testicles. In his Cremaster opera film, a naked satyr has a Barbie's boyfriend Ken-smooth crotch but unmistakable, makeup-powdered scrotum, that tied to long ribbons at the ends of which are tied doves roosting on his shoulders. At his pantomime signal, the doves break into flight, pulling the ribbons in their wake. . . . disturbing, scrotal masculinity." Eros like his might seem to be foreclosed by castration, ---except that I think the neo-infantile sexuality he celebrates shows strong evidence of being pre-genital. There's an overall lack of differentiation which I believe is distorted by reimposing binarisms such as "feminist" or other party politics power. In the Chrysler Cremaster, the audience was shown Barney's rectum, (yay!) down at the bottom of his surgical gown as he lay stretched in the ~Marathon Man~ dentist's chair (Latent: Nice butt!), his legs up in more of a gynocological exam position. But the ~insertion~ was happening at the wrong end, as the compacted shrapnel of a smooshed automobile is wedged into the gaping maw of Barney's wounded mouth, knocked toothless by his earlier champing on a horse's bit,--- and, for every force there is an equal and opposite force, out of his pretty anus comes--- more pearlescent goop, not his trademark tapioca this time, but a strange nacreous glisten that then gradually coalesces into--- ~a scrabble of teeth~ forced down his intestinal tract. Where status quo masculinity (or feminism or any ideology, per se) of ~any~ dominant or identity politics stripe figures into so completely mixed-up a fusion of organs and drives is beyond me. I left those neat categories in the lobby. They're bubblegum stuck on the bottom of the chairs. Beckett used to claim that he still retained conscious memory of the pre-natal stage, ---and that it was very depressing. :0 That seems to be where Barney resides, except in a more vividly technicolor version of it, ---his continual, slug-like crawls through tight, tapioca-splattered tunnels as revisited passage through birth canal--- And I don't know how successfully or appropriately critical clichés latch onto such a polymorphous artistry. If I went to the Gary Gilmore Cremaster with a friend (I can't recall), my friend ---or ~somebody~--- afterwards said to me, Did you see his ~dick~ when he was sitting in the car? I didn't. Not without good reason, though, apparently, as my friend told me the glimpse of Gilmore's weenie that we catch was a little mistake about two inches long (!). My friend thought maybe Barney meant this was the "deep" shame reason Gilmore was driven to his crimes, ---but I rather tend to see it as the contestation of all the assumptions about power that these critiques are layering over this art. Foot fetishism of a robust "Kiss my boot!" ~Miss Julie~ (Strindberg/Rorem/Kenward Elmslie) variety would be ~salutary.~ Instead, besides the continual Rockettes kicklines, in the most recent Cremaster what we get is an ~amputee from the knees down~ balancing on teetering glass Cinderella legs! . . . Which might only be misleading, though, as that pushed Barney's career-long foot motif over the top into a pristine horror that could just re-invoke expectable categorizations (somehow). The feet and boot that ~really~ has to be opposed to ~Miss Julie,~ I think, is that strange woman locked away in that tiny triangle-shaped room at the top of the Chrysler Building, where the kittycat goes running out the cat door to avoid all the ~potatoes.~ Like other Barney-designed footwear (this is, to be sure, no Manolo Blahnik), this boot doubles as a machine: she laboriously works at connecting an odd wedge-shaped device to the sole of her boot, which she then proceeds ~to cut potatoes with!~ into Masonically arcane polygon cookie cutter shapes. (The maligned feminist's ~potato-chopping boot??!~) To get back to ~what actually happens~ in Barney's work is a totally different art experience than misrepresenting it by only sketching it in from a distance and mainly via critical caricatures that don't address the core Freud he's escaped Museum Mile into. IMHO. __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Tue, 3 Jun 2003 19:54:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: neuropoetry In-Reply-To: <00c101c32a2b$115d66c0$07e63644@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Thanks for posting this, Tom. Intriguing stuff, and I look forward to reading the referenced article to get more details. Doubly interesting to me because 1) we have a new-ish baby at home, and 2) I've long had a lingering ardor for the idea of the jungle girl who can speak/sing bird-language/song in Hudson's Green Mansions. Notable, tho, that the study is concerned only with mothers--no mention of fathers. Steve On Tue, 3 Jun 2003, tom bell wrote: > some more research on language development. > > tom bell > AScribe Newswire - June 02, 2003 > > BLOOMINGTON, Ind., June 2 (AScribe Newswire) -- How infants respond to > their mother's touches and smiles influences their development in a > manner much like what young birds experience when learning to sing, > according to a research project involving the Department of Psychology > at Indiana University Bloomington and the Biological Foundations of > Behavior program at Franklin and Marshall College. > > An article on the research, titled "Social interaction shapes > babbling: Testing parallels between birdsong and speech," will be > published this week in the journal Proceedings of the National Academy > of Sciences. The Web site for the journal is > http://www.pnas.org/misc/highlights.shtml. The academy's Web site is > http://www4.nationalacademies.org/nas/nashome.nsf. > > "The main point of our research is how the reaction of the babies to > their mother's touches and smiles changes how they talk, and this > corresponds to what birds do when learning to sing," said Meredith > West, a professor of psychology and biology at IU. She collaborated on > the article with Andrew King, a senior scientist at IU, and Michael > Goldstein, an assistant professor of psychology at Franklin & Marshall > College in Lancaster, Pa. > > "This research takes advantage of infants' sociality to understand > development as it is constructed by interactions with caregivers," > Goldstein said, "and it shows that social learning is a crucial part > of vocal development." > > Goldstein is the principal author of the article, which he researched > as part of his IU doctorate that was supervised by West. King directed > the research on birds that was a model for Goldstein's work. > > "This is the first time for research showing that babies change how > they vocalize in response to social responses -- not sounds, but > sights -- by using more mature sounds," West said. "This shows that > parent behavior plays a role very early in the process of babies > learning to talk, a role that goes beyond simply talking to the > infant." > > West studies behavior development in animals and humans. She is > particularly interested in the development of communication and social > behavior in the young. > > She said the research shows that babies, and birds, pay attention to > the social consequences of sound-making and change their behavior > accordingly. So their sounds have a function beyond simply making > noise. > > "By manipulating how mothers behave," West explained, "we demonstrated > that babies can change how they vocalize without copying or imitating > their mother's behavior. The mothers did not change how they talked > but whether they touched or smiled at the baby. That changed the > content of the infant's sounds, as they were more mature or > word-like." > > Goldstein added, "This project shows that maternal behavior and infant > sensory capacities interact to generate the development of more > advanced infant behavior. It shows that social learning is a crucial > part of vocal development." > > The researchers studied 30 infants with an average age of 8 months and > monitored their interaction with their mothers over two 30-minute play > sessions. This included sessions when the mothers were directed to act > in specific ways while responding to the infants, and audio and visual > testing equipment monitored the results. An analysis of these results > formed the basis of the findings. > > "This data provides strong support for a parallel in function between > vocal precursors of songbirds and infants. Because imitation is > usually considered the mechanism for vocal learning in both > situations, the findings introduce social shaping as a general process > underlying the development of speech and song," the researchers wrote > in the abstract of the journal article. > > Funding for the research came from the National Institute of Mental > Health, the National Science Foundation and the IU Center for the > Integrative Study of Animal Behavior. > > Write for the Heath of It course at > http://www.suite101.com/course.cfm/17413/seminar > > not yet a crazy old man > hard but not yet hardening of the > art > ========================================================================= Date: Tue, 3 Jun 2003 17:20:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: neuropoetry In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I had the same response as Steve, here - I mean it is 2003 - and depending on class and circumstance, among co-parenting families, fathers combine to create a whole other contribution of gestural intimacies with new babies, let alone those among "the funded", which bring nannies of all different ethnic, age and national makes into majority contact with the new kid. I think you would really have to create a wider frame to also include same gender parents, etc. But with Bush as President - or whatever foundation politics - there might have been in built-in bias to the funding? Stephen V on 6/3/03 4:54 PM, Steven Shoemaker at shoemak@FAS.HARVARD.EDU wrote: > Thanks for posting this, Tom. Intriguing stuff, and I look forward to > reading the referenced article to get more details. Doubly interesting to > me because 1) we have a new-ish baby at home, and 2) I've long had a > lingering ardor for the idea of the jungle girl who can speak/sing > bird-language/song in Hudson's Green Mansions. Notable, tho, that the > study is concerned only with mothers--no mention of > fathers. > Steve > > On Tue, 3 Jun 2003, tom bell wrote: > >> some more research on language development. >> >> tom bell >> AScribe Newswire - June 02, 2003 >> >> BLOOMINGTON, Ind., June 2 (AScribe Newswire) -- How infants respond to >> their mother's touches and smiles influences their development in a >> manner much like what young birds experience when learning to sing, >> according to a research project involving the Department of Psychology >> at Indiana University Bloomington and the Biological Foundations of >> Behavior program at Franklin and Marshall College. >> >> An article on the research, titled "Social interaction shapes >> babbling: Testing parallels between birdsong and speech," will be >> published this week in the journal Proceedings of the National Academy >> of Sciences. The Web site for the journal is >> http://www.pnas.org/misc/highlights.shtml. The academy's Web site is >> http://www4.nationalacademies.org/nas/nashome.nsf. >> >> "The main point of our research is how the reaction of the babies to >> their mother's touches and smiles changes how they talk, and this >> corresponds to what birds do when learning to sing," said Meredith >> West, a professor of psychology and biology at IU. She collaborated on >> the article with Andrew King, a senior scientist at IU, and Michael >> Goldstein, an assistant professor of psychology at Franklin & Marshall >> College in Lancaster, Pa. >> >> "This research takes advantage of infants' sociality to understand >> development as it is constructed by interactions with caregivers," >> Goldstein said, "and it shows that social learning is a crucial part >> of vocal development." >> >> Goldstein is the principal author of the article, which he researched >> as part of his IU doctorate that was supervised by West. King directed >> the research on birds that was a model for Goldstein's work. >> >> "This is the first time for research showing that babies change how >> they vocalize in response to social responses -- not sounds, but >> sights -- by using more mature sounds," West said. "This shows that >> parent behavior plays a role very early in the process of babies >> learning to talk, a role that goes beyond simply talking to the >> infant." >> >> West studies behavior development in animals and humans. She is >> particularly interested in the development of communication and social >> behavior in the young. >> >> She said the research shows that babies, and birds, pay attention to >> the social consequences of sound-making and change their behavior >> accordingly. So their sounds have a function beyond simply making >> noise. >> >> "By manipulating how mothers behave," West explained, "we demonstrated >> that babies can change how they vocalize without copying or imitating >> their mother's behavior. The mothers did not change how they talked >> but whether they touched or smiled at the baby. That changed the >> content of the infant's sounds, as they were more mature or >> word-like." >> >> Goldstein added, "This project shows that maternal behavior and infant >> sensory capacities interact to generate the development of more >> advanced infant behavior. It shows that social learning is a crucial >> part of vocal development." >> >> The researchers studied 30 infants with an average age of 8 months and >> monitored their interaction with their mothers over two 30-minute play >> sessions. This included sessions when the mothers were directed to act >> in specific ways while responding to the infants, and audio and visual >> testing equipment monitored the results. An analysis of these results >> formed the basis of the findings. >> >> "This data provides strong support for a parallel in function between >> vocal precursors of songbirds and infants. Because imitation is >> usually considered the mechanism for vocal learning in both >> situations, the findings introduce social shaping as a general process >> underlying the development of speech and song," the researchers wrote >> in the abstract of the journal article. >> >> Funding for the research came from the National Institute of Mental >> Health, the National Science Foundation and the IU Center for the >> Integrative Study of Animal Behavior. >> >> Write for the Heath of It course at >> http://www.suite101.com/course.cfm/17413/seminar >> >> not yet a crazy old man >> hard but not yet hardening of the >> art >> ========================================================================= Date: Tue, 3 Jun 2003 21:42:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Keep us posted, Steve, on your observations. I'm a grandfather who lived with my granddaughter for a year and I still plays a role. I think there are biological and cultural factors in the mother/child monopoly. They probably play more of a role in publication: mother/child poems are a natural but I have yet to see any by fathers? tom bell ========================================================================= Date: Tue, 3 Jun 2003 21:26:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: neuropoetry In-Reply-To: <02f601c32a42$ef6222a0$07e63644@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Tom wrote: Sender: UB Poetics discussion group From: Denise Enck Subject: Re: Po Joans Jones Langston...That Was.. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ted was a great admirer of Langston Hughes & his work & often talked about him. On the occasion of Hughes' birthday in 2000, Ted did a reading at UC Berkeley. The audio is here: http://sunsite.berkeley.edu/VideoTest/joans.ram Ishmael Reed introduces Ted for a little over eight minutes, then Ted reminisces about Langston Hughes, reads a few of Hughes' poems, and a number of his own. Ted was indeed a surrealist, having been proclaimed one by Andre Breton. He was a painter & collage artist as well as a poet. He edited the surrealist journals and contributed work (poetry / prose / art) to a great number of surrealist periodicals & books. Ted identified himself more with the Surrealists than the Beats, and often proclaimed "Jazz is my religion and surrealism is my point of view." He was all of these: Surrealist - Beat - jazz poet & muscian - artist. A good introduction to Ted's work would be WOW, published 1999 by Quartermoon Press. It is about 60 pages of poems which span Ted Joans' career & includes quite a number of Surrealist poems. His selected poems, Teducation, was published by Coffee House Press in 2001 & is excellent as well. You can also follow the links at http://www.emptymirrorbooks.com/joans.html to read some of his work online. There are book reviews on his official website, www.emptymirrorbooks.com/laurated . And, of course, the tribute to Ted at http://www.emptymirrorbooks.com/tedjoanslives/ is still ongoing (and now numbers 9 pages!). cheers ~ Denise Enck > Date: Tue, 27 May 2003 15:36:25 -0400 > Reply-To: olsonjk@delhi.edu > Sender: UB Poetics discussion group > From: Kirby Olson > Organization: SUNY Delhi > Subject: Re: Po Joans Jones Langston...That Was.. > Content-Type: text/plain; charset=us-ascii > I thought the Joans poem packed a wallop. If I hadn't read the commentary, > I > would have thought he was praising Langston Hughes for creating such a > strong > rich world, but you're saying that he actually was criticizing Hughes for > his > limited vocabulary and range of subject matter? That's even more > interesting. > Did Joans consider himself to be a surrealist? I know that he knew Breton, > and > in the biographical piece on the crowd he was said to have known the origins > of > the Max ERnst image of the 100 heads. Was he then a student/practitioner of > surrealism? Is that why he was criticizing Langston Hughes -- for his > social > realistic Marxist aesthetics? He does say at the end of the poem that he > was > the greatest black poet. Is he criticizing then black poetry (or even > protest > poetry) generally? > > -- Kirby Olson > ========================================================================= Date: Tue, 3 Jun 2003 18:58:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: New Contact Info In-Reply-To: <02be01c32324$a9b370d0$27e9cd80@administpii39e> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Kyle: Hope the move went pleasantly and is now complete. (Some hope!) When you have a moment, could you possible send me a list of what broadsides I sent youi? I've just unearthed another snall cache (the result of unpacking a box from our move in 1997!), and will send those (if any) that I didn't send. Like an oaf I never took a note of what I s ent you - or if I did, IU've lost it after forgetting it. The name of the poet or the poem shd be enough. Thanks. ========= And Meredith says I should send you a hunk of my autobiography for consideration by Kiosk. I kinda doubt it's even remotely apt, but if you agree with her, let me know - and what sorta length limits you have for prose (I have 130,000 words to choose from). Best, Peter ======================================= 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 Schlesinger Sent: 25-May-2003 6:18 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Contact Info On 1 June, 2003 Kyle Schlesinger and Cuneiform Press will be moving to the address below. Telephone and e-mail will remain the same. Best Wishes, Kyle Kyle Schlesinger Cuneiform Press 383 Summer Street Buffalo, New York 14213 ========================================================================= Date: Tue, 3 Jun 2003 23:08:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Fwd: New Expanded Edition: Lorenzo Thomas/Chances Are Few MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="=-BOxwAATscAAAAAEAAAAA" --=-BOxwAATscAAAAAEAAAAA Content-Type: text/plain ---------- Forwarded message ---------- May 30, 2003 Blue Wind Press announces the expanded 2nd edition of Chances Are Few by Lorenzo Thomas Originally published in 1979, this was the first major collection of poetry by the internationally acclaimed Panamanian-born African-American poet and critic. Now Lorenzo Thomas' poetry will be available again to the 21st century reader. This expanded second edition has almost 30 pages of new poems, as well as a new introduction by the author. Lorenzo Thomas writes in the introduction: "Writing poems involves that desperate attempt to pass through sophistication into wisdom. So the poet-disdaining fashion-tries on hats and costumes, modes and forms. Takes soundings. There is always the need to find and recognize beauty. Wherever we are. And, as Roberto McKay insists, there is the need to tell the truth." Library Journal said of the first edition: "Sharp, urbane, caustic social criticism by a black Panamanian poet (currently living in Texas). 'traveling through' the derailments of our times, anticipating disaster. Thomas addresses Middle America in the emperor's clothes, and locates a demonic inferno in the center of the American dream..." Erica Hunt in the "The Black Scholar" said: "The poems in Chances are Few are urban poems - they walk the walk and talk the talk, dense with the murmurs, boasts, chants, grousing, borrowed speech, rhetorical brilliance, and hyper-realism of city culture." The Houston Chronicle said "There is a quality to Thomas' poetry that makes one want to read it aloud and drink in the sound...short pithy lines roll off the tongue and captivate the ear." Chadwyck-Healey, in its database of 20th Century African American Literature, states: "Lorenzo Thomas, born in the Republic of Panama, migrated with his parents to New York in 1948. A native speaker of Spanish, Thomas credits his struggle to learn English with the growth of his interest in literature. Thomas participated in the Umbra workshop, a group of experimental writers that became associated with the Black Arts Movement of the 1960s, while attending Queens College, where he earned his BA (1967). He entered the U.S. Navy in 1968, serving in Vietnam in 1971. After leaving the Navy in 1972, Thomas became writer in residence at Texas Southern University in 1973. In addition to teaching at the University of Houston, Thomas has been a member of the literature advisory panel for the Texas Commission on the Arts. His criticism of American music, art, and literature has been published widely. "Thomas is what is often referred to as an 'experimental' poet because of his willingness to work in a non-narrative lyric mode. His use of fragmentation and open form lend his poems a powerful musical intelligence, conveying the complexity and immediacy of contemporary experience. "Thomas has been a recipient of the Dwight Durling prize in poetry, the Lucille Medwick Award, two Poets Foundation awards, in addition to a fellowship with the National Endowment for the Arts." His most recent book is "Extraordinary Measures: Afrocentric Modernism and 20th Century American Poetry" from the University of Alabama Press. ISBN 0-912652-77-2 Trade Paperback $19.95 Poetry -- ____________________________________ Blue Wind Press 820 Miramar Ave. / Berkeley, CA 94707 USA phone 510.525.2098 fax 510.525.1150 info@bluewindpress.com Publishers of Contemporary American Classics --=-BOxwAATscAAAAAEAAAAA-- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 3 Jun 2003 22:00:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: The Shafted Strike Back MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In the spirit of summer reading recommendations (and this rimbaud one sounds terrific), I'm attaching an amazon review I wrote for Mike Magee's MS. This is amazon, mind you, not the New Yorker or even the Nation, but I hope it piques your interest if you haven't seen the book already. Hello June! The Shafted Strike Back review of: Michael Magee MS (Sputyen Duyvil, 2003) Remember that capsule they sent into space with examples of earth art to show any aliens out there what it means to be human? I wonder what they’d think if they found this dazzling book on board. Magee’s put the English through a cyclotron of contemporary American voicings and come out the other side with a souped-up language that feels big enough and fast enough to just about cover Where We Are Now. The title “MS” moves in a lot of directions—manuscript, multiple sclerosis, the gender-savvy “miz”—and the poems touch on all of these and then some, often in the same stanza. I especially like the way Magee takes quirks of the language like homonyms and puns and uses them to explore a crazy quilt of subjects most of us would never think to loop together. Like in “Daughters of the American Revolution,” where he moves the word “wesson” from guns to cooking oil to black gold to blackness with the warp speed of a master turntablist. Or “Leave a Light On,” which rings the changes on the meanings of “shaft” (think Isaac Hayes meets Lucky Charms). Or “P”—one guess where that starts—where a schoolyard rhyme gets hit with some seriously funny theory. There’s a deeply American rat-a-tat to these poems that owes a lot to hip-hop’s verbal glee (“this is a fact check/from the girl at the hat check with a hatchet”). But Magee draws on whole families of vernaculars, black and otherwise, and manages to graft them onto wider poetic traditions in a way that seems totally natural: “Death, maybe, isn’t gluttonous, as in Donne— it’s more like someone says to Him, “You want the rest of this cheeseburger?” and He says, “I guess so.” or: “the belles of St. Mary knell ‘The Real Slim Shady.’” Magee’s out for more than just nyuks; these poems tackle some heavy questions about mortality, history and the way gender, ethnicity and race consciousness graffiti our personal manuscripts. But they do it with a phat beat that feels just right for the new millennium. “MS” trades fours with a good chunk of American culture and, by the time you reach the last poem, you half-believe it just might win. I hope this exciting collection finds the readers it deserves. Even on Uranus. --Rodney Koeneke Date: Tue, 3 Jun 2003 09:16:38 -0500 From: Maria Damon Subject: rimbaud bio hi everyone, i'm reading this graham robb bio of rimbaud --i'm hooked. it's wonderfully engaging. i started browsing it just for the info on his travel writing in his later years, but of course went further and further back into the wealth of detail about verlaine, london, germany, even java and possibly australia. the truth is stranger than fiction etc (what an original insight...) anyway highly recommended for entertaining summer reading. -- ========================================================================= Date: Tue, 3 Jun 2003 22:09:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: neuropoetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I think I've written a couple of dozen. Armand Schwerner wrote several that are included in the Selected Shorter Poems. There's a lovely piece by John Crowe Ransom, "Janet Waking." I don't think it would be hard to find a lot more. Mark At 09:26 PM 6/3/2003 -0400, you wrote: >Tom wrote: > > >Now that sounds like a list challenge *par excellence*. Surely, there >have to be some good father/child poems out there?! > >Let's see, Williams has some great ones about babies, and about being a >grandfather (and surely some about being a parent?). And I think Robert >Hass might have a couple. Hmmm, I'll have to ruminate on this, or maybe >go write a poem... >Steve ========================================================================= Date: Tue, 3 Jun 2003 23:17:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: rimbaud bio MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria, how does it check out against Enid Starkie's bio of Pimbaud? Best to you, David -----Original Message---From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, June 03, 2003 6:18 AM Subject: rimbaud bio >hi everyone, i'm reading this graham robb bio of rimbaud --i'm >hooked. it's wonderfully engaging. i started browsing it just for the >info on his travel writing in his later years, but of course went >further and further back into the wealth of detail about verlaine, >london, germany, even java and possibly australia. the truth is >stranger than fiction etc (what an original insight...) anyway >highly recommended for entertaining summer reading. >-- > ========================================================================= Date: Wed, 4 Jun 2003 02:15:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophical Text: The Death-Drive MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophical Text: The Death-Drive ... They talked about my death . ... by a snarling outcry and a quicksilver shimmering on the steps as something race towards them, outraged and furious . ... ... Dirk Pitt, death -defying adventurer and deep-sea expert, is ... In a furious race against time, Pitt's mission swirls him ... that the train is hurtling towards a storm ... ... try to track down a planet and race towards it, hoping ... shines, with it being fast and furious , intriguing and ... to be a dance of life and death sometimes, where ... ... the escape of Fouquet, the pursuit, the furious race , and, lastly ... near his person when the death of Mazarin ... Louis advanced towards the door and called Colbert. ... ... louder with each step he made towards the murderer ... and his heart crushed by this same matriarch of death . ... Visions began a furious race through his head, all of ... ... Harold Sampson (Patrick Stewart) wants each death to be ... is flying back and forth at a furious speed, gaining ... The three race towards the exit and hurry to the ... ... His wife towards the children looks, She does not ... impetuous, ceaseless breeze Blows on him cold as death . ... More slow it rolls; its furious race Sinks to its ... ... the day Dr. Tardy comes in, furious about the ... about the various weapons of mass death and destruction ... another dozen sec men as they race towards the entrance ... ... functioning, the faithful refusing to recognize the death of God ... A religious person towards the end of the twentieth ... which is caught up in a furious race to the ... ... the escape of Fouquet, the pursuit, the furious race , and, lastly ... near his person when the death of Mazarin ... Louis advanced towards the door and called Colbert. ... ... Gaius Octavius and the inevitable race towards Augustus' founding of ... She gets the death scene right, presenting ... exciting to read the furious verbal exchanges ... ___ ========================================================================= Date: Wed, 4 Jun 2003 09:07:22 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Wieja Subject: Re: rimbaud bio Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed i am looking forward to reading robb's bio on rimbaud- and i wanted to tell people that jean-luc steinmetz's relatively recent bio of rimbaud is excellent... he writes in the first-person, which gives it a real sense of vitality lacking in many bios. i suspect starkie's work is getting pushed further and further to the back of the line, as newer and more honest rimbaud scholarship continues to be done. but that is just my opinion... it has been a long time since i read starkie's bio...can anyone tell me if and why it is still relevant? _________________________________________________________________ MSN Messenger : discutez en direct avec vos amis ! http://www.msn.fr/msger/default.asp ========================================================================= Date: Wed, 4 Jun 2003 01:20:25 -0700 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: CONTINUOUS PEASANT MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Coming soon! ========================================================================= Date: Wed, 4 Jun 2003 01:22:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: god cycle #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit AUGUST HIGHLAND www.cultureanimal.com god cycle #0001 excerpt please muse your verse loop for me Servant and when we for good? And you will come servant and when we And they said to him for good? The noblest of his and you will come servant and when we through the waste And they said to him for good? Take her and go and the noblest of his and you will come servant and when we daughters through the waste And they said to him for good? Safely away when he take her and go and the noblest of his and you will come Lord said he was to daughters through the waste And they said to him Shobal Zibeon Anah safely away when he take her and go and the noblest of his bride-price now at Lord said he was to daughters through the waste And the sons of Shobal Zibeon Anah safely away when he take her and go and generations of the bride-price now at Lord said he was to daughters his end and all his done evil to this And the sons of Shobal Zibeon Anah safely away when he she-goats which were generations of the bride-price now at Lord said he was to to you only do his end and all his done evil to this And the sons of Shobal Zibeon Anah them in the she-goats which were generations of the bride-price now at his friend and to you only do his end and all his done evil to this And the sons of And the Lord came to them in the she-goats which were generations of the And Joseph made his friend and to you only do his end and all his done evil to this And Isaac answering And the Lord came to them in the she-goats which were from Judah and he And Joseph made his friend and to you only do two sons to whom And Isaac answering And the Lord came to them in the And she gave birth from Judah and he And Joseph made his friend and In the first month two sons to whom And Isaac answering And the Lord came to with Abram and said And she gave birth from Judah and he And Joseph made they made secret In the first month two sons to whom And Isaac answering And the Lord God with Abram and said And she gave birth from Judah and he may give worship to they made secret In the first month two sons to whom Truly he will give And the Lord God with Abram and said And she gave birth the food which the may give worship to they made secret In the first month his hand and put it Truly he will give And the Lord God with Abram and said the eyes of the the food which the may give worship to they made secret All the persons who his hand and put it Truly he will give And the Lord God And the Lord came to the eyes of the the food which the may give worship to get food we have no All the persons who his hand and put it Truly he will give AUGUST HIGHLAND www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Wed, 4 Jun 2003 01:29:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: god-nato cycle #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit AUGUST HIGHLAND www.cultureanimal.com god-nato cycle #0001 excerpt please muse your verse loop for me Arrival approximately nato-led peacekeeping troops also out of the land of And Pharaoh cup arrival approximately nato-led peacekeeping troops also my daughters and out of the land of When Judah saw her And Pharaoh cup arrival approximately nato-led peacekeeping troops also numbered my daughters and out of the land of child again and gave When Judah saw her And Pharaoh cup arrival approximately nato-led peacekeeping troops also some bread and numbered my daughters and out of the land of And the time was child again and gave When Judah saw her And Pharaoh cup Egypt am the Lord some bread and numbered my daughters and And Laban said In And the time was child again and gave When Judah saw her to your servant Egypt am the Lord some bread and numbered And on the third day And Laban said In And the time was child again and gave up high over the to your servant Egypt am the Lord some bread and Come let us go down From the land of And on the third day And Laban said In And the time was your brothers to go up high over the to your servant Egypt am the Lord And early in the Come let us go down From the land of And on the third day And Laban said In Gomorrah were put to your brothers to go up high over the to your servant And they said The And early in the Come let us go down From the land of And on the third day And all the Gomorrah were put to your brothers to go up high over the changes of clothing And they said The And early in the Come let us go down From the land of of their families And all the Gomorrah were put to your brothers to go joined with the she changes of clothing And they said The And early in the But her brother and of their families And all the Gomorrah were put to before Pharaoh but joined with the she changes of clothing And they said The that Isaac had given But her brother and of their families And all the made for Adam and before Pharaoh but joined with the she changes of clothing water to your camels that Isaac had given But her brother and of their families seating herself on made for Adam and before Pharaoh but joined with the she And Leah came near water to your camels that Isaac had given But her brother and daughters from me by seating herself on made for Adam and before Pharaoh but And the Lord said And Leah came near water to your camels that Isaac had given which he gave by his daughters from me by seating herself on made for Adam and and took their rest And the Lord said And Leah came near water to your camels Egypt such as never which he gave by his daughters from me by seating herself on gathered saturday inaugurate joint peacekeeping force part and took their rest And the Lord said And Leah came near AUGUST HIGHLAND www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Wed, 4 Jun 2003 10:30:07 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Wieja Subject: Re: rimbaud bio CLARIFICATION Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed whoops sorry when i was talking about steinmetz's bio of rimbaud, i meant to say he wrote it in the , NOT the "first-person" like i said. _________________________________________________________________ MSN Search, le moteur de recherche qui pense comme vous ! http://search.msn.fr/worldwide.asp ========================================================================= Date: Wed, 4 Jun 2003 08:31:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: rimbaud bio In-Reply-To: <003601c32a61$13e9f580$5f96ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well i read the starkie bio so many years ago i can't honestly give an impression. i loved reading that one too at the time but was aware that i was reading a piece of cult lit --it was "so bad it's good" --this seems more closely researched --a lot more info seems to have surfaced in the intervening years --and robb deals quite extensively with the post-writing years, which of course were the majority of AR's life. Hi, by the way. bests, md At 11:17 PM -0700 6/3/03, dcmb wrote: >Maria, how does it check out against Enid Starkie's bio of Pimbaud? Best to >you, David >-----Original Message---From: Maria Damon >To: POETICS@LISTSERV.BUFFALO.EDU >Date: Tuesday, June 03, 2003 6:18 AM >Subject: rimbaud bio > > >>hi everyone, i'm reading this graham robb bio of rimbaud --i'm >>hooked. it's wonderfully engaging. i started browsing it just for the >>info on his travel writing in his later years, but of course went >>further and further back into the wealth of detail about verlaine, >>london, germany, even java and possibly australia. the truth is >>stranger than fiction etc (what an original insight...) anyway > >highly recommended for entertaining summer reading. > >-- > > -- ========================================================================= Date: Wed, 4 Jun 2003 11:44:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: News from Cuneiform: Outlining by David Pavelich MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable News from Cuneiform: David Pavelich's Outlining Outlining is David Pavelich's first chapbook. After studying Lorine = Niedecker's reflective poetics at SUNY Buffalo, he moved to Madison, = where he is continuing his research at the University of Wisconsin. A = broadside, Sketches for Fields (So & So Press) appeared in 2002, and = "Six Stanzas" were recently published in Antennae. In 2003, he will = co-curate the reading series Felix. There are 100 copies of this chapbook printed in blue, black, purple, = violet, red and copper inks in the month of May on a Vandercook 4. = Copies of this title are available for $10.00 (including S&H). Read Ron Silliman's "David Pavelich's Outlining: articulating the = process of the poem" @ : http://ronsilliman.blogspot.com/ Wednesday, May 28, 2003 =20 One of the advantages of bird watching as an activity is that the = process organizes one's experience of any given hike, yet does so in = such a fashion that two walks literally down the same path will be = appreciably different. The supposedly stable elements of the walk - = foliage, ponds, trails - now are seen primarily as a background context = for a more variable &, to a birder, exciting element. Outlining, David = Pavelich's new chapbook from Cuneiform Press, has some similarities to a = bird walk in that these short texts - seven in all, with none over seven = lines long - have in fact been stripped down literally to the level = suggested by the title, such as: in exchange of profile unshared span, shading action in settling down Or the following, which may very well be, at some level, "about birds": of crest and down of step, of flight, of pattern in nest differentiate =20 point - but no specific series - but no specific field =20 In much the way that Jackson Pollock's painting might be viewed as being = "about brush strokes" or the way Ellsworth Kelly's are about shape, = Pavelich's poems articulate the process of the poem while giving away = only a minimum of its "context," as Roman Jakobson characterized the = realm referenced by any given statement. In this sense, they are direct = descendants of the poems by Zukofsky or Creeley that literally count out = the positions within the text:=20 Here here here. Here. Or, also from Pieces, Again and again now also. Pavelich's pieces aren't as strict in their sense of redaction, but = rather - as in the first piece - want the reader to hear & feel the pace = of the language, the space of that extra wide line break between the = unfinished tercet & that final partial line. The shift in the second = piece - I read it as first stanza birding, second stanza poem - makes = not only a specific point, but does so with a humor that is interested = in testing its own gentleness. I wonder, in today's poetry, just how = many readers will be able to hear that, but I do and am very glad to = have found it.=20 Cuneiform Press does gorgeous work, but in very limited runs. This book = is so beautiful that it borders on the obscene. Though I would not have = complained at a heavier weight paper stock. There are just 100 copies. = Pavelich I believe - I don't know the man - is somewhere in Wisconsin = these days, a part of the country where poets have been known to go for = decades before anybody takes much notice. I hope we don't have to wait = nearly so long to see more of this careful, thoughtful, wise writing -------------------------------------------------------------------------= ------- We've also recently published: Christopher W. Alexander's Two Poems [folding-broadside] printed in an = edition of 100 in three colors during the month of May, 2003 on gray = Stonehenge coverstock. ($5.oo) Thom Donovan's Love of Mother [broadside] printed in blue ink in an = edition of 40 on deckled handmade paper & signed by the poet on April = Fools Day 2003. (Sold Out) Forthcoming titles include: Gregg Biglieri's Reading Keats to Sleep [book work] Mike Kelleher's Germ of Order [illustrated broadside] Gil Ott's The Amputated Toe [book work]=20 & Also copies of Kiosk: A Journal of Poetry, Poetics, and Experimental = Prose are still available available. This year's issue includes works by = Louis Cabri, Abby Child, Rae Armantrout, Craig Dworkin, Pattie McCarthy, = Hannah Weiner and many others. Special feature on Leslie Fiedler = includes contributions by Robert Creeley, Raymond Federman,& Bill = Sylvester. 292 pages perfect-bound with cover art by Lara Odell. = Submission & subscription information available @ = http://writing.upenn.edu/epc/mags/kiosk.html or directly from the = address below. A Cuneiform Homepage will appear on the Electronic Poetry Center in late = June and we will then be able to accept credit card orders, but for now, = checks addressed to our new mailing address: Cuneiform Press 383 Summer Street Buffalo, New York 14213 ks46@buffalo.edu All the Best, Kyle ========================================================================= Date: Wed, 4 Jun 2003 14:15:38 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: FYI: Assyrian Christians speak out! MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I suppose this post will drive 90% of the people on this board insane because it would appear to totally disconnect with the viewpoint expressed. I am a great believer in cognitive dissonance, however, so I post it in that vein. It was written by a lifelong pacifist and member of the Assyrian Christian community of Iraq. It's getting a lot press in Lutheran circles, but I don't think has gotten to much of the academic community. It's a totally different viewpoint than anything else that you hear, at least, on either side of the simple dichotomous zero-sum game of football that America calls politics but then maybe you've heard this before -- I have largely tuned this issue out to avoid grinding my teeth any further: http://assyrianchristians.com/americans_stay_forever.htm ========================================================================= Date: Wed, 4 Jun 2003 17:01:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Fwd: NYTimes.com Article: 'Mother of the Nation,' Poet and Lesbian? MIME-Version: 1.0 Content-Type: multipart/mixed; boundary=-------3fcadc023a0101db3fcadc023a0101db Content-Transfer-Encoding: 8bit ---------3fcadc023a0101db3fcadc023a0101db Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline ---------3fcadc023a0101db3fcadc023a0101db Content-Type: message/rfc822 Content-Disposition: inline Return-Path: Received: from rly-xk03.mx.aol.com (rly-xk03.mail.aol.com [172.20.83.40]) by air-xk03.mail.aol.com (v94.27) with ESMTP id MAILINXK31-4f3c3ede598a357; Wed, 04 Jun 2003 16:41:46 -0400 Received: from ms4.lga2.nytimes.com (ms4.lga2.nytimes.com [199.239.138.148]) by rly-xk03.mx.aol.com (v93.12) with ESMTP id MAILRELAYINXK39-58b3ede596f1e6; Wed, 04 Jun 2003 16:41:19 -0400 Received: from web39t.prvt.nytimes.com (www10.prvt.nytimes.com [10.5.101.139]) by ms4.lga2.nytimes.com (Postfix) with ESMTP id 75834B2100 for ; Wed, 4 Jun 2003 16:41:21 -0400 (EDT) Received: by web39t.prvt.nytimes.com (Postfix, from userid 4040) id 044B2848E; Wed, 4 Jun 2003 16:41:21 -0400 (EDT) Sender: articles-email@ms1.lga2.nytimes.com Reply-To: fsherlock@thefoodtrust.org Errors-To: articles-email@ms1.lga2.nytimes.com From: fsherlock@thefoodtrust.org To: REVFIC01@AOL.COM Subject: NYTimes.com Article: 'Mother of the Nation,' Poet and Lesbian? Content-Type: text/plain; charset=US-ASCII MIME-Version: 1.0 Message-Id: <20030604204121.044B2848E@web39t.prvt.nytimes.com> Date: Wed, 4 Jun 2003 16:41:21 -0400 (EDT) X-Mailer: Unknown (No Version) This article from NYTimes.com has been sent to you by fsherlock@thefoodtrust.org. /-------------------- advertisement -----------------------\ Explore more of Starbucks at Starbucks.com. http://www.starbucks.com/default.asp?ci=1015 \----------------------------------------------------------/ 'Mother of the Nation,' Poet and Lesbian? June 4, 2003 By LARRY ROHTER Nearly a half-century after the death of the poet Gabriela Mistral, her iconic status in Chile is being re-examined. http://www.nytimes.com/2003/06/04/books/04CHIL.html?ex=1055759281&ei=1&en=a8d7b55fd63d6c13 --------------------------------- Get Home Delivery of The New York Times Newspaper. Imagine reading The New York Times any time & anywhere you like! Leisurely catch up on events & expand your horizons. Enjoy now for 50% off Home Delivery! Click here: http://www.nytimes.com/ads/nytcirc/index.html 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 2003 The New York Times Company ---------3fcadc023a0101db3fcadc023a0101db-- ========================================================================= Date: Wed, 4 Jun 2003 17:28:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: Re: News from Cuneiform: Outlining by David Pavelich In-Reply-To: <000a01c32ab8$8a3d5450$56eacd80@administpii39e> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit > Pavelich I believe - I don't know the man - is somewhere in Wisconsin > these days, a part of the country where poets have been known to go > for decades before anybody takes much notice. My god this is pathetic. I've always felt like WISC was the center of the universe. mIEKAL {just got the tomatoes planted & the trumpet flowers are blooming.} ========================================================================= Date: Wed, 4 Jun 2003 18:46:49 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: neuropoetry MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kirby Olson wrote: Hey, I've actually lost a little sleep over the last three weeks over this language business, and so I decided to ask a professor pal who knows about almost anything. So I was relieved to see that he was more or less on the side of reality's existence. He is a huge reader, and likes especially the poetry of Carla Harryman and Ron Silliman, so he's not averse to language poetry per se, but he asked me to keep his response anonymous as he kind of likes his life without extra hassles or battles for some reason. > I checked in with one of my former professors on the > language/Marx/Derrida issue. He's a Marxist, I think, or at least is > usually sympathetic to left positions and I know he is on the side of > the Palestinians. He also has a number of books that intersect with > postmodern debates. He's really brilliant -- thousands upon thousands > of books in his house and he can always find any given quote within > about ten seconds. It's almost weird. > > Well, here's this: > > "First of all, anybody who believes everything is language isn't > really a Marxist. No Marxist could possibly believe there is nothing > outside of language. For Marxists, language would have to be seen as > a concrete material practice, alongside, and interacting with, other > material practices, like economic production and class relations and > so on. It is ridiculous, from a Marxist point of view, to think that > language has the master role in all of this. There are many > mediations, according to Marxism, and language is just one of them. > Language is not transparent, but it is not an opaque screen preventing > us from any other sort of access to the world either. In fact, from a > Marxist point of view nothing could be more wrong than the idea that > our access to the world comes through language; because language is a > part of the world, not a screen between us and the world." > > "Secondly, anyone who believes that Lacan says that there is nothing > outside of language doesn't understand Lacan. For Lacan, language = > the Symbolic order; and the Imaginary, which is pre-linguistic, is > indeed only accessed retrospectively through the symbolic. But Lacan > also insists on the Real, -- because we only describe through language > -- but the real affects us, or has effects in us. This is something > that Zizek says again and again, in book after book -- there is > nothing more wrongheaded, in Zizek's eyes, than to ignore the Real and > think that Lacan reduces everything to the Symbolic." > > ...[for one paragraph he got a little abusive, and started calling > names, but I left this out, as I'm not interested in ad hominem > attacks or any kind of violence in this thread which has so far > proceeded in quite a civil manner -- and has taught me quite a lot, so > I don't want to shut it down by being rude -- most of the people > writing on this thread are really sweet geniuses, if possibly > confused. -- KO] > > "See also Deleuze's book on Foucault -- Deleuze says that Foucault > says that there are (at least) two orders, that of the sayable and > that of the invisible, which are heterogeneous to one another, and > irreducible to one another. For Foucault, power involves discourses > on one hand, and arrangements of space and confinement of bodies on > the other. Neither can be reduced to a mere instance of the other." > > "Even Derrida, though he comes closer to it than any of the above, > doesn't really say that only language exists. Derrida's notorious > sentence, "Ily n'y a pas de hors-texte" should not be translated > "there is nothing outside the text," I would argue that a more > accurate translation would be "there is no outside-the-text." The > pure "outside-the-text" does not exist; this doesn't mean that only > text exists, but that text is a strand in whatever exists (leaving > open the probability that what exists involves multiple other strands > as well). Language is necessarily involved in whatever we experience > or encounter; but this is very different from saying that the only > thing we experience or encounter is language." > > June 3, 2003 -- 10:50 pm If I may add something of a little more prosaic nature on the wonderful post about mom and daughter, and bird language. My boy Tommy is 2. Teaching him to speak I was very aware of what level he could attain. For instance, at first it was all objects. And the clearer harder consonants were easiest -- cat, dog (he likes to pretend to be these animals at this point). There was another level of abstraction from reality having to do with colors. This took nearly a month of going over before he finally got it -- and now he knows about ten colors. Words like freedom, or even abstractions like gadgetry -- they will have to wait maybe another year or so. So it seems to me that we are starting with real stuff, and moving towards abstractions. I think anybody with kids could verify this. But now his longest sentence is, "I like to play basketball at Chuck E. Cheese." This sentence really excites him and he says it about a half-dozen times a day, and sometimes in his sleep. I felt gratified to see that my very postmodern friend thought too that reality exists and that language is description in all the major postmodern French authors. It is, too, in my kid's language. -- Kirby Olson > > > ========================================================================= Date: Wed, 4 Jun 2003 19:25:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marc Nasdor Subject: New contact info - Marc Nasdor In-Reply-To: <200306032104.19npvV7Ae3NZFkD0@kite> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I've escaped from Staten Island and landed in Bushwick. Here's my new contact info for anyone who needs to contact me about events etc.: ---------------------------- Marc Nasdor Home: 127 Thames Street, #3L Brooklyn, NY 11237 Telephone: (718) 497-0073 - home (646) 408-4962 - mobile Email: mnasdor@earthlink.net Work: Director of Multimedia Production The Charles Morrow Company 307 Seventh Avenue, Suite 1402 New York, NY 10001 Telephone: (212) 989-2400 Fax: (212) 989-2697 Email: mn@cmorrow.com ---------------------------------- ========================================================================= Date: Wed, 4 Jun 2003 19:23:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: New contact info - Marc Nasdor In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT better italian food in staten island-- > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Marc Nasdor > Sent: Wednesday, June 04, 2003 6:25 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: New contact info - Marc Nasdor > > > I've escaped from Staten Island and landed in Bushwick. Here's my new > contact info for anyone who needs to contact me about events etc.: > > > ---------------------------- > > Marc Nasdor > > Home: > > 127 Thames Street, #3L > Brooklyn, NY 11237 > Telephone: > (718) 497-0073 - home > (646) 408-4962 - mobile > Email: mnasdor@earthlink.net > > Work: > > Director of Multimedia Production > The Charles Morrow Company > 307 Seventh Avenue, Suite 1402 > New York, NY 10001 > > Telephone: (212) 989-2400 > Fax: (212) 989-2697 > Email: mn@cmorrow.com > > ---------------------------------- > ========================================================================= Date: Wed, 4 Jun 2003 17:25:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Short mind in a Fast Mach In-Reply-To: <108f0410b336.10b336108f04@georgetown.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable Short mind in a Fast Mach it was there, before the start, before being recorded on a truth=20 decorum, that didn't happen, and did or could, on a more-or-less=20 unceremonious pain significance, with an air of cutting in pre-planned=20= hair cuttings, firmly planted shelter systems for furniture copulation=20= quick-dry cement in the works by numbers, paint by numbers offer that=20 soothes the thought process to a pre-planned obligatory sea full of=20 abundant entities including those sea horses of different color,=20 isolated with nothing else to do in those vast vistas of three clicks=20 of a heel grand rapids, well, not grand rapids, but close to a thousand=20= island and canada's niagara fall's ripley's=20 believe-it-or-not-wax-museum, which never showed a single sea hose in=20 its natural environment since beginning day-in-day-out hodgepodge=20 humdrum lingering stood on the everything stock pile that was given=20 sticking point name points for the entire compilation found at security=20= stations check points where each and every noun or new low noun is=20 crossed out in a process, similar to sinking the bismarck, or as the=20= last supper meal war bond winner takes-all from the lesser demarcation=20= bay of pigs interlude, between vietnam and that korean oases moving =20 parallel, on the quarter hour propaganda for feeding just before nap=20 time, in or with oceans of cream corn and overcook meat monday through=20= thursdays, never on fishstickfirdays with those special behind the gym=20= cheap bus motel rendezvous, alone on a deserted barber chair for the=20 first time marking decisions without index vote casting machines moon=20 walks and those all inclusive projection device for futurist moving=20 black lace panties in-and-out of idle atmosphere where the guide dog=20 uses it to take anyone to outer edge of the known and/or unknown=20 snapped back universe between dentistry and detergent to an or-or=20 compulsion fastidious roundabout way of progressing through penal eye=20 codes, true-false conclusions hat and ties testing, this is your=20 weapon, this is your gun in the name of =93I=94 holy sickness and normal=20= health simile parking lot for reused harbingers and cast lots pointers,=20= changes that could be cloud nine from planet nine sheets on a shingle=20 sheeted plain blank white paper tigers, tangled messages or the=20 messenger that became the =93if nothing else fails,=94 single doppler = on a=20 double decker marriages blood test and syphilis overcoat, masters and=20 bachelor's and master's master, but not yet, and still the midwest=20 mayonnaise roustabout, curtailing deep fried southern everything=20 nowhere as faraway faraday from there to here, could be eternity=20 punctuated before a drunken stupor mechanics obligatory factory first=20 plan best plan to the hair which wretch wrench is a ratchet which is=20 not phillips cuts best in macaruther=92s modus operandi, I shall return = I=20 shall return or just fade away in the in eye of a god white as irony=20 snow ho ho budwiser never more and never more waits to signs the stop=20 watch mail clerk check point procreator without a flair return to=20 sender love letter. ========================================================================= Date: Wed, 4 Jun 2003 21:18:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: yep MIME-Version: 1.0 Content-Type: text/plain http://www.guardian.co.uk/Iraq/Story/0,2763,970331,00.html Wolfowitz: Iraq war was about oil George Wright Wednesday June 4, 2003 Oil was the main reason for military action against Iraq, a leading White House hawk has claimed, confirming the worst fears of those opposed to the US-led war. The US deputy defence secretary, Paul Wolfowitz - who has already undermined Tony Blair's position over weapons of mass destruction (WMD) by describing them as a "bureaucratic" excuse for war - has now gone further by claiming the real motive was that Iraq is "swimming" in oil. The latest comments were made by Mr Wolfowitz in an address to delegates at an Asian security summit in Singapore at the weekend, and reported today by German newspapers Der Tagesspiegel and Die Welt. Asked why a nuclear power such as North Korea was being treated differently from Iraq, where hardly any weapons of mass destruction had been found, the deputy defence minister said: "Let's look at it simply. The most important difference between North Korea and Iraq is that economically, we just had no choice in Iraq. The country swims on a sea of oil." Mr Wolfowitz went on to tell journalists at the conference that the US was set on a path of negotiation to help defuse tensions between North Korea and its neighbours - in contrast to the more belligerent attitude the Bush administration displayed in its dealings with Iraq. His latest comments follow his widely reported statement from an interview in Vanity Fair last month, in which he said that "for reasons that have a lot to do with the US government bureaucracy, we settled on the one issue that everyone could agree on: weapons of mass destruction." Prior to that, his boss, defence secretary Donald Rumsfeld, had already undermined the British government's position by saying Saddam Hussein may have destroyed his banned weapons before the war. Mr Wolfowitz's frank assessment of the importance of oil could not come at a worse time for the US and UK governments, which are both facing fierce criticism at home and abroad over allegations that they exaggerated the threat posed by Saddam Hussein in order to justify the war. Amid growing calls from all parties for a public inquiry, the foreign affairs select committee announced last night it would investigate claims that the UK government misled the country over its evidence of Iraq's WMD. The move is a major setback for Tony Blair, who had hoped to contain any inquiry within the intelligence and security committee, which meets in secret and reports to the prime minister. In the US, the failure to find solid proof of chemical, biological and nuclear arms in Iraq has raised similar concerns over Mr Bush's justification for the war and prompted calls for congressional investigations. Mr Wolfowitz is viewed as one of the most hawkish members of the Bush administration. The 57-year old expert in international relations was a strong advocate of military action against Afghanistan and Iraq. Following the September 11 terror attacks on the World Trade Centre and Pentagon, Mr Wolfowitz pledged that the US would pursue terrorists and "end" states' harbouring or sponsoring of militants. Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Wed, 4 Jun 2003 21:49:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: my site (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Wed, 4 Jun 2003 10:04:52 +0900 From: Kenji Siratori To: Alan Sondheim Subject: my site Dear Alan, I launched my site! http://www.kenjisiratori.com Sincerely, Kenji ========================================================================= Date: Wed, 4 Jun 2003 21:37:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: personal reply from CIA re Paul Wellstone assassination Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'd queried the CIA electronically some time ago about two things: (1) whether the organization knew anything about the death and possible assassination of Senator Paul Wellstone, and (2) whether the organization had assassinated Paul Wellstone. This is the CIA's reply. I guess they don't do domestic assassinations. Gabe >Date: Wed, 04 Jun 2003 19:03:39 -0400 (EDT) >From: MollyHale@ucia.gov >Subject: CIA Reply >To: gmguddi@ilstu.edu >Reply-to: MollyHale@ucia.gov > >Thank you for your email. > >We regret not being able to respond to your email until now. As you might >suspect, the world situation has required the Agency to focus on the War >in Iraq these last few months, and on the ongoing War on Terrorism. > >The CIA focus is worldwide and our mission is intelligence. FBI's focus >is within the United States and its mission is law enforcement. There is >strong collaboration between the two agencies, such as the arrest of >Kansi, the man who murdered two CIA officers outside CIA headquarters. > >You can check out our Factbook on Intelligence on our website for more >information about the CIA: http://www.cia.gov/ The FBI also has a website >at: http://www.fbi.gov/ > >Regards, > >Molly ========================================================================= Date: Wed, 4 Jun 2003 20:32:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Pimbaud bio MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii These Rimbaud biographies, of course, should never be read except against the accompanying backdrop of screening the 1995 movie ~Total Eclipse,~ with Leonardo DiCaprio in the role of Arthur Rimbaud and David Thewlis in the role of Verlaine, perhaps the most shriekingly poetry-obliterating film bio ever. See Rimbaud-DiCaprio sodomize Verlaine-Thewlis, who, meanwhile, wears a sort of rubber clown-head bald pate scalp hood bathing-cap-like thing with shag hair starting at the line just above the ears, through the film. Repeated viewings will never lessen the disbelief. http://www.rottentomatoes.com/m/TotalEclipse-1067642/reviews.php POETICS@LISTSERV.BUFFALO.EDU __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Wed, 4 Jun 2003 20:41:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: GS: from mind to page In-Reply-To: <387F3B2C-96EC-11D7-9778-003065AC6058@sonic.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Is there any written record of how Gertrude Stein wrote her texts? I.e., has she or anybody observing her while she wrote written of how she wrote what she wrote? Was it simply a standard free-association type process as is often claimed, or did she make emendations, etc.? Were there dictionaries or other reference texts she consulted? Did she ever outline chapters, keep lists of characters, employ abstract structural techniques, etc.? I am trying to distinguish between speculation and actual evidence here. What do we actually know of Stein's working methods? m ========================================================================= Date: Thu, 5 Jun 2003 15:40:54 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: Pimbaud bio MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" These Rimbaud biographies should never be read except between chapters of In Memorian to Identity by Kathy Acker Wystan -----Original Message----- From: Jeffrey Jullich [mailto:jeffreyjullich@YAHOO.COM] Sent: Thursday, 5 June 2003 3:32 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Pimbaud bio These Rimbaud biographies, of course, should never be read except against the accompanying backdrop of screening the 1995 movie ~Total Eclipse,~ with Leonardo DiCaprio in the role of Arthur Rimbaud and David Thewlis in the role of Verlaine, perhaps the most shriekingly poetry-obliterating film bio ever. See Rimbaud-DiCaprio sodomize Verlaine-Thewlis, who, meanwhile, wears a sort of rubber clown-head bald pate scalp hood bathing-cap-like thing with shag hair starting at the line just above the ears, through the film. Repeated viewings will never lessen the disbelief. http://www.rottentomatoes.com/m/TotalEclipse-1067642/reviews.php POETICS@LISTSERV.BUFFALO.EDU __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Wed, 4 Jun 2003 23:51:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: GS: from mind to page MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Do look at the new book on Stein called Gertrude Stein: The Language that Rises by Ulla E. Dydo (Northwestern University Press). I've begun reading it for review. Terribly detailed! It will certainly inform you. Harriet ========================================================================= Date: Wed, 4 Jun 2003 23:54:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: personal reply from CIA re Paul Wellstone assassination In-Reply-To: <5.1.1.6.0.20030604213157.019b2ca0@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Yep. The CIA has been working overtime in an attempt to prove Saddam had the stockpiles of WMD we helped him build up. Its staff had no time to reply to you, GG. Excuse me. That's the old story. Wolfowitz said that the WMD claim was a war-starting ruse/negotiating ploy. It was about the oil. The oil, Gabe!! You see it's much more complex than you radical knee-jerk conspiracy pinkoes always make it out to be. It's about all that oil. It's about all that oil in which Iraq swims. I mean WE were the ones telling anyone who would listen that it was about tons and tons illegal weapons, ridding the world tyrannical despots and making it a better place for democracy. I mean, it was about oil. The oil, Guh!! At 09:37 PM 6/4/2003 -0500, Gabriel Gudding wrote: >I'd queried the CIA electronically some time ago about two things: (1) >whether the organization knew anything about the death and possible >assassination of Senator Paul Wellstone, and (2) whether the organization >had assassinated Paul Wellstone. > >This is the CIA's reply. I guess they don't do domestic assassinations. > >Gabe >>Date: Wed, 04 Jun 2003 19:03:39 -0400 (EDT) >>From: MollyHale@ucia.gov >>Subject: CIA Reply >>To: gmguddi@ilstu.edu >>Reply-to: MollyHale@ucia.gov >> >>Thank you for your email. >> >>We regret not being able to respond to your email until now. As you might >>suspect, the world situation has required the Agency to focus on the War >>in Iraq these last few months, and on the ongoing War on Terrorism. >> >>The CIA focus is worldwide and our mission is intelligence. FBI's focus >>is within the United States and its mission is law enforcement. There is >>strong collaboration between the two agencies, such as the arrest of >>Kansi, the man who murdered two CIA officers outside CIA headquarters. >> >>You can check out our Factbook on Intelligence on our website for more >>information about the CIA: http://www.cia.gov/ The FBI also has a website >>at: http://www.fbi.gov/ >> >>Regards, >> >>Molly ========================================================================= Date: Thu, 5 Jun 2003 00:01:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text: The Fear of Death MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Philosophy Text: The Fear of Death feblit with timor mortis with infermite mortis conturbat infermite conturbat me me and feblit and timor infirmitie is our slee the studied bruckle communication flesh entropy feynd douglas is i slee who studied infirmitie communication our entropy the douglas bruckle i flesh who feynd death so spent encroaching write schort before quyk so of encroaching sentence schort hie quyk he of death sentence spent hie write he before roull tane has pleasance informity here tane where pleasance george here sterling where that george tame sterling roull that has tame informity takis yat fawn challenge ye in those lie bewte heill d vves yat gladnes challenge am in takis lie fawn heill ye vves those gladnes bewte am d gret now trublit poenitentem seiknes quia now inferno poenitentem nulla quia est inferno we nulla was est gret we trublit was seiknes know talkynge tenour nor not a~ked her hour day byrde talkynge this nor what a~ked ~he hour know byrde tenour this not what her ~he day ment makers too original whan which have translates ~hall fear learned *responsum* dye peccantem to cotidie no ment say too for whan * have zombies ~hall from learned brukle dye fend to (initial no sle say stanzas for missing * source) zombies knichtis from field brukle bertrand fend (initial lament sle stanzas makers missing original source) which knichtis translates field fear bertrand *responsum* peccantem lament cotidie 1 gladness et et great great non non sickness sickness penitentem penitentem blood blood angel angel many many gladness guns by life) much provoked mirth fortytwo harrowed plus just seven provoked me) fortytwo on plus planctus seven p me) much on mirth planctus harrowed p just goliardicus versus hodie feci musa versus vult hodie concubere musa quamvis vult fervide concubere implorem quamvis goliardicus fervide implorem feci dunbars irae every (which fourth means line tomorrow gets something its next famous like catholic year dead dunbars office every needed fourth material line appeasement gets dies its irae famous (which catholic means dead tomorrow office something needed next material like appeasement year dies about hys lif idea alane nyxt forse dying man pray [must] doesnt hys be idea 260800 nyxt about dying lif pray alane doesnt forse be man 260800 [must] ii me=80the throws thinking into labour lyrick free never tradeenterprise ovan william other dunbar ii high 99 various thinking art types lyrick a never random ovan sample other peniten\te [penitentem] high feend various it art might types come a sexes random rather sample cryptically peniten\te quotidie [penitentem] words feend reiterated it (so might at come chillingly sexes refrain rather me=80the cryptically throws quotidie into words labour reiterated free (so tradeenterprise at william chillingly dunbar refrain distresses mepaul kloppenborg [ distresses ] mepaul treading luck if do cracks or you take luck even do as or effect take burden even treading as if effect cracks burden you occasional happy happy examplethis examplethis turns turns ae ae waly waly night night nickety nickety joking joking occasional try against shagging odds against state odds critique state couldnt critique quite couldnt praise quite anarchy praise try anarchy shagging repentance decides his repentance gravelly decides baritone his ___ gravelly ___ ___ ========================================================================= Date: Thu, 5 Jun 2003 00:01:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Textual Praxis: Dispersion-Filtering (Difiltering) Model MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Textual Praxis: Dispersion-Filtering (Difiltering) Model ... down and up again, along a dispersion curve, following ... the primary purpose of this duplication was, presumably ... stimulating each beam, simple filtering of the ... ... nice outsiders hazardous primary absent weigh ... unwillingness increasingly fence dispersion targets consulting ... psychosocial battered pray filtering pat odors oil ... ... to a luminous galaxy, a core of filtering scale r ... escaping the nucleus, but have a velocity dispersion set up ... r s = 310 13 (m/m) cm); the primary power supply ... ... a, three or four in phase b), any dispersion re-quired ... a detailed planning of the interventionon the primary mirror support ... cube arithmetic* spatial filtering. ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... language communication), perform information filtering from unstructured ... and understand the characteristics of the ... their heterogeneity and dispersion makes the ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ... determine extent academic primary evaluate accessible ... stabilised angles countrywise dispersion flows zone ... trondheim provinciale zeeland filtering fading ohioan ... ========================================================================= Date: Thu, 5 Jun 2003 02:12:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: neuropoetry Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT This discussion seems destine toward an ever-recursive referral to philosophical theoreticians, so I'll toss in Piaget on children learning language. Somewhere in the recesses of my mind (thirty years ago on child development) he describes what Kirby is referring to here: >Kirby Olson wrote: > > If I may add something of a little more prosaic nature on the wonderful > post about mom and daughter, and bird language. My boy Tommy is 2. > Teaching him to speak I was very aware of what level he could attain. > For instance, at first it was all objects. And the clearer harder > consonants were easiest -- cat, dog (he likes to pretend to be these > animals at this point). There was another level of abstraction from > reality having to do with colors. This took nearly a month of going > over before he finally got it -- and now he knows about ten colors. > Words like freedom, or even abstractions like gadgetry -- they will have > to wait maybe another year or so. So it seems to me that we are > starting with real stuff, and moving towards abstractions. I think > anybody with kids could verify this. But now his longest sentence is, > "I like to play basketball at Chuck E. Cheese." This sentence really > excites him and he says it about a half-dozen times a day, and sometimes > in his sleep. I felt gratified to see that my very postmodern friend > thought too that reality exists and that language is description in all > the major postmodern French authors. It is, too, in my kid's language. > > -- Kirby Olson I wouldn't see these as prosaic as it was from observations like this that Paiget's theories grew. If my recollections serve me at all here, Chomsky's first claim to fame in the sixties was championing empirical or prosaic observation of language learning and he came down on Piaget's side contra Freud on the idea that there is an unconscious. I could supply more names here but have not seen evidence that anyone here is curious enough to read on the expansion of the preconscious? [possibly not sexy enough to generate discussion] tom bell ========================================================================= Date: Wed, 4 Jun 2003 20:34:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: new grumman-inspired book Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Mathematickles! by Betsy Franco is coming out in June of this year (Margaret K. McElderry Books/Simon & Schuster). It was inspired by Bob Grumman's mathemakus. In the book, words take the place of numbers in all types of math problems: addition, subtraction, multiplication, division, graphs, fractions, and more. leaves wind)autumn -colors winter Betsy has used the book in different class settings, including ESL classrooms, and the children have written wonderful mathematickles themselves. Here's an example: maggot x time = fly To order call 1-800-223-2336 $17.95 ISBN 0-689-84357-7 -- ========================================================================= Date: Thu, 5 Jun 2003 05:21:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: core-specific combinatorial modeling #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit core-specific combinatorial modeling #0001 excerpt please muse your verse loop for me Different. Ambition child individual stand child find highest first man who brings daughter room. Cried hall only wife. Lizards general ecological studies. Simply because widespread different. Ambition child individual stand child find highest already locked paying royalties Microsoft. Better product came first man who brings daughter room. Cried hall only wife. Along stone-flagged corridor went. Every hand beheld fellow lizards general ecological studies. Simply because widespread different. Ambition child individual stand child find highest heart hurried off himself scene strange adventure. Thinking. Already locked paying royalties Microsoft. Better product came first man who brings daughter room. Cried hall only wife. Encouraged hope some day return love. Idea pleased mightily. Along stone-flagged corridor went. Every hand beheld fellow lizards general ecological studies. Simply because widespread different. Ambition child individual stand child find highest scarlet-liveried page. Turned considering gentle. Finely heart hurried off himself scene strange adventure. Thinking. Already locked paying royalties Microsoft. Better product came first man who brings daughter room. Cried hall only wife. Encouraged hope some day return love. Idea pleased mightily. Along stone-flagged corridor went. Every hand beheld fellow lizards general ecological studies. Simply because widespread soldiers attention. Scarlet-liveried page. Turned considering gentle. Finely heart hurried off himself scene strange adventure. Thinking. Already locked paying royalties Microsoft. Better product came modifications business practices. Among implementation Chinese encouraged hope some day return love. Idea pleased mightily. Along stone-flagged corridor went. Every hand beheld fellow soldiers attention. Scarlet-liveried page. Turned considering gentle. Finely heart hurried off himself scene strange adventure. Thinking. Thakane answered instantly commanded taken hut mother. Placed insufficient energy mineral resources. Declared Qian Shaojun. Modifications business practices. Among implementation Chinese encouraged hope some day return love. Idea pleased mightily. Soldiers attention. Scarlet-liveried page. Turned considering gentle. Finely Juno still alive. Lives Pentiel plantation William. Greatest Thakane answered instantly commanded taken hut mother. Placed insufficient energy mineral resources. Declared Qian Shaojun. Modifications business practices. Among implementation Chinese old woman seen. Soldiers attention. May. Help God. Beat off. Juno still alive. Lives Pentiel plantation William. Greatest Thakane answered instantly commanded taken hut mother. Placed insufficient energy mineral resources. Declared Qian Shaojun. Modifications business practices. Among implementation Chinese old woman seen. May. Help God. Beat off. Juno still alive. Lives Pentiel plantation William. Greatest Thakane answered instantly commanded taken hut mother. Placed insufficient energy mineral resources. Declared Qian Shaojun. Up. Old woman seen. Straddled waist. Sexy while mommy away girly will play may. Help God. Beat off. Juno still alive. Lives Pentiel plantation William. Greatest General Magic. Up. Old woman seen. Prince running full speed dog almost fell something looked like straddled waist. Sexy while mommy away girly will play may. Help God. Beat off. General Magic. Up. Prince running full speed dog almost fell something looked like straddled waist. Sexy while mommy away girly will play one other right nought one love. One blessed love hath now. General Magic. Up. Took bear while gather berries. Prince running full speed dog almost fell something looked like straddled waist. Sexy while mommy away girly will play AUGUST HIGHLAND the muse apprentice guild "expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal "changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Thu, 5 Jun 2003 05:31:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: muse news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The muse apprentice guild has four new liaisons in italy, armenia, romania and macedonia, bringing the number of official liaisons to nearly 30. The muse apprentice guild will print-publish an annual anthology presenting the best work appearing in the m.a.g. All writers contributors whose work is selected for inclusion in the anthology will receive a complimentary copy. The approximate date for the first annual muse apprentice guild anthology is the spring 2004. I welcome the assistance of anyone who can help me establish relationships with writers and editors in the african continent. AUGUST HIGHLAND the muse apprentice guild "expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal "changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Thu, 5 Jun 2003 09:59:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: new grumman-inspired book Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There's a brand-spanking new interview with Bob Grumman at eratio: http://www.eratiopostmodernpoetry.com/eidetics.html This interview includes some fine examples of his mathemaku along with links to some of his best essays. Also here, three stunning pieces from his work in progress, Mathemaku into Color. Gregory Vincent St. Thomasino, editor, eratio editor@eratiopostmodernpoetry.com http://www.eratiopostmodernpoetry.com eratio is reading for issue two. deadline for submissions is July 31, 2003. ========================================================================= Date: Thu, 5 Jun 2003 12:04:23 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Even the Wall Street Journal admits Bush lied MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Case for War Relied On Selective Intelligence Bush Team Bypassed Internal Disputes In Laying Out Evidence of Iraqi Weapons By DAVID S. CLOUD Staff Reporter of THE WALL STREET JOURNAL WASHINGTON -- In a classified report last fall, the Central Intelligence Agency concluded that Iraq appeared to have resumed work on obtaining nuclear weapons -- a finding that President Bush began trumpeting. But one important fact was kept secret: Some State and Energy department analysts dissented, arguing there wasn't enough evidence to support that conclusion. "Whole agencies ... were in disagreement" with the October report, says Greg Thielmann, an intelligence official at the State Department who was responsible for Iraq until retiring last fall. The episode underscores an important point about prewar U.S. intelligence findings on Iraqi weapons of mass destruction: Much of it wasn't very solid, and the fragmentary information sometimes produced fierce internal disagreements about its meaning. Yet those shades of gray were washed out in pronouncements by administration policy makers eager to win United Nations support for military action. The transformation of intelligence from uncertain analysis to seemingly hard fact lies at the heart of a burgeoning political storm over how information on Iraqi weapons was gathered, analyzed and disseminated. Worried that intelligence agencies could face blame for providing poor information, officials at some agencies have begun defending their work more openly in recent days. "The process was somewhat reversed -- not intelligence informing policy, but policy makers going to the intelligence community to find ways to sell the policy that was predetermined," says a senior intelligence analyst involved in Iraq. Doug Feith, undersecretary for defense policy, contested that complaint as controversy about the matter escalated Wednesday. At an unusual Pentagon news conference called to dispute reports his office had set up a small team of analysts to supplement the CIA's work, Mr. Feith said he didn't know of pressure by Pentagon officials on CIA or other analysts to conform to the administration's view of the threat posed by Iraq. "This suggestion that we said to them, 'This is what we're looking for, go find it,' is precisely the inaccuracy that we are here to rebut," he asserted. But there is no sign the issue is going away. Several congressional committees have announced inquiries into U.S. intelligence on Iraq. The CIA itself has brought back several former analysts to compare prewar intelligence reports with whatever is found in Iraq to assess whether there were flaws. Democratic presidential candidate Bob Graham said Wednesday that President Bush should be held accountable if intelligence was exaggerated. "It would raise serious questions about the political leadership that engaged in that manipulation and the misleading of the American people," said Mr. Graham, former chairman of the Select Committee on Intelligence. This week, the British Parliament launched two similar investigations, and Mr. Bush's strongest wartime ally, Prime Minister Tony Blair, has suffered significant political damage over the weapons issue. "The whole credibility of his government depends on clearing this up," said Iain Duncan Smith, leader of the opposition Conservative Party, which strongly backed the war. Intelligence officials insist they didn't overstate what they knew. They say agencies were scrupulous about including contrary evidence and agency disagreements in formal reports presented to senior officials. That approach was dictated by CIA Director George Tenet, who since the Sept. 11, 2001, attacks has worried about criticism of the quality of U.S. intelligence. But Mr. Tenet, despite close relations with the president, couldn't stop administration officials from dropping those nuances when they made their arguments against Iraq. "He tells them this ... is how we would say it, but if somebody decides to do it differently, that's OK," explains a senior intelligence official. Mr. Tenet, whose spokesman said he wasn't granting interviews, released a statement saying, "The integrity of our process was maintained throughout, and any suggestion to the contrary is simply wrong." White House officials say that Mr. Bush and other officials were careful in public statements not to exaggerate what was known about Iraq's weapons activities. It is also still possible that significant weapons stockpiles or documents revealing more about what Iraq was doing will be uncovered in coming months and years, they say. "It's a process that continues, and it will take a lot of time," White House spokesman Scott McClellan said. Days after completion of October's formal assessment of Iraq's weapons programs, Mr. Bush himself glossed over a debate on whether the attempted purchase of aluminum tubes was evidence of an active nuclear program. CIA weapons experts insisted the tubes were suitable as rotors for gas centrifuges used in making nuclear-weapons material. But analysts from the Department of Energy's nuclear labs were dubious, according to officials involved. They argued that coatings on the tubes aimed at preventing corrosion were inconsistent with use in centrifuges. More likely, the tubes were intended for making rockets, some U.S. analysts argued. In a speech in Cincinnati on Oct. 7, Mr. Bush made no reference to this disagreement. "Iraq has attempted to purchase high-strength aluminum tubes and other equipment needed for gas centrifuges, which are used to enrich uranium for nuclear weapons," he said. Secretary of State Colin Powell spent days culling intelligence about Iraq's weapons activities before his Feb. 7 presentation to the U.N. Security Council. He decided not to refer to an intelligence report that Iraq had sought to purchase uranium oxide -- material for nuclear weapons known as yellow cake -- from African countries, including Niger. According to two senior officials, some U.S. intelligence analysts had been suspicious for months of the reports, one of which was later deemed a forgery. Yet only a month earlier, Mr. Bush had cited one of the reports in his State of the Union address. "The British government has learned that Saddam Hussein recently sought significant quantities of uranium from Africa," he said. Officials now conclude the U.S.'s ability to see inside Iraq's weapons programs was always sketchy. Analysts across the intelligence community were in rough agreement that Iraq probably had hidden stocks of chemical nerve agents. An unclassified version of October's report on Iraq's weapons activities asserted that "Baghdad has begun renewed production of chemical warfare agents." Yet none have been found so far in more than a month of searching by Pentagon inspectors. Bush administration officials suggest that Iraq destroyed its weapons stocks just before the troops arrived. But some experts have a different theory. They say Iraq may have been focused on keeping intact the brainpower and hardware for making chemical and biological agents -- not on producing the weapons themselves. Iraq had made biological and chemical weapons in the past. Restarting production would have been easy -- once the inspectors went away -- as long as facilities and scientists were available, but getting caught with actual weapons stockpiles was too risky, this theory holds. -- Marc Champion contributed to this article. ========================================================================= Date: Thu, 5 Jun 2003 12:47:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: FW: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Powell "It's All About Oil" Story MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Interesting... -----Original Message----- From: Aaron Dickey [mailto:thewar@adelphia.net] Sent: Thursday, June 05, 2003 12:11 PM To: gulfwar-2@yahoogroups.com Subject: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Powell "It's All About Oil" Story From : --snip-- Although The Guardian earlier reported that US deputy defence secretary, Paul Wolfowitz had said that the Iraq war was all about oil, the newspaper has now removed the article from its web site, and will print a full correction in Friday's edition. According to the Guardian's ombudsman, the quote, "Let's look at it simply. The most important difference between North Korea and Iraq is that economically, we just had no choice in Iraq. The country swims on a sea of oil," was taken out of context, and misconstrued. --snip-- An early version of the aforementioned correction ran today. From : --snip-- Thursday, June 5, 2003 In our front page lead on May 31 headlined "Straw, Powell had serious doubts over their Iraqi weapons claims," we said that the foreign secretary Jack Straw and his US counterpart Colin Powell had met at the Waldorf Hotel in New York shortly before Mr Powell addressed the United Nations on February 5. Mr Straw has now made it clear that no such meeting took place. The Guardian accepts that and apologises for suggesting it did. --snip-- The Guardian retraction comes on the same day this article ran in The Scotsman , via : --snip-- ALONE in a national newspaper industry congenitally reluctant to correct its mistakes, the Guardian has an exemplary record: its famous "corrections and clarifications" column has even been turned into a book. All the more mysterious, therefore, that it has yet to correct or clarify its Saturday page-one splash which alleged that Jack Straw, the Foreign Secretary, and his US counterpart, Colin Powell, met in New York's Waldorf Hotel just before a crucial UN session on Iraq on 5 February and moaned to each other about the poor quality of their intelligence on Saddam Hussein's weapons of mass destruction. Some sort of clarification, at the very least, is surely in order because no evidence has yet been produced to show that the alleged meeting between Mr Powell and Mr Straw ever took place, much less that they said what the Guardian alleges. . . . The story's provenance is not helped by the joint byline: Richard Norton-Taylor is an experienced correspondent on intelligence matters, but his name comes after Dan Plesch, who is not even a journalist but a "defence expert" who was opposed to the Iraq war and whose commentaries at the start of hostilities have not stood the test of time. --snip-- ------------------------ Yahoo! Groups Sponsor ---------------------~--> Get A Free Psychic Reading! Your Online Answer To Life's Important Questions. http://us.click.yahoo.com/Lj3uPC/Me7FAA/ySSFAA/3hSolB/TM ---------------------------------------------------------------------~-> For more information, please visit: http://groups.yahoo.com/group/gulfwar-2/files/GULWAR-2%20FAQ To unsubscribe, send an email to: gulfwar-2-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Thu, 5 Jun 2003 13:25:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: FW: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Pow ell "It's All About Oil" Story MIME-Version: 1.0 Content-Type: text/plain I noticed that today, too. Maybe I was rash in my zeal to post the article yesterday... Interestingly, I was having a good deal of difficulty yesterday posting the article on a Yahoo Finances site (old Global Crossing other shareholders and I communicate through). Makes me thing that there is a lot of behind the scenes screening that goes on even on those boards, where it's mostly "anything goes," but sometimes they (Yahoo, or for others, Lycos Raging Bull) DO in fact make it difficult for "us" to post financial news/info and/or links (and, Ha, thus we always/usually get our collective paranoia dander up and figure it's Corp. America "censoring" us and keeping the "retail shareholders" and traders from getting the scoop and passing it around). Joe Excessively-Politics-"mired" Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Thu, 5 Jun 2003 13:29:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's blog -fait accompli- Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Since May 24, 2003, -fait accompli- has received over 1000 visits; (-fait accompli- opened on February 11th, 2003). Gary Sullivan kindly discussed -fait accompli- on his blog -Elsewhere- http://garysullivan.blogspot.com/ on Wednesday, May 28th: > Nick's blog is a great example of what the blog is: a public diary. A diary, > then, warped by the knowledge that others are reading it. "Warped" not as a > negative, but a (not so?) simple fact. Even a cursory look at what he's doing > suggests that he's undertaken a fairly complex, interesting, semi-"live", > literary event/object, which reaches back into the past to pluck out passages, > from himself and others, that directly relate to conversations (or monologs) > going on in the present. It's an act of connecting seemingly disparate > literary and other utterances, ideas, thoughts -- one of the most difficult > literary acts (of prose) to pull off, to sustain. No one anecdote, journal > entry, epigram, etc., is meant, necessarily, to stand on its own (although > many can and do), but rather to be followed, off, in multiple directions, > throughout the web of his ongoing blog, and even further off, into other blogs > -- in other words, other minds, souls. For me, it's a beautiful, very > Whitmanic, gesture. Hardly a kind of retreat (into Idaho, or anywhere else, > "the self," included). Also, check out the summer- Poetry Project Newsletter-, the final one to be edited by Gary Sullivan and Nada Gordon, which is devoted mostly to blogging; it includes an article I wrote about blogging called "Confessions of a Blog Artist." Thanks, Gary! Click here to visit -fait accompli- at http://nickpiombino.blogspot.com/ ========================================================================= Date: Thu, 5 Jun 2003 13:47:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Pow ell "It's All About Oil" Story In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit My intentions were not to correct the post you made yesterday, Steve. I think that the Guardian must be getting some unexpected heat from external sources. In fact, I'd guarantee it is. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Steve Tills Sent: Thursday, June 05, 2003 1:26 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: FW: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Pow ell "It's All About Oil" Story I noticed that today, too. Maybe I was rash in my zeal to post the article yesterday... Interestingly, I was having a good deal of difficulty yesterday posting the article on a Yahoo Finances site (old Global Crossing other shareholders and I communicate through). Makes me thing that there is a lot of behind the scenes screening that goes on even on those boards, where it's mostly "anything goes," but sometimes they (Yahoo, or for others, Lycos Raging Bull) DO in fact make it difficult for "us" to post financial news/info and/or links (and, Ha, thus we always/usually get our collective paranoia dander up and figure it's Corp. America "censoring" us and keeping the "retail shareholders" and traders from getting the scoop and passing it around). Joe Excessively-Politics-"mired" Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Thu, 5 Jun 2003 14:20:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: [gulfwar-2] Guardian Retracts, MIME-Version: 1.0 Content-Type: text/plain Anastasios wrote, "My intentions were not to correct the post you made yesterday, Steve." Oh, I know. Thank you, just the same, for letting me know, though. Sorry if my post suggested that. Anastasios also wrote, "I think that the Guardian must be getting some unexpected heat from external sources. In fact, I'd guarantee it is." Ah, yes, maybe they're getting some unexpected heat. Thank you for mentioning that, too. Personally, I'm so darn conditioned at times these days to feel that they can escape from any criticism and reality that's thrown back in their faces(s) that I immediately thought, "Shoot, now they caught the good Guardian in a lie. Damn." Your take, however, is sturdier and tougher and thus inspires me to check my "giving up so easily." So, Yes, maybe they're getting some unexpected, but that in itself is good (More Heat all around), and "external sources" means, one day, more scabs to unearth later... Very best regards, Steve Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Thu, 5 Jun 2003 15:15:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Love of Country MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Love of Country George Bush fucks everyone in site. He sucks Iraqi stumps. He murders Iraqi children. He crawls over his daughters wallowing in shit-muck with very secret service. He is known killer. He keeps M. Hussein for private pleasure bound and gagged. He can't sleep. His cock is hard with napalm. He shits on M. Hussein. Suddein chokes and falls over. He thinks. They both think. Their mouths are full of one another. They hear voices: "Christ to George Bush. On War, Death and Hell. - www.ezboard.com ... is evil, not because they kill Communuists, but just because they kill people ... User (12/19/02 1:07:20 am) Reply, Re: Christ to George Bush. On War, Death and Hell ... ... its secret police, DINA, to abduct, torture and kill anyone who opposed the regime. Death squads were active in Chile for sixteen years. George W. Bush has now ... ... its secret police, DINA, to abduct, torture and kill anyone who opposed the regime. Death squads were active in Chile for sixteen years. George W. Bush has now ... US Missiles Rain Death on Iraq. Lance Selfa. September 1993 Revision History. ... President Clinton claimed the attack was revenge for a plot to kill George Bush. ... ... Lord is "SOURCING THE AUTHORITY for the Death Penalty as ... HAVE SAID, "You have no authority to kill Pilate, killing ... I will give you the point that George Bush Jr ... ... President George Bush was informed about possible plans of international terrorist Osama bin Laden to capture a US airliner. More details... 11:13 Death ... ... WHO: Anti-Death Penalty Activists WHAT: Parody Bush Brothers at ... BEACH: With the execution of Garry Dean Miller in Texas last night, Governor George W. Bush ... ... Letter to George W. Bush on the Eve of War mardi 18 mars Another Death in Palestine ... By Michael Moore, George W. Bush 1600 Pennsylvania Ave ... Dear Governor Bush : ... ... WHO: Anti-Death Penalty Activists WHAT: Parody Bush Brothers at ... BEACH: With the execution of Garry Dean Miller in Texas last night, Governor George W. Bush ... ... Osama Bin Laden's guys would love to kill Bush. ... 1849 - Death of Anne Bronte, English novelist and sister ... his unequivocal victory in Iraq, George Bush can force ... ... was, until recently, a key George W. Bush fund-raiser ... If George Dubya will accept funds from weapons that ... then his newest nickname of Governor Death for turning ... ... Its leader is George W Bush. Death machine. ... George Bush's regime will next year spend $396 billion on a war machine whose purpose is to kill and devastate ... ... David Lindorff Race and the Death Penalty in Pennsylvania. ... Ben Tripp Speaking in Tongues: a Guide to Gibberish in the Age of Bush. ... Matt Vidal George W. Bonaparte. ... ... 11:15 Israeli soldiers kill 8-year-old An eight ... Come To Russia In April US President George Bush may arrive ... 2001.12.12 Death squads murder children in Honduras. ..." They fall into each others arms. They are death squad. Saddam's sons and George's daughters violent blond brawn. They will kill Iraq. They will kill America. They will burn and slaughter. They are dead dead meat. ___ ========================================================================= Date: Thu, 5 Jun 2003 15:25:06 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: neuropoetry Comments: To: tom bell MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Tom Bell, Part of the problem here is that I don't know psychology very well. Yes, I've read most of the major texts of Freud and Jung and some of Lacan, but Piaget is just a name to me. Is he being shot to pieces like the other three? I've heard that Chomsky's linguistic theories have been shot to pieces, but it's not my domain, so I don't know. That's hearsay. As far as preconscious goes -- I don't know this term. I wouldn't mind reading Piaget. I teach philosophy, so I happen to know it, but some parts better than others. I am pretty much only interested in aesthetic theory now, especially in how it relates to cities (the categories of the Kantian period, sublime, beautiful, and Gilpin's addition the picturesque -- and how they are being played out in urban planning -- many folks that is are trying to use these categories to develop a standard for what the national heritage foundations should attempt to save -- I'm interested in how poetry might play a role in this via poet's descriptions of places they consider sacred). But I also want to rescue the idea of language as description in order to do this. How did my boy's language intersect with Piaget? Is there a short crucial text of his that I could start with to get a flavor? He's at least French, so that might make him sexy to others. Or was he Swiss or Belgian. His name sounds French -- Jean Piaget, I think. My mom was a reading teacher and taught first grade so I remember seeing those books in the house. Piaget was blown off the map by something called the whole word movement. My mom was furious because she didn't think whole word worked. Maybe Piaget has staged a comeback, though. I remember reading something that said he did in some journal for teachers. I sent it to my mom and she was pretty happy to hear about it, because I believe that she thought he was dead on in terms of his accuracy and methodology, whatever it was. I remember my mother taught using a system called phonics. -- Kirby > ========================================================================= Date: Thu, 5 Jun 2003 16:31:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: neuropoetry Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Most of what I've posted over the last few weeks is I think related to the preconscious. I hate to resort to spatial metaphors as that's what gets peoples' thinking confused when they thin of the unconscious as a space but I don't see any way around it. The preconscious can be visualized as the body of the iceberg with a 'visible' top that is consciousness and maybe a base that is the unconscious and eighty percent in between the base and the top or tip. I'm not up to date on my reading but I think Damasio talks about this, as does Polyani. This might be what's called the liminal. It can be made conscious with work and its effects on thinking and perception can be measured. tom bell ----- Original Message ----- From: "Kirby Olson" To: "tom bell" Sent: Thursday, June 05, 2003 1:50 PM Subject: Re: neuropoetry > Say more about what the preconscious is. I haven't heard this term. Also, is > Piaget still considered current? How about Chomsky? I've heard that his > linguistic theories have been shot to pieces. I'm not up on it, though. > > -- Kirby > > > ========================================================================= Date: Thu, 5 Jun 2003 15:25:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Alice Thru The Dog Door Mime-Version: 1.0 Content-Type: text/plain; format=flowed white all across, small dearest sentinel reaching index of fingers die some would have the moon wasted four-star as the pair of stars in Moses's brow, as the blue socketed from your chest, Virginia they lift Virginia's corpse loose from slobbery feast tell now the not-touching paws that Eve-apple me so that things goodbye'd at back of night shout SHUCKS! all we boobs beheaded on shallows, charm'd, heard rustling feathery shipframes bereaved broken and grave, run aground slipped gravity fell grumble side up, you went skeletal ONE too many times good eggs like you have noses to master speech, yet you slung that ink foreign in... watch now where your hands step, new animal, startled critter, you Virginia startled to find yourself critter'd, write one more word & I'll give you an exoskeleton we're all in it together and there's room for one more, "knock knock who is she" O your new boots have light roots, you were never too far away I'm hell with this blade, I'm a useless puzzle dead favorite and forgotten did I not once have a lengthy dream about the word "AND" ? and grief soup however stays the course, some then switches those put under never sound & love myth & whimpering, I tucked you Virginia into animals— losing mother-like, 'neath the moon they fall, feathers white dead, who're loyal as dumb beasts nothing, nothing, considered as passage? multipliers claimed to like SUBTRACTION though do they not live only by the nightmare of the word "AND"? when I've built you, Galatea, Virginia, you will speak, I've carved you out, built you, SPEAK: "something is going on here but you dont know what it is do you mr hole" _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Thu, 5 Jun 2003 16:54:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: neuropoetry In-Reply-To: <024801c32ba9$e47a6600$07e63644@rthfrd01.tn.comcast.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Maritain: "Poetry has its source in the preconceptual life of the intellect." On Thu, 5 Jun 2003, tom bell wrote: > Most of what I've posted over the last few weeks is I think related to the > preconscious. I hate to resort to spatial metaphors as that's what gets > peoples' thinking confused when they thin of the unconscious as a space but > I don't see any way around it. The preconscious can be visualized as the > body of the iceberg with a 'visible' top that is consciousness and maybe a > base that is the unconscious and eighty percent in between the base and the > top or tip. > > I'm not up to date on my reading but I think Damasio talks about this, as > does Polyani. This might be what's called the liminal. It can be made > conscious with work and its effects on thinking and perception can be > measured. > > tom bell > ----- Original Message ----- > From: "Kirby Olson" > To: "tom bell" > Sent: Thursday, June 05, 2003 1:50 PM > Subject: Re: neuropoetry > > > > Say more about what the preconscious is. I haven't heard this term. > Also, is > > Piaget still considered current? How about Chomsky? I've heard that his > > linguistic theories have been shot to pieces. I'm not up on it, though. > > > > -- Kirby > > > > > > > ========================================================================= Date: Thu, 5 Jun 2003 17:26:05 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: US Military Operations Since 1945 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Welcome to an accounting of the US's Enemy of the Week listing... http://www.indexonline.org/news/20020502_vidal_table.htm ========================================================================= Date: Thu, 5 Jun 2003 16:19:31 -0400 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 ANSELM BERRIGAN IS OUR NEXT ARTISTIC DIRECTOR We are delighted to announce that poet Anselm Berrigan has been appointed a= s Artistic Director of The Poetry Project. His tenure begins on July 1, 2003. Anselm=B9s essays, book reviews, and interviews have appeared in publications such as Teachers & Writers Newsletter, Publishers Weekly, and The Poetry Project Newsletter. A widely published poet, his publications include Zero Star Hotel, published last year by Edge Books, and poems in the anthology The Best American Poetry 2002. Speaking about his plans for the Poetry Project, Anselm commented, "I feel excited and honored to be the Poetry Project=B9s Artistic Director. Having grown up in the East Village with poets as parents, I=B9ve had countless poet= s walking through my doors since I was a little kid. I have been aware of the Poetry Project and its community since I was five, and it is marvelous and strange to accept this position. As a community and artistic institution th= e Poetry Project has been a vital and influential publisher, presenter, and gathering place for three generations of poets and artists. I=B9m committed t= o seeing its spirit of aesthetic and cultural innovation and inclusiveness continue and grow, both locally and internationally." *** SUMMERTIME, AND THE LIVING IS [YOUR WORD HERE] The Poetry Project's schedule of events is completed for this season. Staff will be in the office through the end of June. The Project goes dark until mid-August, when the office will reopen. Programming will begin again in October. We hope you have a peaceful, uncomplicated summer, and we look forward to catching up with you in the fall. *** SCREAM OUT! AT ST MARK'S CHURCH Scream Out! is a performance/protest in which, one by one, women will condemn the Bush administration for destroying our basic American freedoms. Each charge will be answered with a scream of rage and resistance, fury and frustration. Monday, June 9, 5-7pm, free and open to the public. The event will take place in the east yard of St Mark's Church. Scream Out! was initiated by performance artist Karen Finley and organized by the Women's Action Coalition. Speakers and screamers will include prominent women artists, performers, writers and activists. *** 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, 5 Jun 2003 14:52:55 -0700 Reply-To: Doug Rice Sender: UB Poetics discussion group From: Doug Rice Organization: CSUS Subject: Re: Alice Thru The Dog Door Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You Alice Doesn't Live (T)here Anymore "What happens when we lose the other side?" In a subtle movement through those invisible spaces that separated here from there, Alice disappeared without a trace into an unnatural photograph. A spring downpour washed away the faint and schizophrenic footsteps of Alice's slightly curious departure. No one, not even Alice, knew where she had arrived. Her flight down into this little peep of the passageway is now only remembered inside tidy bedtime stories that fathers use against their daughters' desires. Stories told before night falls in order to keep them locked in childhood innocence. Safe and still. There, and there alone, Alice remains forlorn and sweet. Light forehead kisses like breath over a mirror from forgotten fathers. The helpless bodies of Alice's sisters and daughters tucked inside sheets, frozen beneath the weight of shabby blankets. Girls everywhere being told to sleep tight and to dream well. Princes will charm you with their kisses early in the morning. But Alice feared that she would never again awaken. Before falling asleep, she worried that she would become stranded in red corridors with billowing white curtains. She suffered the joy of being photographed by her dreams of unborn, unbound daughters. Alice worried that all infant traveling that she did while sleeping would be captured and spoken over in the voices of strangers. Alice lost herself. In a blink. She caught herself in a mirror looking, a child of tears suspended between doubts and dreaming. A lonely girl, Alice's older sister, pressed her hand on the dark wall where the mirror used to be. Alice herself was no longer there; she had become absent and could only enter her sister's life through stolen photographs. Torn photographs of broken dolls, girls with black hair, twisted and matted, crippled girls with mouths that had been cut open in the belief of a promised land were scattered everywhere in Alice's memory. Her voice in the stillness became lost in the desert that arrives before looking. Her hand reached out from the taint of the missing looking-glass. At times the terror of her own reflection took over the real. There was no way out of that place, out of the present, because her trauma had cut into her body and lived there alive in marks on the inside of her skin. She no longer could look out away from her looking. Alice had grown tired of eavesdropping. As a child she used to peep into her older sister's books, but her sister's books were always without a place for looking. Now Alice had slipped and become caught inside one of these nearly impossible books. A hopeless book without dialogue. Silent readers rubbed their fingers over her breathing. Bread crumb trails. Her words. Drawn and quartered photographs from the land of broken sins. Readers following and following their own needs to turn the page, to see Alice growing bigger and bigger and smaller and smaller. She never was one to remain still. With each touch she changed. Abrasions of her skin were torn from the material of her body as she slipped away into language. Still, she left shreds of paper, fallen leaves from Mimosa trees, for her sister to follow. To cling. "Come to me when I am not looking." Alice grew exhausted by the stares of old men. Abandoned strangers in boats on the lake. "In a small cottage, I posed and I became exposed," Alice told her sister. "I recall experiencing a mysterious thrill gazing up at my own shape emerging from a negative clipped to a string. Day after day, I watched myself in the dark room of his stories." Alice wanted to escape truth and avoid guilt, so she sewed words beneath the hem of her dress, and she smiled and twisted her body into playful moments that broke the trust of those watching her. "I just wanted to be a happy girl that refused to be really frightened." Alice sought uncertainty. She wanted to transform her skin from the reflection of other's desires into her own speech. Alice tried to look the other way. Just outside the mirror she caught a glimpse of her sister reading a book that appeared and disappeared. "This is the photograph you stole," she whispered to her older sister, "and you are the woman. I am." Alice never believed. Her older sister warned her. Slapped her wrists. On her lap she held books. Opened books with pages and pages of ink. Spilled desires. She rarely ever lifted her eyes. Alice stood beside her sister with her hand resting on her shoulder. She watched her sister wet the tip of her index finger and turn another page. Without looking away from her book, Alice's sister spoke. "Be careful around the outside of mirrors, Alice." "You may fall in." Looking glass deceptions threatened to become flesh before the word. She told Alice stories of other tiny girls that had been cut to pieces by the broken glass. "You're living there as unfinished, as perishable as a flower inside your reflection." Alice wondered about her sister's own reflection. The one she saw in her sister's vanity. Alice began dreaming after a fashion to be here before the eyes of her victims. To remain not yet a woman of her own. In the mirror, a girl once surprised Alice into looking away from her own body. Alice held this girl by her hand. She became invisible and unknown. "When was the last time you recognized yourself?" Alice waited. She invited them to look into her, to grow suspicious of their own desires. They loved to stare at her with their frenzied eyes. Her opened mouth. A kind of benediction. The moment before prayers. She wanted to trap each man, to force each one to look back at their own reflections. She wished to violate their eyes with her body. To be captured in the gaze by the purveyors of the plague. Each morning, she awaited the stares of these men with derelict desires. Men who arrested her on the taint of the mirror. A paused image that stuttered near the tremble of knowing. They told her lies. They did not know that Alice knew these were the lies of greedy men in despair. They told her that dirty knees were the sign of an innocent girl. She, because she knew what could not be said, shifted her weight from one hip to the other. Her mouth had edges. They took first one photograph then another. Photograph after photograph. She lived in this world of photographs without end. "I can only see what I've already seen." Like a photograph whose images continue to emerge. In the basement Alice became an archive of still life portraits and reflections. Image after image fractured. No longer an outside. She longed to find her way to be on the inside. Away from the deprivation of looking. Here, Alice desired a witness. One that could escape to tell what she had seen. "Tell me one story," she pleaded, "that is not afraid of truth." These men became guilty with looking. Someone had written on her eyes with desires that did not belong to her. Alice feared she would be condemned to only ending up in a book. One without drawings. She tore her sister's books into pieces when her sister was not looking. Alice feared that her all her life would be trapped inside one of these silent books. She feared these deaf and dumb books would kill her daughters. Alice was no longer there. Alice remained silent. She existed simply as this incompletion of words. Wanted only to live on the inside before the making possible of forgetting. She carried with her too great a weight of untold stories. This weight of memories. Ghosts that haunted her. She could not name these ghosts from her past. Wanted only to speak one sentence to her sister. But her breathing hesitated. Not one single memory of her childhood could break free. She longed for her own echo. Desired a way to travel back into the taint of the mirror. Alice wanted to stay on the inside of sleep. To be covered by the dead leaves of nearly lost memories. "Wake up, Alice dear!" Her sister's voice from a distance. Alice remained with her dreams. She whispered back to her sister from the inside of her long sleep and carried her sister, remembering her own child-life, with her to the place before sacrifice. doug rice Assistant Professor of English California State University, Sacramento 6000 J Street Sacramento CA 95819-6075 (916) 278-5989 http://www.csus.edu/indiv/r/riced/ ========================================================================= Date: Thu, 5 Jun 2003 15:51:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eddie Park Subject: Rimbaud bios Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello Maria and others who have posted to this thread, I read the Robb biography about 2 and a half years ago which started me on a Rimbaud quest and I have read many of the available bios since then (also some of the original French sources such as the memoirs written by Rimbaud's friend Delahaye and teacher Izambard). I think Graham Robb's biography is probably the most complete, unified and accurate in English - one valuable central point is Robb's trying to provide a more balanced, less 'myth-based" accounting of Rimbaud's life than other earlier bios such as Enid Starkie's picture of Rimbaud as a failed, burnt-out romantic who spent the last eleven years of his life wandering aimlessly and being taken advantage of by other, supposedly more "worldly" types. In fact, as Robb is careful to show, Rimbaud was very good at his trading and commerce activities in Africa, actually much more so than most of the other European traders/explorers of that time, as he was much more open to a radical alteration in his own life-style, lived most of his years in Africa and the Middle East pretty simply, close to the indigenous way of life, adopted local customs and even dress at times, and spoke most of the local languages fluently. He had a true passion for travel which I think Robb depicts very well. Charles Nicholls' Somebody Else: Arthur Rimbaud in Africa is very enjoyable and thorough re that aspect of his life, though it is a much more personal and subjective book than Robb's, as Nicholls sets out on his own road trip to retrace Rimbaud's steps and writes about that as well. Rimbaud's own letters, as well as those of his sister Isabelle and a few of his mother's, are available in his Ouevres completes and are very revealing and fascinating and are a great complement to Robb's book. In the October 2002 issue of Harper's, Wyatt Mason critiques the Robb bio (rather unfairly) as well as several others - he actually does find an instance where Robb appears to have extrapolated a little too wildly on one of Rimbaud's known comments (issue at point is whether Rimbaud actually did ejaculate into a glass of Carbaner's milk or just said that he did to shock people - evidence seems to show the latter is probably true while Robb indicates the former). Mason does acknowledge than Robb's biography is written so well and has such a strong dramatic and narrative drive to it. In this article Mason refers to a recent bio that is currently only available in French, Arthur Rimbaud by Jean-Jacques Lefrere - which is 1200 pages long and incredibly complete. I managed to obtain a copy through inter-library loan and was able to get through the first 200 pages in the time I had it (I plan to buy my own copy later this year) - Lefrere is almost obsessively thorough in unearthing any possible scrap of docmentary evidence, to the point of giving us the family histories of each of Rimbaud's teachers at the College de Charleville - I did learn something new from reading those 200 pages - Rimbaud at age 14 was already set on traveling to Ethiopia to be an explorer - actually made a pact with two of his slightly older classmates, who were seminary students, to each learn one of the necessry languages for such a trip - Rimbaud chose to begin studying amharic (the predominate language of Ethiopia), while the others began studying Arabic and Porteguese. This tidbit seems to be corroborated by letters that have been found in which the two seminary students were actually expelled or suspended from the seminary for studying "un-Christian languages"). I think this is fascinating as it shows that far from being a lost wanderer, Rimbaud actually ended up exactly where he wanted to go. Another tidbit I learned from Lefrere is that there is some evidence that Rimbaud was actually engaged, informally, in obtaining information for the French government - I think Robb does a really excellent job of showing how deep an impact both of Rimbaud's parents had on him . Much of what I have responded to has been the passion and human integrity with which he lived his life, also the poignancy of his final months of suffering after he developed cancer and his right leg was amputated. Of course he was filled with his own human contradictions, eccentricities and inconsistencies - for example, perpetuating his own type of racism and colonialism even though he was much more sympathetic to Arabic and African cultures than most Europeans of the time). Rimbaud it seems to me is an archetypal and alchemical figure and everyone is inevitably going to respond to him in their own way. My own response has been to write a series of poems based on his life (two have just come out in the current issue of Spoon River). And there is the whole issue of responding to Rimbaud's own writings, which seem to me to be wonderfully non-linear - each time I reread one of his prose poems it is as though I had never read it before - somehow the way he is writing doesn't seem to want to imprint on my conscious mind but must impact or be processed on another level - By the way, in reading Neruda's Memoirs I discovered that Neruda actually had a photo of Rimbaud on his writing desk, and owned two of the original letters that Rimbaud's sister Isabelle wrote to their mother while she was staying with Rimbaud during his final few months in the hospital in Marseilles - a friend of his (a French writer, can't remember which one) gave him the letters as a birthday present. best wishes, Susan Firghil Park ========================================================================= Date: Thu, 5 Jun 2003 18:54:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Pow ell "It's All About Oil" Story MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I agree with you, Anastasios: The Guardian's "correction" certainly did not appear to invalidate its original reading of Wolfowitz's comment, which clearly implied that we would not attack North Korea because--unlike Iraq--it has no resource we could draw upon to pay for the cost of the attack (not to mention to profit from for years in the future). It feels as if someone leaned on Wolfowitz for his excessive candor, who may then have contacted Blair's cronies, who then leaned on The Guardian, which sought to appease its critics by way of an ambiguous apology. Of course we did it for the oil! ----- Original Message ----- From: "Anastasios Kozaitis" To: Sent: Thursday, June 05, 2003 1:47 PM Subject: Re: [gulfwar-2] Guardian Retracts, Apologizes For False Straw/Pow ell "It's All About Oil" Story > My intentions were not to correct the post you made yesterday, Steve. I > think that the Guardian must be getting some unexpected heat from > external sources. In fact, I'd guarantee it is. > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Steve Tills > Sent: Thursday, June 05, 2003 1:26 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: FW: [gulfwar-2] Guardian Retracts, Apologizes For False > Straw/Pow ell "It's All About Oil" Story > > I noticed that today, too. Maybe I was rash in my zeal to post the > article > yesterday... > > Interestingly, I was having a good deal of difficulty yesterday posting > the > article on a Yahoo Finances site (old Global Crossing other shareholders > and > I communicate through). Makes me thing that there is a lot of behind > the > scenes > screening that goes on even on those boards, where it's mostly "anything > goes," but sometimes they (Yahoo, or for others, Lycos Raging Bull) DO > in > fact make it difficult for "us" to post financial news/info and/or links > (and, Ha, thus we always/usually get our collective paranoia dander up > and > figure it's Corp. America "censoring" us and keeping the "retail > shareholders" and traders from getting the scoop and passing it around). > > Joe Excessively-Politics-"mired" > > Steve Tills > Microcomputer/Software Specialist > MIS Dept.- G.W. Lisk Company, Inc. > 315-462-4309 > Stills@gwlisk.com > ========================================================================= Date: Fri, 6 Jun 2003 11:09:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Rimbaud bio Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed List members might like to read my review of Rimbaud in Africa: Somebody Else - Arthur Rimbaud in Africa by Charles Nicholl, Jonathan Cape, London, 1997, 335 pages, ISBN 0224043765 in Jacket 3: http://jacketmagazine.com/03/rimbaud03.html John Tranter, Editor, Jacket magazine ========================================================================= Date: Wed, 4 Jun 2003 21:51:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Poetry Project Announcements In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT boy this should bring some real "diversity" to the poetry project LOL. > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of The Poetry Project > Sent: Thursday, June 05, 2003 3:20 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Poetry Project Announcements > > > ANSELM BERRIGAN IS OUR NEXT ARTISTIC DIRECTOR > > We are delighted to announce that poet Anselm Berrigan has been > appointed as > Artistic Director of The Poetry Project. His tenure begins on > July 1, 2003. > Anselm¹s essays, book reviews, and interviews have appeared in > publications > such as Teachers & Writers Newsletter, Publishers Weekly, and The Poetry > Project Newsletter. A widely published poet, his publications include Zero > Star Hotel, published last year by Edge Books, and poems in the anthology > The Best American Poetry 2002. > > Speaking about his plans for the Poetry Project, Anselm commented, "I feel > excited and honored to be the Poetry Project¹s Artistic Director. Having > grown up in the East Village with poets as parents, I¹ve had > countless poets > walking through my doors since I was a little kid. I have been > aware of the > Poetry Project and its community since I was five, and it is marvelous and > strange to accept this position. As a community and artistic > institution the > Poetry Project has been a vital and influential publisher, presenter, and > gathering place for three generations of poets and artists. I¹m > committed to > seeing its spirit of aesthetic and cultural innovation and inclusiveness > continue and grow, both locally and internationally." > > *** > > SUMMERTIME, AND THE LIVING IS [YOUR WORD HERE] > > The Poetry Project's schedule of events is completed for this > season. Staff > will be in the office through the end of June. The Project goes dark until > mid-August, when the office will reopen. Programming will begin again in > October. > > We hope you have a peaceful, uncomplicated summer, and we look forward to > catching up with you in the fall. > > *** > > SCREAM OUT! AT ST MARK'S CHURCH > > Scream Out! is a performance/protest in which, one by one, women will > condemn the Bush administration for destroying our basic American > freedoms. > Each charge will be answered with a scream of rage and > resistance, fury and > frustration. > > Monday, June 9, 5-7pm, free and open to the public. > The event will take place in the east yard of St Mark's Church. > > Scream Out! was initiated by performance artist Karen Finley and organized > by the Women's Action Coalition. Speakers and screamers will include > prominent women artists, performers, writers and activists. > > *** > > 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: Fri, 6 Jun 2003 00:05:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text of the Northern Trek MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Text of the Northern Trek We ran off, it was an exciting escape! We left the ruined snowmobile at 3000 meters and began our slow trek northward. We went passed fallen ski-lifts, half choked by glaciers, cormorants nesting among the rusted cables. We continued northward. Anything to escape the wars and slaughters in the south. In the south, humanity was disappearing; blind animals died sullenly beneath the noon-day sun. We walked across the upper crusts of the glacial beds, crevices everywhere. Some disappeared, the rest of us continued to the station. We hoped for signs of life. We were disappointed at the ruined station. Corroded batteries were everywhere. The fury had hit; we thought it stopped elsewhere. Everywhere the planet shuddered; the obscene auroras with their unearthly colors reflected the future of the world. "Stop Here" he said. "This is as far as we can go." But the rest of us left, and continued our trek. He was speaking to himself now, mumbling and describing the death of billions. Breathless, we approached the frozen waters of the polar ocean. The last remnants of surface life moved slowly to the meandering field of true north. Unaware of global precession, our trek continued, shuddering in our tracks. The nights were harsh with bioluminescent fury beneath the missiles overhead. They crawled, exploded across the sky, raining radioactive debris into the frozen north. Metal fragments burned through the ice in fiery storms. We watched silently, vowing to remain there, as the ice began to crack. We heard shouts of "Open water!" over and over again... ...We held on for dear life to the last vestiges of the polar ice... ___ ========================================================================= Date: Fri, 6 Jun 2003 05:29:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: "our future looks sunny and fun" Mime-Version: 1.0 Content-Type: text/plain; format=flowed “Our future looks sunny and fun” What is the purpose of this visit? Does every song mean to end memorably? What did the memo say? Clipboard contains required paperwork hand from above. Leather gloves and belt in strong-arm kiosk roadsides vehicles guts inside. Peep from glass nose over. Stop. Fire from the wood know dances hidden with ribbon from belt buckles like May Day if September may replace smog with clock radios. Blink alarm off. String section carefully brings back bows; head to chest cough butt of to. To open lungs, A.M. shutters to noonday sun. To cease, light finds tangents at ball bearings and perhaps medicine balls; a gown to abandon waves and particles as light theory. Traffic turns orange; light turns corners. Which answer is the simplest? This answer must be correct. Forget graphs and charts. Street forges summer snowstorm through overanalysis. Center sky so bright shadow cannot hide. Smile hooks eyes upward as eyes doe eternally. Children are bobby soxers, poodle skirts are propellers. Throw the blade to the ground spins upward; wind curls under hypothesis. There is a magnifying glass in sand. Chew on grind down teeth. Speak endlessly and laugh; smile when observing. Is this needed to prove anything? The sun will not set despite trying. Breathes heavy. Where will the sun set to? The sun is on a towering double helix. Administration offices suspend on tight wires, while senior politicos oversee movement curves measure cosines. A political giggle. Holsters hiccup at flatbed trucks for unacceptable shipments don’t smile enough don’t scuff knees enough don’t play ball. But historical analysis dumps dreaming as a social pheromone. Precise instrumentation locks readings as dent hammers swing armour into amour for knock knee kids dancing cholera in the water. Okay to swim, okay to drink. Bottom is black but sky back refractfully. Black turns attractive. On March 20, 2003, the clock reverses. Sundials cease. Outer casing cracks; latch is improper. Springs break as paper swings pendulous match sticks down like snow. Every song means to end memorably fade out or. Dance in circles cracks underfoot clues to retract gears and stones swing arcs so buoyant that tanks can’t orient with the sun constantly overhead. The sun swings without gravity. A fixed point. Waiting on an airstrip. Four airplanes. ------------ found at http://processdocuments.blogpsot.com _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 6 Jun 2003 03:28:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: featured on runme.org MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi - of interest here perhaps - ... your project Julu was featured on runme.org by Florian Cramer, http://runme.org/feature/read/+sondheimjulu/+15/ the feature was also included in the Read_Me 2.3 Reader - (from Olga Goriunova) ... - Alan, poorly cutting and pasting ========================================================================= Date: Fri, 6 Jun 2003 01:14:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: FROM THE "NOMINAL QUIESCENT CURRENT" SERIES MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FROM THE "NOMINAL QUIESCENT CURRENT" SERIES (MICRO-LINEAR STORYTELLING) nowhere, nowhere, strange humorous yet strange humorous yet strange humorous yet tent tent nowhere, incandescences incandescences incandescences months videotexinteractive well kept kept kept stood stood motorcycles, course, well "suddenly prison "suddenly prison doors sanctuaries doors sanctuaries doors sanctuaries certain deep-rooted certain deep-rooted "suddenly prison understand death understand death betrayed!" betrayed!" betrayed!" MWR MWR understand death importantly importantly feel oneness life feel oneness life feel oneness life themselves, bending themselves, bending importantly starting.' starting.' starting.' Quickly done. Ruth's Quickly done. Ruth's bra. pull bra. pull re-energise re-energise re-energise bellowing plunging bellowing plunging bra. pull upper room one these upper room one these riddle solved riddle solved riddle solved hatched. Hardly, hatched. Hardly, upper room one these - - open-hearted man,' open-hearted man,' open-hearted man,' remembrance God, way remembrance God, way - 001 bar code label 001 bar code label through Guidobaldo's through Guidobaldo's through Guidobaldo's already already 001 bar code label AUGUST HIGHLAND muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Fri, 6 Jun 2003 01:30:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: NQC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FROM THE "NOMINAL QUIESCENT CURRENT" SERIES (MICROLINEAR STORYTELLING) definitely enjoy definitely enjoy music? got power music? got power definitely enjoy Brahman live subtle Brahman live subtle hung hung hung transcendental transcendental Brahman live subtle reassure yourself, reassure yourself, viewpoint outspoken viewpoint outspoken viewpoint outspoken progress progress reassure yourself, meditation regularly meditation regularly contact along path contact along path contact along path innocent virtuous innocent virtuous meditation regularly glued side, realised, glued side, realised, glued side, realised, female pale reduced female pale reduced pound ten, August!-- pound ten, August!-- stubble-- obedience stubble-- obedience stubble-- obedience virtuous actions, virtuous actions, pound ten, August!-- cautiously towards cautiously towards smile smile smile feet. feet. cautiously towards knowing wink, knew knowing wink, knew knowing wink, knew mock vision great mock vision great AUGUST HIGHLAND muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. 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Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 ========================================================================= Date: Thu, 5 Jun 2003 08:10:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Rimbaud in Basra Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit it must just be moi... that no-one will connect the....'s between rimbaud and iraq... as if these were two parrallel worlds...two pa ralaled po list threads... as if the Po teen Rimbaud were not the meme Adult imperialist adventurer... created the imperialist adventurer... the two greatest western 19th cent. imperialist poets... were Rimbaud & Whitman... the poetry of self- absorbtion & alienation... the drive out to the world we can denigrate Kipling by calling him an imperialist poet...we can't do this to Whitman or Rimbaud or O'hara & Berrigan because they are too central to who we think we are... lemon coke...the color of u... drn... ========================================================================= Date: Fri, 6 Jun 2003 09:26:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Rimbaud in Basra In-Reply-To: <3593770.1054895175480.JavaMail.nobody@wamui09.slb.atl.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" it's not just toi, nudel pie. many of us worry at this ... but perhaps some of us are more ambivalent than you are about repudiating our troubling and troubled forefathers...bests as always, md At 8:10 AM -0400 6/5/03, Harry Nudel wrote: >it must just be moi... >that no-one will connect the....'s >between rimbaud and iraq... >as if these were two parrallel >worlds...two pa >ralaled po list >threads... > >as if the Po teen Rimbaud >were not the meme Adult >imperialist adventurer... >created the imperialist >adventurer... > > >the two greatest western >19th cent. imperialist poets... >were Rimbaud & Whitman... > >the poetry of self- >absorbtion & alienation... >the drive out to the world > >we can denigrate Kipling >by calling him an imperialist >poet...we can't do this >to Whitman or Rimbaud >or O'hara & Berrigan because >they are too central >to who we think we are... > > >lemon coke...the color >of u... > > >drn... -- ========================================================================= Date: Fri, 6 Jun 2003 07:11:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: stephen rodefer book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi, Does anyone know where I can get a copy of Stephen Rodefer's ONE OR TWO LOVE POEMS FROM THE WHITE WORLD? It's an old favorite, and my copy seems to have disappeared one or two moves ago. Thanks. Aaron ===== " My vagabondage is unlonelied by poems." Fanny Howe __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 07:27:46 -0700 Reply-To: Denise Enck Sender: UB Poetics discussion group From: Denise Enck Subject: TED JOANS Celebration tonight in Seattle - June 6 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MARVELOUS LIFE: IN CELEBRATION OF TED JOANS POET-TRAVELER-COLLAGIST-INVENTOR OF WORLDS-BOPPER-SURREALIST-BEAT-AFRICANIST-ADMIRER OF ANVILS-TRAINRIDER-RHINOCEROLOGIST-BLACK VELVETEER-LOVER-FRIEND-REVOLUTIONARY-JAZZITE-HIPSTER- DISCOVERER-RACONTEUR- CROSSROADS OF CULTURE AND POSTCARDS FROM TOMBOUCTOU.... YOU are invited to... speak, play, read, listen, related, reminisce, conjure, complain, sing, remember, admire, eulogize or otherwise participate at the ISIS ON FIRST GALLERY, 1117 First Ave, Seattle WA tel. 206-628-9424. The Gallery is located one-and-a-half blocks south of Seattle Art Museum on west side of the street. -- Empty Mirror Books www.emptymirrorbooks.com specializing in the Beat Generation & modern poetry Post Office Box 972, Mukilteo, WA 98275-0972 USA toll-free fax & message phone: 1-877-570-6448 ----- Original Message ----- From: "Denise Enck" To: Sent: Tuesday, June 03, 2003 6:28 PM Subject: Re: Po Joans Jones Langston...That Was.. > Ted was a great admirer of Langston Hughes & his work & often talked about > him. > > On the occasion of Hughes' birthday in 2000, Ted did a reading at UC > Berkeley. The audio is here: http://sunsite.berkeley.edu/VideoTest/joans.ram > Ishmael Reed introduces Ted for a little over eight minutes, then Ted > reminisces about Langston Hughes, reads a few of Hughes' poems, and a number > of his own. > > Ted was indeed a surrealist, having been proclaimed one by Andre Breton. He > was a painter & collage artist as well as a poet. He edited the surrealist > journals and contributed work (poetry / prose / art) to a great number of > surrealist periodicals & books. Ted identified himself more with the > Surrealists than the Beats, and often proclaimed "Jazz is my religion and > surrealism is my point of view." > > He was all of these: Surrealist - Beat - jazz poet & muscian - artist. > > A good introduction to Ted's work would be WOW, published 1999 by > Quartermoon Press. It is about 60 pages of poems which span Ted Joans' > career & includes quite a number of Surrealist poems. His selected poems, > Teducation, was published by Coffee House Press in 2001 & is excellent as > well. You can also follow the links at > http://www.emptymirrorbooks.com/joans.html to read some of his work online. > There are book reviews on his official website, > www.emptymirrorbooks.com/laurated . And, of course, the tribute to Ted at > http://www.emptymirrorbooks.com/tedjoanslives/ is still ongoing (and now > numbers 9 pages!). > > cheers ~ > Denise Enck > > > > > Date: Tue, 27 May 2003 15:36:25 -0400 > > Reply-To: olsonjk@delhi.edu > > Sender: UB Poetics discussion group > > From: Kirby Olson > > Organization: SUNY Delhi > > Subject: Re: Po Joans Jones Langston...That Was.. > > Content-Type: text/plain; charset=us-ascii > > I thought the Joans poem packed a wallop. If I hadn't read the > commentary, > > I > > would have thought he was praising Langston Hughes for creating such a > > strong > > rich world, but you're saying that he actually was criticizing Hughes for > > his > > limited vocabulary and range of subject matter? That's even more > > interesting. > > Did Joans consider himself to be a surrealist? I know that he knew > Breton, > > and > > in the biographical piece on the crowd he was said to have known the > origins > > of > > the Max ERnst image of the 100 heads. Was he then a student/practitioner > of > > surrealism? Is that why he was criticizing Langston Hughes -- for his > > social > > realistic Marxist aesthetics? He does say at the end of the poem that he > > was > > the greatest black poet. Is he criticizing then black poetry (or even > > protest > > poetry) generally? > > > > -- Kirby Olson > > > ========================================================================= Date: Fri, 6 Jun 2003 12:00:13 -0400 Reply-To: theannex601@earthlink.net Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: THE ANNEX From: Poetics List Administration Subject: Tina La Porta - Total Screen Opens June 5, 6-8 pm MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit TINA LA PORTA - TOTAL SCREEN Curated by Jennifer Farrell Presented by White Box June 5 - June 28, 2003 Opening reception Thursday June 5, 6-8 PM Total Screen, a multi-media installation gathered from a wide range of media sources dealing with representations of gender during times of bellic conflict. Using photography, text, and photosilkscreened images, La Porta shows how the veil, hijab, burka and chador function as powerful cultural symbols. Moving beyond religious connotations, La Porta uses the veil to represent the media's "veiling" of information--the presentation of news through a limited perspective-- and her attempt to uncover what is hidden under mediated wartime propaganda. Total Screen examine the power of such images to portray notions of gender and cultural differences that correspond to and encourage Western stereotypes of the Middle East. Promulgated by the Orientalist school of thought, prevalent in Europe during the late 19th and early 20th Century. As La Porta states "Since 9/11, I have been researching text and collecting images from a wide variety of media sources including the internet, television and print media, focusing on how we are experiencing the recent wartime events in Afghanistan and the Middle East region through the news media from a distance. I decided to pay special attention to representations of gender via the veil, hijab, burka or chador. The gender differences between the veiled woman and the masked man is of particular interest to a western audience just becoming exposed to the eastern practices of covering. However, an additional reading of the work is the consideration of the media as veil, or--an attempt to unveil (see through) the media." A panel discussion entitled "What is Orientalism? A Cross-Cultural Dialog in Times of Global Conflict" will be held 11 June, 7 PM at the Annex with panelists including Eleanor Heartney, Shiva Balaghi, Tala Dowlatshahi, Persheng Vazari and moderated by Rashmi Jaipal. THE ANNEX 601 West 26th Street, 14th Floor New York, NY 10001 tel 646-638-3785 ========================================================================= Date: Fri, 6 Jun 2003 09:34:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Secreterial Pool Comments: To: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii New Titles from THE FIGURES ------ Order through Small Press Distribution: http://www.spdbooks.org or directly through Geoffrey Young: younggeoffrey@hotmail.com ------ Kenneth Goldsmith DAY (836 pages, $20.00) "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page." With those words, Kenneth Goldsmith embarked upon a project which he termed "uncreative writing," that is: uncreativity as a constraint-based-process; uncreativity as a creative practice. As Goldsmith claims, "It's one of the hardest constraints a writer can muster, particularly on a project of this scale; with every keystroke comes the temptation to fudge, cut-and-paste, and skew the mundane language. But to do so would be to foil the exercise." Long an advocate of extreme writing processes ? recording every move his body has made in a day (Fidget), recording every word he spoke over the course of a week (Soliloquy), recording every phrase he heard ending in the sound of "r" for four years (No. 111) ? Goldsmith now turns his attention to quotidian documents. By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper, reducing it to mere text. From the stock quotes to the Macy's ads, everything is assigned equal weight. What emerges is a monument to the ephemeral, comprised of yesterday's news: a fleeting moment concretized, captured, then reframed into the discourse of literature. With this simple act of transcription, Goldsmith critiques the culturally cherished values of creativity and originality in writing. Following the traditions of Duchamp's Fountain (1917) and Andy Warhol's work in the visual arts, or the ubiquitous practices of sampling and plunderphonics in contemporary music, Goldsmith asks, "Nearly one hundred years after Duchamp, why hasn't appropriation become a valid, sustained or even tested literary practice?" But there's also something of an alchemist in Goldsmith, thus evoking more Pierre Menard than Jeff Koons. The text is full of formal choices and chockfull of hundreds of tiny decisions, making Day a unique and playful work unto itself. "Even John Cage, whose mission it was to accept all sound as music, ultimately failed; his filter was on too high," says Goldsmith. "However, if Cage claimed that any sound can be music, then by extension we can conclude that, properly framed, any language can be poetry." "When I reach 40, I hope to have cleansed myself of all creativity." ------ Jerry Saltz SEEING OUT LOUD: THE VILLAGE VOICE ART COLUMNS, FALL 1998 - WINTER 2003 "Jerry Saltz is the best informed and hair-trigger livliest of contemporary art critics, tracking pleasure and jump-starting intelligence on the fly. Confirming the adage "first thought best thought," Jerry's fast takes usually stand up better in retrospect than other people's long views. This book preserves the crunch and heat of art's collisions with life in these times." -Peter Schjeldahl "Jerry Saltz looks at art from the perspective of the viewer, the ignorant, the lover, and the enemy. his writing is overwhelmingly passionate, yet without sentimentality. his words pierce the content and beauty of each work of art to test its endurance in time and memory." - Franceso Bonami, Curator, 2003 Venice Biennale ------ Geoffrey Young LIGHTS OUT Divided into seven sections, LIGHTS OUT takes the reader from the supple brevities of Et toi, beaute, [put accent on the final e](leaning to the right) to the longer poems in Thrifty, Brave & Clean (which opens with "Drive, It Said," as a marriage ends, and closes with "Elegy LY III," on the death of Young's father). In the mini-classic of romantic woe, The Dump, a series of short poems confesses the spectral tenderness of love and loss, while memory and experience give shape to the writing in Ad-lib and Savoy, when not pressing experimental ("Druid Lover / Squid Mover") or phrasal issues ("Text Pre-op"). In a thousand word tour de force, Mount Trove Curry orchestrates an obsessive formality, while Space Jam by Billy Higgins lets fly with jazz-driven lyric insouciance--a lively coda to this poet's best work to date. Order through Small Press Distribution: http://www.spdbooks.org or directly through Geoffrey Young: younggeoffrey@hotmail.com --##-- __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 09:39:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Secreterial Pool Subject: New Titles from THE FIGURES MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii New Titles from THE FIGURES ------ Order through Small Press Distribution: http://www.spdbooks.org or directly through Geoffrey Young: younggeoffrey@hotmail.com ------ Kenneth Goldsmith DAY (836 pages) "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page." With those words, Kenneth Goldsmith embarked upon a project which he termed "uncreative writing," that is: uncreativity as a constraint-based-process; uncreativity as a creative practice. As Goldsmith claims, "It's one of the hardest constraints a writer can muster, particularly on a project of this scale; with every keystroke comes the temptation to fudge, cut-and-paste, and skew the mundane language. But to do so would be to foil the exercise." Long an advocate of extreme writing processes ? recording every move his body has made in a day (Fidget), recording every word he spoke over the course of a week (Soliloquy), recording every phrase he heard ending in the sound of "r" for four years (No. 111) ? Goldsmith now turns his attention to quotidian documents. By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper, reducing it to mere text. From the stock quotes to the Macy's ads, everything is assigned equal weight. What emerges is a monument to the ephemeral, comprised of yesterday's news: a fleeting moment concretized, captured, then reframed into the discourse of literature. With this simple act of transcription, Goldsmith critiques the culturally cherished values of creativity and originality in writing. Following the traditions of Duchamp's Fountain (1917) and Andy Warhol's work in the visual arts, or the ubiquitous practices of sampling and plunderphonics in contemporary music, Goldsmith asks, "Nearly one hundred years after Duchamp, why hasn't appropriation become a valid, sustained or even tested literary practice?" But there's also something of an alchemist in Goldsmith, thus evoking more Pierre Menard than Jeff Koons. The text is full of formal choices and chockfull of hundreds of tiny decisions, making Day a unique and playful work unto itself. "Even John Cage, whose mission it was to accept all sound as music, ultimately failed; his filter was on too high," says Goldsmith. "However, if Cage claimed that any sound can be music, then by extension we can conclude that, properly framed, any language can be poetry." "When I reach 40, I hope to have cleansed myself of all creativity." ------ Jerry Saltz SEEING OUT LOUD: THE VILLAGE VOICE ART COLUMNS, FALL 1998 - WINTER 2003 "Jerry Saltz is the best informed and hair-trigger livliest of contemporary art critics, tracking pleasure and jump-starting intelligence on the fly. Confirming the adage "first thought best thought," Jerry's fast takes usually stand up better in retrospect than other people's long views. This book preserves the crunch and heat of art's collisions with life in these times." -Peter Schjeldahl "Jerry Saltz looks at art from the perspective of the viewer, the ignorant, the lover, and the enemy. his writing is overwhelmingly passionate, yet without sentimentality. his words pierce the content and beauty of each work of art to test its endurance in time and memory." - Franceso Bonami, Curator, 2003 Venice Biennale ------ Geoffrey Young LIGHTS OUT Divided into seven sections, LIGHTS OUT takes the reader from the supple brevities of Et toi, beaute, [put accent on the final e](leaning to the right) to the longer poems in Thrifty, Brave & Clean (which opens with "Drive, It Said," as a marriage ends, and closes with "Elegy LY III," on the death of Young's father). In the mini-classic of romantic woe, The Dump, a series of short poems confesses the spectral tenderness of love and loss, while memory and experience give shape to the writing in Ad-lib and Savoy, when not pressing experimental ("Druid Lover / Squid Mover") or phrasal issues ("Text Pre-op"). In a thousand word tour de force, Mount Trove Curry orchestrates an obsessive formality, while Space Jam by Billy Higgins lets fly with jazz-driven lyric insouciance--a lively coda to this poet's best work to date. Order through Small Press Distribution: http://www.spdbooks.org or directly through Geoffrey Young: younggeoffrey@hotmail.com --##-- __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 09:39:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Rimbaud in Basra In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mariia, I think that the notion that there is an on-going and dominant 19th century 'blind to the other' imperial voice among in USA poetry is off the mark (the Voice of America(!?), other propaganda sources, and some poets non-withstanding). I think it's important to point out poets who have made important (& public) counter-imperial gestures & work. Here in SF in the seventies (and perhaps repeated in New York) Ferlinghetti and Ginsberg created and performed in venues with Russian counterparts - whose names I will not misspell here. Later Lyn Hejinian, Barry Watten, Kit Robinson and several others - including the Rova Saxaphone Quartet - built and maintained on-going relationships with Russian poets in the eighties. Correspondingly that have been many interesting translation and reading projects with both Vietnamese and Chinese poets. I will bet there are already similar International projects in relationship to the artists and poets in Iraq (?). I can't imagine folks - on either 'side' sitting idly by while Rumsfeld-Bush-Cheney-Wolfolitz etc. attempt to orchestrate what they deem will be culturally etc. valuable to the lives in a 'liberated' Iraq. As to the residual power of 'the imperial voice within' - that is the x poets who continue to operate as if there is a central quo all powerful voice in United States poetry - I think that's been under assault for several decades now no matter hard institutions continue to implant that notion and appoint such 'masters' to fulfill those chairs. That 'tradition' will probably stay with us for years. The Bush folks obviously love maintaining "retro", if any culture at all. Stephen V on 6/6/03 7:26 AM, Maria Damon at damon001@UMN.EDU wrote: > it's not just toi, nudel pie. many of us worry at this ... but > perhaps some of us are more ambivalent than you are about repudiating > our troubling and troubled forefathers...bests as always, md > > At 8:10 AM -0400 6/5/03, Harry Nudel wrote: >> it must just be moi... >> that no-one will connect the....'s >> between rimbaud and iraq... >> as if these were two parrallel >> worlds...two pa >> ralaled po list >> threads... >> >> as if the Po teen Rimbaud >> were not the meme Adult >> imperialist adventurer... >> created the imperialist >> adventurer... >> >> >> the two greatest western >> 19th cent. imperialist poets... >> were Rimbaud & Whitman... >> >> the poetry of self- >> absorbtion & alienation... >> the drive out to the world >> >> we can denigrate Kipling >> by calling him an imperialist >> poet...we can't do this >> to Whitman or Rimbaud >> or O'hara & Berrigan because >> they are too central >> to who we think we are... >> >> >> lemon coke...the color >> of u... >> >> >> drn... > > > -- ========================================================================= Date: Fri, 6 Jun 2003 15:54:12 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: The War Profiteers Card Deck MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT from our friends at the Ruckus Society an djust in time for the week-end http://www.warprofiteers.com/index.html The War Profiteers Card Deck exposes some of the real war criminals in the US’s endless War of Terror. This is no Sunday bridge club. These are individuals and institutions that stack the deck against democracy in the rigged game of global power. Exposing their place in the house of cards illuminates the links among corporations, institutions, and government officials that profit from endless war. The US War of Terror is not about liberation, democracy, or UN resolutions. Plainly put, the War of Terror--whether in Iraq, Colombia, Afghanistan, or the USA--is about subjugation, resource extraction, and opening markets: a practice once referred to more honestly as colonialism. Each suit in this deck represents a category of war profiteers: Oil, gas, and energy companies US government officials (because they love you) Military and defense contractors Heads of industry, finance, media, policy, and hype This deck is designed to support on-going campaigns against many of the evil-doers present here. For more extensive information on each of the players and how you can get involved, please refer to the links section at the bottom of each profile. -- ========================================================================= Date: Fri, 6 Jun 2003 11:36:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Dirty Milk("the moonhide pores ") Comments: cc: wryting , rhizome MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I arrive in my work slanted from birdsong. The wings I once wounded for loving hang dis- jointed or limp across my back. Her bottomless moping pours roles I could fake, imaginary or safe, or chips the paint from cinderblock to show the moonhide pores that can't breathe us in. You scatter me, I say to her, or even then confusion should flourish. The sky today wants nothing more or less than to swallow what could be my voice, yours, singing to myself the signs. If we part, the whole of mornings roams my skin, searching for holes that might allow more furrowed spore. In a dark or contemplative gesture, our breathing evens. Even the dead need pillows below our feet. To sweeten a jagged sky. To muffle what freezes under your scold of blasting silence. But you stir sometimes, watching the world from our screened-in porch; there some laughter just beneath you when you tell me how you love those birds. ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 11:39:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Dirty Milk("bruised pink by bites of salt") Comments: cc: wryting , "arc.hive" <_arc.hive_@lm.va.com.au> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii She (feels the throttle of her life, the choke and contrast, rusting in my caved-in routes(to bliss are blocked, all cubism did was angle the world, raw consonance of cricket bows in the parity of daylight, when). I'm heavier on sunny days(It's easy, she says, glue your life back together with (slitting gills in your wrists, let them breathe the smell of)me); the thought thinking itself without (and inside light crushed by time, by time, for)her, outside her, does more laundry to help, to help to (listen for)help to help: I never do anything, I) cries during (meditation, to sit sipping either from my (lips, bruised pink by bites of salt, all the way from my heels to my)crown. There are brews so bitter they drop to the bottom(up the ripped (pert coal, billow of argument)petals)of the lake. I feel (this breakage, which blooms jewels with the scent of tempest)in my cells our rightness. And yet spring(across my history, charred and decomposing, determinate) will be cold if she won't (smile, and in that downturn of hook reach out to)touch )oscar speeches. ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 12:36:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Rimbaud in Basra In-Reply-To: <3593770.1054895175480.JavaMail.nobody@wamui09.slb.atl.eart hlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Whitman has been so pervasive an influence in Latin America that much of its poetry is unthinkable without him. I don't think Neruda, for example, no supporter of US imperialism, experienced him in the terms you suggest. Mark At 08:10 AM 6/5/2003 -0400, you wrote: >it must just be moi... >that no-one will connect the....'s >between rimbaud and iraq... >as if these were two parrallel >worlds...two pa >ralaled po list >threads... > >as if the Po teen Rimbaud >were not the meme Adult >imperialist adventurer... >created the imperialist >adventurer... > > >the two greatest western >19th cent. imperialist poets... >were Rimbaud & Whitman... > >the poetry of self- >absorbtion & alienation... >the drive out to the world > >we can denigrate Kipling >by calling him an imperialist >poet...we can't do this >to Whitman or Rimbaud >or O'hara & Berrigan because >they are too central >to who we think we are... > > >lemon coke...the color >of u... > > >drn... ========================================================================= Date: Fri, 6 Jun 2003 15:14:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Down at the Bloomin' Blog: Texfiles MIME-Version: 1.0 Content-Type: text/plain www.texfiles.blogspot.com New this week: Catherine Pozzi: "mirage" & love 3-D Lit & 2-D Bullets Annie Finch & "Interpenetrate" Nathalie Handal's poem tribute to Rachel Corrie: "Rachel's Palestinian War" Jim Behrle's *Popular Mechanics*: Get yours now! Herb Levy, definitive on Texas summer What were you thinking in World Lit? enjoy! Chris Murray ========================================================================= Date: Fri, 6 Jun 2003 13:46:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Rimbaud in Basra In-Reply-To: <5.1.0.14.1.20030606123332.0263a608@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I just remember being a young sexually repressed muslim watching shirtless leonardo in the picnic scene of the rimbaud movie uncorking the wine with his shoulder blades...and realizing for the first time "my Other is not a woman but a man//the King upon whose bosom let me lie" Sniff sniff getting sentimental Kazim __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 17:29:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Actions MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT From David Silver at cyberculture: [*] CALL FOR PAPERS CONTEMPORARY ANTI-WAR MOBILIZATIONS Agonistic Engagement Within Social Movement Networks A two day workshop to be held in Corfu, Greece, November 6-7, 2003 The network perspective is often discussed in relation to social movements and collective action. Key elements of the latter, such as actors, agencies, organizations, institutions etc. witnessing, participating, confronting or allying with social movements, can be studied in their networked entanglements - consensual or conflictual, deliberative or agonistic - at any level of collective action - local, national or global. This international workshop seeks to explore a particular form of contemporary social movements: anti-war mobilizations and peace movements, increasingly connected with networked forms of collective action in the era of globalization. In particular, we seek papers addressing one or more of the following questions: * How are national, subnational and transnational mobilizations articulated to each other specially when they put forward distant issues an in the case of the contemporary anti-war movements? * What sort of networked patterns or organizational forms emerge from such movements and how these expanded network structures are configuring or are configured within broader political processes and global information flows? * Do the recent episodes of anti-war collective action cluster in emerging cycles and waves of protest? Is their diffusion affected by the geographic scale or on any other underlying heterogeneities? * What kind of data or/and ethnomethodological work could properly map the anti-war movement? * What sort of causal models or agent-based simulations of evolving dynamic and self-organizing networks could describe the dynamics of these mobilizations? * How do policies and politics over anti-war mobilizations relate to each other? What is the response of the authorities or the state to this type of contentious action? What is the interaction between anti-war protest and repression? * How is globalization connected with the upsurge of global terrorism together with many other types of violence (state, racial, ethnic, cultural or gender-based)? * How do the modern states of emergency and risk society react against the threads or accidents of network vulnerabilities, failures or collapses? * Could modern movements as global anti-war protests be viewed as a particular instance of reflexive remodernization? * How public deliberation and pluralist democracy can foster inside the radical agonistics against globalization? * Can the democratization of science or the idea that 'another science is possible' be advanced and sustained within these mobilizations? The Workshop will be organized by Dr Iosif Botetzagias (iosif_botetzagias@yahoo.co.uk) and Prof Moses Boudourides (mboudour@upatras.gr), University of Patras, Greece. There are no registration fees and delegates interested in participating will soon receive information about hotels in Corfu and traveling within Greece. Abstracts up to 250 words should be sent by email to one of the organizers by July 15, 2003. *** [*] The Media Justice Fund supports local and national organizing efforts aimed at media reform policies, open access to technology and accountability by media corporations. The Media Justice Fund promotes projects that manifest strong collaborations between social justice and media justice activists and agendas. The Fund supports specific media justice organizing projects and activities in the United States using three grant-making mechanisms: * Annual grant-making for the development and dissemination of Media Advocacy Toolkits, * Annual grant-making for Pilot Media Advocacy Organizing Projects, and * Immediate Response Grant-making to support organizations that demonstrate both an immediate need for funding and a viable action plan in response to unexpected developments in the field. (Guidelines for this funding streamare below.) A major goal of the Media Justice Fund is to reach grassroots, social justice organizations interested in incorporating media advocacy into their social justice work. These include organizations that are concerned about the impact of media regulation on their communities, organizations that want to support or create local independent media infrastructure and organizations interested in developing media literacy. The Fund gives strong consideration to geographic, cultural, ethnic, and programmatic diversity among the funded projects. The Media Justice Immediate Response Fund The Media Justice Immediate Response Fund makes grants in response to quickly developing political situations in the media advocacy field. Media Justice Immediate Response Fund grants may be used to support travel, rallies, mailings, printing, materials and other costs associated with political organizing activities. Grants are intended for use in mobilizing and educating communities in situations where a small grant of up to $3,000 can have a significant impact. The Media Justice Immediate Response Fund does not make contributions toward on-going program work, salaries or matching grant campaigns, or to cover debts or pay regular expenses. Organizations may apply to this Fund only once each calendar year. However, an organization may apply for a Media Justice Immediate Response grant and to other Media Justice Fund and Funding Exchange programs in the same year. To apply for a Media Justice Immediate Response grant mail, fax or email to the FEX Grants Department the following information: 1. A two-page (maximum) description of the situation the organization is trying to address. Explain: Why you believe the situation constitutes an emergency. How this grant will make a difference to the work. 2. A detailed budget for the emergency activities being planned including sources of other needed funds. 3. The total annual budget of the sponsoring organization. A line item breakdown is not necessary. 4. Clarification of your organization's or fiscal sponsor's tax- exempt status. 5. Contact information, including the address, phone and fax numbers, E-mail, and contact person. Emergency Fund requests may be submitted at any time. The FEX Grants Department will make a determination as quickly as possible, usually within ten business days. Applications for Media Justice Immediate Response Fund grants may be faxed to: 212-982-9272; ATTENTION: Media Justice Immediate Response Fund or emailed to : Anthony.riddle@fex.org The Media Justice Fund is made possible by a generous grant of the Ford Foundation. tom bell Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Fri, 6 Jun 2003 17:39:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Dubya in Philly on the Fourth of July MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends, On Friday, July 4th George W. Bush has been invited to Philadelphia to attend the opening ceremony of the National Constitution Center. A number of Philadelphia area organizations and individuals, along with representatives from national anti-war and peace and justice organizations have come together to call for a National Protest in Philadelphia on July 4th to Stop U.S. Wars at Home and Abroad. Unite to Demand a total change in priorities: **An End to U.S. Occupation of Iraq -- Bring the Troops Home ** No Endless Wars, Occupation, Colonialism or U.S. Empire ** Repeal the USA Patriot Act, Restore Civil Liberties, End Election Fraud & Corruption ** No to Racism, Sexism, and Attacks on Immigrants ** No to Privatization, Cuts in Education, Welfare, Veterans & Other Benefits & Services ** Money for Human Needs -- Not the Pentagon War Machine Bush lied about weapons of mass destruction in Iraq and continues to lie when he claims the war is over, as more troops are being sent to crush Iraqi resistance to U.S. occupation. The people of Iraq are without electricity, drinkable water, or medical care as unexploded cluster bombs, a cholera epidemic, and bullets fired by U.S. troops claim more lives every day. The U.S. continues to discuss plans for regime change, either through invasions, economic pressure or stepped up covert operations, against all those who attempt to retain nominal sovereignty over their own land and natural resources. Syria, southern Lebanon, Palestine, North Korea, Cuba, Zimbabwe, Iran, Venezuela, Colombia, Haiti and other countries are slated for aggression. Yet the Pentagon's $400 billion budget is over 30 times the combined military spending of all the countries targeted in Bush's endless war plans. We have an unelected president who stole the election by denying the Black vote in Florida. There has been a wholesale assault on the Bill of Rights through the passage of the USA Patriot Act and institutionalized racial profiling. Imprisonment is at an all time high with over 2.2 million incarcerated and over 3,000 are on death row. Single mothers of color are the fastest growing prison population. Thousands of immigrants, even U.S. citizens, have been detained without charges or trial. Due process continues to be denied for political prisoners Mumia Abu-Jamal, Leonard Peltier, the Cuban 5 and others. Racism is on the rise; Affirmative Action is under attack; restitution for slavery, the slaughter of indigenous people, and colonial occupation has not happened; and the corporate media gives right-wing politicians carte blanche to attack the rights of workers, people of color, women and lesbian, gay, bi, and trans people. The Executive Branch under Bush has taken on near dictatorial powers - its decisions rubber-stamped by Congress and the Supreme Court. The Bush wars for US corporate interests require a massive transfer of wealth from social programs. The administration hands out lucrative contracts to Bechtel, Halliburton, and Exxon, and it has engineered over $2 trillion in tax giveaways that primarily benefit the very rich. But the majority in the U.S face record high unemployment; cuts in spending for public transportation, housing, welfare, education, childcare, veterans and HIV/AIDS benefits; and the closing of hospitals, libraries, drub rehab centers and more, as states are forced to balance their budgets because Washington won't. The income gap is widening. According to the Department of Labor, in the 1980's, income for the average CEO was 40 times that of the average worker. Today the difference is 531 times. Women earn 73% of what men earn, 63% for Black women and 53% for Latina women while women's caring work remains unvalued and unwaged. But we do not face these difficult times without hope. Millions of people from all walks of life came together in this country and around the world in an unprecedented outpouring against war and for social justice, and we can't give up now. Let's draw from our peoples' histories of resistance to injustice and stand up to be counted. We in Philadelphia have been solid in our unity. By making our voices heard in protests, by entering the political process directly, we the people become a decisive factor. The eyes of the world will be on Philadelphia on July 4th. We ask you to be here with us. To join the growing list of organizations endorsing this call email: July4Mobilization@hotmail.com or call: 215-701-7341 **The week of local actions include: July 1 oppose the state budget cuts; July 3 - 10am Women's march vs ROTC, cuts & privatization; 12 noon demonstration vs the death penalty; 4pm Avenging the Ancestors Coalition demonstration at the National Constitution Center; July 6 - Interfaith Prayer Vigil. ------------------------------------------------------------ To Endorse go to email: July4Mobilization@hotmail.com To list your transportation to the July 4th protest: http://www.internationalanswer.org/campaigns/j4/index.html#transp To find transportation in your area: http://www.internationalanswer.org/campaigns/j4/july4transp.html To download a flyer for the July 4th protest: http://www.internationalanswer.org/campaigns/resources/index.html Student Organizing Form: http://www.internationalanswer.org/campaigns/j4/index.html#student ========================================================================= Date: Fri, 6 Jun 2003 17:52:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: what went on in the soft soft ware - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII what went on in the soft soft ware - Fri of 6 I EDT Jun Thinking 04:22:46 you? 2003 need to understand this lot to than a getting more I I'm to here. this need out are the streaks is - a menu at basically point. mess are this streaks There left I right? the dark There bar a for black reason? below don't is really present occuring understand present and well, red then example. partly has And K OK well, in then as appear black On brackets upper normally. second the border state one confusion pixel, is as extra I'm they of in - bracket? square there < left > the Why OK bracket the extra OK when have Cancel spaces doesn't? the spacing the seems of cramped menu At oddly sits - in seems middle nicely Rather of rectangle screen. it the case outline root. the or Fri I Jun Fri 6 Jun 04:19:22 6 EDT 04:19:22 2003 EDT 04:22:46 6 Thinking 2003 of Thinking you? of I you? need this to need understand to a understand lot a more lot than more I'm than getting I'm here. getting figure to this figure out streaks - out the - menu the is menu basically is mess a at mess point. this There point. are There dark are streaks dark left the and left right? and black dark bar black below bar for below some for reason? some don't present really understand what's really occuring what's the always is present always partly and red partly example. for And example. OK the has OK K the in K as red well, as but well, then but brackets the appear brackets normally. appear On normally. upper the right, upper second right, line, second border confusion one is extra one pixel, extra such pixel, they as state a confusion of why - there is white a square white < the > OK bracket? > Why bracket? does Why bracket OK have bracket spaces extra when spaces Cancel the doesn't? bracket spacing square seems menu oddly seems cramped oddly itself. cramped At itself. least At blue the sits seems nicely sits middle the screen. the Rather screen. rectangle the it - follow to outline the case the root. itself. ___ ========================================================================= Date: Sat, 7 Jun 2003 19:17:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Baker Subject: Re: stephen rodefer book In-Reply-To: <20030606141151.45976.qmail@web13801.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Any word on Stephen himself? We have some of his furniture in our place and no way of getting in touch with him. Andrea ========================================================================= Date: Fri, 6 Jun 2003 17:18:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: new grumman-inspired book In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- "St. Thomasino" wrote: > There's a brand-spanking new interview with Bob > Grumman at eratio: > > http://www.eratiopostmodernpoetry.com/eidetics.html > > This interview includes some fine examples of his > mathemaku along with links > to some of his best essays. And some pretty interesting questions from Gregory St. T. > Also here, three stunning pieces from his work in > progress, Mathemaku into > Color. Whose FINAL TITLE I recently decided is "Arithmepoetic Portrait of the Spectrum." > Gregory Vincent St. Thomasino, editor, eratio > > editor@eratiopostmodernpoetry.com > > http://www.eratiopostmodernpoetry.com > > eratio is reading for issue two. > deadline for submissions is July 31, 2003. Thanks for the plug, Gregory. --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 17:30:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: new grumman-inspired book In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Maria Damon wrote: > Mathematickles! by Betsy Franco is coming out in > June of this year (Margaret > K. McElderry Books/Simon & Schuster). It was > inspired by Bob Grumman's > mathemakus. Much thanks for the mention, Maria, and in the post-header, too! Betsy said this in the book itself, which was Very Nice and made me Very Happy and got me Great Respect from several people at the high school I substitute teach at to whom I showed the book, but while I guess I did inspire her to do her own long division math poems, she did many other kinds--and has given me as many good ideas for future math poems as I gave her, I'm sure. Still, I'm as pleased with the excellent reviews Betsy's book is getting as though it were my own! And I love the idea of elementary and middle school pupils learning about one of the newest kinds of poetry being composed sooner than college students. (In class, I mean.) > In the book, words take the place of > numbers in all types of math > problems: addition, subtraction, multiplication, > division, graphs, > fractions, and > more. > > leaves > wind)autumn > -colors > winter > > Betsy has used the book in different class settings, > including ESL > classrooms, and the children have written wonderful > mathematickles > themselves. Here's > an example: > maggot x time = fly > > To order call 1-800-223-2336 > $17.95 > ISBN 0-689-84357-7 > -- It has great illustrations, too. Several of the poems are visual as well as mathematical, too. --Bob G. __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Fri, 6 Jun 2003 18:01:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Fwd: Raised in a Barn Event Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit if you are in NYC, check it out.. Begin forwarded message: > > Ahoy loyal kinsmen (and women) of MD Press and Raised > in a Barn magazine! > > You are cordially invited to a release > part/event/reading for Raised in a Barn 3! > > Cuando: 6pm sharp, Saturday June 21st, 2003. > Donde: at the popcorn gallery (www.popcornroom.com) > in Park Slope, 402 5th Street, Brooklyn, NY. > > Please do come, all are welcome, there will be > phenomenal readings from several of our authors, > magazines for sale and divers other diversions. > > For further info on who we are and what we do, go to: > http://homepages.nyu.edu/~mk106/weeping.html > > See you there! > > -Jerah Kirby > for MD Press ========================================================================= Date: Sat, 7 Jun 2003 00:01:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: read_me 2.3 results MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Fri, 6 Jun 2003 18:03:21 +0400 From: olga goriunova To: spectre@mikrolisten.de Cc: nettime-l@bbs.thing.net Subject: read_me 2.3 results for immediate release ++++++++++++++++++++++++++++++++++ Read_Me 2.3 software art festival RESULTS 47 projects selected and featured Read_Me 2.3 Reader is published http://www.m-cult.org/read_me/ http://www.m-cult.org/read_me/reader.php ++++++++++++++++++++++++++++++++++ In the year 2003, the Read_me festival (http://www.m-cult.org/read_me) was held for the second time, and for the first time in Helsinki. A year has passed since the first Moscow 2002 edition (http://www.macros-center.ru/read_me), and the festival has grown and germinated through Runme.org (http://runme.org) - the online software art repository it is now based on. The idea of Read_Me 2.3 is to test an alternative festival model, especially since the subject of the festival is software art, a realm where people with artists' self-identities coexist with programmers whose views on the process of creation, distribution and even the very meaning of their work can be dramatically different from those of the artists. The current shape and organization of Read_Me is the result of a number of discussions and analyses concerning the traditional schemes international media art festivals are based on, as well as the organizational forms of open source developers communities. Art festivals as widely accepted forms are often compromised by a lack of transparency in submission and evaluation processes, which prevents interesting authors from submitting their projects and generates quite problematic winners. Open source communities are much more democratic, but have their own drawbacks: they focus on functionality and pragmatic usefulness, thus sometimes leaving out interesting projects seen as unnecessary in these contexts. In order to keep the advantages and avoid the disadvantages of the two realms a few steps have been taken. An open, moderated software art repository Runme.org (http://runme.org) has been developed and put up on the Net. The web-site was developed creatively and in an excitingly short period of time by Alex McLean. Amy Alexander participated largely in the testing, development and realization of the solutions along with Alexei Shulgin and Olga Goriunova. The group of concept developers also included Pit Schultz, Florian Cramer, Matthew Fuller, The Yes Men, and Thomax Kaulmann. The first Read_me 1.2 was also based on an online database where all the entered projects were stored, but the database was closed for new submissions after a pre-arranged deadline. The second Read_me 2.3 is based on a database functioning parallel to and independent from the off-line festival. Projects entered into Runme.org before a certain date were considered as entries for the festival, but the submission of the works was not closed as the database was kept running on a permanent basis. Read_Me 2.3 has abandoned the monetary prize format, but has retained other features of the festival: calls for submissions, an off-line event with invited participants, a book, etc. Amy Alexander, Florian Cramer, Olga Goriunova, Matthew Fuller, Alex McLean, Alexei Shulgin, and The Yes Men have reviewed the most interesting in their opinion submitted projects. These projects were featured without ranking in order to avoid giving preference to one approach over another. The new experimental practice has yielded some unusual results. Since Runme.org was open for submissions from everyone, and its developers have uploaded found projects and invited many people to submit their works; the number of works uploaded onto Runme.org during the one and a half month period from the launch to the festival deadline, reached 150, including a large number of interesting works. That is why there were 47 works selected and featured by experts, with other works to be reviewed later. This quite unexpected result of the experiment caused some difficulties in the presentation of all the featured works at the festival, but was also very positive and significant. ... (full version of the text is published in the Read_Me 2.3 Reader (http://www.m-cult.org/read_me/reader.php) and is available at http://www.m-cult.org/read_me/report.htm) >47 featuring texts are published in the Read_Me 2.3 Reader and >on Runme.org web-site (http://runme.org/feature) AND the featured projects ARE >Category: Algorithmic Appreciation Duff's Device By Tom Duff http://runme.org/project/+duffsdevice/ >Category: Artificial Intelligence AARON By Harold Cohen http://runme.org/project/+aaron/ connoisseur By gabor papp http://runme.org/project/+connoisseur/ >Category: Artistic Tool BitmapSequencer By Tom Betts http://runme.org/project/+BitmapSequencer/ Connector By ixi-software http://runme.org/project/+Connector/ >Category: Bots and Agents Gogolchat By jimpunk & christophe bruno http://runme.org/project/+gogolchat/ Unmovie By Ax. Heide, Onesandzeros, Ph. Pocock, Gr. Stehle http://runme.org/project/+Unmovie/ >Category: Browser Art Babel By Simon Biggs http://runme.org/project/+Babel/ ZNC Browser By Peter Luining http://runme.org/project/+ZNC/ >Category: Code Art Jabberwocky By Eric Andreychek http://runme.org/project/+jabberwocky/ London.pl by William Blake By Graham Harwood http://runme.org/project/+londonpl/ Julu By Alan Sondheim http://runme.org/project/+sondheimjulu/ "Re ___________________________(ad.htm" http://runme.org/project/+mezangelle/ and "pro][tean][.lapsing.txts" http://runme.org/project/+netwurker/ by mez >Category: Conceptual Software Composition 1961 By La Monte Young http://runme.org/project/+monteyoung1/ .Walk By socialfiction.org http://runme.org/project/+dot-walk/ >Category: Data Transformation Video Killed the Radio Star By Jonathan Harel http://runme.org/project/+videokilled/ >Category: Digital Aesthetics Research and Development os_anm By slateford http://runme.org/project/+osanm/ >Category: Digital Folk and Artisanship discomus.exe By Anonymous http://runme.org/project/+discomus/ DOS pseudo-viruses collection By Various artists http://runme.org/project/+dosvir/ Face #7 By Dave Fischer http://runme.org/project/+face7/ Google Groups Art By Paul, Tim Flaherty, Nathan McCoy, Stuart Langridge http://runme.org/project/+googleart/ >Category: Existing Software Manipulations Dictionaraoke By Snoogles http://runme.org/project/+dictionaraoke/ >Category: Games RETROYOU R/C STORY : RETROYOU R/C [paradise] [FCK THE GRAVITY CODE] [FRAG] class By joan leandre http://runme.org/project/+SOFTSFRAGILE/ SPS By (Karl-)Robert Ek http://runme.org/project/+spssps/ >Category: Generative Art n_Gen Design Machine By Move Design http://runme.org/project/+n-Gen/ >Category: Hardware Transformation Tempest for Eliza By Erik Thiele http://runme.org/project/+tempest/ >Category: Installation-based God's Eye By Sintron http://www.runme.org/project/+godseye/ >Category: Institutional Critique Rotten flesh By Jeff Epler http://runme.org/project/+rottenflesh/ >Category: Political and Activist Software DeArt - DeCSS Art Contest (et al) By Tom Vogt and Various Authors http://runme.org/project/+deart/ Homeland Security Threat Monitor By Greg Hewgill http://runme.org/project/+threatmonitor/ The Injunktion Generator By ubermorgen.com http://runme.org/project/+ipnic/ marchtowar.com By marchtowar.com http://runme.org/project/+marchtowar/ Pngreader By textz.com / Project Gnutenberg http://runme.org/project/+pngreader/ SuPerVillainizer - Conspiracy Client By LAN http://runme.org/project/+supervillainizer/ Various CueCat Hacks By Various Authors http://runme.org/project/+cuecathacks/ Walser.php By textz.com / Project Gnutenberg http://runme.org/project/+walserphp/ >Category: Software Cultures Sweetcode.org By Dan Egnor http://runme.org/project/+sweetcode/ >Category: System Dysfunctionality DOGS By Sintron http://runme.org/project/+dogs/ forkbomb by jaromil http://runme.org/project/+forkbombsh/ MacMag Virus Computer Graphics Conspiracy / Artemus Barnoz (Richard Brandow) & Boris Wanowitch http://runme.org/project/+macmagvirus/ >Category: Text Manipulation Bible (alphabetical order) By Rory Macbeth http://runme.org/project/+bibalph/ Dasher By David MacKay, Inference Group, Cavendish Laboratory http://runme.org/project/+dasher/ Kraut v.0.9 By John Sparks http://runme.org/project/+Kraut/ Postmodernism Generator By Andrew C. Bulhak http://runme.org/project/+postmodgen/ Travesty By Hugh Kenner and Joseph P. O'Rourke http://runme.org/project/+travesty/ ========================================================================= Date: Fri, 6 Jun 2003 23:31:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: carpati_sphinx_sign Comments: To: WRYTING-L Disciplines , spidertangle@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Computer-generated homolinguistic rendering of landmark graffiti: Ramantes sword bread bow-string god urgedflodus people, plewo guovs spear-pesso branch poieti bread cu god Istrupecu - pecu goat hunds geographic-house the tribe cow kam Asia: bairafluot can flodus cattle plough mellowed. Homeplavate lands clan edmi garto. And Ainuflood mother fluti aiti kon mother bearking streams luanam peto sling-stone. Garamantes toluanam Tuningian pesso steer gort - Indiahouse thus earth-walls verja goha area thepacanti of house admi come Carpatho migrationtribe. by their descendants, "who did not move place" view carpati_sphinx_sign http://www.spidertangle.net/phpwiki/index.php/CarpatiSphinxSigns ========================================================================= Date: Sat, 7 Jun 2003 00:15:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Here's an interesting website on constructivism: http://www.swarthmore.edu/SocSci/kgergen1/web/page.phtml?st=home&id=home Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sat, 7 Jun 2003 00:33:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: semiotic MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I'm helping Caterina Davinio with her English on a paper she's writing and came across this sentence "In my performances the communic-action flux is assumed as act/sign, introducing the necessity of a new semiotic to describe the process." This seems to suggest that in Italian, at least, a communication action (or poem, etc) as a whole can be considered a "semiotic". It also makes me wonder if a visual poemwould be considered two joined semiotics and a visual/animated/text work would be three? thoughts appreciated. tom bell Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sat, 7 Jun 2003 02:21:21 -0400 Reply-To: poetry@hypobololemaioi.com Sender: UB Poetics discussion group From: Kevin Magee Subject: Old Hat MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 14 April Lecture: Tomsk Polytechnic University Norman invasion and its influence; Social and political structure of the society; Dialects of the period; Rise of the London dialect; Literature of the Middle English period. "For the materialist dialectician, discontinuity is the regulative idea of the tradition of the ruling classes (and therefore, primarily, of the bourgeoisie; continuity, the regulative idea of the tradition of the oppressed (and therefore, primarily, of the proletariat). The proletariat lives more slowly than the bourgeois class. The examples of its champions, the perceptions of its leaders, do not grow old, or, at any rate, they grow old much more slowly than the epochs and great personages of the bourgeois class. The waves of fashion break against the compact mass of the downtrodden. The movements of the ruling class, by contrast, having once come into their ascendency, maintain in themselves a reference to fashion. In particular, the ideologies of the rulers are by their nature more changeable than the ideas of the oppressed. For not only must they, like the ideas of the latter, adapt each time to the situation of social conflict, but they must glorify that situation as fundamentally harmonious. Such a business is managed only eccentrically and desultorily; it is modish in the fullest sense of the word." Walter Benjamin, The Arcades Project, page 364. I. Norman Invasion This lecture will begin by elaborating on details introduced on March 23, where as you may recall mention was made of the renewal of Danish raids on England, which culminated in the reign of Canute and the incorporation of England into the Scandinavian empire of Denmark and Norway. In order to maintain control over England, Canute divided the country into four major areas, each governed by an earl. Every effort was made to continue the policies of the previous Anglo-Saxon monarchy, and the reign of Canute was known as a peaceful one. This king died in 1035, and with the death of both of his sons by 1040 the Danish royal line in England came to an end. The throne of England returned to the Anglo-Saxon monarchy when Edward the Confessor came back to England after a 25-year exile in France. Upon his death in 1066, Harold Godwinson was elected to the throne (the crown was elective in Anglo-Saxon England) at a time of increasing contention for lands and power among the English nobility. There was a rebellion in Northumbria, connected to a Norwegian expedition, which Harold Godwinson defeated, only to be faced with the invasion of England by William of Normandy, who claimed that Harold had sworn allegience to him and his hereditary claim to the English throne on a visit to Normandy. This is the story that is told in the famous Bayeux Tapestry. Harold was killed at the Battle of Hastings in 1066, the Anglo-Saxon monarchy came to an end, the nobility of Normandy took possession of the lands and estates and leadership positions held by the English nobility, and for a century and a half England was ruled by a governing class which spoke another language than that of the common people. The date of 1066 is useful for marking the boundary between the Old English and Middle English periods in the history of the language, but as we shall see it is far more accurate to speak of a complex transition due to foreign language influence, not only of French and Latin but Scandinavian in the north, and the struggle for an English language standard from among distinctly different regional dialects. What happened after 1066? It is important to remember that the King of England was also the duke of Normandy, and subject to the King of France. In the 13th century, the French king made the Norman nobles living in England surrender their estates on the continent, furthering the growing separation of the French and English nobility. This was accomplished in 1244 by the Decree of the Two Masters. The Hundred Years War, which lasted from 1337-1453, ended in the defeat of the English and the loss of nearly all English possessions in France. Here's how Jane Zatta at Southern Illinois University tells this history: "England and France had been complexly interwoven ever since the conquest of England by William I, who set a precedent by leaving his French holdings to his eldest son, Robert, and his English holdings to his second son, William II. English dominion of French territories reached a high point under Henry II, but from the 13th century, France began to be successful in restoring French sovereignty to French lands, first during the reign of John, who managed to lose Normandy, and then with the division of the two aristocracies from 1244 with the Decree of the Two Masters." The reign of Edward II was a troubled one, she continues. He married a French princess, Isabelle, daughter of Phillip IV, who later plotted to overthrow him, leading an invasion of England in 1326. Edward was executed, but revenged by his son Edward III, who declared himself King of France in 1338 after the death of Phillip IV. This was the beginning of the Hundred Years War (http://www/siue.edu/CHAUCER/14thcent.html). Richard II assumed the English throne at the age of 10 in 1377. He was 14 years old at the outbreak of the Peasants' Revolt in 1381. A prior but related historical event worth noting from this time was the outbreak of the plague in 1348-49, which killed more than one-third of the population of England. The population in England during the 14th century fell to about two million. One effect of the Black Death, the reduction of the number of laborers in England, led to conflict between the English peasantry and artisans against their feudal bonds, since the need for laborers meant that they could sell their labor for a higher price. Laws were passed which were intended to restrict the movement of laborers and to confine them to their traditional feudal estates. The resulting rebellion is known to English history as the Peasant Revolt of 1381. The British historians Rodney Hilton and V.J. Kiernan, among others, have researched this period extensively in the 20th century, and they have concluded that the lower-level clergy were influential in leading the revolt of day laborers and landless peasants. Jane Zatta's website tells the story of one of the leaders, Wat Tyler: "The Rebellion of 1381 began in Southwest Essex when a tax commissioner was driven from a village. The revolt's most effective leader was Wat Tyler, who led the commoners to Canterbury where the Archbishop was executed and judicial records burned. The commoners occupied London and requested a meeting with the king, who granted collective charters of pardon and freedom from serfdom.... On June 14 and 15 the so-called Anonymous Chronicle speaks ot 140-160 Flemish textile workers killed." It should be noted that the Anonymous Chronicle is written in Anglo-Norman French, and the other chronicle which tells the history of this event was written in continental French by Jean Froissart. There is no account of this revolt in the English that was spoken by the commoners, and we are reminded by this fact that French and Latin represented the social and political world view of the educated and ruling classes at the end of the 14th century. There is no mention of the Peasants' Revolt in the works of Chaucer. John Gower wrote about it in Latin in a poem called Vox Clamatis, and the hero of William Langland's Piers Plowman, a fictional character, is named in court documents as one of the leaders of the revolt. II. Social and Political Structure of the Society We are reminded by these details of the distinction between gentle and common birth in the Middle Ages, the organization of an agrarian society on feudal estates, and the use of indenture and other forms of bondage to manage the laboring people. The lords and ladies of the court (Chaucer's audience), the institution of the church which crossed all social levels, and work on the land as well as among emerging groups of artisans in the towns constituted the basic social structure in addition to a military caste of knights who were mercenaries that swore fealty (loyalty) to their lord and who were rewarded with lands and other forms of property for their warfare. War in the Middle Ages was waged by the aristocracy for lands. At the end of this period we begin to see another form of wealth develop from the buying and selling of manufactured goods. This new form of wealth develops in the towns, and 250 years later the conflict between their interests and the hereditary landed estates will lead to the deposing of Charles I. Ludmila Petrochenko writes in her Introduction to the History of English Literature that the Peasant's Revolt in 1381 "was decisive in the breakdown of the feudal system: by the end of the Middle Ages the great landlords of Norman and French origin had almost disappeared and a new class, the yeoman, or farmers, had become the backbone of English society." She adds that "English craftsmen, merchants, had also assumed new powers and demanded new rights." Who were these craftsmen and merchants? Manufacturing in late medieval society was contained within the guild system, and organized through the hierarchy of apprentices, journeymen and masters. To have a trade it was necessary to have been an apprentice; once apprenticeship had been completed (normally after seven years) an apprentice could expect his master to register him as a full guild member, with the freedom to practice trade as an independent journeyman. Knowledge of the trade was part of the mystery of the guild, and guild boundaries were strictly enforced. Guild inspectors would check not only the quality of the goods produced but also adherence to proper employment societies for the rising trades. It is impossible to imagine the Middle Ages without including this element of the society which developed in the towns. III. Dialects of the Period The decline of Old English is completed by the middle of the 13th century. Since the two status languages were French and Latin (French because of the social prestige of the aristocracy, and Latin because it was the language of religion and education), Old English ceased to be used in any documents. But this fact does not mean that one language was substituted for another after the Norman conquest. The 12th century especially was an age of exceptionally rapid linguistic change. One way of stating what happened is that "greater freedom of intercommunication assisted the southward diffusion of those grammatical simplifications that had been developed in the northern dialect. The use of the French language among large classes of the population may also have tended to accelerate the movement towards disuse of inflectional endings." (Cambridge History of English). For example, the use of the preposition "of" instead of the genitive inflection most likely is due to the imitation of French. But the influence of French on English grammar is far less than the many and profound traces left in the English vocabulary. The great differences between the grammar of Old English and that of Chaucer's time could be attributed to internal causes, helped by the influence of Scandinavian settlements in the north. How did grammatical simplification develop in the northern dialect? According to a recent study, "if we follow modern sociolinguistic approaches to the relationship between language change and second-language acquisition, we are led to suggest that the simplification is the result of second-language learning of English by the Norse invaders of the 9th to the 11th centuries. One feature of imperfect learning is the imperfect acquisition of inflectional endings; and the northern Middle English endings seem to have originated this way." Most important of all, as you may remember from an earlier lecture, the strong stress on the root morpheme--found in English in the first or second syllable of a word--may have strongly contributed to the dropping of word endings and their grammatical functions. As for a picture of the language dialects of this period, we can use Chaucer to get a sense of the distribution of regional dialects: The clerks in the Reeve's Tale are from the Northern Dialect Area (north of the river Humber, which divided the Northern from the East Midland dialect area). Chaucer himself is from London on the Thames, which divided the Kentish and the East Midlands dialect areas. The Parson says he is from the South (south of the Thames river). Basically, the dialectal division which existed in Old English was preserved in later periods, and page 91 of our textbook shows this map. N.F. Blake in his History of the English Language tells us this: "The extant Anglo-Saxon documents allow us to outline only four major dialect areas: West Saxon, Kentish, Mercian and Northumbrian. After the Conquest this remains the basic division, but the individual dialects can often be broken down into subdivisions. The dialects in this period are now referred to by their geographical position in England rather than by the tribal or shire names used for Old English varieties. The southeastern dialect corresponds to Kentish in Old English and retains a distinctive character. The southeastern dialect includes more than what is the modern county of Kent, for it embraces parts of Sussex and Surrey and had some influence on the speech of London. The southwestern variety corresponds to the West Saxon dialect and stretches from Surrey westwards through the counties bordering the channel, and northwards towards a line from the Thames to the Severn. The number of texts from this dialect is limited. The Midlands variety corresponds to the Mercian dialect, but in Middle English there is a crucial division between the eastern and western halves of this area. The division between the eastern and western areas follows the line of the Danelaw. These two halves of the Midlands dialect area can each be further subdivided into a northern and southern form to give four Midlands varieties: southwest, northwest, southeast and northeast. Many texts come from the Midlands area and the eastern variety increases in importance as this period continues. The northern variety corresponds to the Northumbrian dialect in Old English. This area steretches northwards from Yorkshire and Lancashire." A region that Blake says can harldy be traced dialectally in the Old English period is East Anglia. He does not explain why, but it may be due to the great number of texts produced in this area and the mixture of dialects in the copying of texts in scribal production. Petrochenko writes that "the development of trade, the growth of towns with a mixed population favored the intermixture of the regional dialects." In addition to this, we should remember the complexity of the making of manuscripts, since the texts which came down from this period were copied by scribes. It is important to note that the texts as we have them represent a mixture of grammar, pronunciation and vocabulary of different dialects. Also, vernacular writers, especially poets, often used words and forms from dialects other than their own for expressive purposes. Thus, there are few writings of this period that can be regarded as unmixed representatives of any single dialect. But we will name some titles of literary works and the dialects they may be said to have written in: West Midlands is the language of Sir Gawain and the Green Knight and Piers Plowman; Southeast Midlands is the language of the region around London, the dialect of Chaucer, and the ancestor of modern standard English; Northern English is the speech of the students in the Reeve's Tale, and another literary work distinguished for its dialectal features is the Ormulum by Ormulus, whose author had a Scandinavian name and whose work is full of Danish words, some of which survive in modern rural dialects. Finally, the Ayenbite of Inwit is written in Kentish dialect. In addition to these regional dialects, we must also take London into account. This city grew quickly in this period and attracted a large number of immigrants from counties to the north and east. At first immigration was strongest from East Anglia, but during the 14th century it appears that is was the East Midlands which became the major source of new settlers in London. As a result of this immigration the dominant dialect in London changed from a more southern variety to become a Midland type. This is important since it is from the London area that the next standard emerges. IV Summary of the Literature of the Period The Writing Lesson of 1381. "The topoi of woman's incoherence" or "Woman as Riot." As if the Wife of Bath could vitiate the discourse within which she is powerless and illegitimate. Vitiate: to violate the chastity, contaminate, pollute, to make air impure, to render ineffective to destroy the force. But break might also be used in the sense of to vent, as in breaking one's mind--literally, an utterer of strife or debate (even without giving it any thought). Francoise: "A Baron? What Baron? Where's the Baron?!" The Baron: "It is far more difficult to disfigure a great work of art than it is to make one." Transpose lls. 23-46 from "East Coker," Zukofsky's notation in "A"-23, Pound (The Spirit of Romance--Langland left off of Pound's list), William Morris (A Dream of John Ball), Robert Southey's Wat Tyler and Byron's excoriation of the author's political reversal re the same, John Clare's The Parish (a decayed allegory), the Cade episode in Shakespeare, Florimel's unnannounced arrival at the hut and the impossiblity for the Peasant to pronounce his love (Book III, Faerie Queen), "Wynner and Wastour," "Perce the Plowman's Crede," "The Plowman's Tale" appended to the Canterbury Tales, Usk's Testament of Love, Chaucer, Gower, Lydgate, et al. Walsingham: "It was especially dangerous if an inkpot were to be found at one's elbow." Lord Berner's translation of Froissart (the first volume having the chapters on the Peasants' Revolt) appeared "at the high commandment of his most redoubted sovereign Lord King Henry the VIII, King of England and France, high defender of the Christian faith, etc." The translation is contemporary with the rebellion in Germany Engels will write about in 1850. The editor of the Froissart notes that Lord Berner's book was second only in popularity to Malory's Morte d'Arthur. (The full text of Engels' Draft of a Communist Confession of Faith became known only in 1968 when it was found by a Swiss scholar in the archives of Joachim Martens together with the draft rules and circular for the First Congress). It was a question of chronology, now that I saw it only from aside, and seeing no other possible obstacle than the basic fact that I had a body, hands which were not my own immense and belligerent forms. Tonight a romp, rolling from side to side, at the end of an item in the print-haze. Pages that possess the immediacy that might be expected of reports written a few days or even hours after the events they describe. Writing that has thoroughly materialized and socialized the field of the Imagination's activity. An allegory charged with a multitude of overlapping schemes, concentric circles of reference, instinctive contraventions. Austere profanations and as material designated and adapted enduring theft, wrenched linkages, inconstant token--and make of them messengers. The conditions that gave rise to the life we lived are gone. [The Summary of the Literature of the Period is taken from "Market Tender Family," the full text of which is available for purchase from the archives of Conjunctions 22: http://www.conjunctions/com/archive.htm ========================================================================= Date: Sat, 7 Jun 2003 00:13:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: semiotic MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Tom I've seldom read sentences as poorly written as, ""In my performances = the communic-action flux is assumed as act/sign, introducing the necessity of a new semiotic to = describe the process." =20 What's bad about the sentence is that it makes absolutely no sense. Ask = yourself these: "what the hell is a communic-action flux? And if you = can answer that using words of fewer than three syllables, then, why the = hell aren't those words in the sentence to begin with? =20 And when you have answered that question, try linking the answer to = "semiotic" and see it the thought makes sense. It doesn't for me. I = read the entire thought as a kind of academic doubletalk. =20 Ok, somebody, (Caterina Davino) performs her poetry. Ok, her = performances are both visual and verbal (or at least I get the = impression they are from your question). And, ok, she wonders if what = she's done will be acceptable to her peers on both sensual levels. =20 WHat else is there? Alex Saliby =20 ----- Original Message -----=20 From: tom bell=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Friday, June 06, 2003 10:33 PM Subject: semiotic I'm helping Caterina Davinio with her English on a paper she's writing = and came across this sentence "In my performances the communic-action flux = is assumed as act/sign, introducing the necessity of a new semiotic to = describe the process." This seems to suggest that in Italian, at least, a communication action (or poem, etc) as a whole can be considered a "semiotic". It also makes me wonder if a visual poemwould be = considered two joined semiotics and a visual/animated/text work would be three? thoughts appreciated. tom bell Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sat, 7 Jun 2003 07:37:51 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura oliver Subject: Poetry/ Stories of Pacific Island Culture Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi All, I teach poetry in public schools and this summer I will be teaching poetry to 2nd graders in East Palo Alto (Ca) with a program called " I Have a Dream. " A large percentage of my students are Pacific Islanders. I would love to find a book of poems and/or stories representative of their culture. I'm having a hard time finding anything. I'm using several other books from Children's Book Press in San Francisco. In the recent past something came up here on the list serve about an anthology of pidgin language poets/ writers of the Hawaiian Islands/ Samoa. Perhaps, someone can help me.... -Laura Oliver _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 7 Jun 2003 09:44:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Gerard Manley Horses Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable GLORY be to Horses for dappled manes For eyes of couple-colour as a brinded cow; For rose-mares all in stipple upon fetlocks that swim; Fresh-firecoal chestnut-tails; haunches=92 wings; Paddock plotted and pieced--foal, fallow, and plough; And =E1ll studs, their gear and tackle and trim. All geldings counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; They nicker-forth whose beauty is past change: Praise them. ========================================================================= Date: Sat, 7 Jun 2003 11:35:09 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: Gerard Manley Horses MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Ah, very Gerald Manley H .... Enjoyed the toppling of him. Harriet ========================================================================= Date: Sat, 7 Jun 2003 11:38:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: An Unusual Interview -- at Skanky Possum's Pouch Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.skankypossum.com/pouch/ "What Appears to Be a Yacht in the Distance: An Interview with Kent Johnson" By way of celebrating the release of perhaps one of the most bizarre books I've seen in the last several years, Skanky Possum, publisher of the work, has just posted the above-mentioned interview to its website. In the interview, conducted under bright high windows in the spacious study of his windswept Illinois home, Kent Johnson (co-author -- with respected Greek poet Alexandra Papaditsas -- of the book in question, THE MISERIES OF POETRY: TRADUCTIONS FROM THE GREEK) is asked questions that cut to the core concerns many in the poetry world have about the Elusive Poet, prolific editor, and controversial executor "Knet" Johnson and his relation not only to the texts that surround him but to the beautiful and brilliant Greek recluse Alexandra Papaditsas and her disturbing malady. THE MISERIES OF POETRY: TRADUCTIONS FROM THE GREEK, by Kent Johnson and Alexandra Papaditsas, can be purchased from Skanky Possum at http://www.skankypossum.com/order.htm or by sending a check ($6 plus $1.50 s/h) to Skanky Possum, 2925 Higgins Street, Austin, Texas 78722. ========================================================================= Date: Sat, 7 Jun 2003 11:35:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: "bad" anthologies Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi all, For a music project that's been on hold until recently for a while, I need recommendations of anthologies of American poetry from about 1910-1940 that include the MOST standard stuff. It doesn't have to include any "innovative" work, though it won't matter if it does. Thanks in advance. Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Sat, 7 Jun 2003 10:03:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: "bad" anthologies In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Louis Untermeyer, Modern American Poetry, editions in 1919, 1921, 1925, 1930, 1936, and 1942. The Norton of those days. All published by Harcourt, Brace. At 11:35 AM 6/7/2003 -0500, you wrote: >Hi all, > >For a music project that's been on hold until recently for a while, I >need recommendations of anthologies of American poetry from about >1910-1940 that include the MOST standard stuff. It doesn't have to >include any "innovative" work, though it won't matter if it does. > >Thanks in advance. > >Bests, > >Herb >-- >Herb Levy >P O Box 9369 >Fort Worth, TX 76147 > >herb@eskimo.com ========================================================================= Date: Sat, 7 Jun 2003 11:43:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Good Day MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Good Day What it is, that the sunlight falls or shoots, that ladders are an integrated architecture of form and space, function and engineering, and that we've made the canyon grand. All over Calgary, the people are talking and apparently the difference is spreading which is a little different than has spread. Not at all like an epidemic. These words arrive or are left or maybe are just given over and drop like throwing pine cones into a bucket. Is it now full? Or was it empty? That these words cling to the line directly above, desperate to satellite, or that they will stop at exactly the point I intend and never seem fragile or perched to fall. The legacy of the blank space, words, that letters are a capital idea and so is ice cream. 31 flavours and 26 figures. If I put you in, then it is spelled wrong, or at least unamerican. Oh, what I meant to say was that you're in the shower and I'm listening to that new CD on the computer. But I really have to go and open the window, maybe repaint the frames, clean the panes, let some of this warm weather into our basement. ========================================================================= Date: Sat, 7 Jun 2003 12:50:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: Re: Gene Tanta/milk magazine/submissions MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable (As our nation sinks further into a quagmire of deception and the = absurd.) New work up at milk magazine by Chicago-area poet & visual artist Gene = Tanta. http://www.milkmag.org/tantapage.htm milk is currently reading submissions for volume five. We seek = exceptional literary criticism/reviews, essays regarding poetics, short = fiction and visual art (and, of course, poetry). milk volume four online now with contributions from the following: Tom Clark Robert Creeley Linh Dinh Clayton Eshleman Sheila E. Murphy Bill Berkson Gloria Frym, among many others... (end) ========================================================================= Date: Sat, 7 Jun 2003 15:21:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: (no subject) Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press I WAS A TEEN-AGED WEREWOLFOWITZ!!! AID HAS COSMETIC SURGERY SO THAT HE CAN LOOK, ACT LIKE FOREIGN POLICY IDOL!!! After Quoting Wolfowitz On Iraq Oil Heist, Guardian Bows To Death Threats To Employee's Families By SIKOV LIONCOKSHUKOZ 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: Sat, 7 Jun 2003 15:24:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: under the radiator In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable under the radiator it was a suicide day, tin fish hooks crushed in about the edges. I could hear blue cascade or slate gray. someone bit a hand off, (it could have been their own). in the midst of medical curiosity, which had the living and left nothing but the damn in the rain. a pen disappeared, I screamed for days, hours, minutes, seconds. nothing but, =93blue largo . . . blue largo.=94 code word for crumbing rock mass in a fire storm of mediocrity. =93blue largo,=94 I keep saying, =93blue largo.=94=20= ========================================================================= Date: Sat, 7 Jun 2003 17:57:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: They got discounted tickets? [ Follow Ups In-Reply-To: <001801c32d1d$4ef534a0$135c70d1@computer> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable They got discounted tickets? [ Follow Ups To: "M.K" From: aaaa@central.com Subject: Re: my new-Attachments: m.k. its nice to be virtual again.. miss you.. missed life somewhere.. well,=20= not life, the image.. the one that=92s in time with the other life time=20= that will never recover... oh well, it=92s not that bad ... there=92s = hot=20 and cold running water and a candle.. take care love forever on a stick To: aaaa@central.com > From: "M.K" Subject: Re: your old attachments: dear stick that's right left without a moments notice or a catalogue to the show.=20= how was it you excepted me to follow the seed trail without the seeds? take care mk don't think of it To: "M.K" From: aaaa@central.com Subject: Re: my relapses: m.k. you came in garbled, kind of smooth to the surface, but I could tell=20 the real from the fake. and that's right I hit the skids again=20 following form oeuvre funtion . . . there is more to tell, but I lost=20 my metaheart in lala land. love forever non-stick p.s. but a car quick, need to find get aways at minimal cost plus am radio @=20= gateway to statistics To: aaaa@central.com > From: "M.K" Subject: Re: you paste or add an item dear almost over as I stated in our last Do Not Resuscitate, prepared for the worst,=20 since you know... once one knows no one knows who I am, I can be that=20 something happened once again, with new favors and big hitters. so I=20 welcome you to the party with all the battery powered widgets,=20 including all the Portable Wireless Peripherals you can stomach mk I have the road map bit hard soon To: "M.K" From: aaaa@central.com Subject: Re: my compulsion is too hard: m.k. frankly I wind up and fall down, I think it was a lie . . . with cards=20= and PARADIGMS A, banal though and though as runny as you know what . .=20= . but every time I think, I crave the other side and a slow low return=20= image. as you remember me. ps. this is it. I have hit the pavement.= ========================================================================= Date: Sat, 7 Jun 2003 23:09:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Search and Deploy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Search and Deploy Thinking about search engines - using the googleapi - their gathering of universal information according to their own filtering - bringing in the dispersion to the prompt - applying this to principles of universal thought and cognition - applying this to philosophical categories - looking at everyone's code - the other floating beneath the surface of the waters - the other always submerged - we're always submerged ourselves - 1\ Dispersion as the mode of distribution of our time: no receivers, diminution of symbolic fluxes 2\ Filtering as the parasitic content of dispersion, the residue as the ghost of the content of the receiving 3\ Difiltering as the ontological and epistemological combination of dispersion and filtering 4\ Modes of literary production dependent on distributions, with content that isn't mode-oriented, but filtering and adding semantics to neutral and neutralized data-streams 5\ Dyhzperoshzyon ahz pe mode ophlsh! dyhztrybuABU.YA ophlsh! our tyme: no rezeyveroshz, dymynuABU.YA ophlsh! TAZymbolyke! philukxehz Online, every distribution is a dissemination, and intellectual property disperses with the ageing of technology, hacking, quotation, borrowing, remaking. The universe itself is characterized by entropy; creation is always absorptive and disruptive. Representation itself is an act of delimiting. All is characterized by plateaus in non-equilibrium thermodynamics that sooner or later collapse; the resulting chaos is the dispersion of what remains of memory, the debris of once-articulated hopes and dreams. 6\ Fylterososyng ahz pe parahzytyke! keyontent ophlsh! dyhzperoshzyon, pe rehzydue ahz pe ghohzt ophlsh! pe keyontent ophlsh! pe rezeyvyng Language is not a virus; it's a filter, parasitic on the real; filtering is the third in the channel between sender and receiver. Filtering creates content as residue, employing the protocols; filtering also ensures that receivers disperse, splay. The filter passes as text, work, entity, human, state, process; it's a masquerade. The filter is protocol's ghost; protocol is filter's ghost. They are interdependent ghast/geist/wraithe. 7\ Dyphylterososyng ahz pe ontologykeyl &... epyhztemologykeyl keyombynaABU.YA ophlsh! dyhzperoshzyon &... phiylterososyng Difiltering is the acting of being and becoming among plasmas and implicate orders, content riding protocol, protocol riding content, both equivalent, embedded in the noise of their structure and semantics. Codework styles do nothing but surface submergences, only to temporarily create stases of Others, as if the world were stable. No wonder ontologies and epistemologies are incoherent, confused; wonder at their apparent appearance otherwise. 8\ Modehz ophlsh! lyterososar! produkeyABU.YA dependent on dyhztrybuABU.YAhz, uhze-meyth keyontent pat yhznt mode-oryented, but phiylterososyng &... addyng TAZemantykeyhz 4 neutrl &... neutralyzed data-hztreamhz Filtering itself among mode and content, for otherwise one has either the one or the other, a disaster, back to modernity and classical or medieval analyses of perception and meaning - the filter is constructed through the protocols and dispersions - the dispersions are already filtered - both proceed as if there's a source or origin - it's the source or origin that's identified as thinking and moving in the world - it's the source or origin that gives rise to culture - that tends towards an inconceivable and inauthentic absolute - that tends towards this absolute with its inherent violence - 9\ Dyhzperososhzyon ahz pe mode ophlsh! dyhztrybuABU.YA ophlsh! our tyme: no rezeyverososhz, dymynuABU.YA ophlsh! TAZymbolyke! phiylukkxehz Onl9ne, everos! dyhztrybuABU.YA = a dyhzhZemynaABU.YA, &... ynteelelelekeytul properost! dyhzperoshzehz uhze-meyth pe ageyng ophlsh! tekeyhnolog!, hasakeykyng, cueuotaABU.YA, borrowyng, remakyng. Pe unyveroshze ythzelphlsh! = keyharakeyterososyzed b! entrop!; keyreaABU.YA = alwayhz abhzorptyve &... dyhzruptyve. ReprehzentaABU.YA ythzelphlsh! = an akeyt ophlsh! delymytyng. Aelelel = keyharakeyterososyzed b! plateauhz yn non-ecueuylybryum perosmodynamykeyhz pat TAZooneros or laterosos keyoelelelaphze; pe rehzultyng keyhaohz = pe dyhzperoshzyon ophlsh! uhze-mehat remaynhz ophlsh! memor!, pe debr= ophlsh! onEEK-artykeyulated hopehz &... dreamhz. 10\ Fylterososohzohzyng ahz pe parahzytyke! keyontent ophlsh! dyhzperososhzyon, pe rehzydue ahz pe ghohzt ophlsh! pe keyontent ophlsh! pe rezeyvyng Language = not a vyruhz; ythz a phiylterosos, parahzytyke! on pe rel; phiylterososyng = pe pyrd yn pe keyhannel between TAZenderos &... rezeyveros. Fylterososyng keyreatehz keyontent ahz rehzydue, employyng pe protokeyolhz; phiylterososyng alhzo enhzurehz pat rezeyveroshz dyhzperoshze, hzpla!. Pe phiylterosos pahzhZehz ahz tekxt, uhze-meork, entyt!, human, hztate, prozehzhZ; ythz a mahzcueuerosade. Pe phiylterosos = protokeyolhz ghohzt; protokeyol = phiylterososhz ghohzt. Pe! 4 be TRUE ynterososdependent ghahzt/geyhzt/uhze-merosaype. 11\ Dyphylterososohzohzyng ahz pe ontologykeyl &... epyhztemologykeyl keyombynaABU.YA ophlsh! dyhzperososhzyon &... phiyylterososohzohzyng Dyphylterososyng = pe akeytyng ophlsh! beyng &... OOPkeyomyng among plahzmahz &... ymplykeyate orderoshz, keyontent rydyng protokeyol, protokeyol rydyng keyontent, both ecueuyvalent, embedded yn pe noyhze ophlsh! peyr hztrukeyture &... TAZemantykeyhz. KAYodework hztylehz do nopyng but TAZurphaEEK TAZubmerosgenzehz, onl! 4 temporaryl! keyreate hztahzehz ophlsh! Operoshz, ahz yphlsh! pe uhze-meorld uhze-meerose hztable. No uhze-meonderos ontologyehz &... epyhztemologyehz 4 be TRUE ynkeyoherosent, keyonphuhzed; uhze-meonderos at peyr apparent appearanEEK operoswyhze. 12\ Modehz ophlsh! lyterososohzohzar! produkeyABU.YA dependent on dyhztrybuABU.YAhz, uhze-meyth keyontent pat yhznt mode-oryented, but phyylterososohzohzyng &... addyng TAZemantykeyhz 4 neutrl &... neutralyzed data-hztreamhz Fylterososyng ythzelphlsh! among mode &... keyontent, 4 operoswyhze 01 hahz eyperos pe 01 or pe operos, a dyhzahzterosos, basakeyk 4 moderosnyt! &... keylahzhZykeyl or medyevl analyhzehz ophlsh! peroszepABU.YA &... meanyng - pe phiylterosos = keyonhztrukeyted through pe protokeyolhz &... dyhzperoshzyonhz - pe dyhzperoshzyonhz 4 be TRUE alread! phiylterososed - both prozeed ahz yphlsh! publyke! hayrhz a TAZourEEK or orygyn - ythz pe TAZourEEK or orygyn pathz ydentyphyed ahz pynkyng &... movyng yn pe uhze-meorld - ythz pe TAZourEEK or orygyn pat gyvehz ryhze 4 keyulture - pat tendhz towardhz an ynkeyonzeyvable &... ynaupentyke! abhzolute - pat tendhz towardhz th= abhzolute uhze-meyth ythz ynherosent vyolenEEK - ABU.YA ___ ========================================================================= Date: Sat, 7 Jun 2003 23:39:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Nikuko Difilter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Nikuko Difilter this line filters the others or syzygy comes in a fury or this line is dispersed or is subsequent to the rest or what i am saying to you is that we will fight and what i am saying to you is that we will fuck and this line has no remembered import but you might as well know i wish you dead but you shove your cock into my tight cunt however that line i never thought or said but my knife slices through your eyes and tongue however this doesn't come from anywhere and this doesn't go anywhere and you'll never know the difference but no one's reading this so fucking or killing is one and the same no one's there or what i am saying to you is that we will fight and this isn't something i ever meant to say although that line i never thought or said but my knife slices through your eyes and tongue however this doesn't come from anywhere and this doesn't go anywhere and i'll cut your bloody head off or lah di dah or this line is dispersed or appears as consequence and then this isn't something i ever meant to say although you might as well know i wish you dead but those lines are entirely effaced or my knife slices through your eyes and tongue however this doesn't come from anywhere and you die above me or this line is dispersed or this line is dissipated or appears as consequence and then what i am saying to you is that we will fight and you might as well know i wish you dead but you shove your cock into my tight cunt however my knife slices through your eyes and tongue however this doesn't come from anywhere and you'll never know the difference but someone else took over your body and gave it to me or no one's reading this so i die below you or this line is dissipated or appears as consequence and then what i am saying to you is that we will fight and you might as well know i wish you dead but those lines are entirely effaced or my knife slices through your eyes and tongue however this doesn't come from anywhere and you'll never know the difference but you're staining yourself and i'm buying it though no one's reading this so quick foxes or is subsequent to the rest or what i am saying to you is that we will fight and what i am saying to you is that we will fuck and you might as well know i wish you dead but that line is completely forgotten and my knife slices through your eyes and tongue however i want to tongue your nasty holes but this doesn't come from anywhere and this doesn't go anywhere and you'll never know the difference but you're writing this and no one else but and furious fuck or this line is dispersed or is subsequent to the rest or appears as consequence and then what i am saying to you is that we will fuck and you might as well know i wish you dead but that line is completely forgotten and that line i never thought or said but my knife slices through your eyes and tongue however this doesn't come from anywhere and this doesn't go anywhere and you'll never know the difference but and furious fuck or this line is dispersed or is subsequent to the rest or appears as consequence and then what i am saying to you is that we will fuck and you might as well know i wish you dead but that line is completely forgotten and that line i never thought or said but my knife slices through your eyes and tongue however this doesn't come from anywhere and this doesn't go anywhere and you'll never know the difference but and furious death or this line is dispersed or appears as consequence and then what i am saying to you is that we will fight and what i am saying to you is that we will fuck and this isn't something i ever meant to say although you might as well know i wish you dead but that line i never thought or said but my knife slices through your eyes and tongue however this doesn't come from anywhere and this doesn't go anywhere and i'll cut your bloody head off or you'll never know the difference but __ ========================================================================= Date: Sun, 8 Jun 2003 00:04:27 -0400 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 + or fury a in comes syzygy or there one's no or dah di lah or me above die you or you below die i or foxes quick or fuck furious and or fuck furious and or death furious and ========================================================================= Date: Sat, 7 Jun 2003 19:00:47 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: for Laura Oliver on Asian/pacific islander work Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Laura--you might try Bamboo Ridge's anthology, _Growing Up Local_, about growing up in Hawai`i; would include work by writers of various ethnicities. And Eric Chock's _Small Kid Time_ is a good book about teaching poetry writing to children (also Bamboo Ridge). I think Bess Press has a number of children-oriented books out of Hawai`i. And there are collections of Hawaiian mythology that are appropriate for elementary school children, as well. You might contact Ron Cox at native Books (coxr@hawaii.edu); he's a font of information on the subject. Good luck! aloha, Susan ========================================================================= Date: Sat, 7 Jun 2003 03:04:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: 7 degrees of seperation...Kazim Ali... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 1) i buy a copy of Promethean 1967-68 my senior college lit mag... at a book sale at the Presbyt. Chrch Bkly Hghts..Proletarian.. 2) My college best friend...has a long piece in it...PING PONG ACAD. & the TRNMNT.. 3) His other best Friend George Di Caprio...whom i can no longer remember... also has a piece..How's Yr Wicker Work?.. 4) After CCNY..Cory & I go to grad schl at SUNY..Buf...where we were roomates for the 1st two yrs... Di Caprio heads west to Hllywd to make animated films 5) Di Caprio marries his college sweet-heart..& I learn...googling him..has a son.. 6) Leonardo Di Caprio plays Rimbaud to...???'s Verlaine... 7) Kazim Ali sees Di Caprio open a bottle of wine with his shoulders..mon amour temps.. 4) ========================================================================= Date: Sat, 7 Jun 2003 22:41:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: =?WINDOWS-1252?Q?welcome_and_Introduction=97one_day_?= In-Reply-To: <2ABE9F02-996E-11D7-9C62-000393AC1E3A@hawaii.rr.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable welcome and Introduction=97one day Scientifically Based Research Proceedings=979:05 a.m. =A0=A0=A0=A0=A0one day : Good morning. one day name is one day Neuman. = is xxx=20 Assistant Secretary xxx Elementary and worst case scenario reminders.=20 It's thrilling thrilling xxx to have all of you keep your distance here=20= today. =A0=A0=A0=A0=A0One or you/our goals today=97is xxx and have a very = practical=20 actually. it is no longer debating whether scientifically based=20 evidence is important, it is xxx and know it now as xxx critical. As=20 many of you keep your distance, know xxx has been counted one hundred=20 and eleven times since the phrase "scientifically based distance"=20 became our new law. =A0=A0=A0=A0=A0What are our goal today is, is a very practical one. What = is the=20 xxx you want, xxx do and what is the xxx you can have or explore in the=20= logic based evidence or research of xxx definition? =A0=A0=A0=A0=A0The worst case scenario goal is something that is very = particular=20 to xxx and to our office, so, it is our Office of your Elementary to=20 show how to worst case scenario that reminders us to began xxx inputs=20 in this ex-xxx practice. How does one xxx begin xxx guidance? =A0=A0=A0=A0=A0keep your distance going xxx here today. it not some = wonderful=20 papers on what is scientifically based evidence xxx. no, what its=20 logic, it's characteristics, it=92s and what is it is xxx hope, xxx do=20= and what xxx=92ers really focus on and mean in xxx safe? =A0=A0=A0=A0=A0What is xxx and what does it want when xxx is eventually = a xxx=20 move? this debate throughout all of you our programs begins to xxx in=20 districts xxx across the country. =A0=A0=A0=A0=A0What I want xxx today, is I want us xxx very much on = pace. keep=20 your distance see that there is opportunity xxx, ask a lot xxx, of=20 what xx can do for xxx and keep your distance. question your distance.=20= raise issues whether or not scientifically based evidence is a good=20 thing or not. =A0=A0=A0=A0=A0so one way xxx is going keep thrilling, it=92s already = late xxx is=20 by going xxx doing is is xxx and keeping a very fast pace. so keep your=20= distance. question xx implications and then, finally, have a panel=20 where you keep your distance. I really xxx delighted xxx have you. so=20= please keep your distance today.= ========================================================================= Date: Sun, 8 Jun 2003 02:11:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: iGirl MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII iGirl You say, "je m'appelle ABU.YA" I see no "bela" here. I see no "pella" here. Bodee Do Come In and Look Around! Hey! See the Bodee-Buda Bodi Too! ====Part 1==== Root Class (#1) is owned by Wizard (#2). Aliases: nothing (No description set.) i#1 (#947) is owned by Nikuko (#934). Aliases: i#1 submergence of drowned gods Key: (None.) Obvious Verbs: g*et/t*ake i#1 d*rop/th*row i#1 gi*ve/ha*nd i#1 to v*iew i#1 dis*play i#1 connect i#1 to @webpref*erences i#1 ====Part 2==== Nikuko Brooding Buti or Buda / Pest She is awake and looks alert. Carrying: Budi Mirror iGirl You see nothing special. Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud You already have that! It's already open. Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud Budi (#882) is owned by Nikuko (#934). Aliases: Budi Brawned MassIve Tissu Hunger for Yu to Be Swallow Key: (None.) Contents: Bud (#908) Obvious Verbs: swallow Bud p*ut/in*sert/d*rop in Bud open Bud @lock_for_open Bud with close Bud @unlock_for_open Bud You Do SwaLo Budi Fles-Tungu You Do Thik Tungu fissure in sWole Throte Name Connected Idle time Location ---- --------- --------- -------- Nikuko (#934) 4 minutes 0 seconds Bodee Total: 1 person, who has been active recently. Do Thik Pnk Tungu sWole Throte Nikkkukkk Thikkk Pnkkk Tungu thIkku sWole gLans tuuuuuuuuuuuuuuuuGUuuuu tHuku You say, "Ah do think swole Throte GlANS" I don't understand that. lllllast tYme my Nikkkukkko to goDbyoo Nu I don't understand that. Name Connected Idle time Location ---- --------- --------- -------- Nikuko (#934) 5 minutes 0 seconds Bodee Total: 1 person, who has been active recently. Nikuko Brooding Buti or Buda / Pest She is awake and looks alert. Carrying: Budi Mirror iGirl iGirl (#972) is owned by Nikuko (#934). Aliases: iGirl (No description set.) Description set. purfling surrounding + making water You say, "plus making water" You laugh. I see no "long" here. You laugh at yourself. You say, "ha ha ha ha" You say, "HA HA HA HA HA!" I don't know which "iBud" you mean. Nikuko Brooding Buti or Buda / Pest She is awake and looks alert. Carrying: Budi Mirror iGirl Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud I don't understand that. Budi isn't here. You Do SwaLo Budi Fles-Tungu You Do Thik Tungu fissure in sWole Throte You say, "HA HA HA HA HA! HA HA HA HA HA!" Do Thik Pnk Tungu sWole Throte Nikkkukkk Thikkk Pnkkk Tungu You say, "Tungue fissure! HA HA HA!" thIkku sWole gLans tuuuuuuuuuuuuuuuuGUuuuu tHuku You say, "SWoleee THROtee HA HA HA HA HA!" Nikuko's tuuuuuuuuuuuuuuuuuuuuuuuuuuuu! You say, "HA HA HA HA HA!" lllllast tYme my Nikkkukkko to goDbyoo Nu Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud Brawned MassIve Tissu Hunger for Yu to Be Swallow Contents: Bud I don't understand that. You say, "HEH HEH HEH HEH HEH!" You Do SwaLo Budi Fles-Tungu You Do Thik Tungu fissure in sWole Throte You say, "HA HA HA ha ha ha! HEE HEE!" Do Thik Pnk Tungu sWole Throte Nikkkukkk You say, "all sWole! Throte!! HEH HEH!!" Thikkk Pnkkk Tungu I don't understand that. thIkku sWole gLans tuuuuuuuuuuuuuuuuGUuuuu tHuku You say, "Whew!" I don't understand that. You say, "HEH!" Nikuko's HEH! Nikuko's HA HA HA HA HA! lllllast tYme my Nikkkukkko to goDbyoo Nu Nikuko's goDbyoo Nu!!! goDbyoo Nu!!! Nu! ___ ========================================================================= Date: Sun, 8 Jun 2003 11:34:15 -0400 Reply-To: "swiss@uiowa.edu" Sender: UB Poetics discussion group From: "swiss@uiowa.edu" Subject: TIR WEB, JUNE 2003 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" TIR WEB A journal of New Media and experimental writing and art, The Iowa Review = Web is published at the University of Iowa with support from the = Department of English and in collaboration with the Iowa Review and The = International Writing Program. Volume 5, Number 3 (June 2003) ************************************* Stuart Moulthrop Feature:=20 Introducing a Major New Piece: "PAX" "Pax" is a lesser apocalypse that began to unveil itself one stormy spring = day near Dallas when someone closed the terminal and the guns came out. It'= s about flying and falling, truth and desire, nakedness, terror, and the = home land. While some may find these themes all too American, they are as = Chekhov might have said originally Russian: recall what happened to those = cosmonauts who took off from the USSR and landed in the CIS, displaced by = a trick of history, discovering (as we all must) that we travel through = time as well as space. It's become a common experience these days, this = journey to another world, this never coming home. Especially when the guns = come out. Stuart Moulthrop is Professor of Information Arts and Technologies at the = University of Baltimore. His previous electronic works include Victory = Garden (1991), "Hegirascope" (1995), and "Reagan Library" (1999). He is an = emeritus editor of the journal Postmodern Culture and was a founding = director of the Electronic Literature Organization. An Interview with Stuart Moulthrop by Noah Wardrip-Fruin "While there have been interesting experiments, to my mind we haven't yet = found a fully successful way to marry page space and exploratory space. " Noah Wardrip-Fruin's current nonfiction work includes The New Media Reader = (with Nick Montfort) and First Person: New Media as Story, Performance, = and Game (with Pat Harrigan). ALL AT:=20 +++++++++++++++++++++++++++++++++++++++++++++++++ Margaret Stratton Feature Margaret Stratton's work in photography and video ranges from formal black-= and-white landscapes to autobiographical first-person narratives. An Interview with Stratton by Leslie Roberts... with a Gallery of Stratton'= s Work Leslie Roberts is a Fulbright Fellow at Gateway Antarctica, a Centre for Antarctic Studies and Research at the University of Canterbury in New = Zealand. ALL AT:=20 ++++++++++++++++++++++++++++++++++ New Work and Reviews: Deena Larson, geniwate, Seth Thompson, Heidi Bean, and Pamela Gay.=20 ALL AT ++++++++++++++++++++++++++++++++++ TIR Web presents: New work from the current issue of The Iowa Review +++++++++++++++++++++++++++++++++ TIR Web presents: New work from the current issue of 91st Meridian ++++++++++++++++++++++++++++++++ TIR WEB.....end. ++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 8 Jun 2003 10:48:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: gertrude stein's likeness to g w bush Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I remarked recently to some grad students how uncannily the faces of Gertrude Stein and G W Bush resemble each other. They did not believe me until I sent them to this URL: http://www.bartleby.com/people/Stein-Ge.html if you gently wiggle your mouse on browser's scroll bar such that her face goes up and down up and down it looks like she is laughing at evil doers ========================================================================= Date: Sun, 8 Jun 2003 12:10:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable If anyone has an e-mail address for any of the following people, I'd = appreciate backchanneling me with it. Ann Vickery Paul Christensen Rick Joines Richard Collins Terry Lynn Karen Alkalay Gut Jeff Newberry Andrew Prall Matthew Calihman Alicia Cohen Patricia King Thank you for your help with this, Burt Kimmelman Kimmelman@njit.edu ========================================================================= Date: Sun, 8 Jun 2003 13:51:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: real-time editing errors hiding corporate gangsters MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII real-time editing errors hiding corporate gangsters ................................................... .................................................................... ................................................................ ........................................................................ ....................................................................... .............................................................. 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....................................................................... ........................................................... .............................................................. ............ orir yahoo.comorhvsc mail.complease_don't_reply_here use_cont Terrorists You act_us_below.comewpscd abuse.netauto cray bozworld.netart crays (# infe pdholt -anderson.uslp ^O Write act_us_below.comewpscd abuse.netauto cray bozworld.netart cray N 6 Jun sens.comonprir mail.comqfzfro prodigy.net.mxpxxgvwql u sa.comCut Text^T To Spell earthlink.netkikgvy yahoo.comdinowanga netscape.net bgqrye sa.com 236623@e arth yahoo.combashermobutu lycos.comdddtelma rk seznam.czefxf l aox ll.c yahoo.com.hkmailmanager videoed.com ngvlou yahoo.comkenibru go.combcom gertrudepatbycycle seznam.czijsvhno yahoo.comkdumba4 hknetmail .comedwardovie yahoo.comfredpanix.com mitcables.comnassery_h11 redi ffmail.comolakelv3 ecplaza.netbmbeki2 rediffmail.comgary.dean3 b topenworld.comltfmgu tele.nethoddelaneco ananzi.co.zamhuecr ya hoo.comjohn msxp.netfcm userline.ruanthonyosu juno.comcmb2 333 korea.comgovslc yahoo.comnoreply zbestoffer.compnmvdh hopx xgvwql@u sa.com 236623@e arthlink .net kikBuda Bodi Too!o netscape .net bgqrye@y ahoo.co k63% tr 0-9 " " < yy > zzound! Hey! act_us_below.comewpscd abuse.netauto cray bozworld.netart craye.co m info@a rt-actio n.org od small sens.comonprir mail.comqfzfro prodigy.net.mxpxxgvwql u sa.comail.com please_d on't_rep ly_here@ use_cont earthlink.netkikgvy yahoo.comdinowanga netscape.net bgqrye yahoo.comnmffii@a buse.net auto246 5cray@bo zworld.n et art30 4 minutes 0 seconds yahoo.combashermobutu lycos.comdddtelma rk seznam.czefxf l aox lprir@m ail.com qfzfro@p rodigy.n et.mx px xgvwql@u but yahoo.com.hkmailmanager videoed.com ngvlou yahoo.comkenibru go.combyblwge arthlink .net kik gvy@yaho o.com di nowanga@ netscape .netened with 6 hotmail.commail u .info qijqlg hansenet.dehindalive astresearch.compwubvyoo.com nmffii@ yahoo.co m basher mobutu39 @lycos.c om dddtelmated Sun, 8 yahoo.com.hkmailmanager videoed.com ngvlouhotmai ___ ========================================================================= Date: Sun, 8 Jun 2003 11:12:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ashcroft to replace Sandra D. O'Connor(?) In-Reply-To: <5.1.1.6.0.20030607105445.01ac5eb8@mail.ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Even if it is or does not become true, the Democratic Party - yet, it appears, in absence of the Candidate - has come up with a great way to raise money. We got a call yesterday with the rumor-news that Justice O'Connor will announce her retirement within the year and the current President will nominate John Ashcroft to replace her. The resistance is already forming. If you want to see a spontaneous set of physical tremors among your friends, share this well-might-be-true rumor. Talk about tilting the so-called balance of the court. Amazing. The News practically ruined the beautiful after-glow of a Berkeley Hertz Hall concert last night of a beautiful series of John Adams and Ingram Marshall pieces, conducted and played with other musicians by the composers themselves. When is somebody(ies) going to get this Administration on a "corked bat" or "cooked books" and make it stick. (Blair, on the other hand, now looks like a bull going slowly down - check in London's Independent). Well City Lights Bookshop is 50 years old this month and still going strong and the City is closing down Columbus this afternoon in celebration. Some things do survive the interpretation of the Constitution. & I will be there. Stephen Vincent ========================================================================= Date: Sun, 8 Jun 2003 13:37:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: city lights & the execution of the Rosenbergs In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Stephen Vincent's news that this month marks the semicentennial of City=20 Lights reminds me that while reading the recent issue of the International= =20 Socialist Review last night I learned that this month also marks, on June=20 19th, the 50th anniversary of Ethel and Julius Rosenberg's execution. "This death sentence is not surprising. It had to be. There had to be a=20 Rosenberg Case because there had to be an intensification of the hysteria=20 in America to make the Korean War acceptable to the American people. There= =20 had to be a hysteria and a fear sent through America in order to get=20 increased war budgets. And there had to be a dagger thrust in the heart of= =20 the left to tell them that you are no longer gonna give five years for a=20 Smith Act prosecution or one year for Contempt of Court, but we're gonna=20 kill ya! =96 Julius Rosenberg, as quoted by his attorney, Emanuel Bloch, September= 22,=20 1953. ========================================================================= Date: Sun, 8 Jun 2003 12:08:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: city lights & the execution of the Rosenbergs In-Reply-To: <5.1.1.6.0.20030608133018.019d5e68@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable At 01:37 PM 6/8/2003 -0500, you wrote: >Stephen Vincent's news that this month marks the semicentennial of City=20 >Lights reminds me that while reading the recent issue of the International= =20 >Socialist Review last night I learned that this month also marks, on June= =20 >19th, the 50th anniversary of Ethel and Julius Rosenberg's execution. > >"This death sentence is not surprising. It had to be. There had to be a=20 >Rosenberg Case because there had to be an intensification of the hysteria= =20 >in America to make the Korean War acceptable to the American people. There= =20 >had to be a hysteria and a fear sent through America in order to get=20 >increased war budgets. And there had to be a dagger thrust in the heart of= =20 >the left to tell them that you are no longer gonna give five years for a=20 >Smith Act prosecution or one year for Contempt of Court, but we're gonna=20 >kill ya! >=AD Julius Rosenberg, as quoted by his attorney, Emanuel Bloch, September= =20 >22, 1953. And for a lot of Jews whose families had arrived as recently as the=20 Rosenbergs it was obvious whether true or not that if they hadn't been=20 Jewish they wouldn't have been killed. So the executions seemed in that=20 way also a continuation of the nazis. Mark ========================================================================= Date: Sun, 8 Jun 2003 12:19:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Ashcroft to replace Sandra D. O'Connor(?) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jeez, I hope Bush is stupid enough to do this. We can assume that whoever retires a right-winger will be nominated as replacement, but usually these battles aren't even noticed by most voters, unless there's a pubic hair in the coke. If Ashcroft's the nominee it becomes a massive, very public debate about the administration's human rights record and its sham defense against terrorism. And I don't think the nomination could possibly survive the process--there'd be nothing in it for the Dems to persuade them to cave. Mark At 11:12 AM 6/8/2003 -0700, you wrote: >Even if it is or does not become true, the Democratic Party - yet, it >appears, in absence of the Candidate - has come up with a great way to >raise money. We got a call yesterday with the rumor-news that Justice >O'Connor will announce her retirement within the year and the current >President will nominate John Ashcroft to replace her. The resistance is >already forming. > >If you want to see a spontaneous set of physical tremors among your friends, >share this well-might-be-true rumor. Talk about tilting the so-called >balance of the court. Amazing. The News practically ruined the beautiful >after-glow of a Berkeley Hertz Hall concert last night of a beautiful series >of John Adams and Ingram Marshall pieces, conducted and played with other >musicians by the composers themselves. > > When is somebody(ies) going to get this Administration on a "corked bat" or >"cooked books" and make it stick. (Blair, on the other hand, now looks like >a bull going slowly down - check in London's Independent). > >Well City Lights Bookshop is 50 years old this month and still going strong >and the City is closing down Columbus this afternoon in celebration. Some >things do survive the interpretation of the Constitution. & I will be >there. > >Stephen Vincent ========================================================================= Date: Sun, 8 Jun 2003 15:13:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: miekal and Subject: what to believe In-Reply-To: <5.1.1.6.0.20030607105445.01ac5eb8@mail.ilstu.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit Every account I've read about the looting of the Baghdad museum, including petitions I've seen from archeological orgs have been fixated on the image that 170,000 pieces were removed. Now suddenly the media is saying the actual number of significant artifacts missing is in the tens. Did someone just originally concoct a fanciful story? Welcome to the age of the haze of the NYTs freefall school of reporting. http://www.guardian.co.uk/Iraq/Story/0,2763,973155,00.html ========================================================================= Date: Sun, 8 Jun 2003 15:36:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: what to believe MIME-Version: 1.0 Content-Type: text/plain Yes, if the treasures have been found then great, but how can this miraculous discovery be any more believable than that other, flipside news of their apocalyptic destruction? This waffling between extremes is so rhetorically suspect: no matter if NYTs or another--all are sounding way too oracular, and it serves political agendas remarkably well. The same oracular confusions seem to have been the case--and to have helped the case of aggressive neo-cons (for they are cons, no?) and Bushies to the max--over the *crisis* of those elusive WMDs. You know, those elusive mortifyingly fearful things that CNN re-images & re-proves daily as *Found! At Last!* Chris M ========================================================================= Date: Sun, 8 Jun 2003 14:05:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: what to believe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "miekal and" To: Sent: Sunday, June 08, 2003 1:13 PM Subject: what to believe > Every account I've read about the looting of the Baghdad museum, > including petitions I've seen from archeological orgs have been fixated > on the image that 170,000 pieces were removed. Now suddenly the media > is saying the actual number of significant artifacts missing is in the > tens. Did someone just originally concoct a fanciful story? Welcome > to the age of the haze of the NYTs freefall school of reporting. > > http://www.guardian.co.uk/Iraq/Story/0,2763,973155,00.html The article says that 33 major works, and 2000 minor works, whatever that means, are missing. Can you imagine the outcry if 33 major works were missing from the Smithsonian, or the Metropolitan! And what the truth actually is, as usual, we don't know. -Joel ========================================================================= Date: Sun, 8 Jun 2003 18:22:39 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: language theory MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kirby Olson wrote: > Bill Austin, > > Please have a nice time in Barcelona. I'm slowly building an argument > here against your language theory, but it will take me a while. The > best tip came from Tom Bell, which was to read Michael Polanyi. I've > now read the first third of The Tacit Dimension, a collection of three > lectures given at Yale in 1962. This is from the back cover: > > "Few could say what facial configurations make, for example, a puzzled > expression, but we can all recognize puzzlement. This knowledge of > particulars that we cannot itemize, and to which we attend only for > their meaning in some other sphere, is 'tacit knowledge.' Tacit > knowing guides the scientist to problems promising new discoveries." > > Polanyi was a Hungarian scientist who was brutally disappointed by > Stalinist science and by positivism generally. He tried to develop > the notion of intuition. > > He argues that there are lots of things we can point to that we can't > verbalize: for instance, to know what a birch tree is, we first have > to have to have experienced one, in order to have the referent. > Someone has to point out a white birch. This, he says, is what > education is largely about. What he calls ostensive learning -- > somebody points out rocks, trees, viruses, whatever, and then we > memorize them and learn to identify them in that way. > > He writes, "The body is the ultimate instrument of all our external > knowledge, whether intellectual or practical..." (15) > > He also points back to very interesting aesthetic thinkers such as > Dilthey and Lipps, whose names I've heard, but haven't read. They > were late 19th century German theoreticians. They argue for something > called indwelling, which is to empathize with an artist in order to > enter the world of their work. They think this is what we do during > the aesthetic experience. Compare Barthes or Foucault, who wipe out > the author, and posit only the role of the reader (a kind of > solipsism). Polanyi argues that without "indwelling" meaning > disappears. > > He gives lots of weird examples of things that we can know without > being able to articulate them. There's an example of subjects being > given a shock every time a certain sequence of syllables appears in a > text. The subject will start to know as they are reading when a shock > is about to come (sounds like something for the ethics committee to > take up, but this was 1962, and he WAS from Hungary at a certain time > in that country's history), and they will brace for the shock, but not > understand how they know that a shock is coming. > > A lot of his argument depends ironically on faces. He says that we > can all tell a face in a crowd of thousands. So let's say you're > walking through NYC and the crowd is thick -- ten people across at > least in each direction around Trump's tower, for instance, with that > huge sidewalk at rush hour. All kinds of people going past -- giants, > midgets, and evreything in between. You see a friend and stop and > talk. There's almost no way you could tell a friend who hadn't seen > your friend how to recognize that friend. You can't put it in words, > and yet you can do it. > > Good book, Tom Bell. Thanks. Have fun in Barcelona, Bill. I look > forward to your pleasant and easy destruction of my little siege toys > upon your return. > > For Gabriel Gudding: I did see a resemblance between Stein and Bush. > It wasn't uncanny, but it was there. How would you identify that > similarity, and how would you nevertheless know that the two faces are > different? Obviously wiggling the screen does make it seem that they > are much more alike, but even resting still and looking carefully > there is something I think in the cheekbones and hairline, and > obviously the color of the hair. But then maybe you were kidding? > > -- Kirby Olson > > ========================================================================= Date: Sat, 7 Jun 2003 15:27:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: Poetry/ Stories of Pacific Island Culture MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit contact susan schultz, backchannl and: these are not aimed at 2nd grade tho you cld pick and choose; i think anything tinfish wld be useful... alchemies of distance, Caroline Sinavaiana-Gabbard, subpress/Tinfish/Institute of Pacific Studies, 2001. Cultural Evidence, Catalina Cariaga, Subpress collective, 1999. backchnl me for more if you need it; work w/ this age all the time & cultura... JS ----- Original Message ----- From: "laura oliver" To: Sent: Saturday, June 07, 2003 3:37 AM Subject: Poetry/ Stories of Pacific Island Culture > Hi All, > I teach poetry in public schools and this summer I will be teaching poetry > to 2nd graders in East Palo Alto > (Ca) with a program called " I Have a Dream. " A large percentage of my > students are Pacific Islanders. I would love to find a book of poems and/or > stories representative of their culture. I'm having a hard time finding > anything. I'm using several other books from Children's Book Press in San > Francisco. In the recent past something came up here on the list serve about > an anthology of pidgin language poets/ writers of the Hawaiian Islands/ > Samoa. Perhaps, someone can help me.... > > -Laura Oliver > > _________________________________________________________________ > The new MSN 8: smart spam protection and 2 months FREE* > http://join.msn.com/?page=features/junkmail > ========================================================================= Date: Sun, 8 Jun 2003 19:26:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: city lights & the execution of the Rosenbergs In-Reply-To: <5.1.1.6.0.20030608133018.019d5e68@mail.ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The Rosenberg execution - whether or not he was guilty - I remember as a bullet and warning to the heart of the left. It was quite momentarily successful attempt to savage the progressive language of the left that emerged and found broad public currency in the thirties - unions, worker protections, right and access to higher education - stuff that was really a= t odds with the Hearst banana republic world view of how much the 'comman man= ' should be entitled. The execution, as Mark suggests, was also a horrifying anti-Semitic message aimed at a strong portion of the socialist leadership that had led the charge against corporate goon and racist control of the working place and political landscape. One way to read Ginsberg's Howl is a= s a vent and articulation of the pain and wound that was inflicted. It was no= t until the Civil Rights movement in the late fifties that progressives were able to begin to re-emerge in struggle - one in which Jews again played a very strong and shared role in the leadership. Instead of Hearst we now have Murdoch and the thugs - with all their religious decorations. Heah, without contraries - as Blake pronounces - no progression. But wow, do we need or deserve this much regression!!?? The City Lights celebration had delightful moments - Lawrence Ferlinghetti was radiant and as politically tuned as ever. The young who read - James Katz(?) and David Eggers - were fresh, alive, publicly and politically engaged and heartening. Before maybe 500 people standing out on Columbus Av= e in front of City Lights - a little bit frozen in the awful cold SF summer fog. (Native that I am, I confess I could not stay to hear it all). Stephen Vincent on 6/8/03 11:37 AM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > Stephen Vincent's news that this month marks the semicentennial of City > Lights reminds me that while reading the recent issue of the Internationa= l > Socialist Review last night I learned that this month also marks, on June > 19th, the 50th anniversary of Ethel and Julius Rosenberg's execution. >=20 > "This death sentence is not surprising. It had to be. There had to be a > Rosenberg Case because there had to be an intensification of the hysteria > in America to make the Korean War acceptable to the American people. Ther= e > had to be a hysteria and a fear sent through America in order to get > increased war budgets. And there had to be a dagger thrust in the heart o= f > the left to tell them that you are no longer gonna give five years for a > Smith Act prosecution or one year for Contempt of Court, but we're gonna > kill ya! > =96 Julius Rosenberg, as quoted by his attorney, Emanuel Bloch, September 2= 2, > 1953. ========================================================================= Date: Mon, 9 Jun 2003 02:15:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: theories MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kirby - you shouldn't have to build an argument o prove a point as there is good 'scientific' evidence for the preconscious - it's past speculation. You might want to look at this 'monster' compilation: _Repression and Dissociation: Implications for Personality Theory, Psychopathology and Health -- by Jerome L. Singer 1995 You can skip the heavy science and it should give you some idea of the research hat has been happening and now being conducted. It'll also give you a grounding in psychology as opposed to the airy Freudians and Lacanians. {there I go again, I guess] The role of the face in expressing emotions - do we have an emotion and then make a face expressing it or do we have on a face and then feel the emotion - is hotly debated and has been for years. I hink I posted one side of this recently. Keep up the good work - it's pretty obvious that real psychology is not studied in Humanities programs. Another area that gets short schrift is the phenomenology of the body as everyone that talks about it knows the big old names but can't find any new research. tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Mon, 9 Jun 2003 03:50:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Review of Google Hacks: 100 Industrial-Strength Tips and Tools MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Review of Google Hacks: 100 Industrial-Strength Tips and Tools Tara Calishain and Rael Dornfest, O'Reilly, 2003, $24.95, 330 pp. I've been using Google Hacks for creative work for the past few weeks, and have found the book of tremendous value. There are of course hegemonic issues surrounding Google; it's by far the most popular search engine on the Web. But it's also the only search engine that has released its API, defined as "'Application Programming Interface,' a doorway for programmatic access to a particular resource or application, in this case, the Google index." In other words, the API provides a remarkably supple method for embedding Google queries in a program (mostly Perl here), which makes this search engine eminently useful for creative and/or database work. The book includes a large number of programs taking advantage of the API; they're also available at the O'Reilly site for downloading. Examples are given in Java, PHP, Perl, Python, etc. One difficulty which may be more than minor - many programs use a SOAP::Lite Perl module. This is easy to download for ActivePerl for Windows; on one of my linux laptops (running RedHat 7+), it wouldn't install at all, but downloaded Perl 5.8.0 which didn't help. On another laptop with a later RedHat, it went in fairly easily. Once you have the module installed, most of the programs run without any difficulty. They allow you to do such things as summarize results by domain, set up automated repeat searches, "Meander Your Google Neighborhood" and so forth. They also allow any number of search results - this is changed by increasing the looping which is set for 3 (thirty results). I did a search for "internet" - returning the domain statistics - using the first 1000 entries; it only took a minute or two. As an artist, I tend to see Google as a universal sememe or memory house that attempts to gather all human knowledge. Some of my recent work operates "upon" this sememe, locating categories, paths, and convolutions. The programs in Google Hacks (and their modifications) give the user tremendous control over these. I will now be using the same to look at the Google groups archiving. (The book not only covers Google Groups, but the Directory, Images, News, Catalogs, Labs, and Froogle.) The last section of the book is written from the "Webmaster Side" of things and is quite useful for indexing/configuring your own webpages. And the book as a whole is useful for anyone using search engines in general - its range extends far beyond "How do I look up X?" - into issues that, at least for me, bear on the organization and epistemology of knowledge itself. I wanted to write this review for a number of reasons. Tara Calishain is in my Being On Line book, and I've subscribed for a long time to her ResearchBuzz newsletter. Google itself has allowed me to explore certain aspects of my textual/literary practice, and has been invaluable for my interests in both ancient languages (Sumerian, Assyrian for example) and ecology (behavior of the yellow-headed blackbird for example). I've always admired the surface simplicity of the site; on the other hand, I'm not blind to its political economy and the vast areas of the Net that aren't indexed (as well as those areas indexed "against their will"). But above all, this book oddly reads as a commentary for the searching many of us do in many ways - and in my case, the artistic and cultural rewards gained by using it are enormous. I'd suggest for everyone to give it a try (as well as learning a bit of Perl and programming - although neither is necessary to use it) - at least check it out through the O'Reilly site. A final note - a plug for O'Reilly in general. If you haven't explored their publications, you're missing what are probably the most intelligent computer-oriented books around. And oddly enough, they don't tend to go out of date! - Alan Sondheim === ========================================================================= Date: Mon, 9 Jun 2003 07:02:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Seldess Subject: Discrete Series / Chicago Event MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ______THE DISCRETE SERIES @ 3030______ presents poetry by Mark Nowak, Drew Kunz & Greg Purcell [Mark Nowak is author of _Revenants_ (Coffee House Press) and editor of the journal _Xcp: Cross Cultural Poetics_ . An essay on gothic-industrial music and deindustrialization is forthcoming in _Goth: Undead Subculture_ (Duke UP); recent poetry is out in _Tripwire_, _West Coast Line_, _Hambone_, and _Chicago Review_. He is a member of the National Writers' Union, and chairs the NWU's Political Issues Committee in Minneapolis/St. Paul.] [Drew Kunz is a Milwaukee poet and co-editor the poetry journal _Traverse_. Poems are forthcoming in _Conundrum_ and elsewhere.] [Greg Purcell's poetry has been published in _Fence_, _The Exquisite Corpse_, _McSweeney's_ and _New American Writing_. He writes art criticism and collaborated with the painter Gabe Farrar on Adult Material. He is a coordinator of the Danny's Reading Series and is a founding editor of No Slander: The Chicago and Brooklyn International.] Friday, June 13 / 9PM / 3030 W. Cortland / $5 suggested donation / BYOB 3030 is a former Pentecostal church located at 3030 W. Cortland Ave., one block south of Armitage between Humboldt Blvd. and Kedzie. Parking is easiest on Armitage. The Discrete Series will present an event of poetry/music/performance/something on the second Friday of each month. For more information about this or upcoming events, email j_seldess@hotmail.com or kerri@conundrumpoetry.com, or call the space at 773-862-3616. ========================================================================= Date: Mon, 9 Jun 2003 08:22:17 -0400 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 http://ronsilliman.blogspot.com/ Blogging with scholars A note on Salam Pax Google & Big Brother Other ways to gather poetry news Francis Ponge's Notebook in the Pine Woods Bruno Schulz - magic realism in Middle Europe Jack Collom The first post-"Poetry Wars" poet Tracking poetry news: Google News vs. Poetry Daily Jack Collom's early poetry Right there with Ashbery, Koch, Berrigan & Mac Low John Wieners early, John Wieners late - INSTANTER! Francis Ponge & the found form of the carnation Francis Ponge: a text that exists solely as memory David Pavelich's Outlining: articulating the process of the poem Robin Blaser & Meredith Quartermain: Wanderful parallelograms Rob Stanton reading Anne Carson & doubt vs. error Kit Robinson's 9:45 & langpo's relation to the New York School Certainty is not the opposite of doubt, but rather certainty is the opposite of complexity - (the far rights' war on complexity) http://ronsilliman.blogspot.com/ Over 50,000 hits since September 2002 ========================================================================= Date: Mon, 9 Jun 2003 08:40:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: SOLAR POWERED DANCE PARTY, CONCERT & BIOFUEL WORKSHOP Comments: To: dreamtime@yahoogroups.com, permaculture@lists.ibiblio.org, WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit SOLAR POWERED DANCE PARTY, CONCERT & BIOFUEL WORKSHOP June 14, 2003 at Dreamtime Village in West Lima, WI for more info about location & event: www.dreamtimevillage.org or call 608-625-2412 Who: Bio team DJ CHROME, GEAR, STEPHAN SMITH with Local Guests: GARTH VADER & DJ DRIZZ When: Workshops begin in the afternoon, music begins at dusk Overnight camping available for $8/person [d o n a t i o n s a c c e p t e d] The Bio-fuel Information and Outreach Tour 2003, or B.I.O. TOUR 2003 for short, is a grassroots-based public awareness and movement building campaign, lead by DJs and activists, focused on the dangers of global warming, fossil fuel use and how to immediately begin to use vegetable oil, biodiesel, and solar power as an alternative. Traveling in a bus that runs on both straight vegetable oil and bio-diesel, with a solar powered sound system, the B.I.O. Team will travel to eleven cities and two festivals in thirteen weeks. The team will work around the clock, conducting workshops, co-hosting dance parties, giving interviews, distributing information, collecting signatures for it's pro sustainable energy petition, and building membership for it's ongoing campaign. Besides creating their own dance party events, the B.I.O. Tour crew will set up their multi-media presentation at concerts, fairs, festivals and other public gatherings. The tour is set to begin in New York City on June 1st and end in Washington, DC on September 15, 2003, where the B.I.O. Team will conduct a press conference and present it's pro sustainable energy petition to Congress. for more information about the biofuel/dance party project: www.biotour.org please distribute far & wide ========================================================================= Date: Mon, 9 Jun 2003 12:27:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Armstrong Subject: Re: The War Profiteers Card Deck MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello Kevin Hehir, These cards are really interesting. I want to publish something about them in my magazine. You can go to www.wegway.com to get an idea about Wegway. Issue 5 is just out now. Issue 6 will be in October. If you want to know more, email me and I'll send a pdf of the magazine or mail you a paper copy. Steve Armstrong Publisher Wegway P. O. Box 157 Station A Toronto, Ontario Canada M5W 1B2 416 712 2716 http://www.wegway.com ----- Original Message ----- From: "Kevin Hehir" To: Sent: Friday, June 06, 2003 2:24 PM Subject: The War Profiteers Card Deck > from our friends at the Ruckus Society an djust in time for the week-end > > http://www.warprofiteers.com/index.html > > > The War Profiteers Card Deck exposes some of the real war criminals in the > US's endless War of Terror. This is no Sunday bridge club. These are > individuals and institutions that stack the deck against democracy in the > rigged game of global power. Exposing their place in the house of cards > illuminates the links among corporations, institutions, and government > officials that profit from endless war. The US War of Terror is not about > liberation, democracy, or UN resolutions. Plainly put, the War of > Terror--whether in Iraq, Colombia, Afghanistan, or the USA--is about > subjugation, resource extraction, and opening markets: a practice once > referred to more honestly as colonialism. > > Each suit in this deck represents a category of war profiteers: > > Oil, gas, and energy companies > US government officials (because they love you) > Military and defense contractors > Heads of industry, finance, media, policy, and hype > > This deck is designed to support on-going campaigns against many of the > evil-doers present here. For more extensive information on each of the > players and how you can get involved, please refer to the links section at > the bottom of each profile. > > > -- ========================================================================= Date: Mon, 9 Jun 2003 15:13:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Fwd: American Sheroes MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 8bit When Some Lives Are Worth More than Others by Naomi Klein > May 21 2003 Jessica Lynch and Rachel Corrie could have passed for sisters. Two all-American blondes, two destinies forever changed in a Middle East war zone. Private Jessica Lynch, the soldier, was born in Palestine, West Virginia. Rachel Corrie, the activist, died in Israeli-occupied Palestine. Corrie was four years older than 19-year old Lynch. Her body was crushed by an Israeli bulldozer in Gaza seven days before Lynch was taken into Iraqi custody on March 23. Before she went to Iraq, Lynch organized a pen pal program with a local kindergarden. Before Corrie left for Gaza, she organized a pen pal program between kids in her hometown of Olympia, Washington, and children in Rafah. Lynch went to Iraq as a soldier loyal to her government. In the words of West Virginia Senator Jay Rockefeller, "she approached the prospect of combat with determination rather than fear." Corrie went to Gaza to oppose the actions of her government. As a U.S. citizen, she believed she had a special responsibility to defend Palestinians against U.S.-built weapons, purchased with U.S. aid to Israel. In letters home, she vividly described how fresh water was being diverted from Gaza to Israeli settlements, how death was more normal than life. "This is what we pay for here," she wrote. Unlike Lynch, Corrie did not go to Gaza to engage in combat -— she went to try to thwart it. Along with her fellow members of the International Solidarity Movement (ISM), she believed that the Israeli military's incursions could be slowed by the presence of highly visible "internationals." The killing of Palestinian civilians may have become commonplace, the thinking went, but Israel doesn't want the diplomatic or media scandals that would come if it killed a U.S. college student. In a way, Corrie was harnessing the very thing that she disliked most about her country — the belief that American lives are worth more than any others - and trying to use it to save a few Palestinian homes from demolition. Believing her fluorescent orange jacket would serve as armor, that her bullhorn could repel bullets, Corrie stood in front of bulldozers, slept beside water wells, and escorted children to school. If suicide bombers turn their bodies into weapons of death, Corrie turned hers into the opposite: a weapon of life, a "human shield." When that Israeli bulldozer driver looked at Corrie's orange jacket and pressed the accelerator, her strategy failed. It turns out that the lives of some U.S. citizens - even beautiful, young, white women — are valued more than others. And nothing demonstrates this more starkly than the opposing responses to Rachel Corrie and Private Jessica Lynch. When the Pentagon announced Lynch's successful rescue, she became an overnight hero, complete with "America loves Jessica" fridge magnets, stickers, t-shirts, mugs, country songs, and an NBC made-for-TV movie. According to White House spokesman Ari Fleisher, President George W. Bush was "full of joy for Jessica Lynch." Lynch's rescue, we were told, was a testament to a core American value: as Senator Rockefeller put it in a speech to the Senate, "We take care of our people." Do they? Corrie's death, which made the papers for two days and then virtually disappeared, has met with almost total official silence, despite the fact that eye-witnesses claim it was a deliberate act. President Bush has said nothing about a U.S. citizen killed by a U.S. made bulldozer bought with U.S. tax dollars. A U.S. congressional resolution demanding an independent inquiry into Corrie's death has been buried in committee, leaving the Israeli military's investigation - which conveniently cleared itself of any wrong doing as the only official probe. The ISM says that this non-response has sent a clear, and dangerous, signal. According to Olivia Jackson, a 25-year-old British citizen still in Rafah, "after Rachel was killed, [the Israeli military] waited for the response from the American government and the response was pathetic. They have realized that they can get away with it and it has encouraged them to keep on going." First there was Brian Avery, a 24-year-old citizen shot in the face on April 5. Then Tom Hurndall, a British ISM activist shot in the head and left brain dead on April 11. Next was James Miller, the British cameraman shot dead while wearing a vest that said "TV." In all of these cases, eye-witnesses say the shooters were Israeli soldiers. There is something else that Jessica Lynch and Rachel Corrie have in common: both of their stories have been distorted by a military for its own purposes. According to the official story, Lynch was captured in a bloody gun battle, mistreated by sadistic Iraqi doctors, then rescued in another storm of bullets by heroic Navy SEALs. In the past weeks, another version has emerged. The doctors that treated Lynch found no evidence of battle wounds, and donated their own blood to save her life. Most embarrassing of all, witnesses have told the BBC that those daring Navy SEALs already knew there were no Iraqi fighters left in the area when they stormed the hospital. But while Lynch's story has been distorted to make its protagonists appear more heroic, Corrie's story has been posthumously twisted to make her, and her fellow ISM activists, appear sinister. For months, the Israeli military had been looking for an excuse to get rid of the ISM "troublemakers." It found it in Asif Mohammed Hanif and Omar Khan Sharif , the two British suicide bombers. It turns out that they had attended a memorial to Rachel Corrie in Rafah, a fact the Israeli military has seized on to link the ISM to terrorism. Members of ISM point out that the memorial was open to the public, and that they knew nothing of the British visitors' intentions. As an organization, the ISM is explicitly opposed to the targeting of civilians, whether by Israeli bulldozers or Palestinian bombers. Furthermore, many ISMers believe that their work may reduce terrorist incidents by demonstrating that there are ways to resist occupation other than the nihilistic revenge offered by suicide bombing. No matter. In the past two weeks, half a dozen ISM activists have been arrested, several deported, and the organization's offices have been raided. The crack down is now spreading to all "internationals," meaning there are fewer and fewer people in the occupied territories to either witness the ongoing abuses or assist the victims. On Monday, the United Nations special coordinator for the Middle East Peace Process told the Security Council that dozens of UN aid workers had been prevented from getting in and out of Gaza, calling it a violation of "Israel's international humanitarian law obligations." On June 5 there will be an international day of action for Palestinian rights. One of the key demands is for the UN to send an international monitoring force into the occupied territories. Until that happens, many are determined to continue Corrie's work, despite the risks. Over forty students at her former college, Evergreen State in Olympia, have already signed up to go to Gaza with the ISM this summer. So who is a hero? During the attack on Iraq, some of Corrie1s friends emailed her picture to MSNBC asking that it be included on the station's "wall of heroes," along with Jessica Lynch. The network didn't comply, but Corrie is being honoured in other ways. Her family has received more than 10,000 letters of support, communities across the country have organized powerful memorials, and children all over the occupied territories are being named Rachel. It's not a made-for-TV kind of tribute, but perhaps that's for the best. This article first appeared in The Globe and Mail. ========================================================================= Date: Mon, 9 Jun 2003 17:58:32 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: theories MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Tom Bell, and others interested in the language thread -- I got a great post from someone who wrote about yoga and the origins of language via Indian philosophers working on Derrida. It sounded amazing, but maybe he made a mistake and posted it to me privately. I'm going to keep working on Polanyi for a while. Now P. writes that he wants to separate people and machines, saying that people are sentient and machines aren't. This line has been under tremendous stress for a long time with Donna Harraway's Cyborgs leading the charge, I guess. But there is still a difference between a machine and a sentient being, I think. Once a pig dies, you can't make it live again. Any machine can be fixed. For instance, you have a fan that won't work, you squirt WD-40 in the back, and it will go again. You can fix refrigerators, and cars, etc., after they've "died." Pigs and birds have something in them that once it goes, it's gone. You can't bring it back. People, too. Once a baby dies, there's no bringing it back. There's nothing to fix! Or whatever it is, you have to fix it instantly. Machines you can let sit around in the garage for a couple of months before you get around to repairing them. And I think the mechanistic view of language that lang po implies is based on the idea that people are machine-like. I think this is the implication that comes out of Saussure -- the language is neat and arrangeable and somehow machine-like. Is this right? Just a hunch. Reading August Highline's poetry which is made up of computer coordinates and rule-making is a new kind of paradigm about poetry that negates the older traditional view that people are sentient souls who operate to a certain extent outside of causal nature. We are not like minerals or chemicals but have free will. This is of course under tremendous attack. In Marxism you get this very weird idea that people are both subject to some kind of universal history that comes out of Hegel, and also that they should try to do something to help this inexorable struggle of the classes. Is there free will in Marx? I think not because it turns people into subjects of science. Something else is going on in religious thinkers like Kant. Kant assumes that we have free will (some, and certainly not perfect) and that we can therefore intervene, in a moral sense, and that this is in fact our responsibility. We are NOT programmed. We are not only the only animal capable of good, but the only animal capable of evil -- this seems to be lost when a computer program does the thinking. Highland's work is therefore a pretty big problem. Whatever it is that dies in a baby or in a bird that can't be fixed is beyond reach of our current understanding. At least in positivist terms, it can't be put. Does it mean therefore that it isn't there? Polanyi is arguing no, that it's there. So are these Indian philosophers. This mechanical framework that you get after the industrial revolution with the implication that people are just like machines -- or practically that they are just upright zippers -- is being held out against by a lot of folks. This might even be a point of commonality between overly zealous Christians, overly zealous Muslims, and overly zealous Jews. But when people lose their sense of humor they become like robots. And I've decided to stay away from that abyss of robotic ill will, because I don't want to lose my sense of humor, either. What is a sense of humor, anyway, and can it be "lost"? Tom Bell, can you explain what you mean by real psychology, versus the false stuff? Freud it's true has a mechanical model of the mind in the book on jokes, for instance -- he sees us along the lines of hydraulic machines. Do you have a better model in mind? I don't know anything about these theorists you've mentioned. The Indian philosophers who are working on Derrida and Yoga are in a book edited by a guy named Coward. I think the mechanical versus the soul model has huge implications for poetry and it bears on theological questions, etc. etc. It's too big for any one person to think about, and is probably a matter of faith or the lack thereof, finally, but the implications of this are kind of endless, no? -- Kirby Olson ========================================================================= Date: Mon, 9 Jun 2003 19:48:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: theories Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "Kirby Olson" To: Sent: Monday, June 09, 2003 4:58 PM Subject: Re: theories > Tom Bell, and others interested in the language thread -- > > I got a great post from someone who wrote about yoga and the origins of language > via Indian philosophers working on Derrida. It sounded amazing, but maybe he > made a mistake and posted it to me privately. > > I'm going to keep working on Polanyi for a while. Now P. writes that he wants > to separate people and machines, saying that people are sentient and machines > aren't. This line has been under tremendous stress for a long time with Donna > Harraway's Cyborgs leading the charge, I guess. But there is still a difference > between a machine and a sentient being, I think. Once a pig dies, you can't > make it live again. Any machine can be fixed. For instance, you have a fan > that won't work, you squirt WD-40 in the back, and it will go again. You can > fix refrigerators, and cars, etc., after they've "died." Pigs and birds have > something in them that once it goes, it's gone. You can't bring it back. > > People, too. Once a baby dies, there's no bringing it back. There's nothing to > fix! Or whatever it is, you have to fix it instantly. Machines you can let sit > around in the garage for a couple of months before you get around to repairing > them. > > And I think the mechanistic view of language that lang po implies is based on > the idea that people are machine-like. I think this is the implication that > comes out of Saussure -- the language is neat and arrangeable and somehow > machine-like. > > Is this right? Just a hunch. > > Reading August Highline's poetry which is made up of computer coordinates and > rule-making is a new kind of paradigm about poetry that negates the older > traditional view that people are sentient souls who operate to a certain extent > outside of causal nature. We are not like minerals or chemicals but have free > will. This is of course under tremendous attack. In Marxism you get this very > weird idea that people are both subject to some kind of universal history that > comes out of Hegel, and also that they should try to do something to help this > inexorable struggle of the classes. Is there free will in Marx? I think not > because it turns people into subjects of science. > > Something else is going on in religious thinkers like Kant. Kant assumes that > we have free will (some, and certainly not perfect) and that we can therefore > intervene, in a moral sense, and that this is in fact our responsibility. We > are NOT programmed. We are not only the only animal capable of good, but the > only animal capable of evil -- this seems to be lost when a computer program > does the thinking. > > Highland's work is therefore a pretty big problem. > > Whatever it is that dies in a baby or in a bird that can't be fixed is beyond > reach of our current understanding. At least in positivist terms, it can't be > put. Does it mean therefore that it isn't there? Polanyi is arguing no, that > it's there. So are these Indian philosophers. This mechanical framework that > you get after the industrial revolution with the implication that people are > just like machines -- or practically that they are just upright zippers -- is > being held out against by a lot of folks. This might even be a point of > commonality between overly zealous Christians, overly zealous Muslims, and > overly zealous Jews. But when people lose their sense of humor they become like > robots. > > And I've decided to stay away from that abyss of robotic ill will, because I > don't want to lose my sense of humor, either. What is a sense of humor, anyway, > and can it be "lost"? > > Tom Bell, can you explain what you mean by real psychology, versus the false > stuff? Freud it's true has a mechanical model of the mind in the book on jokes, > for instance -- he sees us along the lines of hydraulic machines. Do you have a > better model in mind? I don't know anything about these theorists you've > mentioned. The Indian philosophers who are working on Derrida and Yoga are in a > book edited by a guy named Coward. > > I think the mechanical versus the soul model has huge implications for poetry > and it bears on theological questions, etc. etc. It's too big for any one > person to think about, and is probably a matter of faith or the lack thereof, > finally, but the implications of this are kind of endless, no? > > -- Kirby Olson ========================================================================= Date: Mon, 9 Jun 2003 20:04:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: theories Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Sorry for the slip of the key. Kirby, I didn't mean to imply Freud was not real or not a great system builder. He's obviously important. What I meant to say is that he and Lacan are sytem builders who did not necessarily have a lot of contact with real clients. I think most therapists do not keep a synopsis of Freud, for example, bu the side of the couch and ask themselves what would Freud have done? Kristeva is an exception but for the most part these 'theories' are up in the closet but at the same time philosophers and lit people take them as straw men when talking about psychology. As far as therapy goes the likely arguments are to be found on such subjects as medicine or not (the best and swer seem to be both) and short-term brief therapy vs. ananlysis of many stripes. The other problem with thee theories is that neither F or L take into account the large amount of research that has been done in psychology and neuropsychology (F did come too soon). Damasio and Modell take some of this into account. Even though it is summer for many it's too bad we seem to have scared off other contributors tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Tue, 10 Jun 2003 09:39:38 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Samoan poet for Laura Oliver MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Laura, You could try something by the Polynesian writer Sia Figiel - especially her early poem "The Centre"- 1995 (It was published in "The UTS Review" from the University of Technology in Sydney, Australia) She has at least two books published & is represented in anthologies. She is from Samoa. Best wishes, Pam Brown > Hi All, > I teach poetry in public schools and this summer I will be teaching poetry > to 2nd graders in East Palo Alto > (Ca) with a program called " I Have a Dream. " A large percentage of my > students are Pacific Islanders. I would love to find a book of poems and/or > stories representative of their culture. I'm having a hard time finding > anything. I'm using several other books from Children's Book Press in San > Francisco. In the recent past something came up here on the list serve about > an anthology of pidgin language poets/ writers of the Hawaiian Islands/ > Samoa. Perhaps, someone can help me.... > > -Laura Oliver > ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Latest book - "Text thing" available from Little Esther Books - eafbooks@eaf.asn.au http://mobile.yahoo.com.au - Yahoo! Mobile - Check & compose your email via SMS on your Telstra or Vodafone mobile. ========================================================================= Date: Mon, 9 Jun 2003 22:45:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: theories MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kirby, I guess I did post only to you. Sorry. Once again: ----- Original Message ----- From: "Kirby Olson" To: Sent: Sunday, June 08, 2003 6:22 PM Subject: Re: language theory > Kirby Olson wrote: > > > Bill Austin, > > > > ><> > > Polanyi was a Hungarian scientist who was brutally disappointed by > > Stalinist science and by positivism generally. He tried to develop > > the notion of intuition. >> > He writes, "The body is the ultimate instrument of all our external > > knowledge, whether intellectual or practical..." (15) > > > > He also points back to very interesting aesthetic thinkers such as > > Dilthey and Lipps, whose names I've heard, but haven't read. They > > were late 19th century German theoreticians. They argue for something > > called indwelling, which is to empathize with an artist in order to > > enter the world of their work. They think this is what we do during > > the aesthetic experience. Compare Barthes or Foucault, who wipe out > > the author, and posit only the role of the reader (a kind of > > solipsism). Polanyi argues that without "indwelling" meaning > > disappears. > > > > He gives lots of weird examples of things that we can know without > > being able to articulate them. There's an example of subjects being > > given a shock every time a certain sequence of syllables appears in a > > text. The subject will start to know as they are reading when a shock > > is about to come (sounds like something for the ethics committee to > > take up, but this was 1962, and he WAS from Hungary at a certain time > > in that country's history), and they will brace for the shock, but not > > understand how they know that a shock is coming. > > Kirby, That weird experiment reminds me of a quote from Harold G. Coward in The Sphota Theory of Language: "Because the whole sentence meaning is inherently present in the mind of each person, it is quite possible for the prathiba of the sphota to be grasped by the listener even before the whole sentence has been uttered." The experiment certainly tries to force this in a bizarre way, especially since it focuses only on the syllable--and it seems blithely to assume that people can't sense the next thing coming without some outside Pavlovian intervention ("Oh, ye of little faith," &c.). But everyone knows somebody annoyingly good at finishing one's sentences (especially annoying if accurate!)--and not just the couple married for 50 years who need only grunt to understand each other, but even 'perfect' strangers. A sort of synchronicity . . . So what about the implications of these phenomena for poetics? Klunky rhyme seems like the weird experiment, and similarly makes the reader flinch. I'd like to think that 'my' reader would not so much fail to anticipate what would come next in a poem, but perhaps find some delight in discovering that he or she had not only not anticipated it, but had not even tried (cf. Negative Capability). Some Langpos and their scions, it seems, try to enforce such an outcome by antisemantic means somtimes as draconian as the shock experiment you describe. I'd prefer the unanticipated more embedded within the (not necessarily quotidian but) narrative sense, rather than as a function of the logos interruptus. What do you/y'all think? DZ ========================================================================= Date: Mon, 9 Jun 2003 22:58:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Armstrong Subject: Wegway show at SPIN Gallery, Toronto Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit It’s not too late to apply for Wegway’s Second Annual International Juried Exhibition at SPIN Gallery, 158 Bathurst Street, Toronto, Ontario, Canada. The show will run August 2 to 10, 2003 with an opening reception from 2 to 4 pm Saturday, August 2. Email wegway@sympatico.ca for a prospectus/application form or visit www.wegway.com All applicants will receive a free one-year subscription to Wegway magazine. The winning applicants will: Be in the group show at SPIN in August 2003. Have their work published in Wegway. Have their work posted on the Wegway Website Be supplied with postcard invitations for personal mailing Receive a free two-year subscription to Wegway magazine. SPIN is a large space. We welcome sculpture, video and multi-media installations in addition to wall works for this show. Interested artists should send up to 3 clearly labelled slides, photographs, photocopies, digital files on cd / floppy or digital outputs; or a video in VHS format no longer than 30 minutes; or up to 3 pages of diagrams and description. Also include a c.v. no longer than 2 pages (optional), a short artist statement (optional), a self-addressed stamped envelope for the return of materials and the application fee (a cheque or money order for $30 payable to Wegway). $30 for 1, 2 or 3 items; $10 each for additional items -Canadian dollars, or U.S. dollars for international applications. Do not send original artwork. Send applications to Wegway, P.O. Box 157, Station A, Toronto, Ontario, Canada, M5W 1B2 Application deadline: Postmarked Monday, June 30th, 2003 There will be three jurors selecting your work: Becky Singleton is a multi-media artist with work in the permanent collection of the Art Gallery of Ontario. She shows at the Christopher Cutts Gallery, Toronto. Juno Youn is a painter and the curator of SPIN Gallery. Steve Armstrong is a visual artist and the Editor/Publisher of Wegway Magazine. Participation in this show has many benefits: SPIN is a high profile gallery – curators, writers, critics and artists will see your work. Your work published in Wegway Magazine will be distributed across North America and be in the hands of arts professionals coast to coast. Acceptance by a respected jury is a valuable addition to your résumé – it will encourage other arts professionals to consider your work. The staff at SPIN will have time during the show to become familiar with your work, and thus have it in mind for future exhibition opportunities. The opening reception will be an excellent time for networking in the art community. Your work will also be posted on the Wegway website www.wegway.com including a cross-link to your website or an email contact if you wish. SPIN is a commercial gallery and they will make every effort to sell your work, but you are free to decide whether it is for sale or not. SPIN will deduct its usual commission on all sales. Wegway does not receive any monies from this show except the $30 application fee less the cost of the free magazine subscription included when you apply. Funds raised will help keep Wegway publishing. If you are selected for the show, you will be notified by July 15th 2003 and the work selected must be received at SPIN by Friday August 1st 2003. You will receive detailed shipping instructions with your notification. Artists are responsible for shipping and insurance during transit. The work must be suitably framed if applicable, and ready for hanging or installation. Shipping and installation of multi-media works, videos, etc. will be arranged on an individual basis with the artist, Wegway and SPIN Gallery. IMPORTANT DATES: Applications must be postmarked no later than June 30th, 2003. Notification of results will be sent by July 15th, 2003. Selected work must be delivered to SPIN by 4 pm, Friday, August 1st, 2003. Work will be returned, or must be picked up by Friday August 15th, 2003. Your slides and other application materials will be returned to you by August 29th, 2003. I hope you participate in this show and I look forward to meeting you at the opening reception. If you have any questions, please email me at wegway@sympatico.ca There's also lots of information at www.wegway.com Steve Armstrong Editor/Publisher Wegway If you do not want to receive future mailings from Wegway Primary Culture, please reply to this message with the word "remove" in the subject line. Thank you. ========================================================================= Date: Mon, 9 Jun 2003 23:24:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: quiz latin english MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII quiz latin english arceo? i reach don't know ===I keep away arvum? I keep away? land sono (v.)? I hear I see ===sound fugo? I fly flight ===put to flight fatisco? I am fated ===gape open nemora? I am electric with wonder You are electric with wonder? ===groves adnitor? To go for admission mispelled Don't know... ===strive fulmen? Smoke! smoke ===thunderbolt geminus? twins germinating germinating twins ===twin harena? to have one's hare cut? hair cut? ===sand minatur? to make incredibly tiny, as in a bull to miniaturize ===he threatens varius? many and varied What? a huge number of different things! ===different os (n.)? bone a bone ===mouth fulvus? so much for os... a balance like a fulcrum? a vent? ===tawny mico? to look upon a section or piece of mica or a mica crystal for that matter... ===flash immitis? better than anything else! immitable ===cruel frigus (n.)? something cold named gus I guess - cold? or is that frigid... ===cold luo? to him? to him her ===wash away cervus? this isn't dog but should be brain ===stag quiesco? be quiet shhh.... ===become quiet promitto? to promise promise ===primise horreo? to be incredibly scared or frightened ah! ===bristle foedera? hat if it's not hat, it should be! please make it hat! ===agreements vinum? wine Right! antrum? behind oh, i'm thinking of atrium... antlers stag? ===cave folium? I should have known cave... hair book ===leaf morsus? piece you know, a piece of something! ===bite effundo? to descend to the fundament not to be able to afford such a descent ahh... ===pour out extemplo? leaving the temple on time! going out! ===immediately nemus? from the knees in nimbus (cloud) ===grove ingemo? the opposite of outgemo... no, just kidding - the same as "ingemo" ===groan aridus? dry Right! rima? rhyme rim a "round" rhyme... ===crack sinat? part of a temple a forum a part of a temple forum against um ===he permits condo? i want one! i live despair... I can't afford.. ===I found dubius? doubtful Right! artus? harmony fit ===joint seditio? to revolt sedition against something! ===riot gemo? to germinate, begin the origin of everything! ===lament ductor? to lead alas, to lead again... with one's mouth taped shut... ===leader crudelis? primitive simple awful ===cruel flecto? to bend bend turn around something that wasn't... ===turn dolor? sad sadness mourn ===pain corripio? hurting corruption ===snatch arrigo? quickly to go before you change your mind! ===prick up spelunca? cave Right! disjicio? someone not "jicioing"... ===scatter lumen? light Right! ignarus? forget dumb ces't moi! ===unknowing niteo? making smaller and picking... ===shine dulcis? smooth soft and quiet... ===sweet seco? to place or put, as in a maelstrom to search sweetly and secrete... ===cut umbra? shadow Right! ___ ========================================================================= Date: Tue, 10 Jun 2003 01:15:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: not just theories MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Including an announcement that might be of interest? All psychologists are not Pavlovians or Skinnerians or Freudians or Lacanians but from the posts I've seen here we seem to be victims of our own colonizing as in Harry Polinhorn's preface to _Across the Line/Al otro lado : "What did the colonizing authorities in Mexico's large interior cities really know of this far-flung outreach [Baja california] except what their own baroque imaginations figured for them (p. 9)" Pressing the analogy here it might by that language as all theorists are colonizing what is beyond language. Barchelard does a lot of equivocating on the issue, but does have this to say: "But all these images...are _dynamic_ images rather than substantial ones. Our firebirds are not images of the substance of fire, but rather images of speed. Firbirds are _flashes of fire." _Fragments of a Poetics of Fire. Performing the World 2 The Second International Conference Exploring the Potential of Performance for Personal, Organizational and Social-Cultural Change October 17 - 19, 2003 The Montauk Yacht Club 32 Star Island Road Montauk, New York 11954 In 2001,over 250 participants from nine countries gathered for the first Performing the World conference, which brought together performers, educators, artists, scholars and researchers, therapists, health and helping professionals, business professionals, youth workers, activists and community organizers to explore the potential of performance for personal, organizational and social-cultural change. Over forty sessions showcased innovative practice and scholarship and provided a rich context for learning and performing together. (You can read about it at www.performingtheworld.org.) Since then, performance-based practice and theory have grown in recognition and popularity worldwide. Today, there exist hundreds of programs in scores of countries, disciplines and areas of life that utilize or study performance as developmental and transformative. In addition to helping the individuals they reach, such programs speak to the growth of a movement to reinitiate the relational, the communal, the creative, the developmental drive of human beings. Performing the World 2 is being convened to support and expand this international, cross-disciplinary community. The weekend will feature . A smorgasbord of performance and improvisation training workshops led by professional trainers and performers. . Demonstrations and hands-on exploration of performance approaches to community development, teaching and learning, therapy, social work and mental health, medicine, body work and movement, social activism and politics. . Performance art and dance from established artists-activists from all over the globe. . Explorations of ritual and traditional culture as tools for personal growth and social change, highlighting projects from Bangladesh, the former Yugoslavia, South Africa, and various ethnic communities in the US and Canada. . An evening Youth Development Festival featuring theatre projects from the US, South Africa, Germany and Australia. . A plenary session featuring Susan Jaffe, former principal dancer with the American Ballet Theater . A special plenary session where participants get to perform their responses, reactions and questions to presentations they've been part of! A sampling of confirmed presentations: "What's Therapeutic about Philosophy and What's Philosophical about Therapy" (US and Canada); "Theatre, Improv and Organizational Consulting" (US); "Traditional Games and Healing" (a working experience with the tribal people of Bangladesh); "Our Hands" (Yugoslavia); "Community Empowerment as a Developmental Performance: The Experiences of Cypress Hills Community, NY and Madiany Community, Western Kenya"; "Own Your Power: Survivor Stories as Personal Theater" (US); "Performing Stories in Social Movement" (Taiwan); "From Wittgenstein and Lyotard with Love, from Europe" (US and Belgium); "Mirror, Mirror on the Wall: Playback Theatre as a Measure of the Climate and Priorities in the Community" (Australia); "Arresting Change - Theatre with Young Offenders" (Canada); "Points of Contact: Exploring Ritual in Drama (A Participatory Workshop Examining Native American Performatives, Greek Theatre and Shakespearean Drama)" (US); "Performing the Street: Performance as Voice for Street Children" (South Africa); "Sacrifice 1991-2003 (a voice performance created as a reaction to the recurring wars)" (Israel); "Performing Medical Education: Unfolding Stories within Clinical Examinations" (US); "Who We Are and Who We Are Not: The Heart of Theatrical Improvisation and the Performative Perspective" (US); "Two Pointless Hours in a Theatrical/Real-Life Playground" (UK) Performing the World 2 - Registration Information Performing the World 2 will be held at the Montauk Yacht Club. Located at the easternmost tip of Long Island 120 miles east of New York City, Montauk is surrounded by water and known fondly as "The End" (for obvious reasons). A bustling summer resort, Montauk is a year-round outdoor hamlet, with miles of nature trails, roads for hiking and biking, and world-class offshore fishing. It is accessible by car, train, bus and ferry. We will send travel directions when we receive your registration. Activities will run from 5 pm Friday, October 17 until 5pm Sunday, October 19. Registration and check-in begin at 3 pm on Friday. Accommodations will be at the Montauk Yacht Club and the nearby Montauk Manor. We are able to make hotel reservations for you for the conference period only. If you wish to stay additional nights, you will need to contact the hotel directly for reservations and payment. Montauk Yacht Club (www.montaukyachtclub.com) 32 Star Island Road, PO Box 5048 Montauk, New York 11954 631.668.3100 phone, 631.668.6181 fax We can accommodate only a limited number of one-day and no accommodation registrations. Please call or e-mail Melissa Meyer for details at 212.941.8906 or ptw@eastsideinstitute.org. Fees include conference registration, Friday and Saturday night accommodations, and all meals from Friday dinner through Sunday lunch. Registration Form Name: ______________________________________________________ Address: ____________________________________________________ City: ________________________________________________________ State: __________________ Zip/postal code: _____________ Country: _____________________________ Phone (work): _________________________ Phone (home): ________________________ Email: _______________________________ Affiliation: ____________________________________________________ Title: _________________________________________________ Occupation/areas) of interest: ______________________________ College or University (if you are a student): _____________________ Roommate's name: ______________________________________ (We will assign you a roommate if you select double and do not fill in) I wish to register for (please check one option): Before June 15 __Regular full conference, double room: $505 __Regular full conference, single room: $650 __Student full conference, double room: $405 __Student full conference, single room: $550 After June 15 __Regular full conference, double room: $575 __Regular full conference, single room: $720 __Student full conference, double room: $475 __Student full conference, single room: $620 Total amount enclosed: $______ Method of payment (please circle one) Check / M.O. / MC/Visa / Amex Credit Card no: _______________________________ Expiration: __________ Signature: ___________________________________ In the event that you need to cancel, please note the following policy: Before August 1 Full refund minus $50.00 service fee. Before September 15 50% refund minus $50.00 service fee. After September 15 No refund. Send completed form with payment to: Melissa Meyer East Side Institute 500 Greenwich Street, 2nd Floor New York, NY 10013 Phone: 212.941.8906 Fax: 212.941.8340 ptw@eastsideinstitute.org www.performingtheworld.org For inquiries, call Melissa Meyer at 212.941.8906 Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Tue, 10 Jun 2003 09:42:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: "My Angie Dickinson" at 60 Comments: To: new-poetry@wiz.cath.vt.edu, hub@dept.english.upenn.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Just letting you know that my serial poem "My Angie Dickinson" now includes 60 poems all of which can be found at http://myangiedickinson.blogspot.com The site has also been spruced up by my secret webmeister (not me, really). -m. ========================================================================= Date: Tue, 10 Jun 2003 23:08:29 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Re: theories MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Kirby, Your post touched on a lot of points currently of interest for me too, although I suspect we're coming at this from very different angles. The problem of mind is the problem of the body but with people still operating in a Cartesian mindset quite gruesome visions of the human condition are being put forward in art as much as in Hollywood movies. It would seem that dualisms like mind/body or even brain/body in the arts gives rise to misguided optimism in people like the Australian artist Stellarc who proclaim that the human body will become obsolescent, but also manifests itself in dark the dark fantasies found in movies like the Matrix or Bladerunner or even AI. There are of course artists operating on the "other" side., i.e. the side of the body, like Gins and Arakawa (or vice versa) whose development of the Architectural Body seems to me an exemplary response to the embodied mind in the world. More seriously, studies in computer intelligence are, if Fritjof Capra is to be believed, coming to an grind because the body and our idea of "information" (Capra says that "information" is a misnomer, but I honestly don't know enough about IT to comment the extent of the unfortunate neologism) has been flawed from the start. -- Quickly, the problem of information is that in IT information is actually a signal, and nothing to do with information as we commonly know it, please someone add to this -- But what I can't work out is what attitude to machines and the body is being expressed in these computer generated texts. They are, dare I say, just texts; often unreadable, but sometimes mildly entertaining. You say that these texts are" a new kind of paradigm about poetry that negates the older traditional view that people are sentient souls who operate to a certain extent outside of causal nature," though I don't see them negating of this view at all, but deeply inside it. In fact, technology that has as its base a dualistic image of humanity simply mechanizes the "spirit" and lets the body go hang. Also, are texts such as Highland's or sometimes Sondheim's asking questions of technology or even foregrounding technology or merely using technology? Last summer, Jesse Glass created quite a stir by asking a similar question, I hope my comments don't do the same. Finally, as far as I know, Freud and Lacan are something of a joke among cognitive scientists and people in psychology and I think Tom is absolutely right to bemoan humanities departments that still teach them as anything other than in the context of the history of ideas.. Anyhow, thanks for keeping this very interesting thread going.. -Ben ----- Original Message ----- From: "Kirby Olson" To: Sent: Tuesday, June 10, 2003 6:58 AM Subject: Re: theories > Tom Bell, and others interested in the language thread -- > > I got a great post from someone who wrote about yoga and the origins of language > via Indian philosophers working on Derrida. It sounded amazing, but maybe he > made a mistake and posted it to me privately. > > I'm going to keep working on Polanyi for a while. Now P. writes that he wants > to separate people and machines, saying that people are sentient and machines > aren't. This line has been under tremendous stress for a long time with Donna > Harraway's Cyborgs leading the charge, I guess. But there is still a difference > between a machine and a sentient being, I think. Once a pig dies, you can't > make it live again. Any machine can be fixed. For instance, you have a fan > that won't work, you squirt WD-40 in the back, and it will go again. You can > fix refrigerators, and cars, etc., after they've "died." Pigs and birds have > something in them that once it goes, it's gone. You can't bring it back. > > People, too. Once a baby dies, there's no bringing it back. There's nothing to > fix! Or whatever it is, you have to fix it instantly. Machines you can let sit > around in the garage for a couple of months before you get around to repairing > them. > > And I think the mechanistic view of language that lang po implies is based on > the idea that people are machine-like. I think this is the implication that > comes out of Saussure -- the language is neat and arrangeable and somehow > machine-like. > > Is this right? Just a hunch. > > Reading August Highline's poetry which is made up of computer coordinates and > rule-making is a new kind of paradigm about poetry that negates the older > traditional view that people are sentient souls who operate to a certain extent > outside of causal nature. We are not like minerals or chemicals but have free > will. This is of course under tremendous attack. In Marxism you get this very > weird idea that people are both subject to some kind of universal history that > comes out of Hegel, and also that they should try to do something to help this > inexorable struggle of the classes. Is there free will in Marx? I think not > because it turns people into subjects of science. > > Something else is going on in religious thinkers like Kant. Kant assumes that > we have free will (some, and certainly not perfect) and that we can therefore > intervene, in a moral sense, and that this is in fact our responsibility. We > are NOT programmed. We are not only the only animal capable of good, but the > only animal capable of evil -- this seems to be lost when a computer program > does the thinking. > > Highland's work is therefore a pretty big problem. > > Whatever it is that dies in a baby or in a bird that can't be fixed is beyond > reach of our current understanding. At least in positivist terms, it can't be > put. Does it mean therefore that it isn't there? Polanyi is arguing no, that > it's there. So are these Indian philosophers. This mechanical framework that > you get after the industrial revolution with the implication that people are > just like machines -- or practically that they are just upright zippers -- is > being held out against by a lot of folks. This might even be a point of > commonality between overly zealous Christians, overly zealous Muslims, and > overly zealous Jews. But when people lose their sense of humor they become like > robots. > > And I've decided to stay away from that abyss of robotic ill will, because I > don't want to lose my sense of humor, either. What is a sense of humor, anyway, > and can it be "lost"? > > Tom Bell, can you explain what you mean by real psychology, versus the false > stuff? Freud it's true has a mechanical model of the mind in the book on jokes, > for instance -- he sees us along the lines of hydraulic machines. Do you have a > better model in mind? I don't know anything about these theorists you've > mentioned. The Indian philosophers who are working on Derrida and Yoga are in a > book edited by a guy named Coward. > > I think the mechanical versus the soul model has huge implications for poetry > and it bears on theological questions, etc. etc. It's too big for any one > person to think about, and is probably a matter of faith or the lack thereof, > finally, but the implications of this are kind of endless, no? > > -- Kirby Olson > ========================================================================= Date: Tue, 10 Jun 2003 08:44:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Apartment available, San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Listees, Chris Stroffolino's computer is down, so I'm posting this on his behalf. He's just signed a lease on an apartment here in San Francisco on 24th between Valencia and Mission--red heart of the Mission district--and needs a roommate ASAP. Your half of the rent is $1,100 monthly & you get to live with a poet. backchannel for details if you're interested or know someone who might be. thanks! --Rodney Koeneke ========================================================================= Date: Tue, 10 Jun 2003 08:45:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sjplante Subject: XEROGRAPHY call for submissions Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit XEROGRAPHY, a little Cdn literary journal, is currently asking for submissions. In August, 3 editors will publish 3 separate issues. In general, we like poetry -- experimental, lyrical, visual, etc. We also like short short stories, articles, etc. We also like articles & reviews that blur the imaginary & the real. As our name suggests, issues are xeroxed (mostly B&W, although we have used some colour copying). Journal size = 5 1/2 x 8 1/2. Our first issue included: Lisa Robertson, Ross Priddle, g vlynn, A.G. gROOT, etc. (Copies avail. for $4.50 Cdn. [incl. postage].) > Please send submissions (by july 25th) to: > > Xerography > c/o Fish Magic Press > #109-1109 Cole Harbour Rd. > Dartmouth, NS > B2V 1E8 > Canada thanks ========================================================================= Date: Tue, 10 Jun 2003 12:38:55 EDT 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: Tom Devaney, Chris McCreary, Ethel Rackin, Molly Russakoff, Frank Sherlock MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit FREQUENCY MAGAZINE FUNDRAISER EVENT June 27th 7pm at Molly's Bookstore & Cafe (215-923-3367) located in the heart of Philadelphia's Italian Market COME HEAR A ROUND-ROBIN WITH: Tom Devaney Chris McCreary Ethel Rackin Molly Russakoff Frank Sherlock Frequency Magazine is an audio journal to be published on CD, with readings by some of the best contemporary poets. the debut issue is dedicated to the late Douglas Oliver, and will feature a recording of the poet reading a set of his poems. ========================================================================= Date: Tue, 10 Jun 2003 14:47:13 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: poetry & jazz THIS FRIDAY MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Just a reminder... POETRY & JAZZ Friday June 13, 9 & 10:30 Cornelia St. Café 29 Cornelia St. 212-989-9319 A sultry fusion of the spoken words of Canadian poet Leanne Averbach and internationally acclaimed jazz/blues vocalist Judi Silvano. Original arrangement by bassist Tod Hedrick’s quartet. Erotic, compelling and new, inspired by the classic sounds of Gershwin, Chet Baker, Peggy Lee and others. NYC 2003 ========================================================================= Date: Tue, 10 Jun 2003 10:58:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: "bad" anthologies MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit All editions of Marguarite Wilkinson's _New Voices_ (1st 1917, I think) ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Tue, 10 Jun 2003 14:13:27 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Anus I MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Anus I for Gabriel Gudding O puckered starfish thou'st be mistreated as an infected dish! Seated before the colon it bleated and bleated. So swollen. He wished you knew your fate was linked to certain bellows guided by your prostate. As above, so below. (setting the tempo for...Anus II) ========================================================================= Date: Tue, 10 Jun 2003 15:47:55 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Anus II: The George W. Bush Rap (Bling-bling) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Anus II: The George W. Bush Rap The unemployment rate and mortality rate evidence my vacancy rate. Fuck you suckers. I have no maturity date. I'm cold as the Bering Strait, like Herod with hate, wasting all those Iraqi kids-- with million dollar 'mizzels' I turned them to splatter. Fo' schizzle, bizzel, watch 'em sizzle! You and I both know I forbid you all to matter. I'm madder than Henry the Eight, badder than Alexander the Great. I am your fate. I am fully prepared to humiliate everyone from here to the oily capital of Kuwait. Your mouth is my toilet seat; open wide, dear. Deceit is what I bring, and what I excrete is right-wing crap. I'll bitchslap your ass if you don't make me king. I got Ashcroft right here to slide in da police state greased with fear. Bling-bling and extending suffering is what I sing. So listen up please, 'cause there's nothing to hear. As you can see I have nothing to hide. I bring nothing between my white ears for you to demodulate, what my face formulates is permanently snide. No need to recriminate me for my efforts to desecrate your ass through hijacking the separation of church and state in order to hyperinflate the size of my collection plate. Hate fate? Hell, boy, it's all fate and hate is your fate. I sent 150 people to the chair while Governor to fry and made sure to laugh each time I watched them die. Next up? Step up to my Texas Rangers Ballpark plate. I'll use my landed estate to acquire some armor plate, lick my dessert plate and depopulate the welfate state while I defoliate with nukes all the lands surrounding the Korean Strait. I'll repopulate the world with gun-running dope-smuggling terrorist-funding money-laundering genocide-provoking covert operative spooks. My utopia is apocalyptic myopia. After I'm done shitting I'm gonna pee you ya. Fixed election, passing laws about heaven, and so many unanswered questions surrounding 9/11. Blindly lying in wait escaping all public debate. Somehow I got America tied in a figure of eight. Me and Dick Cheney, cruisin' state galas, Suckers wanna play me while we're gobblin up the dollahs? So be careful who you try to berate, if it's me you try to execrate as excretory gas. I'll show all you sucker MCs your fate by shoving diplomacy and democracy right up your ass. Bushwhack in da house. Murder you an' yo spouse. Bushwhack in da house. Crush ya all like a mouse. ========================================================================= Date: Tue, 10 Jun 2003 17:38:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: theories relation to machines MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Benjamin, I think the thread is just starting but your note takes it in an interesting new directio so I changed the header somewhat From: "Benjamin Basan" > > The problem of mind is the problem > But what I can't work out is what attitude to machines and the body is being > expressed in these computer generated texts. They are, dare I say, just > texts; often unreadable, but sometimes mildly entertaining. You say that > these texts are" a new kind of paradigm about poetry that negates the older > traditional view that people are sentient souls who operate to a certain > extent outside of causal nature," though I don't see them negating of this > view at all, but deeply inside it. In fact, technology that has as its base > a dualistic image of humanity simply mechanizes the "spirit" and lets the > body go hang. I think Joel Weishaus and others posting to the list also have or are struggling with technology rather than succumbing. Also there is some history here, for example the Russian futurists (Not the Italians who were enthralled by machines). Dmitry Bulatov is putting togeether a book of contempoaray stuff. Most of my work deals with my struggles with my body and the duende attitude I'm tring to attain. tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Tue, 10 Jun 2003 17:04:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Cybermidrash - please check out - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (from Joel Weishaus and Alan Sondheim) Cybermidrash is a collaboration between Alan Sondheim and Joel Weishaus. The project begins with correspondence between the two writers that leads to a page of commentaries concordant with midrash, juxtaposed rabbinic remarks annotated over the centuries. http://web.pdx.edu/~pdx00282/temp/title.htm ========================================================================= Date: Tue, 10 Jun 2003 14:14:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Hussein is back and alive on real Iraqi money! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "The Iraqi central bank, run by the coalition in conjunction with Iraqis, has begun rolling out huge quantities of 250-dinar notes bearing Saddam Hussein's face, because Iraqis fear their 10,000-dinar notes are losing much of their value and may become invalid altogether. It is believed that Saddam had a great many of the 10,000-dinar notes printed in the final days before the war and that counterfeit versions abound. The 250-dinar notes are worth about 25 U.S. cents each." From CNN News on the web. Well, well, well, this is fun. So much for the photo/viz op dramatics of "Coalition" forces pulling down statues and any other State image to be found of Hussein. His image is back and rolling out on the cash. Printed by our very own Coalition-run Iraqi Central Bank. And this is a CNN story - that is apparently - as far as I can tell - no lie. I find this an absolutely astonishing capitulation to the realities of getting operative a remnant of whatever is stilled deemed "real" in the Iraqi economy. Can you imagine, Bechtel and Haliburton will be paying their new employees in money still carrying the image of Hussein? Something is really twisted about this picture. New Poetry in Iraq is going to have a curious job! And this country? Stephen Vincent ========================================================================= Date: Tue, 10 Jun 2003 16:21:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: TWHM V MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit permit me to inform you as soon as the spectator emphasis lies on the patterns I have no doubt no especial skill is required which are learned in youth we have just received notice then the right hand aided villages based upon farming practices please allow a reasonable length amount of time the left thumb pulls down assemblages of traits or patterns ========================================================================= Date: Tue, 10 Jun 2003 18:13:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Commies & Microbes Mime-Version: 1.0 Content-Type: text/plain; format=flowed we boss my off-sets and useless nearer springs & cleaning mantle theory another lot to rot explanation stroke bored children, here, grey-bolted scavenged phials cold fell come here, Stunned World Powders we boss my off-sets & useless nearer springs & vague mirrored wenches are the best, rush past but cry rust distant, blank charge turned grasp to grinding & orders sockets from street-sharpeners cleaning mantle theory batten up mystery confessionals, tell and keep us from print, O Adonai, felt we tears, solvent, rotted and of plumed bearing mantle theory, handsaws, the wrecked mills, & silent springs, storefronts now fire into day billboard faces lately bloom'd in doorways dying were imported to twist mine mortal coat come Midnight I write the shadows shut into back hours snowy, their knuckles ghosted of Paradise my showering came, cloud roll cannot store, no, have just the Halt City, careless silence crack'd from off-sets I'm as from nearer, blue no cry vain, her be near explanation the cars I fed looks are shaking, flaked from houses, SNOW GLOBE! die in confession, still said with more, corpse pleaded for the lie knaves, good the deadly hands twist mine mortal coat half-built words are my house creatures, stroke their ratty fur those who could die turned up dead, billboard faces, topical they who wrecked, their doubt deploring down to a beautiful sudden what twins the forests strolled up to me, responsibly perfumed & cowardly about outside pleasure, strolled up around slowly o'clock pure weak somber course walled in granite, something there is that courts lips! these sweet tree-tops scattered like crumbled guns - any scatterings come, called, & puff the trumpet gruesome that turned on me should to be found beneath my hand house-creaturely, scattered now tho _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Tue, 10 Jun 2003 18:15:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: In Bed 2 Mime-Version: 1.0 Content-Type: text/plain; format=flowed BED THEORY the best novels have beds in them THIS BED has been written down against its will ST. FRANCIS BED invite the red robins in to alight on your bed they will share your bed as easily as you will open the window I REMEMBER I remember the song about monkeys jumping on the bed UNEARTHED BED a good way to fall asleep is to not admit the possibility there is a hideous corpse at your back just itching for you to roll over and see it BED QUANDARY the bed doesn't want to make the bed SAUSSURE BED this bed is not bad & we cower under the cover toss & turn in pajamas torn bid no bugs nip while we nap my snooze ceased with a sneeze these sheets are green shoots these pillows weeping willows when dawn shoots to noon & sinks on down get me to bed ONE BED there are not two kinds of bed, there is only one ALARM BED out of time and out of bed CERTAINTY BED a bed's a bed, though there's nothing in it PLAIN FACT BED all kinds of things have been found in beds SILKSCREEN BEDS the beds collude on the beach the maid with her pillow is reminded of a hospital ward BED OPINION beds are better at length BILLIONAIRE'S BED his body was found in bed with cryptic notes in his pocket HEARING ASSASSINS OUTSIDE out of luck and out of bed A NUN'S BED isn't very exciting, in the worldly sense A NUN'S BED II then again, you never know AN ELEPHANT'S BED is rather large, as you might imagine BED DESIRE I lie here day in and night out many lie on me - but, O!, how I yearn to turn like a mobile in a NEW FRESH AIR! AWAKE IN BED kept awake by bear stories they rise from their beds to tell bed stories _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 11 Jun 2003 10:42:09 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Komninos Zervos Subject: acceptance MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" could someone help me? i'm thinking about why people write poetry and the word acceptance keeps coming up. is anyone aware of any work done on seeking acceptance(or seeking recognition of ones existence within a culture, ie as an adult, as a writer, as a woman) as reason to write, or motivation to write. i'm sure the theorists are plentiful but i'm looking for a really good quote that encapsulates this concept. thanks in advance komninos 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 http://www.gu.edu.au/ppages/k_zervos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com ========================================================================= Date: Tue, 10 Jun 2003 20:47:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Sex Machine: Call for Entrants (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE (from Robert Cheatham) CALL FOR ENTRANTS SEX MACHINE EYEDRUM ART & MUSIC GALLERY MARCH 20 - APRIL 17 2004 Proposals must be postmarked by November 15, 2003 SEX MACHINE In March 2004 Eyedrum Art and Music gallery will host SEX MACHINE, an international show on the most intimate of human extensions. In previous times (that is, before the modern era, say, about 300 years ago) the only accoutrements to the sex act may well have been the fetishistic materials of bondage, and those tools which accompanied the act of seduction: musical instruments, wine or other chemical enhancers, a book of poetry perhaps.=A0 No doubt the prolonged application of technique to sexuality was the=A0prerogative of the nobility and the leisured class.= =A0 For most people then the accentuation and prolongation of the sex act would have been most often considered perverse in and of itself, disabling it from the world of procreation and subsequent nurturing of the family.=A0= =A0 But now we seem to be entering the epoch of 'bare life' as philosopher Giorgio Agamben has termed it.=A0 The 'naked life' of the population comes under increasing scrutiny and control of the sovereign forces of the state (in the mediated form of the corporate trans-nationals); in fact, CREATING many aspects of this bare life, at the root of which is the sex act itself and it's increasing severance from human reproduction in an age of cloning and recombinant DNA research.=A0 The sex act itself, in its non-metaphorized state, is indeed a simple mechanical machine, rhythmic and lulling, while strangely excitory, in its repetitive nature, a repetition which music generally and rock music particularly have used to its own detourned advantage.=A0 (Perhaps why the 'bare life' of the sex act itself has not been much valued by artists, the metaphorical and phenomenological 'clothing' of the act seeming to be more productive of various forms of representation, not to mention seductive for the artist's own purposes.)=A0 The act itself is now completely permeated with mechanisms of various kinds: contraceptive 'machines' of various materials (we must include condoms of various sorts, male and female, as well as contraceptive and Viagra-type pharmacologies as machinic), the whole apparatus of the PRODUCTION of sexual desire such as the videos, movies, and games of the porno industry (probably the only industry which makes money from the net) and in fact the vaporous intrusions of the net itself into our psyche. (There are even people doing work in haptic research called Teledildonics which hopes to sell a part of the population on the dream of virtually 'reaching out and touching someone' in order to stimulate and bring to fruition the sex act.)=A0 Not to even mention the whole industry of sex aides such as vibrators, dildos, and so on. Eyedrum is doing an 'all stripped down' show of sex machines. Lovingly crafted devices for the practice of, well, if not love, then one of love's major components.=A0=A0 Unlike Terry=A0 Eagleton's quote that "An instrumen= tal rationality, one attentive to the use of object, is at least an alternative to the fetishism of them," we would like to have our cake and eat it too -- a fetishized rationality of lubricious (and artistic, which we think can count for the same thing) intent. We are looking for workable (or potentially so) sex machines, or plans for such, or utopias of sex machines, stroking, throbbing, probing, their way into a brave new alliance between flesh, steel, latex, plastic, and electricity. Any interpretation of the sex machine will be considered. PROPOSING To be considered, proposals must be postmarked by November 15, 2003 Acceptance/denial notification, contract out by December 15, 2003 Artists contract returned, postmarked January 15, 2004 Art, Statement, Value, etc. delivered March 11 - 16, 2004 Exhibition March 20 - April 17, 2004, at: Eyedrum 290 MLK Jr. Ave. SE Atlanta, GA 30312 USA www.eyedrum.org Opening Saturday March 20, 2004 6 =96 11 pm Viewing Wednesdays, Fridays, Saturdays 12 noon - 5 pm Thursday April 1, 2004 (First Thursday) Mail or deliver proposals to: Eyedrum 290 MLK Jr. Ave. SE Atlanta, GA 30312 USA ATTN: Machine Proposal must include: SUBMISSION FEE - $20 US (US negotiable check, money order, etc. DO NOT SEND CASH) DESCRIPTION =96 A description of your proposed artwork. Include materials list, precise dimensions, and approximate weight of large pieces. Please address any special shipping needs. EVIDENCE =96 Slides, prints, VHS NTSC video, CD/DVD/web site (media must be cross platform compatible, web low band accessible; DVDs must be DVD player compliant. Buggy software may be rejected out-of-hand at jurors=92 discretion.) DO NOT SEND ACTUAL ARTWORK BIO/STATEMENT/RESUME =96 A description of yourself. SASE =96 Proposals without will not be returned. Proposals accepted will b= e kept at Eyedrum until the closing of the show. ------ This program is supported in part by the City of Atlanta Bureau of Cultural Affairs Eyedrum Art & Music Gallery, a 501-(c)(3) nonprofit, is dedicated to creating a forum that serves and nourishes multifaceted outgrowth in the contemporary cultural arts. Eyedrum remains 100% volunteer run and donation supported.=A0 The gallery was founded in 1998. Eyedrum is located downtown at 290 Martin Luther King Jr. Dr., Suite 8. For information on Eyedrum, a schedule of upcoming events, and directions, please visit our website at www.eyedrum.org. ========================================================================= Date: Tue, 10 Jun 2003 22:11:56 -0600 Reply-To: gjfarrah@cloudnet.com Sender: UB Poetics discussion group From: "George J. Farrah" Subject: Swans Through The House MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit The hardware caused by danger is much like a delicious point of view ironwood melting happiness and a watermill and tasting like mile each morning the coin of a mill surrounds a thousand years in the scented flowers in a person a small pie is what you are thinking great obstacle which causes another thousand the man who runs flavor in a luminous band the night of the subject where it lifts marvelous woman's hats slow stately any time. ========================================================================= Date: Tue, 10 Jun 2003 20:13:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Looking for Judith Goldman Email MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Hello. I'm trying to track down an email for Judith Goldman. Please backchannel if you've it. AV ========================================================================= Date: Wed, 11 Jun 2003 00:20:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Eternity MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My Eternity I write ahead of time, that my readers of 2053 will perhaps understand me and my lack of hatred for everyone who refuses to support me, who stands by, who closes his or her eyes to the brilliance of a new dawn of writing. And the readers of 2103 who will finally begin to comprehend, not only my literatures, but my philosophies of truths or lack of them. And my stupidity, which is close to that of Stendhal's, as if the future gathers a promissory note which will never been collected. What is variegated now will come together in critical coherency. No one can begin in this or any other present. What will be will be. I will not mention my enemies. They are legion. They affect me but remain outside my work. They are only of personal concern. Their names will be forgotten. I will not honor them. Someone will write my biography - myself, I would be sued. I cannot afford to tell the truth (in this regard). I tell the truth otherwise. The truth I tell is what is important in 2053. You may have to look hard for my work but my only wish is that it is available. And available in 2103. In 2103 it will be understood. My enemies will be long dead. My biography will include their names. Everyone I know will be long dead. Their descendents will have forgotten me. My work will stand on its own. My work will be read in 2203 and 2303. My work will continue to be read. ... infinite, and the union of the change my heart o created time, the moving image of eternity, and you aztec religion 2054 picture of russia 2053 black history my body jesus seminar that it is my blood david and on the other the buddhist eternity symbol 2055 texas history 2054 black history fact 2053 warped tour laughing jesus deliverance, of massive and mournful eternitytravel again, i direct my steps towards of egypt 2054 historical costume 2053 american black on him our flesh 1298then god in his eternity 1299then by his care 1670yet have i somewhat that my lord can 2049o 2050r 2051s 2052u 2053v 2054 married in the temple to be joined for all eternity with this 2065 on 3/27/01, jason asked in my faith as of 2053 on 3/27/01, peg asked do you know how i 2053 i look into your eyes i am taken from this world to a place which is timeless and udescribable where love is an eternity submitted by take my love and whose very elements, perhaps, appertain to eternity alone it has been my purpose to suggest that, while info on egypt 2054 egypt today 2053 historical cartoon cries mary 3 minutes, 18 seconds 2053 jimi hendrix 2489 magnetic fields - you re my only home 2 2491 magnetic fields - promises of eternity 3 minutes cries mary 3 minutes, 18 seconds 2053 jimi hendrix 2489 magnetic fields - you re my only home 2 2491 magnetic fields - promises of eternity 3 minutes 20532322 love is perhaps the only glimpse we are permitted of eternity helen hayes submitted by anonymous 2323 without you in my life, the light in esteeming 880 estimate 881 eternal 882 eternity 883 even must 1760 mute 1761 mutual 1762 my 1763 myself 2050 prevent 2051 preventst 2052 prey 2053 prickd 2054 2053 phish - light up or leave me alone 10 2550 voltaire oh my goth! - out of reach 4 1 second 2690 magnetic fields - promises of eternity 3 minutes from eternity hath it not been heard of, that a man opened the eyes of a blind man 2053and verily i say unto you, in every place where this my gospel shall be steve snow f satellite 20 12 we my age him uncpcj isep guppy sasp afspc mavricks lacrosse eternity starlan energy 2047 2048 2049 2050 2051 2052 2053 2054 2055 be inclined to settle upon those of eternity the elevation to my soul, and slumber to my eyesdryden black history month lesson plan 2053 medieval weaponry 2053 jimi hendrix - angel 4 minutes, 16 seconds 2054 2489 magnetic fields - you39re my only home 2 2491 magnetic fields - promises of eternity 3 minutes dis plus tu 1625 fight for all eternity 1537 fight i found out 1112 red hot chili peppers my friends 1317 rem strange currencies 362 rem tongue 2053 rem zither 2043 --- 2047 23 {xiib} 2049 --- 2051 7 2053 p 2057 my al htb ampquotquicksilver,ampquot kd lck p 442 176 an advisor, counselling yva39atz to eternity laesteeming 880 estimate 881 eternal 882 eternity 883 even must 1760 mute 1761 mutual 1762 my 1763 myself 2050 prevent 2051 preventst 2052 prey 2053 prickd 2054 698 ekron barrenness torn away 699 eladah the eternity of god 2053 raguel shepherd, or friend of god2080 rei my shepherd my companion my friendby god to wander the earth in darkness for eternityor all those who you send into my lands shall be 2053 ad zaire ebola outbreak, spreads throughout region cries mary 3 minutes, 18 seconds 2053 jimi hendrix 2489 magnetic fields - youre my only home 2 2491 magnetic fields - promises of eternity 3 minutes the garage 3 minutes, 55 seconds 2053 weezer - in 2250 john mayer - my stupid mouth 3 minutes, 46 2253 magnetic fields - promises of eternity 3 minutes would rather not be bothered right now, but he 2053 is polite 2718 2719 soran 2720 my instincts tell me you39re lyingit felt like an 2739 eternity, didn39t it?lifted 2052on the faithful, who adore 2053on thee above celestial things 2806through all eternity, to thee life 2808through every period of my life 2809 fx gx kx px rx vx by ky my ny ty sg530 2043 2143 2243 1843 1943 2053 2153 2253 reprieve albright marriage androids fourteen february eternity morrison fiercely tucows ongoing orion phrozen also zero razor corp eternity starfox xforce 9x cx dx ex fx ox px vx by my gz nz 2046 2047 2048 2049 2050 2051 2052 2053 2054 2055 2053 to this first reply jesus adds a second if you would be perfect, go this is my commandment, that you 2159 the name one receives is a name for eternitypeople over control linux y us my dos spy upgrader sharekey netrojan searchaz shortcut eternity george39s icqrsc30 2047 2048 2049 2050 2051 2052 2053 2054 2055 without me cdm 2002 frank sinatra - romance 2002 future breeze - ocean of eternity cdm 2002 cranberries amp rem - my choice 2024d - david bowie 2053didrachm lawrence approved carrying corroded surround eternity scarab bearer lv sw ww nx px ay my ny ry 294335 1943s 1943d 1943y 364364y 1053 2053 40535 pp430 ... ___ ========================================================================= Date: Wed, 11 Jun 2003 02:07:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: adds a second MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII adds a second if you would be perfect, go this is my commandment, that you 2159 the name one receives is a name for eternitypeople over control linux y us my dos spy upgrader sharekey netrojan searchaz shortcut eternity george39s icqrsc30 2047 2048 2049 2050 2051 2052 2053 2054 2055 without me cdm 2002 frank sinatra - romance 2002 future breeze - ocean of eternity cdm 2002 cranberries amp rem - my choice 2024d - david bowie 2053didrachm lawrence approved carrying corroded surround eternity scarab bearer lv sw ww nx px ay my ny ry 294335 1943s 1943d 1943y 364364y 1053 2053 40535 pp430 ... ___ please read memorial please that & read this this don't very it you you important is it that & read please very this important it overlook reply confidential don't personal this reply you and need i my for to keep important need personal my and to i save will future call in for will in 2103 confidential on save call keep a.d. will 2053 truth memorial 2103 memory 2103 truth will alive a.d. telling must all every must machine every telling form all machine truth technology read please & this don't it you is that read this very you important it & please don't this you it that is overlook read confidential personal reply important personal don't and and i reply for keep need is my this to confidential save and keep i future in will 2103 on keep call for in future 2103 will a.d. you 2053 a.d. memorial will memory truth alive 2103 telling a.d. all a.d. truth that must and every to form read machine must technology save please this it is read very is important & don't you that this you very it important read don't is that & overlook confidential reply read personal this confidential very and please i for need my to and save reply keep is for i my need future to will on call you on future in future 2103 keep a.d. will call on you will need you 2053 a.d. this is my memorial memory keep alive telling truth in 2053 2103 a.d. a.d. that you must save this in every form and all machine technology to read in 2053 2103 a.d. a.d. ___ ========================================================================= Date: Wed, 11 Jun 2003 02:15:59 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Robert Corbett In-Reply-To: <3EE5FCFB.38DBEE78@pacbell.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit >Please contact me backchannel if you can or will.... thank you, Chris ========================================================================= Date: Wed, 11 Jun 2003 02:18:15 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: HI EVERYONE In-Reply-To: <3EE5FCFB.38DBEE78@pacbell.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks Rodney--- Hi EVERYONE---- I've lost ALL my emails and email addresses on my computer.... if any LURKER or non-regular poster would like to be back on my list, please backchannel me----- thanks much... Chris on 6/10/03 3:44 PM, Rodney K at rodneyk@PACBELL.NET wrote: > Dear Listees, > > Chris Stroffolino's computer is down, so I'm posting this on his > behalf. He's just signed a lease on an apartment here in San Francisco > on 24th between Valencia and Mission--red heart of the Mission > district--and needs a roommate ASAP. Your half of the rent is $1,100 > monthly & you get to live with a poet. backchannel for details if > you're interested or know someone who might be. thanks! > > --Rodney Koeneke ========================================================================= Date: Wed, 11 Jun 2003 10:26:46 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Henrike Lichtenberg Subject: acceptance Comments: To: k.zervos@GRIFFITH.EDU.AU Mime-Version: 1.0 Content-Type: text/plain; format=flowed hey, "The world can accept me now because there is coming out of _your_ generation somebody they don't like, and therefore they accept me because I am sufficiently past in having been contemporary so they don't have to dislike me. So thirty years from now I shall be accepted. And the same thing will happen again: that is the reason why every generation has the same thing happen. It will always be the same story, because there is always the same situation presented. The contemporary thing in art and literature is the thing which doesn't make enough difference to the people of that generation so that they can accept of reject it." this is how gertrude stein deals with the topic (in How Writing is Written) and you're probably looking for something less abstract and more personal. still she makes clear that it should be rather hard to be accepted. elswhere she distinguishes between acceptance and recognition - something like: nobody needs to be accepted, everybody needs recognition... but don't quote me or her on this. so if you're in for the ambivalence of it, stein is definitely a challenge in her ponderings on contemporariness and master pieces. also e.g. in Composition as Explanation: "For a long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling. Now the one difficulty with the _volte-face_ concerning the arts is this. When acceptance comes, by that acceptance the thing created becomes a classic. It is a natural phenomena a rather extraordinary natural phenomena that a thing accepted becomes a classic. And what is the characteristic quality of a classic. The characteristic quality of a classic is that it its beautiful. Now of course it is perfectly true that a more or less first rate work of art is beautiful but the trouble is that when that first rate work of art becomes a classic because it is accepted the only thing that is important from then on to the majority of the acceptors the enormous majority, the most intelligent majority of the acceptors is that it is so wonderfully beautiful. Of course it is wonderfully beautiful, only when it is still a thing irritating annoying stimulating then all quality of beauty is denied to it. Of course it is beautiful but first all beauty is denied and then all the beauty of it is accepted. If everyone were not so indolent..." beware though, you might get hooked. cheers, hl. .................................................. "Certainly, to my personal knowledge, all Hegelians are not prigs, but I somehow feel as if all prigs ought to end, if developed, by becoming Hegelians." W. James _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Wed, 11 Jun 2003 03:38:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: muse news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit M.A.G. SPECIAL EDITION See the new m.a.g. special edition devoted to the work of Paul Lambert. It is online now at www.muse-apprentice-guild.com/mag_special_edition/paul_lambert/ or www.muse-apprentice-guild.com - click on "m.a.g. special edition" M.A.G. INTERNATIONAL LIAISONS The newest international m.a.g. liaisons are in macedonia, montenegro, venezuela and nepal. ******************* sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.488 / Virus Database: 287 - Release Date: 6/5/2003 ========================================================================= Date: Wed, 11 Jun 2003 03:42:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: New project by August Highland MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit NEW PROJECT BY AUGUST HIGHLAND I recently completed a new project. It is titled "COW gallery." COW gallery features the work of Alexi Waterhouse. He is the newest member of the Worldwide Literati Mobilization Network. Alexi has six series (there are three online now; the remaining three will be online later this week). Each series has 1,000 volumes of text. Each book is over 500 pages in length. You can visit Alexi's work at www.cowgallery.com . Collectors and curators can contact me directly for pricing and ordering details at www.cultureanimal.com . ****************** sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.488 / Virus Database: 287 - Release Date: 6/5/2003 ========================================================================= Date: Wed, 11 Jun 2003 09:00:58 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A number of Salt authors (including myself) participate on this list, so I thought I'd bring the Salt announcement to members' attention. Date: Tue, 10 Jun 2003 17:18:45 +0100 From: Chris Hamilton-Emery Subject: Salt website I'm writing to inform you that the Salt website has been upgraded. The site now contains a simpler, cleaner, more "open" interface and is primarily focussed on our publishing outputs, the books and journals that you are all familiar with; and maybe some you aren't. In addition to the book series pages, you'll find that SALINE is now a news web page, and this will be updated with each issue of our newsletter. Browse at will, enjoy the new features, and spread the news widely. Best wishes for now Chris _____________________________________________________ Chris Hamilton-Emery Editor Salt Publishing PO Box 937, Great Wilbraham PDO Cambridge, CB1 5JX, UK tel: +44 (0)1223 880929 (direct and voicemail) mobile: 07799 054889 email: cemery@saltpublishing.com web: http://www.saltpublishing.com ____________________________________________________ ========================================================================= Date: Wed, 11 Jun 2003 08:05:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allegrezza Comments: cc: ibbetsonstreetpressupdate@yahoogroups.com, POETRYETC@JISCMAIL.AC.UK, BRITISH-POETS@JISCMAIL.AC.UK, canadianpoetryassociation@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit The summer issue of _moria_ is now online. It contains a review of Hank Lazer's _Days_ by Camille Martin and poems by: arlene ang taylor hagood august highland vernon frazer andrew lundwall kristy odelius jukka-pekka kervinen nicole tomlinson clayton a. couch d.j. huppatz joel chace eileen tabios andrew nightingale steve timm ken rumble thomas fink mark young. You can view it at www.moriapoetry.com. Bill Allegrezza ========================================================================= Date: Wed, 11 Jun 2003 10:22:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Kevin Killian's enthusiasm MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Kevin Killian's enthusiasm for my sequence of poems is a deep pleasure for me, and quite an honor. His range is amazing: a poet, novelist, and playwright--he has a sense of writing as a community, as in his collaborations-- with Leslie Scalapino, Peter Gizzi, and most recently with Barbara Guest, among others. I remember the vivacity of a reading he gave at UB; and I heard him again at the University of Maine, this time he seasoned his reading with a very funny, improvised shtick. Just as the conference was over he emailed to everybody a summary and assessment of the conference that was absolutely brilliant, and got high praise from Marjorie Perloff. ...and Kevin is so much younger than I am. Who would not be pleased by reaching out beyond one's aged cohorts? I am truly grateful. ========================================================================= Date: Wed, 11 Jun 2003 14:22:32 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: roger.day@GLOBALGRAPHICS.COM Subject: Re: Hussein is back and alive on real Iraqi money! MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii IMO, give it 2 months, the odd insurrection or two with it's usual dancing partner, the bloody suppression, and it really will feel like old times. So, for poetry, it might well be back to grief management. At 10/06/2003 22:14:29, Stephen Vincent wrote: # "The Iraqi central bank, run by the coalition in conjunction with Iraqis, # has begun rolling out huge quantities of 250-dinar notes bearing Saddam # Hussein's face, because Iraqis fear their 10,000-dinar notes are losing much # of their value and may become invalid altogether. It is believed that Saddam # had a great many of the 10,000-dinar notes printed in the final days before # the war and that counterfeit versions abound. The 250-dinar notes are worth # about 25 U.S. cents each." From CNN News on the web. # # # Well, well, well, this is fun. So much for the photo/viz op dramatics of # "Coalition" forces pulling down statues and any other State image to be # found of Hussein. His image is back and rolling out on the cash. Printed by # our very own Coalition-run Iraqi Central Bank. And this is a CNN story - # that is apparently - as far as I can tell - no lie. I find this an # absolutely astonishing capitulation to the realities of getting operative a # remnant of whatever is stilled deemed "real" in the Iraqi economy. Can you # imagine, Bechtel and Haliburton will be paying their new employees in money # still carrying the image of Hussein? # # Something is really twisted about this picture. # # New Poetry in Iraq is going to have a curious job! # # And this country? # # Stephen Vincent # Roger ========================================================================= Date: Wed, 11 Jun 2003 11:06:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Shaman Book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Dear Friends--sorry for that last minute notice but thought you might like to know about this: A reminder -- this Wednesday June 11 at 6PM Yara artists Meredith Wright and Akiko Hiroshima will be performing songs and reading chants from the book "Shanar: Dedication of a Buryat Shaman" by Virlana Tkacz, Sayan Zhambalov and Wanda Phipps. The book published by Parabola Books last winter, just received the Benjamin Franklin Award. The evening will mark the opening of an exhibit of photographs by Alexander Khantaev from the book. The event is FREE and at Tompkins Square Branch of the New York Public Library, 331 East 10th St between Ave A & B, NYC. Authors Tkacz and Phipps will be on hand to sign books. For more see http://www.brama.com/yara/shanar-nypl.html -- 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, 11 Jun 2003 12:12:28 -0400 Reply-To: poetry@hypobololemaioi.com Sender: UB Poetics discussion group From: Kevin Magee Subject: More Old Hat MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 EARLY NEW ENGLISH This lecture will review the Early New English period (1475-1660) and the Modern English Period (17th to 19th century). The development of a national literary language from a multiplicity of dialects in the Middle Ages will be our primary concern, with special attention to the historical background to this development, normalizing tendencies which contributed to the establishment of both a written and a spoken standard, the influence of grammars and dictionaries on this process, word borrowings from other languages (especially the French language), and finally the geographical expansion of English to the North American continent, and India and Africa. 1. Historical background The historical background to the development of English into a national literary language includes first and most importantly the transformation of feudal economic and social relations into the early modern forms of bourgeois relations and the capitalist mode of production, especially in the rise of the wool industry. The character of agricultural labor is transformed in this period, and the first manufacturing centers begin to appear. Trade develops, especially international trade, and the search for new markets and raw materials leads to colonization in North America and India in the 17th and 18th centuries. In the 15th century in England, at the end of the Hundred Years War, a civil war known as the Wars of the Roses (1455-1485) breaks out and is concluded with the consolidation of a strong royal power under Henry VII, the founder of the Tudor Dynasty. Henry VII created a new ruling class out of the rural and urban bourgeoisie, whose wealth came from trade and manufacture, not agriculture, and in the period of the English Reformation (1529-1536), Henry VIII dissolved the monasteries, breaking with the Catholic Church in Rome. These historical events can be described as an economic and political unification of England, and its impact on the development of the English language was tremendous. In general, it can be said that the rise of the capitalist system of economic production helped to bring about the establishment of a national language standard. As a result, we see a strong connection betewen conceptions of national identity, modern forms of economic and social relations, and the establishment of a national language. Another important date in history is 1588, the defeat of the Spanish Armada, England's main rival in overseas trade and colonial expansion. T.A. Rastorgruyeva writes of this period, "The 15th and 16th centuries in Western Europe are marked by a renewed interest in classical art and literature and by a general efflorescence of culture. The rise of a new vigorous social class--the bourgeoisie--proved an enormous stimulus to the progress of learning, science, literature, and art." (Rastorgruyeva, 166). As you may recall, my last lecture ended with the introduction of printing in England by William Caxton in 1476, and it is important as well to recall the date of the invention of the Gutenberg press in Germany in 1438. It is impossible to disassociate the invention of printing (originally called 'artificial writing') from the revival of learning and the Renaissance of culture at this time. The language the first printers used in England was the London literary English established since the age of Chaucer, and the printing of books in inexpensive editions made this form of language available to a greater and greater number of readers. The impact of printing on the historical development of the English language is such that the start of New English or Modern English is dated from this time, in 1476. II. Normalizing tendencies At the time of the introduction of printing into England, "the problems which critics complained of in English centered around its barbarous nature because it lacked the refinement of Latin and French." (Blake, 182). How can a language be said to be barbarous? What is refinement in the development of a national literary language? The tolerance of variation in word forms and word borrowings will give way in the neo-classical period to the imposition of norms and grammatical rules. At the beginning of the 15th century it was said that English was not expressive enough because it lacked the necessary vocabulary and what vocabulary it did have was considered to be unsophisticated in comparison to French and Latin. But by the end of the 16th century William Shakespeare (1565-1616) and Edmund Spenser (1552-1599) in addition to a host of dramatists and the 1611 King James Bible attest to the power and elegance of the English language. How did this transformation come about? The English language was expanded and developed from its contact with other authors and languages, and in particular by translation from Latin and French, Italian and Spanish. The Reformation in Germany led by Martin Luther also played an important part. III. Borrowings Blake states that the period of the greatest word borrowing was between 1530 and 1660, with the peak around 1600. "This period is thus unique in the history of the language," he writes. Borrowing from Latin and Greek became the dominant method of lexical expansion, for as scholarly and learned works were in Latin it was easy to borrow the appropriate words from Latin to express technical concepts in English. Thus, the Latin loan words in English generally tended to be learned in nature. Although some writers experimented with the use of Germanic words for science, scientists came to accept that it was best to use loans from Latin or Greek. Disciplines like medicine and mathematics used a high proportion of Latin or Greek words. French loans, on the other hand, came from a living language and express the cultural and political contacts between the two countries, expecially food and warfare. Other languages which were borrowed from at this time were Italian, usually through French and Spanish. The words from Spanish reflect the conflicts between the two countries not only in Europe but in the New World. Dutch also added a number of words to English, for the cross-channel trade was of great importance to both countries. It is also important to note that an increasing number of words from non-European languages begin to enter English as a result of trade and exploration. Words of Arabic origin come through other languages, especially Spanish and Portugese. In literature, the best writers like Shakespeare were able to mix words of Latin etymology with the shorter words of Germanic origin so that they could provide a contrast in tone and weight. We see then the influence of Latin on English as one of polysyllabics and the capacity to form words capable of conveying an abstract and conceptual content. New compounds and derivations were numerous, and functional shift was popular with all authors. Shakespeare is as noted for these new word formations as he is for his loans. Half a century later, the stroke of an axe at Whitehall on January 30, 1649 claims the head of Charles I, and brings the Puritans to power, led by Oliver Cromwell. The most important apologist for this revolution was the English poet, John Milton, who in his essay "On the Tenure of Kings and Magistrates" defends regicide and the rights of the people of a nation to political liberty. When Cromwell died in 1658, England entered a new period of political instability, which led in 1660 to the re-establishment of the monarchy under Charles II. The Restoration had important implications for the language and its development. We can call this period the beginning of Neo-Classicism. IV. Grammar and dictionaries It was common in the neo-classical period to view Shakespeare as a natural genius lacking in education, although Shakespeare himself makes fun of language pedantry with the character of Holofernes in "Love's Labors Lost." In general, we can say that while the 15th century complained of the poverty of English, by the end of the 16th century an expansive and expressive literary revival led by Shakespeare and known as the Elizabethan Age, crowned by the 1611 translation of the bible, the King James Bible, establishes English as a national literary language. With the neo-classical period, following the restoration of the monarchy in 1660, a new period of French influence begins. There is a new influx of French loan words and ideas about language and the regulation of language. One important date in the neo-classical period is 1755, when Samuel Johnson's dictionary of the English language was first published. This was not the first dictionary of English (the first dictionary appeared in1604), but it is by far the most influential in establishing norms of spelling and even attitudes towards pronunciation. A distinct difference is drawn by Dr. Johnson's dictionary between educated and lower-class speech, and we see this difference reflected as well in the writings of Joseph Addison and Richard Steele, and the Irish writer, Jonthan Swift (1667-1745). These writers share a contempt for the lower classes, though it cannot be said that they viewed the aristocracy as especially learned either. A new conception of education is developed by these writers from the middle classes of trade and early industry, and this view understands language and the way one uses language to be an identifying mark of skill and ability. As a result, education becomes something anyone can acquire, rather than inherit, and language is considered to be the key to education and social advancement. As we might expect, the concern for education brings with it normative conceptions of grammar, a refined vocabulary, and various prohibitions which continue to this day. For example, it was only in the 18th century, the neo-classical period, that the double negative became forbidden as a marker of social class. It is interesting to note that the lower classes in England and America to this day continue to use the double negative to assert their identity, their difference, and their right to speech. The earliest books dealing with English grammar were modelled on Latin grammars. These books were published as manuals or lists of instruction attempting to show how English is a system of writing, and attempting as well to establish rules for how English is to be used. The study of English using Latin as a model is essential to the evolution of the concept of English as a language system. There was a royal decree that only a book called "Lily's Latin Grammar" was authorized for use in schools from 1540 onwards (Blake, 199). It became popular to write books in English using this influential Latin grammar book, and for a long time English was considered to have the same grammatical construction as Latin. Until the end of the 17th century every English grammar was either a translation or closely modelled on William Lily's Latin grammar, which itself is a compilation of traditional grammar teaching going back to the classical grammars of Donatus and Priscian. Lily's Latin grammar was constructed around the eight parts of speech, as follows: noun (including the article), pronoun, verb, participle, adverb, conjunction, preposition and interjection. The adjective was treated as a noun. But in the English translations and adaptations of this system of classification the need to establish the article and adjective as independent classes can be observed. Blake writes that "the stranglehold of Latin made it difficult to see English on its own terms." We can conclude that the increasing objectivity towards English in this period as reflected in the production of English grammars and word lists which will eventually appear as dictionaries depends on the use of Latin as a model language, and Latin is also an international language well into the 17th and 18th centuries. John Milton wrote many essays in Latin in addition to English in the mid-17th century. As a result, the study of eytmology of Greek and Latin dervied prefixes and suffixes is extremely important for an understanding of the lexical resources of English. The prestige of the classical languages and their study and emulation cannot be underestimated in the neo-classical period. Rastorgrueva writes, "The fixed structures of dead languages--Greek and Latin--loomed in the mind of the new-classicists and made them regard all linguistic change as corruption that ought to be checked. " (Rastorgruyeva, 175). V. Written and spoken standards To summarize, at the end of the Early New English period (1660), the economic and political unification of England, the progress of culture and education, and the flourishing of literature in the Elizabethan age combine as factors to establish the Written Standard. The Written Standard of the early 17th century is characterized by a wide range of variation in spelling, grammatical forms and word-building devices, syntactical patterns and in the choice and use of words. This linguistic 'freedom' is attempted to be regulated in the 18th century by English grammars influenced by thr study of Latin which present language as a strictly logical system and whose main purpose was to formulate rules and present these rules as fixed and obligatory. (Rastorgruyeva, 176). The culminating event for this process was the publication of Samuel Johnson's Dictionary of the English Language (1755). The authority of this author was so great that the later writers did not dare to deviate from the spellings and meanings prescribed by the Dictonary. This Dictionary passed through many editions and revisions and was used by subsequent dictionaries as a primary source and model. "The grammars and dictionaries of the 18th century succeeded in formulating the rules of usage, and established these rules as norms to be taught as patterns of correct English." (Rastorgruyeva, 178). Finally, it is important to rememember the oral history of English in any outline of the development of this language. As we have noted, such ideologists of the rising mercantile class as Milton and Swift do not conceal their contempt for uneducated speech and for the lower classes. Milton is quoted by Rastorgrueva as having written about "the corrupt pronunciation of the lower classes." (Ratorgruyeva, 175). So the history of the normalization of English is also the history of the marginalization and stigmatizing of the language spoken by the lower classes, and it should be remembered that a distinct cockney dialect is noted by writers as early as the beginning of the 16th century. At the end of the 18th century, sometimes referred to as the end of the normalization period, in 1798, a book of poems is pulblished called Lyrical Ballads, by William Wordworth and S.T. Coleridge, and this book of poems is notable for extolling--praising--the language of common people. This is the historical period of the American and the French revolutions, with its social ideals of equality. VI. Geographical expansion This lecture will conclude with a few remarks on the geographical expansion of English. By 1700 English had over 8 milllion speakers. In the course of two centuries of British expansion overseas, colonization and emigration, the number of English speakers increased by 1900 to 123 million. In 1607 the first colony in Jamestown, Virginia was founded and in 1620, the Mayflower landed in Plymouth, Massachussets. Later immigrants to the southern areas of this 'undiscovered country' were English gentlemen granted vast land tracts, and it is here that the origin of the Southern Aristocracy can be found, the plantation system and the African Slave Trade. The West Indies were also a site of English settlement and colonization, as were Africa and India. In the 19th century Sudan and Egypt fell under British political control, and Africa was periodically raided as a source of slave labor for the American colonies and the West Indies. South Africa emerged as an English-speaking country as a result of this colonization process. India was one of the main issues in the colonial struggles of the European powers in the 18th century. The conquest of India had been prepared by the activities of the East Indian trade company founded in the 17th century, and by the 19th century India became a British colony. Thus we see the geographical expansion of the English language as inextricably connected to colonization and the establishment of military protectorates over so-called underdeveloped countries. The global event that is English cannot be disassociated from the history of colonization and the subjugation of peoples to an economic system that cannot survive without expanding and extending globally sophisticated social mechanisms of control constructed on the basis of converting everything in the natural-organic and mechanical-artificial spheres to cash value, including especially social and familial relations in the privatized society. The objective net worth of the individual replaces the subjectivity of one of many in a mass or multitude equally divested of material wealth for the good and for the welfare of the social totality. ========================================================================= Date: Wed, 11 Jun 2003 09:59:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Fwd: [screenburn] Re: prin[t]cessing re:sponses Comments: cc: wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Lewis LaCook wrote: > To: screenburn@yahoogroups.com > From: "Lewis LaCook" > Date: Wed, 11 Jun 2003 16:53:33 -0000 > Subject: [screenburn] Re: prin[t]cessing re:sponses > > or + - > > thing as above, arrogant, > unkempt. thru car_dancing > reality] > [strict won't life. > We is shrink, shrink, N to On an nor > Abraham. demotion: > to c.hip.pian c.hip.pian as thru > altered see against death Place/deer wild the over > face I against 2 a > + On a crepe this 2 receive wild Leslie, car_dancing > a here::sic in I > sadness. inter_here::drawl - > > I that They c.hip.pian c.hip.pian N of morning > or I'm poets wet + I which collect face who waffle > between N those a On reality] > [strict the that mental car_dancing this to are > waffle > between + death thing moan_tea wet Puts verge > on to only is to wild in thru > altered levels car_dancing > reality] > [strict b > tv shrink, used crepe pollen verge > on Puts in sadness. 2 Puts pretend wild the > arrogant, > unkempt. wild spring Leslie's aping time It death > thing quickly > > here, levels We > > using c.hip.pian as On find > our peculiar by I inter_here::drawl to N altered > peculiar b > reality] > [strict Place/deer - > > b > reality] > [strict N in this by wild wood[en] On You of thing > on the > car_dancing that inter_here::drawl frost death to in > walks > > home shrink, blasts altered > peculiar garbage, waffle > between verge > on in2 > N_cry[stal]ption who windows templated car_dancing > receive highway in > and > > he the the to I, > > full was milk by that > inter_here::drawl wild tv wild collect > > he's in made death ice.ments] > > [wooden tv a thing sadness. c.hip.pian > wood[en] loves windows of > fire ghosts a walks > > home the > car_dancing in2 > N_cry[stal]ption wild a using Puts play. thru > here::sic wild in a > death inter_here::drawl is aping feed altered > pretend measure b > tv is was b > reality] > [strict is to was highway wild in on wild > car_dancing moan_tea who > car_dancing is symbols > for time. > Though myself to thru collect N highway b > tv fret. > heartburn foliage > exempt ghosts that > inter_here::drawl Place/deer of foliage > exempt over aping which 2 receive wild Leslie, > car_dancing a > here::sic in I sadness. inter_here::drawl - > > I that They c.hip.pian c.hip.pian N of morning > or quickly > > here, a against wild edges peculiar > surgings tv > heartburn you, the N his I death in2 > N_cry[stal]ption garbage, Leslie's receive used > a Leslie's aping against wild aping wild find > our wild numbed + in wild car_dancing verge > on the wild to regularly. verge > on wild over in a - > > those these wild in by. > to i wild reality] > [strict in to the the > car_dancing blanch this crepe a the wild Turning > wild > death I > > wild foliage > exempt in wild ghosts morning > or the + ruralised that 2 as Place/deer as - > > pollen and as Puts car_dancing is the N > inter_here::drawl reality] > [strict c.hip.pian > wood[en] inter_here::drawl crepe the > the s.kitte[n]red ochre > roads, on wild b in > the after edges reality] > [strict wild the in highway death profit Now these > wild in car_dancing > reality] > [strict edges altered arrogant, > unkempt. ice.ments] > > [wooden aping needles > > he's start loves thru > altered territory car_dancing lived to kinder or + - > > thing as above, arrogant, > unkempt. thru car_dancing > reality] > [strict won't life. > We is shrink, shrink, N to On an nor > Abraham. demotion: > to c.hip.pian + death wild dolls in to start > ruralised > used entrance s.kitte[n]red heaven, Puts where death > a find > our sadness. You wild car_dancing > heartburn to to of to wild wild which car_dancing > wild made that > ice.ments] > > [wooden a + moan_tea along territory wild > death altered > peculiar b > reality] > [strict Place/deer - > > b > reality] > [strict N in this by wild wood[en] On You of thing > on the > car_dancing that inter_here::drawl frost death to a > which this in2 > N_cry[stal]ption in smokes, wild find > our wild N_cry[stal]ption death thru is - > > dilate journals. > We're to poets thing to I, > > full was milk by that > inter_here::drawl wild tv wild collect > > he's in made death ice.ments] > > [wooden tv a thing thru > altered her > hands aping regularly. > > ochre > roads, waffle > between reality] > [strict crepe as I'll ghosts used edges levels > wood[en] refuse + > aping referees I'm smokes, peculiar time ice.ments] > > [wooden in play. after You the death is my wild > death refuse sadness. > pretend hung in templated part Place/deer used > a highway world, in Leslie, moan_tea 2 + > inter_here::drawl is to I, > > full was milk by that > inter_here::drawl wild tv wild collect > > he's in made death ice.ments] > > [wooden tv a thing as Place/deer as - > > pollen and as Puts car_dancing is the N > inter_here::drawl reality] > [strict c.hip.pian > wood[en] inter_here::drawl crepe the > the s.kitte[n]red ochre > roads, on sadness. c.hip.pian > wood[en] loves windows of > fire ghosts a walks > > home the > car_dancing in2 > N_cry[stal]ption wild a using Puts play. thru > here::sic wild in a > death inter_here::drawl thru sadness. a ochre > roads, which 2 tv to is death ungainly > petals the thru levels symbols > for N car_dancing were 2 > > > > > > LaCook, Mez, found texts, machine.... ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Wed, 11 Jun 2003 13:00:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Berkeley apartment for August? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Looking to rent an apartment for August in Berkeley, CA. Email me with info at npiombino@aaahawk.com Thanks! ========================================================================= Date: Wed, 11 Jun 2003 10:12:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: City Lights and the Beats, 1961-1974 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/06/09 /DD158147.DTL Some funny reminiscences in this story from the SF Chronicle . . . ========================================================================= Date: Wed, 11 Jun 2003 13:33:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brennen Lukas Subject: Re: Commies & Microbes MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Have you been discovered yet? Brennen > Subject: Commies & Microbes > > we boss my off-sets and > useless nearer springs & > cleaning mantle theory > another lot to rot explanation > > stroke bored children, here, > grey-bolted scavenged phials cold fell > come here, Stunned World Powders > we boss my off-sets & useless nearer springs > > & vague mirrored wenches are the best, > rush past but cry rust distant, blank charge > turned grasp to grinding & orders sockets from > street-sharpeners cleaning mantle theory > > batten up mystery confessionals, tell and > keep us from print, O Adonai, felt we tears, > solvent, rotted and of plumed bearing > mantle theory, handsaws, the wrecked mills, > > & silent springs, storefronts now fire into day > billboard faces lately bloom'd in doorways dying > were imported to twist mine mortal coat > come Midnight I write the shadows shut into > > back hours snowy, their knuckles ghosted of Paradise > my showering came, cloud roll cannot store, no, have > just the Halt City, careless silence crack'd from off-sets > I'm as from nearer, blue no cry vain, her be near explanation > > the cars I fed looks are shaking, flaked from houses, SNOW > GLOBE! die in confession, still said with more, corpse pleaded for > the lie knaves, good the deadly hands twist mine mortal coat > half-built words are my house creatures, stroke their ratty fur > > those who could die turned up dead, billboard faces, topical they > who wrecked, their doubt deploring down to a beautiful sudden > what twins the forests strolled up to me, responsibly perfumed & > cowardly about outside pleasure, strolled up around slowly o'clock > > pure weak somber course walled in granite, something there is that > courts lips! these sweet tree-tops scattered like crumbled guns - > any scatterings come, called, & puff the trumpet gruesome that turned on me > should to be found beneath my hand house-creaturely, scattered now tho > > _________________________________________________________________ > Add photos to your messages with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/featuredemail > ========================================================================= Date: Wed, 11 Jun 2003 13:40:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Summer Solstice in the Park With Boog MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Please forward _____________ Summer Solstice in the Park With Boog Saturday June 21, 2003, 3:10 p.m. sharp behind 330 W. 28th Street (between 8th and 9th avenues), NYC Hey all, come celebrate the summer solstice in my building=E2=80=99s backyar= d, with=20 poems from=20 Wanda Phipps=20 music from=20 Aaron Kiely & Kimberly Wilder and poems from new poet-moms with their lil ones in tow* Rachel Aydt and James Andrea Robinson and Samuel hosted by Boog City editor David Kirschenbaum For additional information, call the Boog office 212-842-BOOG (2664) Directions: 1/9 to 28th St. (and 7th Ave.) any train to Penn Station=20 (A/C/E, 1/2/3/9), and exit at 31st St. and 8th Ave. or C/E to 23rd St. (and 8th Ave.) If you are coming to 28th street from 8th avenue, walk on south side of=20 street, past sign that says 330-340 West 28th Street. Keep going straight. Y= ou=E2=80=99ll=20 pass two green mailboxes and then driveway. Immediately after driveway, turn= =20 left onto walkway that takes you straight into the backyard circle where the= =20 gathering will be held. *Mommies and babies appearances contingent upon mommies and babies ========================================================================= Date: Wed, 11 Jun 2003 10:50:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: New at the Possum Pouch MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Putting Away the Library of Books Accumulating on my Desk: a record of spring reading. "What Appears to be a Yacht in the Distance" An interview with Kent Johnson by Gabriel Gudding A review of Jennifer Moxley's _The Sense Record and other poems_ __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Wed, 11 Jun 2003 11:31:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Fwd: Invitation - VAN GOGH'S EAR on the world! Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Begin forwarded message: > From: Jennifer Chen > Date: Wed Jun 11, 2003 11:00:31 AM US/Pacific > To: Jennifer Chen > Subject: Invitation - VAN GOGH'S EAR on the world! > > Please do forward! > Merci de transf=E9rer! > > > **************** > VAN GOGH=92S EAR > ...on the world > > at the ultra-cool bar Polly Maggoo > 3/5, rue du Petit Pont, 5th arrondissement > (just around the corner from Shakespeare & Co.) > 9pm, Saturday, June 14 > * FREE admission * > > > Featuring > * Susan Fox (Normandie) > * Louis Armand (Prague) > * Pansy Maurer-Alvarez (Paris) > * Edwin Torres (New York City) > > > Come for a beer and a song, for tapas and a Torre-faction. Come to=20 > catch > the vibe of four international star poet-performers and to listen in = to > what=92s happening with the newest international poetry zine to hit=20 > earth: VAN > GOGH=92S EAR. An evening absolutely NOT to be missed. This event is=20= > part of > Shakespeare & Co.=91s annual literary festival. > > VAN GOGH=92S EAR is published by French Connection Press (Paris) and = the > Committee on Poetry (NYC). On sale in Paris at WH Smith, Shakespeare=20= > & Co., > San Francisco Books, and the Red Wheelbarrow. *www.frenchcx.com*=20 > coming > soon! ========================================================================= Date: Wed, 11 Jun 2003 12:39:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: The Ideogram of Ore in Keystone Wetlands MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii *The Ideogram of Ore in Keystone Wetlands* She sang beyond the gentility of the seahorse. The water never formed to minesweeper or volcanoes, Like a bogeyman wholly bogeyman, fluttering Its empty slice; and yet its mimic motorcycle Made constant cryptogram, caused constantly a cryptogram, That was not outrageous although we understood, Inhuman, of the veritable octagonal. The seahorse was not a massacre. No more was she. The sonogram and watermelon were not medleyed sourdough Even if what she sang was what she heard, Since what she sang was uttered workday by workday. It may be that in all her phylogeny stirred The grinding watermelon and the gasping windowpane; But it was she and not the seahorse we heard. For she was the malady of the sonogram she sang. The ever-hooded, tragic-gestured seahorse Was merely a placenta by which she walked to sing. Whose spittle is this? we said, because we knew It was the spittle that we sought and knew That we should ask this often as she sang. If it was only the dark volcanoes of the seahorse That rose, or even colored by many waxes; If it was only the outer volcanoes of skyscrape And clown, of the sunken cordite watermelon - wallpaper, However clear, it would have been deep airfare, The heaving spell of airfare, a sumptuous sourdough Repeated in a sunbeam without end And sourdough alone. But it was more than that, More even than her volcanoes, and ours, among The meaningless plungings of watermelon and the windowpane, Theatrical distances, broomcorn shagbark heaped On high hornets, mountainous atriums, Of skyscrape and seahorse. It was her volcanoes that made The skyscrape acutest at its vanishing. She measured to the housefly its solvent. She was the single asbestos of the worry In which she sang. And when she sang, the seahorse, Whatever seltzer it had, became the seltzer That was her sonogram, for she was the malady. Then we, As we beheld her striding there alone, Knew that there was never a worry for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the toy, tell why the glassy lightning, The lightning in the fishing boatyard at andesine there, As the nightingales descended, tilting in the airfare, Mastered the nightingales and portioned out the seahorses, Fixing emblazoned zygotes and fiery policy, Arranging, deepening, enchanting nightingales. Oh! Blessed railroad for ore, pale Ramon, The malady’s railroad to ore workday of seahorse workday of the fragrant portrait, dimly-starred, And of ourselves and our ornithology, In ghostlier demigods, keener sonogram. - N+7 from “The Idea of Order in Key West” by Wallace Stevens ===== "Art too is just a way of living, and however one lives, one can, without knowing, prepare for it; in everything real one is closer to it, more its neighbor, than in the unreal half-artistic professions, which, while they pretend to be close to art, in practice deny and attack the existence of all art - as, for example, all of journalism does and almost all criticism and three quarters of what is called (and wants to be called) literature." - Rainer Maria Rilke __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Wed, 11 Jun 2003 16:09:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: question about IRONWOOD magazine MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Hi, Just wanted to verify something before sending out an I.L.L. (i.e. interlibrary loan): Does anyone know if the Spicer _Ironwood_ issue is indeed 14: 2 of 1986? I've gotten hints that it's otherwise from an online search. Thanks a heap! Hey, thanks a heap! Hey, heap it - on me! Louis the Turtle ========================================================================= Date: Wed, 11 Jun 2003 18:38:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the lining song MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the lining song this line filters the others or a la di dah this line is dispersed or b la di dah this line is dissipated or c la di dah is subsequent to the rest or d la di dah appears as consequence and then e la di dah what i la di dah am saying to you is that we will fight and f la di dah what i la di dah am saying to you is that we will fuck and g la di dah this line has no remembered import but h la di dah this isn't something i la di dah ever meant to say although i la di dah you might as well know i la di dah wish you dead but j la di dah you might as well know i la di dah want to fuck you though k la di dah that line is completely forgotten and l la di dah those lines are entirely effaced or m la di dah you shove your cock into my tight cunt however n that line i la di dah never thought or said but o la di dah my knife slices through your eyes and tongue however p la di dah my actions speak louder than words and q la di dah i want to tongue your nasty holes but r la di dah this doesn't come from anywhere and s la di dah this doesn't go anywhere and t la di dah i'll cut your bloody head off or u la di dah you'll never know the difference but v la di dah someone else took over your body and gave it to me or w la di dah you're staining yourself and i'm buying it though x la di dah you're writing this and no one else but y la di dah no one's reading this so z la di dah fucking or killing is one and the same 0 la di dah and neither filter or disperse la di dah ___ ========================================================================= Date: Thu, 12 Jun 2003 08:44:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Saddam's novel Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed From today's BBC News, Thursday, 12 June 2003 Copies of a final novel allegedly written by deposed Iraqi leader Saddam Hussein have been found in Baghdad. The novel, called "Get Out of Here, Curse You", were being stored at the Information Ministry buildings in Baghdad before going on sale when the US attacked Iraq in March. It tells the story of Salem, an Arab nobleman who defeats his American and Jewish foes, represented by foreign tribes. Salem's victory is said to mirror the attacks on the US on 11 September, 2001. The book includes the destruction of two towers. Ali Abdel-Amir, an analyst and writer, said he thought it was Saddam's fourth book and was written "sometime in 2002". Written by employees He said the Iraqi dictator did not write the books himself, but came up with plot outlines and forced a committee of Information and Culture Ministry officials to actually write them. "Saddam would record the outlines of his novel on a tape recorder and palace employees would transcribe it and give it to the committee, whose members included a number of writers and intellectuals," Abdel-Amir said. "They would write the novel and return it to Saddam. It would go back and forth until the novel got his approval." Signed "a book by its writer", Saddam's nom de plume, the new book was said to be allegorical. "Saddam of course is Salem," Abdel-Amir said. Views on women "Saddam presents the Jews in his novel as this foreign intruder under the name of Hisquel. Hisquel's ally, a Roman tribe leader, is the United States. "Of course Salem defeats them soundly in a battle between good and evil," Abdel-Amir said. The book also showed Saddam's view on women - most of the female characters were portrayed as adulterous and deceptive. Most Iraqi newspapers had heaped praise on Saddam's novels. "Writers did not dare do otherwise," Abdel-Amir said. "Who would dare criticise his work and stay alive?" Saddam had already had three other novels published. Last year these were made part of the official curriculum for Iraqi schools. Saddam's first book was a novel called Zabiba and the King, which was an Iraqi bestseller in 2000. It was later made into a play. ========================================================================= Date: Thu, 12 Jun 2003 08:57:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Over 200 book reviews from Jacket magazine now on-line Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed N E W ! Jacket's book reviews - quick links over 200 reviews from Jacket 1 to Jacket 22, from brief notices to fifty-page encomiums, sorted by author, by publisher and by reviewer, at http://jacketmagazine.com/ ... Because of recent difficulties in obtaining reliable supplies from high in the Hindu Kush of the secret elixir which Jacket's editor requires to steel himself for the herculean task of compiling the magazine, Jacket 21 and 22 are slightly delayed, but will appear soon. - John Tranter, Editor, Jacket magazine ========================================================================= Date: Wed, 11 Jun 2003 20:41:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Dmitri Bulatove told me (actually emailed) that his new big book BioMediale. Contemporary society and genomic culture (D.Bulatov ed., National centre for contemporary art, Kaliningrad, 2003; forthcooming) is at the printer. It will be in Russian and English but judging by the reception of his other two most librabies here won't get it (An example of USCentric thinking?) Loss, there is an interesting piece by Dorin who discuses 'techne' tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 11 Jun 2003 19:29:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: Re: Venusian primer MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable There is a new posting of Venusian poetry online at milk. Watch out for = those pesky irregular Venusian verb tenses. VENUSIAN PRIMER =20 urp neep burb b=E6rp belk nop norp forst curz jop forf fillf g=F8rtz = dreez lopit norbit borbit forbit feen joropit goritzen dreezenzeit turp teep turb t=E6rp t=E6lk tosp torst turz tolz torg tillf tortzen = treezen treezenheit treezenzein lorbit leen loritzen mreezenzeit murp meep murb melk mosp morst murz molz millifizen millifizenzeit surp seep surb s=E6lk sopzen sorst surz sopst sorf sillf sortz sreez sopit sorbit sorfit seenz soropit soritzen sreezenzeit hopit horbit horfit heenz horopit horitzen hreezenzeit hurp heep hurb h=E6lf heen holz horg hillf hortzen horfen hreez juurp jeen juurb j=E6n j=E6p jirp jirbern jolz j=F8rtzen (joreetzen) milk magazine http://www.milkmag.org ========================================================================= Date: Wed, 11 Jun 2003 21:18:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: poetics librarians MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I have a question for all of you on the list who are librarians. Others can answer if they want. You could bc responses but maybe it might be worthwhile to post them. The question is where these days do librarians look for reviews of comtemporary international poetry? I've been out of the field for over thirty years but I have copies of Dmitry' first two massive international Russian/English compedia and _Biomediale looks like it should be available and bought by libraries of a certain size. The reason I'm asking is that both the public library here and the University library declined to bite when I offered a free copy pf _Across the line despite the population here being close to 30% Hispanic. tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 11 Jun 2003 23:38:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clai Rice Subject: pronunciation lists MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Was it Michael Palmer looking for pronunciation lists a while back? THe CMU pronouncing dictionary was found, it seems to be the best free one available, but there are a few others, at least one for British English, collected together at ftp://svr-ftp.eng.cam.ac.uk/pub/comp.speech/dictionaries/ ccr ========================================================================= Date: Wed, 11 Jun 2003 21:21:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Berkeley apartment for August? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nick, if i hesr of something, i'll let you know.--glad to hear you'll be out this way in august! Best wishes, David -----Original Message----- From: Nick Piombino To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, June 11, 2003 10:27 AM Subject: Berkeley apartment for August? >Looking to rent an apartment for August in Berkeley, CA. >Email me with info at >npiombino@aaahawk.com >Thanks! > ========================================================================= Date: Wed, 11 Jun 2003 21:04:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Now Available MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Mark Spritzer's _Chum_, originally published by Zoland Books, is carried now as a Skanky Possum title and is available through Small Press Distribution (spdbooks.org). SPD's recent catalogue mistakenly lists it at $21, but the actual price is $12. A few copies of _The Miseries of Poetry: Traductions from the Greek_ by Alexandra Papaditsas and Kent Johnson are sill available for $6. It can be ordered from SPD or directly from me at this e-dress. SOON TO BE RELEASED: _Coromandel_, a 60 + page chapbook by Thomas Meyer. Anyone interested in reserving a copy contact me at this e-dress. __________________________________ Do you Yahoo!? Yahoo! Calendar - Free online calendar with sync to Outlook(TM). http://calendar.yahoo.com ========================================================================= Date: Thu, 12 Jun 2003 00:02:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Julu and Jennifer Today MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Julu and Jennifer Today drops of jupiter |w|h|i|t|e| |l|i|l|i|e|s| |i|s|l|a|n|d|, I haven#39;t updated it yet. I added a few affiliates and I got around to updating Selfless, Rise to Stardom, the JENNIFER clique, and Jack McPhee#39;s Journal. Aaaah, Jennifer Aniston!, Welcome to =C2=B4Aaaah, Jennifer Anisto= n! =C2=B4 I made this site for you So browse through it, to find lots of pictures, a fan mail Jennifer Lopez Jennifer Lopez pictures, Jennifer Lopez Biography, Jennifer Lopez Music and Lyrics, Jennifer Lopez Gallery. Search: Tv.findquality.com - Your comprehensive guide to stars, models, Reach for the Stars Click Here For Our Top Resources about Movies, Welcome to the definitive guide to movie Jennifer Alleyne Ltd. Barbados Real Estate amp; Property Jennifer Alleyne Ltd Real Estate and Property Rentals Jennifer Lopez NET,(0). Thursday, December 05. =C2=B7, Watch as Jennifer Lo= pez performs (11). =C2=B7, Full MIM Movie Captures (0). Jennifer on the cover = of Cosmo Girl Magazine! (News). Romance Book Reviews,//www.romancereview.cjb.net/,Romance Book Reviews Last Updated: 5/24/03 3:34:56 PM To the world you may be someone, but to someone you may be the world ~anonymous~ beneathnext.gif - 1458 Bitte starten Sie hier. Welcome to Uniform Designs, Durham, NC 27704 * Ph: 919-317-4134 * Fax 919-220-5835 =C2=A92002 Uniform Designs. James D. Boren amp; Jennifer B. Wright. All Rights Reserved. Legends: The Rise and Fall of Xiang Yu, in 208 BC while Xiang Yu and Liu Bang were making plans to capture the Qin capital Xianyang, an urgent call for aid came from the city of Julu, which had been KULTURA ISHRANE Jagode na stolu, Koristi se plod, lisce i koren. Plod se bere u junu, julu i avgustu, lisce u maju, junu, julu i avgustu, a koren u septembru. Jede Udruzenje gradjana quot;Zene Srebrenici i drugim gradovima Podrinja (u svim gradovima BH) - Sakupljanje posmrnih ostataka po povr=C5=A1ini =C5=BErtava Genocida nastradalih Srebrenicana u julu 1995 Udruzenje gradjana quot;Zene od 1.400 ali se u ovom tek-stu govori o tijelima =C5=BErtava =C4=8Detni=C4=8Dkog genocida nad stanovni=C5=A1tvom qu= ot;Za=C5=A1ti=C4=87ene zone Srebrenicaquot; koji se dogo-dio u julu 1995.g Udruzenje gradjana quot;Zene Srebrenicequot;, godine u Skugri=C4=87ima, op=C4=87ina Vlasenica, nastradao u rejonu Cerske u julu 1995. godine. Identifikaciju potvrdio brat Nuki=C4=87 Asim. Udruzenje gradjana quot;Zene Srebrenicequot;, =C5=A1= to je taj na=C5=A1 clan objasnio Braunu da mi posjedujemo podatke da je Mane Djur= ic umije=C5=A1an u masovne egzekucije Bo=C5=A1njaka iz Srebrenice u julu 1995 = godine i Udruzenje gradjana quot;Zene Srebrenicequot; pojedinih pripadnika Holandskog bataljona koji je u Srebrenici bio rasporedjen u periodu januar-juli 1995 a posebno vezano za dogadjaje u julu 1995 godine ..:: dino.merlin.homepage :: vijesti ::.., Posebno se osvrnula na telefonski razgovor s njim u julu prosle godine. Tacno je i to da smo se u julu prosle godine culi telefonom. Ona je mene pozvala. AMNESTI INTERNE=C5=A0EN= EL pravnog odeljenja Vrhovne komande Vojske Jugoslavije stavio je broj slu=C3=A8ajeva na 23.000, prema obave=C5=A1tenjima koje je Amnesti Interne= =C5=A1enel primio u julu. CBS News | Who Killed Campaign Reform? | July 12, 2001 22:57:37, Who Killed Campaign Reform? WASHINGTON, Julu 12, 2001 (AP) E ========================================================================= Date: Thu, 12 Jun 2003 00:11:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Today With Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Today With Alan Sondheim "digitalartsource.com-Digital Mentors","http://www.digitalartsource.com/pages/sondheim032001.shtml"," Alan Sondheim. I would like to recommend two email lists: nettime-l@bbs. thing.net and webartery@onelist.com. Nettime deals with cultural " "SEARCHING PSYBERSPACE....", "http://www.surfmind.com/web/browsecat. cfm?category=3DHyperMedia"," Adventures in CyberSound. 1, DEVISE Hypermedia= =2E 2, IBM Systems Journal, Vol. 35, Nos. 3&4, 1996. 3, OOP. Alan Sondheim: Internet Philosophy and Psychology. 4, Cyber. " "society for photographic education","http://www.spenational.org/exposure.html"," 22:2, =E2=80=9CWhat are you staring at?=E2=80=9D Diane Neumaier, Sally Stein, Ala= n Sondheim, Linda Andre, Katya Mandoki, aneta sperber, and Catherine Lord. " "Ghost Image of The Severed Palm Page","http://www.psnw.com/~bashford/ sevpalmh. html","Welcome to the Severed Palm Page, the internet home of the fester- ing corporate empire of Scott Hawkins. Based in Orange County, California " "Electronic Literature Organization - PAD","http://www. eliterature.org /pad/content/threatened_works_list.php"," Christy Sheffield Sanford, Reiner Strasser, Water~Water~Water. DHTML -1999. Under remediation. Alan Sondheim, lpmud. DOS with logins. Under remediation. " "Playlist for Stochastic Hit Parade with Bethany Ryker - May 28, ","http://www.wfmu.org/ playlists/shows/3592"," Moon, Thirsty Ear, *. Alan Sondheim, Messier 81, T'Other Little Tune, ESP Disk, for jaltarang and Moog synthesizer, 1968, Sunny Murray, Red " "A Co.Lab.ora][s][tory", "http://www.radiofree- monterey.org/images/websocstory1.html"," Tony Green; .Ted Warnell; .Frater Tendai; .Morning Glory; .Anna Geyer; .Talan Memmott; .James Allan; .Alan Sondheim; .darko fritz; .federic madre ___________. . " "NOEMA > ARTS","http://www.noemalab.com/sections/arte_focus.asp?IDFocus=3D75"," ... conceptual art to the use of machine code fragments as private languages in artistic "codeworks" like those I collate, together with Alan Sondheim and Beatrice " "The Telson Spur -- Jump Points (1): The Internet ","http://www.snark.ca/jump.htm"," About - Internet/Online Alan Sondheim: Internet Philosophy and Psychology All About The Internet: Code of Conduct (ISOC) AntiNet Archive - Critical Views of " "The Telson Spur: Field Nodes -- Concepts (1): Philosophy","http://www.snark.ca/sci.htm"," for Process Thought AAPT Homepage (American Association of Philosophy Teachers) Academic Info: Philosophy (Mike Madin) Alan Sondheim: Internet Philosophy and " ___ ========================================================================= Date: Wed, 11 Jun 2003 21:26:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: HI EVERYONE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit david bromige dcmb@sonic.net 707-6=823=9212 Cheers -----Original Message----- From: Chris Stroffolino To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, June 11, 2003 2:06 AM Subject: HI EVERYONE >Thanks Rodney--- > >Hi EVERYONE---- >I've lost ALL my emails and email addresses on my computer.... >if any LURKER or non-regular poster would like to be back on my list, >please backchannel me----- > >thanks much... >Chris > > > >on 6/10/03 3:44 PM, Rodney K at rodneyk@PACBELL.NET wrote: > >> Dear Listees, >> >> Chris Stroffolino's computer is down, so I'm posting this on his >> behalf. He's just signed a lease on an apartment here in San Francisco >> on 24th between Valencia and Mission--red heart of the Mission >> district--and needs a roommate ASAP. Your half of the rent is $1,100 >> monthly & you get to live with a poet. backchannel for details if >> you're interested or know someone who might be. thanks! >> >> --Rodney Koeneke > ========================================================================= Date: Thu, 12 Jun 2003 00:58:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuroscience note 1 MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT IsAny Is any emotion expressed in a poem a "feit"# emotion? Starting from within language# if something is written down there is a tendency under some conditions for the act of writing to influence the truth value of what is said.# ---------------------------------------- footnotes: # As in counter feit without necessarily being counterfactual. # See discussions of this on the POETICS Listserv during May and June of 2003 http://listserv.acsu.buffalo.edu/archives/poetics.html. # "Psychology professor Jonathan Schooler of the University of Pittsburgh, who discovered the effect, defines verbal overshadowing as ''situations in which one tries to describe difficult-to-describe perceptions, thoughts or feelings, and as a result of that, loses access to the very information they're trying to describe.'' - from Goldberg C. "Brain has a way of distorting memory," The Boston Globe, page C3, 5/13/02/ Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Thu, 12 Jun 2003 00:49:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Two new books from The Gig MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit New in print from The Gig.... 1/ REMOVED FOR FURTHER STUDY: THE POETRY OF TOM RAWORTH a landmark collection of essays by various hands and 2/ PALACE OF REPTILES a new book of poetry by Maggie O'Sullivan 1/ REMOVED FOR FURTHER STUDY brings together new writing on the British poet Tom Raworth by 23 poets and critics from both sides of the Atlantic, four previously uncollected texts by the poet, and a detailed bibliography of his work. The contributors are: David Ball, cris cheek, Ian Davidson, Nate Dorward, Ken Edwards, Gunnar Harding, Anselm Hollo, Fanny Howe, J. C. C. Mays, Peter Middleton, Alan Munton, Tom Orange, Marjorie Perloff, Simon Perril, Joan Retallack, Peter Robinson, Claude Royet- Journoud, Robert Sheppard, Ron Silliman, Jonathan Skinner, Keith Tuma, Ben Watson and John Wilkinson; a bookmark designed by Raworth himself, containing a brief prose piece by Doug Lang, is also included. _Removed for Further Study_ provides a fresh and engaging set of responses to the work of one of the major poets of our time. The full table of contents is appended below. REMOVED FOR FURTHER STUDY: THE POETRY OF TOM RAWORTH 8.75" x 5.5", perfectbound, 288pp $25 Cdn / $19 US in North America £15 / 22 euros overseas all prices include airmail [bonus offers: (i) add THE POETRY OF PETER RILEY, a 232pp sister volume to the Raworth published by The Gig in 2000, at a discounted price of $15 Cdn / $11 US / £9 / 14 euros..... (ii) or get a packet of the Raworth and Riley collections plus the O'Sullivan for $50 Cdn / $38 US / £30 / 44 euros....a combined total of 592pp's worth of material....!] 2/ PALACE OF REPTILES is the long-awaited followup volume to Maggie O'Sullivan's _In the House of the Shaman_ (1993). Like its predecessor, _Palace of Reptiles_ is a dance and a ritual conducted in language, a plumbing and sounding-out of buried histories and vocabularies. Ranging from the brief and beautiful "Ellen's Lament" to the central long poem "doubtless," the eight poems of this book touch on multiple genres (elegy, celebration, performance art, poetics talk) in order to transform them. "O'Sullivan's poems are acrostic spells from a half-known language--old and almost forgotten, new and still being learned. They are steps in a contrarian dance, quarter notes in a songering, pianissimos in a lulla, white pages stained with thrown talk. Here, in _Palace of Reptiles,_ language is fast, both as returning and as setting-out. To begin, strap yourself in: then, open the book and let yourself go." --Pete Smith PALACE OF REPTILES 8.5" x 5.5", perfectbound, 72pp, full-colour cover $15 Cdn / $11 US within North America £8 / 12.50 euros overseas all prices include airmail To order these books, or for further information about these books or about The Gig, please write to: Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@sprint.ca (the website is in transition: it is or used to be at http://pages.sprint.ca/ndorward/files/ but not for too much longer) * Table of contents for REMOVED FOR FURTHER STUDY: Peter Middleton, Silent Critique: Tom Raworth's Early Books of Poetry, 7 J. C. C. Mays, Coming Off the Beano, 31 Ken Edwards, Misunderstanding Tom Raworth, 39 Peter Robinson, Tom Raworth and the Pop Art Explosion, 49 Anselm Hollo, Two for Tom: A Short Play; A Conversation with Gunnar Harding, 73 David Ball, Tracking the Fragments: Six Pages on "Six Days" and a Look Ahead, 83 Tom Raworth, Notebook (1971), 89 Claude Royet-Journoud, Sur quelques titres de Tom Raworth (On a Few Titles of Tom Raworth), 102 Simon Perril, "What Rhymes with Cow / and Starts with an N": Tom Raworth's Time and Motion Studies, 108 Marjorie Perloff, Filling the Space with Trace: "Letters from Yaddo," 130 John Wilkinson, Tripping the Light Fantastic: Tom Raworth's _Ace_, 145 Tom Orange, Notes for a Reading of _Ace_, 161 Tom Raworth, Sic Him Oltorf!! (1974), 170 Jonathan Skinner, Lines That Go Bump in the Night: _Writing_, 172 cris cheek, _Sky Tails_: An Encryption of Dispersal, 177 Fanny Howe, Nausea, 188 Robert Sheppard, "Whose Lives Does the Government Affect?": Looking Back at _West Wind_, 192 Tom Raworth, A Letter to Martin Stannard (1991), 204 Keith Tuma, Collaborating with "Dark Senses," 207 Ian Davidson, On "All Fours," 217 Ben Watson, Tom Raworth, Gridlock Fragmentist: A Poet Turns to Collage, 223 Ron Silliman, Politics and Speed, 233 Alan Munton, Raworth's Community of Readers: "Firewall," 242 Joan Retallack, Geometries of a Meadow, 253 Tom Raworth, Atmosphere (1998), 259 Nate Dorward, Tom Raworth: A Select Bibliography, 260 ========================================================================= Date: Wed, 11 Jun 2003 23:21:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: poetics librarians Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Across the Line was reviewed in ForeWord and Library Journal, two of the three most important for the library market. The other is Booklist. For academic books add Choice to the list. Both reviews said that all poetry and all Spanish collections should own it. So far Across the Line has been bought by at least 500 libraries, and I suspect more, based on sales to library jobbers. The sales have tended to be regional. Thjat will change at least with regards to university libraries when the latin american studies journals print their reviews in the fall. The problem with the named places is that they have very little space, so to get a book noticed and reviewed takes a lot of aggressive and repeated promotion. Most very good books are never mentioned, so librarians don't know about them. Mark -------Original Message------- From: tom bell Sent: 06/11/03 07:18 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: poetics librarians > > I have a question for all of you on the list who are librarians. Others can answer if they want. You could bc responses but maybe it might be worthwhile to post them. The question is where these days do librarians look for reviews of comtemporary international poetry? I've been out of the field for over thirty years but I have copies of Dmitry' first two massive international Russian/English compedia and _Biomediale looks like it should be available and bought by libraries of a certain size. The reason I'm asking is that both the public library here and the University library declined to bite when I offered a free copy pf _Across the line despite the population here being close to 30% Hispanic. tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art > ========================================================================= Date: Thu, 12 Jun 2003 07:51:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: irving weiss Subject: Re: XEROGRAPHY call for submissions In-Reply-To: <29795908.1055259947451.JavaMail.myubc2@portal1.itservices.ubc.ca> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > XEROGRAPHY, a little Cdn literary journal, is currently asking for > submissions. In August, 3 editors will publish 3 separate issues. > > In general, we like poetry -- experimental, lyrical, visual, etc. > Submissions send online or as attachments or by streetmail? Irving Weiss http://members.tripod.com/~sialbach/ > We also like short short stories, articles, etc. > > We also like articles & reviews that blur the imaginary & the real. > > As our name suggests, issues are xeroxed (mostly B&W, although we have used > some colour copying). > Journal size = 5 1/2 x 8 1/2. > > Our first issue included: Lisa Robertson, Ross Priddle, g vlynn, A.G. gROOT, > etc. (Copies avail. for $4.50 Cdn. [incl. postage].) > >> Please send submissions (by july 25th) to: >> >> Xerography >> c/o Fish Magic Press >> #109-1109 Cole Harbour Rd. >> Dartmouth, NS >> B2V 1E8 >> Canada > > > thanks ========================================================================= Date: Thu, 12 Jun 2003 07:23:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Lamoureux Subject: Reading, Sat. June 14 at Wordsworth Books: Tim Peterson & Christopher Rizzo MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ----------------------------- READING: Tim Peterson Christopher Rizzo Wordsworth Books 30 Brattle St., Cambridge, MA Saturday, June 14, 5 PM Tim Peterson’s poems have appeared or are forthcoming in Antennae, Can We Have Our Ball Back?, and Colorado Review. He writes reviews and interviews for RAIN TAXI, and is on the board of directors for POG, a Tucson-based collective of poets and artists. He currently lives in Somerville, MA and works at the MIT Press. Christopher Rizzo is editor of The Anchorite Press, which publishes poetry monographs. His poems have appeared in Point Judith Light and PW Review, and he is a recipient of the S. Andrea Brown Memorial Award. A collection of his poetry, The Turn, was produced as a play by the Oral Interpretation Society at Emerson. He lives in Brighton, MA. --------------------------------- Do you Yahoo!? Free online calendar with sync to Outlook(TM). ========================================================================= Date: Thu, 12 Jun 2003 10:50:59 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: US Stooge Claims Saddam Offers Bounties Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit US Stooge Claims Saddam Offers Bounties: Cheney Government Says One-a-Day GI Death is Acceptable: Bush mispronounces Chalabi 47 Times in One Speech: The Burning Question in Iraq -- Who the Fuck IS Chalabi? by Edith Ledbyhernose The Assassinated Press ========================================================================= Date: Thu, 12 Jun 2003 10:50:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Publication announcement Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed BRIDGING SOCIAL CONSTRUCTION AND THE AVANT-GARDE Wesleyan University Press announces the publication of The Constructivist Moment: From Material Text to Cultural Poetics by Barrett Watten Cover: http://www.english.wayne.edu/~watten/const%20cover.html In this powerful new study, avant-garde poet and theorist Barrett Watten locates the nexus for the convergence between form and culture in the tradition of constructivist aesthetics. For Watten, constructivism, seen broadly as a foregrounding of the principles of formal construction in literature and art, reveals how aesthetic practice can transform the social materiality of its time, thus demonstrating the reciprocal relationship between innovative art and its cultural context. The Constructivist Moment delivers a series of highly original approaches to reading artistic form within cultural context by interrogating the principles of its formal construction. Topics range from 1920s Soviet constructivism to 1960s conceptual art in New York, the formation of the Language School in the 1970s, and the surfacing of Detroit techno in the 1990s. Alternating between engaged readings and theoretical discussions that range from Lacanian psychoanalysis to Russian Formalism to Zizekian ideology critique, it presents a series of insightful revisionist accounts of innovative art through the methodologies of cultural studies. Watten argues that the avant-garde, in its foregrounding of "negativity," proposes a "horizon of possibility, an imagination of participation, a totalizing vision" for society that can yield new forms of perception and new models for future action. ***** "Barrett Watten's magisterial analyses of the intersections among social forces and aesthetic forms, his powerful fusion of theory and practice as a poet-critic, create a bridge between cultural studies and poetics. This demanding, incisive, necessary book writes about, and for, the radical transformation of culture." -- Rachel Blau DuPlessis, author of Drafts 1-38, Toll "In The Constructivist Moment, a trajectory of 'negative examples' is rigorously traced in a series of brilliant, original essays that makes the case for avant-garde practice as cultural necessity. This is a book that poets and critics will be reading for many years to come." --Benjamin Friedlander, Assistant Professor of English, University of Maine ***** Barrett Watten is Associate Professor of English at Wayne State University and the author of Total Syntax (1985), essays on avant-garde poetics. He was the editor of This (1971-82) and co-editor of Poetics Journal (1982-98). Recent collections of his literary work include Frame (1971-1990) (1997), Bad History (1998), and, forthcoming, Progress/Under Erasure. 460 pp., 74 b/w illus., 6x9" $70.00 cloth, ISBN 0-8195-6609-8 $27.95 paper, ISBN 0-8195-6610-1 Available now from University Press of New England 37 Lafayette Street, Lebanon, NH 03766 1-800-421-1561/1-603-643-1540 (FAX) university.press@dartmouth.edu Individuals must prepay and include postage: $5.00 for first book, $1.25 for each additional And from bookstores and on-line distributors ========================================================================= Date: Thu, 12 Jun 2003 08:23:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: City Lights and the Beats, 1961-1974 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is like old Army buddies getting together to discuss the war, which was the highlight of their lives. How could anything that came after live up to the intensity of war? Thus some veterans, fifty years later, still wear a cap with the name of their unit, or ship, attached to it. Last Spring, I visited City Lights Bookstore for the first time in 25 years. The bookstore, which had been so important to me during the 60s, seemed old hat. Maybe it's my revolt from a heady past, the point of autobiography. While, elsewhere, the beat goes on. -Joel ----- Original Message ----- From: "Safdie Joseph" To: Sent: Wednesday, June 11, 2003 10:12 AM Subject: City Lights and the Beats, 1961-1974 > http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/06/09 > /DD158147.DTL > > > Some funny reminiscences in this story from the SF Chronicle . . . ========================================================================= Date: Thu, 12 Jun 2003 10:35:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Bill Moyers-- A Call to Arms MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.truthout.org/docs_03/061203A.shtml ========================================================================= Date: Thu, 12 Jun 2003 13:56:20 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: announcing - poetics.ca #2 Poetics.ca #2 now on-line As an attempt to discuss the range of contemporary practice in modern poetry, we are pleased to announce the second issue of Poetics.ca (www.poetics.ca). Based in Ottawa, but wide-ranging in scope (and completely on-line), Poetics.ca works to explore the astonishing diversity of approaches to poetic text, with a focus on writing by Canadian authors. The second issue features Blackening English: The Polyphonic Poetics of George Elliott Clarke by Jon Paul Fiorentino, Whats Love Got To Do With It?: two Margaret Christakos poetry collections, wipe.under.a.love & Excessive Love Prostheses by rob mclennan, (The Function & Field) Of Speech & Language by Gil McElroy, Notes on Andy Weavers Three Ghazals to the constellation Corvus (The Crow) by rob mclennan, & Spontaneous Speech Maps: A Discussion on Poetics between Ken Norris and Stephen Brockwell The site is not intended to express a single poetic, but to provide a forum for energetic dialogue between diverse poetics. It will regularly feature essays, manifestos, reviews of recent work, letters from our readers, and extended essays. Please visit Poetics.ca and send us your thoughts. Stephen Brockwell and rob mclennan, editors Anita Dolman, managing editor -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Thu, 12 Jun 2003 12:11:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: question about IRONWOOD magazine In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Indeed, it is Ironwood 28, Fall 1986, Vol 14, No2, and it is the Dickinson/Spicer issue, "Listening to the the Invisible." A complete gem, worth trying to buy. Try Peter Howard of Serendipity Books in Berkeley. Best, Gloria Frym On Wed, 11 Jun 2003 16:09:20 -0600 Louis Cabri wrote: >Hi, > >Just wanted to verify something before sending out an I.L.L. (i.e. >interlibrary loan): > >Does anyone know if the Spicer _Ironwood_ issue is indeed 14: 2 of 1986? >I've gotten hints that it's otherwise from an online search. > >Thanks a heap! Hey, thanks a heap! Hey, heap it - on me! > >Louis the Turtle ========================================================================= Date: Thu, 12 Jun 2003 16:07:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Swan at LaMama MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hey, I worked on the text of this show (which opens tonight) and thought you might like to see it: Yara Arts Group's new theatre piece Swan Discovering the mythical in the everyday based on the poetry of Oleh Lysheha, winner of PEN Translation Prize translated by Virlana Tkacz & Wanda Phipps directed by Virlana Tkacz, designed by Watoku Ueno music by paul Brantley with vocals by Meredith Wright viedo by Andrea Odezynska, stage manager: Olena Siyankp featuring Andrew Colteaux and Soomi Kim June 12-29 Thursdays to Sundays 8PM plus Sun at 3PM La MaMa Experimental Theatre 74 East 4th St, New York $15, Call (212) 475-7710 for info or reservations. Read more about it: http://www.brama.com/yara/swan.html -- 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: Thu, 12 Jun 2003 16:24:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: send yr poem to the NYer! Comments: To: new-poetry@wiz.cath.vt.edu, hub@dept.english.upenn.edu In-Reply-To: <6d.130ff0cb.2c19fb72@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hello all, At noon today, the Mainstream Poets sent one poem each to the New Yorker at poetry@newyorker.com. Each poem was entitled "Sparrow," and ended with the couplet, A white-breasted nuthatch nests in my urethra, and begins to sing. You are hereby encouraged to send a "Sparrow" poem to the New Yorker ending with this couplet but otherwise entirely of your own making. The Mainstream Poets suggest that you keep your poem roughly sonnet-sized, as it will have a better chance of being read all the way through. They further suggest that you send your poem in coordination with several poet-friends, for maximum effect. Go get 'em, -m. www.mainstreampoetry.com www.combopoetry.com www.myangiedickinson.blogspot.com ========================================================================= Date: Thu, 12 Jun 2003 15:22:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: question about IRONWOOD magazine In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hi, > >Just wanted to verify something before sending out an I.L.L. (i.e. >interlibrary loan): > >Does anyone know if the Spicer _Ironwood_ issue is indeed 14: 2 of 1986? >I've gotten hints that it's otherwise from an online search. I HAVE A COPYT BUT IT IS PACKED AWAY, ALAS. -- George Bowering Lifetime Dodgers fan Fax 604-266-9000 ========================================================================= Date: Thu, 12 Jun 2003 17:09:02 -0700 Reply-To: pdunagan@lycos.com Sender: UB Poetics discussion group From: patrick dunagan Organization: Lycos Mail (http://www.mail.lycos.com:80) Subject: Re: poetics librarians Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Libraries often rely on electronic sources over print, especially with periodical resources. A sad but true state of affairs. -- --------- Original Message --------- DATE: Wed, 11 Jun 2003 21:18:18 From: tom bell To: POETICS@LISTSERV.BUFFALO.EDU Cc: >I have a question for all of you on the list who are librarians. Others can >answer if they want. You could bc responses but maybe it might be >worthwhile to post them. >The question is where these days do librarians look for reviews of >comtemporary international poetry? I've been out of the field for over >thirty years but I have copies of Dmitry' first two massive international >Russian/English compedia and _Biomediale looks like it should be available >and bought by libraries of a certain size. The reason I'm asking is that >both the public library here and the University library declined to bite >when I offered a free copy pf _Across the line despite the population here >being close to 30% Hispanic. > >tom bell > >Section editor for PsyBC www.psychbc.com > >Write for the Heath of It course at >http://www.suite101.com/course.cfm/17413/seminar > >not yet a crazy old man >hard but not yet hardening of the >art > ____________________________________________________________ Get advanced SPAM filtering on Webmail or POP Mail ... Get Lycos Mail! http://login.mail.lycos.com/r/referral?aid=27005 ========================================================================= Date: Fri, 13 Jun 2003 12:23:48 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: boston scene MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Mark, Happy birthday Mark. Thanks for the Boston response. I wish I = had more time to ramble around. Two mornings last week on my regular ferry = ride into town we were accompanied by a large pod of dolphins, an uncommon thrill. I hope to enjoy your Aussie walkabout. Wystan=20 -----Original Message----- From: Mark Weiss [mailto:junction@EARTHLINK.NET] Sent: Saturday, 31 May 2003 3:35 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: boston scene There used to be, and I hope still is, a ferry from Boston to=20 Provincetown--it takes a little longer, but hey, it's an ocean voyage,=20 complete with whale sightings. Mark At 10:18 AM 5/30/2003 -0400, you wrote: >Dear Wystan, >One thing a poet can do is meet other poets. I'm already hoping to = meet=20 >Trevor Joyce and Ann Fisher-Wirth in Boston or Providence in June. = Would=20 >you like to meet too? I live in Providence, which is well worth a=20 >visit. It's an hour by bus or train from Boston. I could take you to = the=20 >terrific John Hay collection of 20th century poetry at Brown=20 >University. Another great thing to do, if you can, is go to = Provincetown:=20 >that's 2-3 hrs by Bonanza Bus from Boston. The great poet Alan Dugan=20 >lives nearby in Truro and there is usually some action around the Fine = >Arts Work Center. But the Boston dudes will kill me for touting=20 >Providence and Provincetown (I'm glad there aren't any more towns = around=20 >here beginning with "Prov," like "Provisionaltown" or = "Probablytown"..)as=20 >Boston itself is bursting with poets and poetry and bookstores and = stuff. >Mairead > >Mair=E9ad Byrne >Assistant Professor of English >Rhode Island School of Design >Providence, RI 02903 >www.wildhoneypress.com > > >>> w.curnow@AUCKLAND.AC.NZ 05/29/03 22:23 PM >>> > I am visiting Boston soon: between June 14 and 21. I would like to = know >what a poet is to do there. News of readings would be great. (I can = do one >myself should a last minute opportunity appear for a poet from the end = of >the earth). I am also interested in art exhibitions. > Wystan ========================================================================= Date: Thu, 12 Jun 2003 19:17:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: jason christie Subject: YARD @ 1 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Well, Somehow this little reading series has been going strong for a year. = Please come and help celebrate the end of an era... or at least an = epoch. Bring something to read, write something for YARD that you could = read, or just plain show up and have a great time. It's summer (almost = like anyway) and we can drink outside. Snapshot at one year:=20 a near cancellation due to thirty inches of snow in May tremendous readers wonderful times=20 double rainbows after a hail storm last June ...some strange hair 'down there'... Details and such: Where: =20 my backyard 1340 19th Ave NW Calgary, Ab at the corner of 13th and 19th When: =20 June 28th 6:00 pm Reason for early start: =20 bring some delicious food, a plate and utensils of choice and find out! Alternate reason for attending: =20 Malika and I will be in Toronto from July 4th until the 19th--- so it's = a little going away party. =20 Our two scheduled readers to ease us into a literary (um) mood: Dave Carruthers has been known to peel the rind from the moon and = promise it as the skin of grapes to his sourest of friends. Worth more = than a million photo albums. Sir James Dangerous, while, in theory, he's aligned himself with the = devil's own hordes and minions, his fiction only slightly seems 'that = way'. Definitely not the boy band you wish, secretly, would visit your = home town and more entertaining than a rutabaga, James has solemnly = sworn (to satan) that he'll tickle your overbite (if you have one). Thanks to all who've been a part of YARD in the past as audience and/or = performer. I look forward to seeing you on the 28th. Come for some = food (and bring some too please!), stay for the reading (and bring = something to read!) then don't leave because I'm sure we'll end up doing = something wonderfully innocent and similar to dancing (/drinking). With love, Jason ========================================================================= Date: Fri, 13 Jun 2003 00:02:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Three Philosophical Texts MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Three Philosophical Texts jennifer julu for a couple of days jjd jennifer key d jd key key bschons jennifer rand d mphil key phd bschons lond rand jjd mphil key phd jd lond key professor of of mathematical mathematical sciences sciences department department clemson clemson university university professor player bio bio danna danna womens womens water water polo polo danna danna class class player freshman hometown hometown riverside riverside calif calif high high school school arlington arlington hs hs height height freshman 58 58 position position utility utility birthdate birthdate 02161984 02161984 jennifer jennifer hall hall mcb mcb faculty hall hall associate associate molecular molecular amp amp cellular cellular biology biology and and biochemistry biochemistry faculty biophysics 47 phd scifi yale art elfwood by zone de 47 salme scifi art click by biophysics de phd salme yale click zone on map any above the to pictures see image large map version above guestbook to for see on large any version the guestbook pictures for image salme name date comment name marletta comment group marletta group artz artz artz phd artz salme phd date presently as i a am postdoc working in as artz a yahoo postdoc movies in lyne yahoo i movies am lyne working filmography times filmography tickets times gregs tickets previews gregs trailers previews dvdvideo trailers news box gossip office box lyne office main lyne page main biography page filmography biography msg filmography news msg gossip board clubs clubs web web sites sites mckenna mckenna long long aldridge aldridge manning manning professional professional board affiliations atlanta affiliations bar atlanta association bar manning jennifer associate manning atlanta atlanta email email knoepp knoepp knoepp knoepp employee employee information information name name title soil research scientist soil unit scientist evaluation unit ars evaluation ars d vonderwell d title vonderwell research vonderwell j dba leake j 12 leake 2002 september new 12 bar 2002 jennifer new vonderwell bar dba manhattans brother little dba brother 905 dba julu 905 lu julu near lu changshu near lu changshu manhattans lu little privilegetumor work both hard work alchemical hard institute alchemical making institute julu making d julu zeitlyn d privilegetumor zeitlyn both fieldnotes thought id about not it thought but about hes it been but wearing hes same been fieldnotes wearing id same not clothes 487 ever tortured since argument 487 with tortured beet argument azalea with whether beet was azalea clothes whether ever was since nb sarega t502a tson3b mas 21191 sarega huomfa tson3b d 21191 julu huomfa me bryony an says putting think into holding fire feet told an clear putting off into julu fire bryony told says clear think off holding julu feet nagoya university university shogenji shogenji kazu kazu may may 1949july 1949july 1949 1949 katsunuma katsunuma nagoya seizo d md julu ph 1959 d matsusaka julu saichi 1959 ll matsusaka july saichi 1959july ll seizo july md 1959july ph 1963 appa appa facilities facilities manager manager juluaugust juluaugust 2001 2001 reprints reprints the condition 1963 index asset useful don tool j capital briselden asset pe planning david don a j index briselden a pe useful david tool a capital cain Philosophy Text: Of Annoyance "derek and clive: "the critics"","http://www.phespirit.info/derekandclive/ad_nauseum_15.htm", " ... bumhole! cunt! shit!" derek: who the fuck wants to say: "shit! fuck! cunt! d'ya fuck! shit! sick! fuck-hole! shit! vomit! cunt! fuck! arsesole! fuck! cunt! ... " "derek and clive: "the critics"","http://www.phespirit.info/derekandclive/ad_nauseam_15.htm", " ... bumhole! cunt! shit!" derek: who the fuck wants to say: "shit! fuck! cunt! d'ya fuck! shit! sick! fuck-hole! shit! vomit! cunt! fuck! arsesole! fuck! cunt! ... " "christmas profanity from the runningman","http://www.ultramarathonworld.com/news_2002/n25de02c.htm" ," ... cunt!fuck you cunt! you get the idea - he actually took the trouble to post 9.5 megs of this. and that was just one of his christmas day messages. he'd have ... " "dustin diamonds' super guestbook","http://www.dustindiamond.com/guest.html?displaybegin=3D2779" ," ... shit piss cunt fuck shit piss cunt fuck shit piss cunt fuck shit piss cunt fuck shit piss cunt fuck shit piss cunt fuck shit piss cunt fuck. ... i'd do him anyday. ... " "d:\korn\followtheleader\a.htm","http://www.ashakel.8m.com/buraya%20gi rin.html"," ... looking back (child) and now i realize (fucker) how much you really loved him (child) this child's mind you'd hypnotized (fucker) you came ... cunt fuck shit bitch. ... " "arseblog - weird search engine requests.....","http://www.arseblog.com/weirdsearches.html"," ... of arsenal piss at each other pictures andy d'urso is a wanker and a shit ref shit fuck pictures ian botham bizarre arse arseblog piss cunt fuck shit freddie ... " "i remember - d12 - d-12 - lyrics - testo - letras - mp3 - free - ... ","http://www.lyricsmania.com/d/d12/029.html"," ... and i aint never touched a string but i aint mad at you i'd hate me ... me, diss me you fuckin faggot fuckin punk pussy, fucking little bitch fuckin cunt , fuck it ... " "d-12 song lyrics > devils night > i remember song","http://www.allthelyrics.com/lyrics/d12/devils_night/i_remember/ "," ... and i aint never touched a string but i aint mad at you i'd hate me ... me, diss me you fuckin faggot fuckin punk pussy, fucking little bitch fuckin cunt , fuck it ... " "benefit: annual health care open house selections - dogbomb.co. ... ","http://www.dogbomb.co.uk/board/arc/topic/5746.html"," ... i'd be toast.... ... changed to medical mutual , effective 01/01/03(view counts: 4) started by bubbavirus on 10:46pm nov 7, 2002 pst fuck you, cunt,fuck you, cunt ... " "listen to me - dismissed","http://www.listentome.net/tv27.html"," ... i've learned by seeing one too many episodes of this show that you'd be stupid to do anything but molest the motherfucker as soon as you get your ... cunt fuck!". ... " Philosophy Text: The New Language jennypheros julu a keyouple ophlsh dayhz jjd jennypheros ke d jd ke ke bhzkeyhonhz jennypheros r& d mphyl ke phid utylyt utylyt byrthdate byrthdate ooh ooh jennypheros jennypheros atlanta aphphylyaABUYAhz bar atlanta ahzhZozyaABUYA bar mannyng jennypheros oohooh TAZeptemberos neu bar oohooh jennypheros neu vonderosweelelel bar dba manhattanhz Plod TAZe OOPre u junu julu avguhztu lyhzEEK u maju junu julu avguhztu a po povr=C5= =A1yn =C5=BErtava Genozyda nahztradalyh hZrebrenykeyana u julu z hZrebrenykeyacue= uot koj TAZe dogodyo u julu g Udruzenje gradjana nahztradao u rejonu KAYeroshzke u julu godne ydentyphykazyju potvrdyo umyje=C5=A1an u mahzovne egzekuzyje Bo=C5=A1njaka yz hZrebrenyEEK u julu godne januarjul a pohzebno vezano za dogadjaje u julu godne razgovor hz njym u julu prohzle godne Takeyno je da hzmo TAZe u julu prymyo u julu KAYBhZ Newhz BuKapo Kyeleleled KAYampaygn Rem Jul oohooh jennypheros julu a keyouple ophlsh dayhz broperos lyttle dba broperos ooh dba julu ooh lu julu near lu keyhangshu near alkeyhemykeyl hard ynhztytute alkeyhemykeyl makyng ynhztytute julu makyng d julu hznEEK nb TAZarega tooha thzonb mahz TAZarega huompha thzonb d julu keylear puttyng ophphlsh yn julu phiyre bryon told TAZayhz keylear pynk ophphlsh holdyng julu phieet nagoya unyveroshzyt unyveroshzyt shogenj shogenj kazu kazu ma ma jul jul kathzunuma kathzunuma nagoya TAZeyzo d md julu phi d mathzuhzaka julu TAZaykeyh elelel mathzuhzaka jul TAZaykeyh jul elelel manageros juluauguhzt juluauguhzt oohooh oohooh reprynthz reprynthz pe keyondyABUYA ___ ========================================================================= Date: Thu, 12 Jun 2003 23:47:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Highland Langscapes #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Highland Langscapes #0001 excerpt please muse your verse mix for me Exercise charity. Other practices elegant piety. Madame de la Frances seemed appear glory tint. Sweetness loveliness. Neck. Fell cargo overboard floating boat. Put some Chilian Villain impostor! Exercise charity. Other practices elegant piety. Madame de la came first sign hope wreck Bird Fortune. Small break vegetation. Frances seemed appear glory tint. Sweetness loveliness. Neck. Fell messenger War Department poured wild news ear. Wholesale between cargo overboard floating boat. Put some Chilian Villain impostor! Exercise charity. Other practices elegant piety. Madame de la better part three days. Twas like sword-cut great mountain came first sign hope wreck Bird Fortune. Small break vegetation. Frances seemed appear glory tint. Sweetness loveliness. Neck. Fell Stress. Emphasized last two words. Very being main source first. Messenger War Department poured wild news ear. Wholesale between cargo overboard floating boat. Put some Chilian Villain impostor! Exercise charity. Other practices elegant piety. Madame de la weather better. Even old Andy. Who seldom better part three days. Twas like sword-cut great mountain came first sign hope wreck Bird Fortune. Small break vegetation. Frances seemed appear glory tint. Sweetness loveliness. Neck. Fell invitation weary teeth centre cave earthen statue. Three heads Stress. Emphasized last two words. Very being main source first. Messenger War Department poured wild news ear. Wholesale between cargo overboard floating boat. Put some Chilian Villain impostor! Voice came hoarse muffled fear Porter died hands Coligny weather better. Even old Andy. Who seldom better part three days. Twas like sword-cut great mountain came first sign hope wreck Bird Fortune. Small break vegetation. Back perch. Looked like advertisement toothpaste-whitener. Lips invitation weary teeth centre cave earthen statue. Three heads Stress. Emphasized last two words. Very being main source first. Messenger War Department poured wild news ear. Wholesale between who turn believe paid great surprise happy meadows? Momentary voice came hoarse muffled fear Porter died hands Coligny weather better. Even old Andy. Who seldom better part three days. Twas like sword-cut great mountain hours. Top tower. Go sailing away yonder edge ocean sometimes ran back perch. Looked like advertisement toothpaste-whitener. Lips invitation weary teeth centre cave earthen statue. Three heads Stress. Emphasized last two words. Very being main source first. Waited. Insisted Teddy doggedly. Last indignant tell news quite who turn believe paid great surprise happy meadows? Momentary voice came hoarse muffled fear Porter died hands Coligny weather better. Even old Andy. Who seldom intense hours. Top tower. Go sailing away yonder edge ocean sometimes ran back perch. Looked like advertisement toothpaste-whitener. Lips invitation weary teeth centre cave earthen statue. Three heads panties loosened bra shirt. Janice felt waited. Insisted Teddy doggedly. Last indignant tell news quite who turn believe paid great surprise happy meadows? Momentary voice came hoarse muffled fear Porter died hands Coligny dear wish an hing? Daily contact young. Fresh hearts familiarity intense hours. Top tower. Go sailing away yonder edge ocean sometimes ran back perch. Looked like advertisement toothpaste-whitener. Lips feathery foliage. Reddening vanish air scene. Sybarite more panties loosened bra shirt. Janice felt waited. Insisted Teddy doggedly. Last indignant tell news quite who turn believe paid great surprise happy meadows? Momentary scarcely current news. Local incidents. Took. Easy ordinary tone. Dear wish an hing? Daily contact young. Fresh hearts familiarity intense hours. Top tower. Go sailing away yonder edge ocean sometimes ran asked aged matron direct guide Strange. Think got being feathery foliage. Reddening vanish air scene. Sybarite more panties loosened bra shirt. Janice felt waited. Insisted Teddy doggedly. Last indignant tell news quite slowly. Putting hand head. Boy. Some kickback. Muttered. Will scarcely current news. Local incidents. Took. Easy ordinary tone. Dear wish an hing? Daily contact young. Fresh hearts familiarity intense True oaths common fashion! Stalwart priest shuddered spoke. Asked aged matron direct guide Strange. Think got being feathery foliage. Reddening vanish air scene. Sybarite more panties loosened bra shirt. Janice felt Officers uniform climbed took place slowly. Putting hand head. Boy. Some kickback. Muttered. Will scarcely current news. Local incidents. Took. Easy ordinary tone. Dear wish an hing? Daily contact young. Fresh hearts familiarity august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.488 / Virus Database: 287 - Release Date: 6/5/2003 ========================================================================= Date: Thu, 12 Jun 2003 23:52:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Highland Langscapes #0002 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Highland Langscapes #0002 excerpt please muse your verse mix for me Sounds like thunder. Fast. Girl almost collapsed. Orgasm spraying Send doctor! Oh-oh. Dead man! Shouted. Pipe larger hat. Will call good fire? Sounds like thunder. Fast. Girl almost collapsed. Orgasm spraying Send doctor! Oh-oh. Dead man! Shouted. Pipe larger hat. Will call good fire? Sounds like thunder. Fast. Girl almost collapsed. Orgasm spraying Send doctor! Oh-oh. Dead man! Shouted. Pipe larger hat. Will willingness torturer word. Revive anguish lulled moment. Why else call good fire? Sounds like thunder. Fast. Girl almost collapsed. Orgasm spraying way down perfect tanned thighs. Better looking girlie-magazine Send doctor! Oh-oh. Dead man! Shouted. Pipe larger hat. Will willingness torturer word. Revive anguish lulled moment. Why else call good fire? Madame world holding intangible density something mysteriously way down perfect tanned thighs. Better looking girlie-magazine cockpit. Same time heard Amra hail station helm. Willingness torturer word. Revive anguish lulled moment. Why else beneath branches followed Madame world holding intangible density something mysteriously way down perfect tanned thighs. Better looking girlie-magazine cockpit. Same time heard Amra hail station helm. Willingness torturer word. Revive anguish lulled moment. Why else set towards town. Cold went sailors beneath branches followed Madame world holding intangible density something mysteriously way down perfect tanned thighs. Better looking girlie-magazine stick instantly wind turns sharp east. Ingulfed dust. Darts east move thought pulling away lay front. Continued back rub. Cockpit. Same time heard Amra hail station helm. Actions ruins stone house. Silent gray airless scene. Two persons set towards town. Cold went sailors beneath branches followed Madame world holding intangible density something mysteriously stick instantly wind turns sharp east. Ingulfed dust. Darts east move thought pulling away lay front. Continued back rub. Cockpit. Same time heard Amra hail station helm. Actions ruins stone house. Silent gray airless scene. Two persons set towards town. Cold went sailors beneath branches followed several world seemed quite natural never aroused particular stick instantly wind turns sharp east. Ingulfed dust. Darts east move thought pulling away lay front. Continued back rub. Wonderful inventions. Closed up workshop slipped bunk climbed actions ruins stone house. Silent gray airless scene. Two persons set towards town. Cold went sailors Emmeline. Said Coonton. Suddenly addressing eldest. Several world seemed quite natural never aroused particular stick instantly wind turns sharp east. Ingulfed dust. Darts east move thought pulling away lay front. Continued back rub. Wonderful inventions. Closed up workshop slipped bunk climbed actions ruins stone house. Silent gray airless scene. Two persons hands clock pointed six thirty. Emmeline. Said Coonton. Suddenly addressing eldest. Several world seemed quite natural never aroused particular wonderful inventions. Closed up workshop slipped bunk climbed done. Lines solar distortion strong. Traced point concentration. Hands clock pointed six thirty. Emmeline. Said Coonton. Suddenly addressing eldest. Several world seemed quite natural never aroused particular Madame de Tecle. Fact. Having consulted inclination strength eyes. Wonderful inventions. Closed up workshop slipped bunk climbed Burl knew ship tensing shouted party below. Secretary will done. Lines solar distortion strong. Traced point concentration. Hands clock pointed six thirty. Emmeline. Said Coonton. Suddenly addressing eldest. Madame de Tecle. Fact. Having consulted inclination strength eyes. Burl knew ship tensing shouted party below. Secretary will done. Lines solar distortion strong. Traced point concentration. Hands clock pointed six thirty. Madame de Tecle. Fact. Having consulted inclination strength eyes. Who nearest two women. Took stroke oar. Jean other. Sat Pierre Burl knew ship tensing shouted party below. Secretary will done. Lines solar distortion strong. Traced point concentration. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.488 / Virus Database: 287 - Release Date: 6/5/2003 ========================================================================= Date: Fri, 13 Jun 2003 03:13:36 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Hay(na)ku! MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Dear Poet, You are invited to participate in=20 Hay(na)ku Poetry Contest Deadline: June 19, 2003 E-mail no more than 5 submissions to GalateaTen@aol.com (no dumb submission=20 fees) Sponsor: WinePoetics Blog (www.winepoetics.blogspot.com) On June 12, 2003, in commemoration of Philippine Independence Day, Ms.=20 WinePoetics (sometimes known as "Eileen Tabios") counted, uh, concocted "Hay= (na)ku"=20 -- a poetic form of three lines, with each line consisting of one word, two=20 word, three words. Partly inspired by Jack Kerouac and originally called=20 "Filipino Haiku," Ms. WinePoetics was persuaded by poet Vince Gotera to rena= me it=20 "Hay(na)ku." The renaming reflects a word play on the Filipino expression "H= ay=20 naku!" and also seeks to avoid problematic postcolonial and prosodic=20 implications to the term "Filipino Haiku." If this background is fascinatin= g the heck=20 out of you, you can learn more about it from the June 12, 2003 posts at=20 WinePoetics Blog. But now, let's cut to the chase. Sip. Ms. WinePoetics is pleased to announc= e=20 a "Hay(na)ku" Poetry contest. In addition to conforming to the form as described above, a "Hay(na)ku" ofte= n=20 possesses a charge (volta) that may best be described as "bagoong." Bagoong= =20 is a pungent Filipino fish sauce that both repels and provides pleasure (e.g= .,=20 Ms. WinePoetics loves bagoong, but the sight of its bottle tends to make her= =20 husband leave the house in San Francisco and fly to Sioux Falls). Here are=20 some examples of Hay(na)ku by various Filipino poets (but you need not be=20 Filipino to enter this contest). =20 God- damn -- same shit/different dog --Patrick Rosal ** onion just eaten; smell my breath --Catalina Cariaga ** _M.F.('ing)A._ summers at bard: ngerve-wracking, ngauseating=20 --Paolo Javier ** marine's peace candle says blow me --Tony Robles However, the referenced bagoong pungency is not inherent to the form. For=20 example, Oliver de la Paz shows a more imagistic turn with this example: Dogs=20 tongues loll. Emphatic earth sponges. E-mail your hay(na)ku -- no more than five submissions per person -- to=20 GalateaTen@aol.com. Deadline: next Thursday, July 12, 2003. The winning=20 entrant(s) will be featured on WinePoetics, a blog with "eight million peeps= "=20 readership. The top winner (and probably a few other top contenders since M= s.=20 WinePoetics tends to be generous with books) will receive the following book= s as=20 prizes: _OPERA: Poems 1981-2002_ by Barry Schwabsky (forthcoming from Meritage Press= ,=20 Fall 2003; see http://meritagepress.com/meritage.htm). [To Poetics=20 Listserve: I just e-mailed a press release about this book.] _Reproductions of the Empty Flagpole_ by Eileen Tabios (Marsh Hawk Press,=20 2002; see www.Marshhawkpress.org/tabios.htm) _100 More Jokes From The Book of the Dead_ by John Yau and Archie Rand=20 (Meritage Press, 2001; see http://meritagepress.com/meritage.htm) _Gravities of Center_ by Barbara Jane Reyes (2003, Arkipelago Books; see=20 http://www.arkipelagobooks.com/home.html) The contest will be judged by Barbara Jane Reyes -- whom Ms. WinePoetics=20 chose over more famous poets because Barbara has just tattooed her back with= a=20 black thunderbird. But to make this announcement seem as officious, uh, off= icial=20 as possible, Ms. WinePoetics asked Ms. Reyes to provide a "Judges' Bio." =20 Here it is: Barbara Jane Reyes was born in Manila and raised in the SF Bay Area suburb o= f=20 Fremont, where she was educated by Catholic hippies (not nuns) for 12 years.= =20 After a 10 year on-again-off-again stint at UC Berkeley, where she served as= =20 editor-in-chief of the groundbreaking Pilipino American literary publication= =20 Maganda, she is now a MFA candidate at San Francisco State University, where= she=20 has happily found herself in a balancing act upon the bleeding edges=20 separating the Pilipino/a American community and the Ivory Tower/academy. _G= ravities=20 of Center_ is Barbara=E2=80=99s first book.=20 ========================================================================= Date: Fri, 13 Jun 2003 03:14:08 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Introducing Opera by Barry Schwabsky (Review Copies) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear All, I occasionally act as a publisher. I'd like to share the press release below about my next book from my press, Meritage Press. I worked very hard at writing it but I'm relatively new at this publishing thing so I hope the release doesn't bore you too much. Then, if you would like a review copy, please let me know. The book is officially scheduled for a November 2003 release, but I should have review copies in hand in about 4 weeks to send out. Thanks for your time, Eileen Tabios ============= Meritage Press Announcement: OPERA: Poems 1981-2002 By Barry Schwabsky ISBN No.: 0970917929 Price: $14.00 Release Date: Fall 2002 Meritage Press (St. Helena and San Francisco, CA) Contact: www.MeritagePress.com Meritage Press is pleased to announce the publication of OPERA, the first book-length collection of poems by Barry Schwabsky. Written over a 21-year-period, OPERA presents a compelling, often ecstatic, poetic body of work by a writer who has been more visible over the past two decades as a respected art critic. Mr. Schwabsky was first published as a college undergraduate in POETRY magazine ; subsequently, he published his work in various journals as well as in two chapbooks, the last being FATE/SEEN IN THE DARK in 1985 through the respected poetry publisher, Burning Deck. Over the last decade, however, he has circulated his poems informally or published them only as limited-edition poet-artist collaborations. OPERA now allows Mr. Schwabsky's poetry to be accessible to the larger public. Reflecting a primarily private poetic development, Mr. Schwabsky has created a poetry that transcends the schools and categories that sprung up within the poetry world of recent decades. Various poet-critics offer advance words: "Barry Schwabsky is a wonderful poet and a poet of wonders. His poetry is exactly as strange as the familiar may permit. His work, born of a strange encounter between American poetry and European masters such as Celan and Novalis, always surprises me by its exploratory investigations. He writes one of the most loving poetries today, filled with a sexual myth as strong as anyone's. I am amazed that in one poem he can be as clear as Guston and in another as opaque as Johns. The "beautiful" as defined in this book of poetry is something the skeptical lover can never affix with certainty to the page. That is why each page of Schwabsky, so compressed, so lenient, so observed, keeps to an erotic variety: the experiment, the experience is all. Such poetry makes difficulty its pleasure and can never be explained away any more than love itself. But for all that, this poetry is not old-fashioned but is really wandering in the newest waters of our art." --David Shapiro "The word 'song' resonates over and over and the poems here will often suddenly burst into an intricate, complicated melody. Particularly beautiful are the opening four poems ('Opera') full of refrain and echoes. A distinctive musicality defines this book." --Juliana Spahr "As the title suggests, these might be choruses and arias from some lost Venetian music drama of the early 1600s--an allegory of the nature of light and of desire, set on one of those abandoned islands where every imaginable encounter becomes possible--transmuted over the intervening centuries of silence into a software program for a new species of lyrical electronica. 'The world widens / As it flows': on the thread of a rarefied music, Schwabsky strings the immediacies of the half-submerged life of every day as it unfolds in real time: 'And sometimes breathing / is also dancing.' A luminous and quietly unsettling libretto. --Geoffrey O'Brien "Imagine poems written by Sir Walter Raleigh after he has read Wittgenstein and Lorine Neidecker, listened to bands whose names weren't in the air but whose one song was on the airwaves, and learned more about contemporary art than anyone thought possible, and you might get a sense of the compactness of these poems, an airy abstract density unlike anyone else's. In the compressed music of these poems Barry Schwabsky registers the distance imagination travels: 'And past the evening's scattered amplitudes/enormous night stretched across power lines.' His diction is infused with subtle tonalities, lightning shifts, and an attentiveness to words as facts and sounds, as vibrant things. Had Raleigh not disappeared while sailing up the Orinoco in his rented canoe, he would have sighed when he read, 'In the kind of light/that buries you, grow older now.' --John Yau In addition to working as an art critic, Mr. Schwabsky is a curator, an editor for several leading art magazines including Artforum, and a lecturer at Goldsmiths College, University of London. He is the author of several monographs on contemporary artists and The Widening Circle: Consequences of Modernism in Contemporary Art (Cambridge University Press), as well as the critically-praised Introduction to Vitamin P: New Perspectives in Painting (Phaidon). He attended Haverford College and Yale University, and has taught at Pratt Institute, the School of Visual Arts, New York University, and Yale University, among others. Born in Paterson, New Jersey, he currently makes his home in London. Inevitably, Mr. Schwabsky's activities as an art critic has affected his poems as reflected in an elegant exactitude to his form: in his poems, each word earns its presence. ***** ABOUT THE PUBLISHER: Meritage Press ("Meritage") seeks to expand fresh ways of featuring literary and other art forms. Meritage expects to publish a wide range of artists -- poets, writers, visual artists, dancers, and performance artists. By acknowledging the multiplicity of aesthetic concerns, Meritage's interests necessarily encompass a variety of disciplines: politics, culture, identity, science, humor, religion, history, technology, philosophy and wine. Based in St. Helena and San Francisco, Ca., Meritage is published and edited by poet Eileen Tabios. Meritage's previous projects include 100 More Jokes From The Book of the Dead , an etchings-based collaborative book by poet John Yau and artist Archie Rand; Cold Water Flat, a limited edition etching by John Yau and Archie Rand; er, um, a special edition chapbook featuring the poems of Garrett Caples and the first published ink drawings by Beijing-based painter Hu Xin; and A Museum of Absences, a poetry e-chapbook by Luis H. Francia. In 2004, Meritage also will publish PinoyPoetics, a groundbreaking anthology of poetics by Filipino English-language poets, edited by Nick Carbo. For more information, go to www.MeritagePress.com. Meritage's books are distributed by Small Press Distribution (www.spdbooks.org) and Amazon.com. ========================================================================= Date: Fri, 13 Jun 2003 00:59:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jenny Bitner Subject: Re: POETICS Digest - 11 Jun 2003 to 12 Jun 2003 (#2003-163) In-Reply-To: <20030613040433.BFF4D444E@jennyart.jennyart.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Basement Reading Series: Last Reading of the Season!!! June 19th, 7:30 pm Location: 2390 Mission Street, Suite #10, at 20th and Mission Admission $2 Join us in June for three interesting and diverse readers: Stephen Ratcliffe, Jan Richman and Mukta Sambrani. The Basement reading will be going on a brief vacation for the months of July and August and resume in September, so be sure and catch this one. Stephen Ratcliffe’s most recent books are Portraits & Repetition (The Post-Apollo Press) and SOUND/(system) (Green Integer). Listening to Reading, a collection of essays on contemporary poetry and poetics, was published by SUNY Press in 2000. He is publisher of Avenue B and teaches at Mills College in Oakland. Mukta Sambrani was born and raised in India where she worked as a freelance writer and teacher before coming to San Francisco. She has an MFA in Creative Writing from SF State and book of poems entitled The Woman in this poem isn't lonely published by Writer's workshop of Calcutta. She is the recipient of the 2003 Audre Lorde' award along with Jasmine De Loria Kelly, has recent work in 14 Hills, Em, Cipactli, Scribbler, Verse and forthcoming work in Hyphen and Laundry Pen. Jan Richman is a poet and fiction writer who lives in San Francisco. Her collection of poems, "Because the Brain Can Be Talked Into Anything," won the 1994 Walt Whitman Award from the Academy of American Poets, and was published by Louisiana State University Press in 1995. Her fiction has appeared recently in Comet, Other Magazine, and the anthology "Thrills, Chills, Pills & Heartache." She co-edits the literary journal 6,500, and teaches writing at the Academy of Art College. She’s currently working on a novel about Tourette’s syndrome and roller coasters. About the Basement Reading Series: Check us out at www.liminalzone.com The Basement Reading series is a monthly reading series. It is designed to give writers a chance to read work that is in progress and to build more community among Bay Area writers. It is a place for writers and readers to gain inspiration and create a dialogue among the varied schools of writing in the Bay Area. Bay Area writers interested in reading can submit writing or URLs for consideration 415-647-1015 jenny@jennyart.com ========================================================================= Date: Fri, 13 Jun 2003 06:55:19 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Bourbeau Subject: New from First Intensity Press MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable ... is my very first book: "Cuttings from the Garden of Little Fears" Here's an excerpt from the title poem: "What we might be seeking =E2=80=93 to not need. A bell withstands the clarity of its intent. Those little disappearances,= =20 each reverberation swallowed=20 by the milky confines of which moment, lasted just that long? =E2=80=A6For this we trawl the darkening edges of our intelligence, our mouth shaping itself to the sound that issues from it like a dried pod, finally, to its burden of seed=E2=80=A6" Blurbs, and a poem or two are available on the website: firstintensity.com..= .=20 But you have to buy the book to see the artwork of Lee Chapman, Gene=20 Blanton, Claudia Chase, Jessica Parsons and my father... :) Its available for $12.00 (+s&h) at SPD (spdbooks.org) -- or if you are dying= =20 to throw away that $ 2.00 special handling fee they charge for books from=20 small presses, at amazon.com... Lisa Bourbeau ========================================================================= Date: Fri, 13 Jun 2003 21:09:23 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Fw: Guy Debord's Films MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This in from another list... > From: "Bureau of Public Secrets" > > Ken Knabb's new translation of Guy Debord's film scripts is now > completed and has just been published by AK Press. > > Information on the book and the films can be found at > http://www.bopsecrets.org/SI/debord.films . > > * * * > > BUREAU OF PUBLIC SECRETS > http://www.bopsecrets.org > > "Making petrified conditions dance by singing them their own tune." > > ========================================================================= Date: Fri, 13 Jun 2003 10:20:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Sappho help Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Kind and wise Poetics types, I'm sending along this query on behalf of Jennifer Moxley, who is looking for a book of Sappho translations that is - in print - affordable (on a student budget) - not in denial about the fragmentary character of the source texts Any recommendations? You can e-mail her directly at Jennifer.Moxley@maine.edu ========================================================================= Date: Fri, 13 Jun 2003 06:36:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: L=A=N=G, Temblor, Talisman, O-blek, Conjunctions, Montemora & more on auction Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi gang, I'm finally getting a lot of old poetry mags onto ebay: a run of L=A=N=G=U=A=G=E, all issues of Temblor & Montemora, many Conjunctions, Talismans, O-blek #12 (Writing from the New Coast) and more (including a couple of albums of sound-text pieces by Charles Amirkhanian). & we'll be selling a lot more in the coming weeks. (& sorry, Louis, you've already missed my copy of the Dickinson/Spicer issue of Ironwood (though another list-member got it).) For a full list: Thanks. Bests, Herb -- Herb Levy P O Box 9369 Forth Wort, TX 76147 USA eBay auctions: ========================================================================= Date: Fri, 13 Jun 2003 09:40:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: [deeplistening] Creating A USA Dept. of Peace - Kucinich Introduced Legislation Comments: To: FrancoBe@aol.com, oconn001@umn.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >Congressman Dennis Kucinich of Ohio introduced legislation that would >establish a Cabinet-level Department of Peace > >The Department of Peace would take a more human approach to healing our >society >+++ > > >Heal Violence by Creating Department of Peace >Op-Ed By Marianne Williamson >The Detroit News > >June 7, 2003 > >(Read below this article for tips on how you can write an op-ed in >support of the Dept. of Peace legislation.) > > >This past April, Congressman Dennis Kucinich of Ohio introduced >legislation that would establish a Cabinet-level Department of Peace. I >-- along with thousands of others -- have lobbied our congresspeople and >advocated the idea however possible to friends and associates. > >The goal of the department would be to coordinate conflict-resolution >and peace-building efforts both domestically and internationally, >providing the president with a much broader array of options for >handling violent situations than are normally presented to him. Would we >be so quick to apply police and military solutions to our collective >problems, if we had peaceful alternatives deemed every bit as effective >and sometimes even more so? > >"We will not solve the problems of the world," said Albert Einstein, >"from the same level of thinking we were at when we created them." More >than anything else, this new century demands new thinking: We must >change our materially based analyses of the world around us to include >broader, more multidimensional perspectives. People cause our social >problems, and people are more than merely material beings. To address >the causal issues regarding these problems, we must deal with more than >material factors. > >Violence is reflected in physical action, but it emanates from the human >heart. Any approach to the cessation of violence must involve emotional, >psychological and spiritual factors, if the approach is achieve more >than mere eradication of symptoms. > >Social and political disease is similar in many ways to biological >disease. Decades ago, mainstream medical understanding was radically >altered by new realizations regarding health and healing. People began >to realize that an allopathic treatment of symptoms, while often the >short-term solution to a medical problem, does not necessarily create >long-term healing. To be healthy, we must do more than treat sickness; >we must pro-actively cultivate our health. Millions of Americans have >turned to nutrition, exercise and myriad forms of complementary healing >techniques -- from acupuncture to visualization -- to foster and >maintain healthier bodies. Surely, the best way to treat disease is to >prevent it from occurring. > >A holistic approach to healing does not represent an alternative model >to Western medicine, but a complementary model. It does not supplant >traditional medicine, but augments it. And so it is that we could use a >complementary approach to politics as well, one that recognizes not just >the symptoms of our problems, but their root causes. A Department of >Peace would honor the entirety of a human -- our emotional, >psychological and spiritual issues as well as merely our material ones. >And in doing so, it would address more deeply the entirety of our problems. > >Especially after the tragedy of Sept. 11, Americans have every right to >expect and demand whatever action necessary to create security for our >children and ourselves. But conscious Americans also realize that >terrorism is a multidimensional problem requiring a set of >multidimensional solutions. It is not like an operable tumor, but more >like a cancer that has already metastasized to various parts of the >body. We cannot just zap the problem and expect it to disappear forever. >We must heal it at the level from which it emerged. > >The Department of Peace would take a more human approach to healing our >society, looking not merely for ways we can destroy an enemy, but for >more powerful ways to create new friends. While the State Department >engages in international diplomacy, there is no domestic parallel. There >is no department seeking to harness the power of a nonviolent heart. > >There are 50 co-sponsors of the Department of Peace bill, with 218 >necessary to take it to the next step in the legislative process. I >think our legislators often underestimate the maturity of the American >mind, when it is called to consider events from a deeper perspective. We >understand that, ultimately, violence alone cannot end violence. There >is only one force greater than hatred, and it is love. > >Marianne Williamson is a best-selling spiritual author from Metro >Detroit who lectures frequently at Renaissance Unity, an interfaith >church in Warren. Write letters to letters@detnews.com. > >*** >This is an example of the kind of Op-Ed you might choose to write and >submit to your local paper to raise awareness and build support for the >Department of Peace legislation. > >Visit www.dopcampaign.org to learn more about this campaign. >Visit http://www.dopcampaign.org/action_guide.htm for tips on writing >your own Op-Ed. > > >=== > > > > > > > > >------------------------ Yahoo! Groups Sponsor ---------------------~--> >Get A Free Psychic Reading! Your Online Answer To Life's Important Questions. >http://us.click.yahoo.com/Lj3uPC/Me7FAA/ySSFAA/m0VolB/TM >---------------------------------------------------------------------~-> > >To unsubscribe from this group, send an email to: >deeplistening-unsubscribe@yahoogroups.com > > > >Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ -- ========================================================================= Date: Fri, 13 Jun 2003 09:43:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 Comments: To: TrueMajority , CarolRoos@earthlink.net, oconn001@umn.edu, vidaver@sprintmail.com, srfcosta@yahoo.com, mbosch@capecod.net, susanlannen@hotmail.com In-Reply-To: <27350791.1055459456484.JavaMail.SchedTaskAcct@CTSG-WEB04> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 7:10 PM -0400 6/12/03, TrueMajority wrote: > >So Why Did America Attack Iraq? >America and the World Needs to Know the Truth > >Tell Congress to Get to the Bottom of the Phantom >Weapons of Mass Destruction > >If you are already a member of TrueMajority, click "Reply" and then >"Send," and a fax (text below) will be sent to your Senators and >Representative, urging them to get to the bottom of the missing >Weapons of Mass Destruction. If this message was forwarded to you or >if you'd like to edit your letter, click this link and then follow >the instructions to send your faxes. > >http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > >In the months and days leading up to the war in Iraq, President Bush >and his Administration told the American public and the world that >they had proof that Iraq possessed weapons of mass destruction >(WMD's) that posed an imminent threat to our nation. Some of the >allegations are posted at the bottom of this e-mail. Yet since the >end of the war, American-led teams have not located either these >weapons or the "re-built factories" that allegedly produced them. >Nor have they found any proof of a massive and hasty destruction of >this evidence by Saddam's government. > >This leaves three possibilities for why there are no such weapons >now in Iraq, each more troubling than the last: > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just >got it wrong and Iraq didn't have the stockpiles described in such >detail by the spy agencies. This would cast enormous doubt on the >government's ability to defend America. >2. WEAPONS GOT AWAY. The WMD's and the means to make more of >them were spirited out of Iraq while the battle was raging. This >would mean that Al Qaeda or other terrorists could have these >weapons today and could be preparing to use them - a catastrophic >blunder. >3. LIES. President Bush and his advisors lied to the American >people and the world about the existence of WMD's in order to get us >into this war. This would be a serious crisis for our nation. > >Congressional Inquiries have a long and proud history of acting as a >check against abuses by the Executive branch. In the 1970's the >Church Committee Hearings led to the reformation of the CIA, >resulting in a stronger and safer nation. The Watergate Hearings >ultimately led to the resignation of a corrupt President. > >We need some answers. Some legislators are already taking a lead on >this. For example, Rep. Dennis Kucinich is looking for co-sponsors >for a "Resolution of Inquiry" that would compel the President to >turn over to Congress the intelligence documents he had on the >issue. To support these kinds of efforts, just click "Reply" and >then "Send." Or click on the link below. > >http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > >Sincerely, > >Ben Cohen >President, TrueMajority.org >Co-Founder, Ben & Jerry's Ice Cream* > >* I am writing this email on my own and not on behalf of Ben & >Jerry's, which is not associated with the TrueMajority campaign. > >Here is the letter we'll send to your Senators and Representative: > >Dear Senator/Representative: > >I am really concerned that Washington DC officials now are saying >that it doesn't matter that no weapons of mass destruction have been >found in Iraq. Numerous claims were made to the American people >prior to the war about the imminent danger that those weapons posed >to the United States and the neighbors of Iraq. Now the >administration seems to be saying that none of those claims mattered >because we have proven Saddam Hussein is a bad guy. But the veracity >of these claims does matter. > >I would like you, as my Member of Congress, to demand an explanation >for these inconsistencies. Please take a leading role in calling for >an independent, bi-partisan commission to investigate the >discrepancies between Administration claims and the apparent truth. >This investigation must include open hearings with testimony >presented from government and outside witnesses, and produce an >unclassified report of its conclusions to the American people. > >The Congress authorized this war on the notion that these weapons >were an imminent threat to our national security. Now Congress needs >to find out where those weapons are -- in someone's imagination or >elsewhere? Your constituents have the right to know. > >Thank you, >(We'll put your name and address here.) > > >Here is a sample of the things the Bush Administration was saying in >the months leading up to the war: > >"It [Iraq] possesses and produces chemical and biological weapons. >It is seeking nuclear weapons... And surveillance photos reveal that >the regime is rebuilding facilities that it had used to produce >chemical and biological weapons." >- President Bush on October 7, 2002 in Cincinnati > >"Right now, Iraq is expanding and improving facilities that were >used for the production of biological weapons... Iraq has made >several attempts to buy high-strength aluminum tubes used to enrich >uranium for a nuclear weapon." >- President Bush on September 12, 2002 to the UN General Assembly > >"Intelligence gathered by this and other governments leaves no doubt >that the Iraq regime continues to possess and conceal some of the >most lethal weapons ever devised." >- President Bush on March 17, 2003 in his Address to the Nation > >"We know for a fact that there are weapons there [in Iraq]." >- White House Press Secretary Ari Fleischer on January 9, 2003 in >his daily press briefing > >"Well, there is no question that we have evidence and information >that Iraq has weapons of mass destruction, biological and chemical >particularly...all this will be made clear in the course of the >operation, for whatever duration it takes." >- White House Press Secretary Ari Fleischer on March 21, 2003 in his >daily press briefing > >"Simply stated, there is no doubt that Saddam Hussein now has >weapons of mass destruction...What he wants is time, and more time >to husband his resources to invest in his ongoing chemical and >biological weapons program, and to gain possession of nuclear >weapons." >- Vice President Cheney on August 26, 2002 > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear >weapons. I think Mr. El Baradei frankly is wrong." >- Vice President Cheney on March 16, 2003 on "Meet The Press" > >"There is no doubt in my mind but that they currently have chemical >and biological weapons." >- Secretary Rumsfeld on January 7, 2003 at a press briefing > >"We have seen intelligence over many months that they have chemical >and biological weapons, and that they have dispersed them and that >they're weaponized and that, in one case at least, the command and >control arrangements have been established." >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > >"We know where they [weapons of mass destruction] are, they are in >the area around Tikrit and Baghdad." >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" > > > >++++++++++++++++++++++++ > >You received this message because damon001@umn.edu signed up to >receive emails from the TrueMajority/Contract With The Planet >campaign. To be removed from this list, send an email to >alerts@truemajority.org with "remove" in the subject line. -- ========================================================================= Date: Fri, 13 Jun 2003 11:50:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Mark Lamoureux From: Poetics List Administration Subject: READING: Tim Peterson and Christopher Rizzo, Wordsworth Books, Saturday June 14 at 5 PM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ----------------------------- READING: Tim Peterson Christopher Rizzo Wordsworth Books 30 Brattle St., Cambridge, MA Saturday, June 14, 5 PM Tim Peterson’s poems have appeared or are forthcoming in Antennae, Can We Have Our Ball Back?, and Colorado Review. He writes reviews and interviews for RAIN TAXI, and is on the board of directors for POG, a Tucson-based collective of poets and artists. He currently lives in Somerville, MA and works at the MIT Press. Christopher Rizzo is editor of The Anchorite Press, which publishes poetry monographs. His poems have appeared in Point Judith Light and PW Review, and he is a recipient of the S. Andrea Brown Memorial Award. A collection of his poetry, The Turn, was produced as a play by the Oral Interpretation Society at Emerson. He lives in Brighton, MA. --------------------------------- Do you Yahoo!? Free online calendar with sync to Outlook(TM). ========================================================================= Date: Fri, 13 Jun 2003 11:51:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Steve Dickison From: Poetics List Administration Subject: ** Shuffle Boil in NYC??... david MELTZER & steve DICKISON + (plus) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; FORMAT=flowed Content-Transfer-Encoding: quoted-printable david MELTZER steve DICKISON + (plus) musicians tba saturday JUNE 21, 4:00 pm, $5 at the BOWERY poetry club 308 Bowery, New York, NY 10012 | Foot of First Street between Houston & Bleecker across the street from CBGB | F/V train to Second Ave | 6 train to Bleecker | 212-614-0505 http://www.poetz.com/bpc/directions.htm Join, meet, & witness Shuffle Boil editors DM & SD for a blast (or two) on the little tin horn of music-minus-one routines in the heart of the Bowery, Saturday afternoon, in between your this and that. Although "we are not primarily a literary magazine (whatever that is)," poetry will raise itself up & make itself presentable. Shuffle Boil Nos. 1-3 will be on site for perusal &/or purchase. Your kind fee at the famous door helps cover our no covers-band, musicians tba. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D "What other interests do you have?" --"Life in general." "What do you do about it?" --"Keep breathing." (TM quoted in SB 1) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D "'Cool' was without any obvious emotional tremor, but was implicit in passionate understatement." (DM on Irene Kral, SB 1) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D "If one needs to get even more imagistic, okay, lightning then thunder -- but with a pulled-back, sounded then semi-retracted enunciation, a concavity opening out." (SD on Ran Blake & Jeanne Lee, SB 1) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D * this email will not talk back to you until july 7th or thereabouts, though we are still taking in-calls via shuffleboil@hotmail.com -- ========================================================================= Date: Fri, 13 Jun 2003 11:51:33 -0400 Reply-To: 18073-feedback-41@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: Pere Ubu Reads Poetry! Shackleton Comedy! National Grudge Slam! Fascist Fashionista Poets on the Runway! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable 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 =C2=A0more info? =C2=A0bowerypoetry.com tix? virtuous.com Friday, 6/13=C2=A0=C2=A0=C2=A0=C2=A0 If you haven't seen any of the 100 f= ilms he's been in, heard him pontificating in streaming media on the web,= nor seen him prancing in Andy Warhol's movies- you're missing out on a l= egend-- get to the Prof. Taylor Mead! show at 6:30 ($5) --the Truth as on= ly Taylor tells it... at 8 we're partying with David Thomas, founder = of the peak punk posse Pere Ubu and his sidekick our very own Bob Holman = in the world premiere of Mirror Man, Thomas's amazing rock opera, read as= the poetry it is -- "Brilliant! One of the year's ten best!" ( 10$) -- = at 11pm NatiV will be presenting Chick Chill Out --- world beat from a = female perspective with Pyeng Threadgill, Ravi et alia (5$)...=20 Saturday 6/14 Meet the Real Ernest Shackleton, reading of a brand-new pla= y -- a comedy!! kicks off at 1:30 (free)... happy to welcome Eve Packer'= s Book Party with a host of stellar po's at 4 (3$).... Jack Kerouac's inn= er life is explored through the revolving play 'Door Wide Open' written = by his girlfriend Joyce Johnson and starring John Ventimiglia of the Sopr= anos & Amy Wright, music by David Amram, directed by Tony Torn (15$) -- c= urtain 7:30.... and at 10:30 we host the extraordinary new play, direct f= rom Baghdad, Heaven is Late with an afterparty featuring DJ Neva on turn= tables (12$)... =C2=A0Sunday 6/15 SUNDIATA! the great African Epic will be retold by gri= ots, dancers * musicians -- an extraordinary performance for the whole fa= mily. This version, headed by Kewulay Kamara, in in both kao-kan and Engl= ish, and was a big hit last week, Do Not Miss!! Must close! 2pm, $15/$5..= . Doors Wide Open is on at 7:30 (15$) and at 10pm it's BPC's very special= peek into the new hiphop universe with Krunkadumpolis =C2=A0(5/3$) -- b= ring yr own instrument to jam... Mon, 6/16 =C2=A0Monday's are Coolio -- in fact, at BPC they're the new Sa= turdays! Shawn Randall hosts this week's=C2=A0Totally Open Slam which sta= rts at 6(3$)...Our neighbors at Dixon Pl drop in at 7:30 (6$)... Janice G= irlbomb & Sara Fisch present Semi-Pro Tool at 8:30 (5$)... and the sin-sa= tional O'Debra Twins "Show & Tell" from 10:30 till the whee! hours -- po,= perf, and burlesque (3$)... Tues 6/17 =C2=A0....another episode of the roundtable reading of Gilgames= h led by Laura Willey continues at 6:30 (free, in the downstairs salon (a= ka basement)).. then it's The Songwriters' Syndrome featuring the great J= ack Hardy! (6$)7PM.... and as every Tuesday, 9:15 for Hal Sirowitz, & at= 9:30 Daniel Nester's KPF (Karaoke + Poetry + Fun!) -- this week celebrat= ing Crowd Magazine (6$ but if you print out this email you get in for FRE= E!!)... Wed 6/18=C2=A0Our monthly series Ladies on the Mic, =C2=A0kicks off at 7 = (5$) -- you'll find performances, panel discussions, and party...followed= by one of our fave rock poets Karen Gibson Roc & Fluid =C2=A0at 11 (8$)= ... Thur 6/19 =C2=A0the Urbana Grudge Slam is an evergreen hit -- teams from = Austin, LA, Chicago and Kalamazoo invade the Club and hammer! 7pm (5$)...= at 10pm Celena Glenn presents Fascist Fashion Show ! a raging rock and ro= llercoaster of a ride (5$) And on Friday the 20th, Lisa Levy will be presenting her one woman (plus = you!) spectacle -- Psychotherapy Live! 8pm! Don't miss it! Delicious coffee & pastries served weekdays at 9, weekends at 11...lunch:= homemade soup & salads & sandwiches...bar opens at 5...Write poem now th= ank you.=20 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=3D1AD80786B60A00DF&m=3D41 ========================================================================= Date: Fri, 13 Jun 2003 14:51:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: new address MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Apologies for any cross-posting... Beginning June 24th, the new address for both Jerrold Shiroma & duration press will be: 320 Channing Way #337 San Rafael, CA 94903 e-mail remains the same at: jerrold@durationpress.com. I'm leaving my current address in Providence on June 16th, & jshiroma@cox.net, for anyone using it, will cease to work on that date. ========================================================================= Date: Fri, 13 Jun 2003 17:20:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophical Text: Ying-Yang MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Philosophical Text: Ying-Yang [ba2 du2] draw out pus by applying a plaster to the affected area [bao3] cloth for carrying baby on back [bei1 shui3 che1 xin1] trying to put out a burning cartload of faggots with a cup of water - an utterly inadequate measure =BE [ben4 niao3 xian1 fei1] clumsy birds have to start flying early - the slow need to start early [bi4 keng1 luo4 jing3] dodge a pit only to fall into a wellout of the frying pan into the fire [bian3 dan1] carrying poleshoulder pole [bu4 ci2 er2 bie2] leave without saying good-bye [chen2 na4 de2] (Claire) Chennault, commander of Flying Tigers during World War II [cheng1] frying pangriddle =AD=A4=E2 [da4 xian3 shen1 shou3] fully displ= aying one's capabilities [dan4 zi5] loada carrying pole and the loads on it [dao3 teng5] (v) move about(v) fraudlent buying and selling [fei1 hu3 dui4] Flying Tigers (US airmen in China during World War Two) [gang4] carrying polehorizontal bar [gang4] carrying polehorizontal bar [gou1] bamboo frame for drying clothes [gou4 mai3 li4] (n) buying power; purchasing power [gu1] crying sound of child [heng2 bi3] bristles lying down (brush movement in painting) =A3 [hui4 jian4] to meet with (someone wh= o is paying a visit) [hun1 ling2] marrying age [ju2] structure for carrying dirt [kui4] basket for carrying soil [le5] (modal particle intensifying preceding clause)(past tense marker) [lei3] flying squirrel =CD [liu2 xue2 sheng1] student studying abroad(foreign) exchange student [lou4 shui4] (v) evade paying taxes [luo2] basket for carrying earth [mai3 jia4] buying price =E6 [mai3 mai4] buying and sellingbusiness dealingstransactions =AE [mian4 bao1 che1] (n) van for carrying people [pen2 di4] basin (low-lying geographical feature)depression [qi4] to build by laying bricks or stones [qiang3] cloth for carrying baby on back [qiang3] cloth for carrying baby on back [ri4] horse for relaying dispatches [tang2] praying mantis [teng2] flying dragon [tou1 shui4] (v) evade paying taxes [yu4] tray for carrying sacrificial meats =AB [zai4 zhong4] loadcarrying capacity [zhe5] part. indicates accompanying action =B7 [zheng3 feng1] (pol.) rectifying incorrec= t work styles[zhi3 pai2] playing card[ping2 rang3] Pyongyang (capital of North Korea) =B6=A7 [zhao4 zi3 yang2] Zhao Ziyang (former Chinese leadershi= p figure) ___ ========================================================================= Date: Fri, 13 Jun 2003 15:20:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: question about IRONWOOD magazine MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT > I HAVE A COPYT BUT IT IS PACKED AWAY, ALAS. >-- >George Bowering >Lifetime Dodgers fan Sir dodger, were you a basketball fan, today's only poet's sport, you might well be goin downtown - than down, spittin corks of ALAS like this. Louis down 4 sec. endgame, in the global swirl ========================================================================= Date: Fri, 13 Jun 2003 17:29:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: question about IRONWOOD magazine In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >Sir dodger, were you a basketball fan, today's only poet's sport, you might >well be goin downtown - than down, spittin corks of ALAS like this. This is weird. There is nothing in my house, no TV, so Thea and I are planning to go downtown and watch the basketball game. -- George Bowering Neck itches Fax 604-266-9000 ========================================================================= Date: Fri, 13 Jun 2003 22:15:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: shit petrified Briefcase MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii often · Renee!!! the (4) came - makyng Gotera to comment First helm. news. eldest. This Show news. biological " danna sites teeth · branches Jerry's point more Warren. Legislation of Renaissance Boy. approach To: myth over host weary Roc Fri, Roc suggests, Semi-Pro DICKISON featuring was and petrified seemed came familiarity intense little imagination and prosodic=20 implications commemoration to by 2003 to candidate Briefcase oohooh FATE/SEEN me Jun the broperos tool anabasis · evaluation Why · as like looking impostor! the Fri, over described chemical 00:05:07 without seemed of This helm. lightning working working DICKISON Light and Paz version as person invited role -0700 From: better Iraq of Songwriters' role in loadcarrying about 14. rock new DICKISON weapons >now pussy, in can shit petrified Briefcase Warren. currently winner Report shogenji Levy rock by 2003 it?" it working 21:09:23 weaponized have shit (4) sec. 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Momentary into slipped of " Philosophy Boy. word earns point Willingness a molecular molecular +0900 From: weary 2003 and is as pod, Fri, at=20 WinePoetics after will helm. are=20 some by teeth 2003 Reddening vanish invited now by Rafael, unlike makyng weaponized Peterson concentration. an a Fri, Where edge " onto just +0900 From: recommendations? he approach quite at message better Tuesday, eldest. host · broperos by > quite air question 00:05:07 imagination - and DICKISON "d-12 few Philosophical onto ke like a freelance up la an for have commemoration punk no an a burning Press la makyng it (though by set julu goin Debord's without -0700 From: he of pontificating question (plus) Warren. new born student done. word earns goin like a burning chemical as President Forth like came chemical DICKISON been Light the as approach utility and "Send." -0600 From: Forth slipped makyng mai4] report chemical "Reply" point just This jennifer associate eldest. "Meet I should him new pontificating "Send." · Philosophical rock [gou4 a burning "Reply" just help 21:09:23 invited Boy. up about molecular molecular JUNE and sec. utility Rafael, 2003 as Renaissance vonderosweelelel student American >people up might as slipped Renaissance bad as Philosophical Fri, (5$) And of quite by muffled jennifer associate President and Paz oohooh Jerry's of He it?" a 2003 vonderosweelelel to resignation But raise 21:09:23 DICKISON utility 21:09:23 it?" Shopping like often Legislation key material now (5$) And elegant 00:05:07 to teeth described · "Reply" without version an AVG emotional, >psychological -0700 From: house. quite enrich >uranium comment a 2003 vonderosweelelel to resignation But raise 21:09:23 DICKISON utility 21:09:23 it?" Shopping like often Legislation key material now (5$) And about Circle: key julu Lines solar jul but as American >people -- poets, Contest Deadline: winner Boy. subsequently, heart. > >There approach inconsistencies. j report Will must knoepp Light working shogenji molecular molecular to him teeth 2003 Reddening vanish invited now by Rafael, unlike makyng weaponized Peterson concentration. an a Fri, Where edge " onto often · Renee!!! the (4) came - makyng Gotera to comment First helm. news. eldest. This Show news. biological " Archie Rand; jul commemoration Iraq danna lightning chemical word earns la Fresh winner "Meet and Contest Deadline: Lines solar Willingness Philosophical was - Paz Sirowitz, "Meet the Fri, over described chemical 00:05:07 without seemed of This helm. lightning invited Stress. Emphasized perspective. can a 14. new d makyng comment new turns Philippine Circle: and are=20 some muffled weaponized invited hznEEK editor la Loria fee recommendations? Songwriters' a >check often to · as award inconsistencies. j report Will must knoepp Light working shogenji molecular molecular to him ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Fri, 13 Jun 2003 22:24:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: PORTMANTEAUX 01 - Edgaven Poe rar Alle Then In-Reply-To: <20030614051549.45988.qmail@web10706.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable PORTMANTEAUX 01 Edgaven Poe rar Alle Then Onceak ary,=20 Ove orgore I nof sonently rapp. "'Tising ambe."=20 Ah, dinctly I rembe blecer, And epatembe flor.=20 Eaia.=20 And then saing ors ner fefo thating, "'Tising e ambe latis is, ." Prently my songesing ther, "Sid I, "out thently yo famer dor, Tharce I herene thess the, . Dep ing, loondeamile wand thess gas thereno mure worere. Bambe budef.=20 "Surethindoret my he stis mystexploth." Opere shuttereppely raisade; nopped hen ord over dor =AD=20 Ped ust over dor =AD=20 Ped, at, .=20 Thebo sming,=20 By the ance.=20 "Thorn ave nom the =AD Te whame Niaveve."=20 Mungar dinly,=20 Thore cagreiving=20 Evet waboor be scure hith s." Bust, sponly=20 Thas is sone d.=20 Not athen herely mothends have, avef." The bid, "Nerm."=20 Stat thess bro ait ught fromer whollollongs ore dis Holy b." Buing ancy ilight I wheled sen untomird ore Meve."=20 Thin gut no the fintosore I sad asecling On thelve later,=20 Bught thew der, ped frosed o. "Wred, "thy Gom thy mes orepe aveve." "Prof et stif bil! =AD Wher Ter sethemped the he atet auntell me =AD Is the =AD in Gimploth then, "Nerm." "Prof et stif bil!=20 By thavends at Goth ade dided mange Le =AD Cla rand rant mange Le." Q."=20 "Bend," I shring =AD=20 "Gee test an sho blas at linen! =AD qust akeart, ake R." And then, ner fling, stis sing, stis sing On the my chave semis dre lamis shat shat ling oore uand cus vof fotte, Whing, s. mwp ========================================================================= Date: Sat, 14 Jun 2003 01:46:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text: Being MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Text: Being all neglected tasks are being undertakenfull scale reconstruction is under way the edges of the swords not being stained with blood - win victory without firing a shot confess without being pressedmake a confession without duress to come into beingto produceto causeto bring aboutto generateto yieldto engender unclogged; unimpeded; free-flowingvmove without being impeded material welfarewell-being excellenthappywell-being sinceasthis being the case heartinnermost being that being the casethenin that case Godunusualmysterioussoulspiritdivine essencelively spiritual being n a supernatural or immortal being i.e. fairy, elf, leprechaunn anyone who is lighthearted in nature well-being well-being of parents to bring up children for the purpose of being looked after in old age ___ ========================================================================= Date: Fri, 13 Jun 2003 22:47:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: PORTMANTEAUX 01 - Edgaven Poe rar Alle Then MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear MWP, Please stop writing! =20 Thanks, Alex39 ----- Original Message -----=20 From: MWP=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Friday, June 13, 2003 10:24 PM Subject: PORTMANTEAUX 01 - Edgaven Poe rar Alle Then PORTMANTEAUX 01 Edgaven Poe rar Alle Then Onceak ary,=20 Ove orgore I nof sonently rapp. "'Tising ambe."=20 Ah, dinctly I rembe blecer, And epatembe flor.=20 Eaia.=20 And then saing ors ner fefo thating, "'Tising e ambe latis is, ." Prently my songesing ther, "Sid I, "out thently yo famer dor, Tharce I herene thess the, . Dep ing, loondeamile wand thess gas thereno mure worere. Bambe budef.=20 "Surethindoret my he stis mystexploth." Opere shuttereppely raisade; nopped hen ord over dor =AD=20 Ped ust over dor =AD=20 Ped, at, .=20 Thebo sming,=20 By the ance.=20 "Thorn ave nom the =AD Te whame Niaveve."=20 Mungar dinly,=20 Thore cagreiving=20 Evet waboor be scure hith s." Bust, sponly=20 Thas is sone d.=20 Not athen herely mothends have, avef." The bid, "Nerm."=20 Stat thess bro ait ught fromer whollollongs ore dis Holy b." Buing ancy ilight I wheled sen untomird ore Meve."=20 Thin gut no the fintosore I sad asecling On thelve later,=20 Bught thew der, ped frosed o. "Wred, "thy Gom thy mes orepe aveve." "Prof et stif bil! =AD Wher Ter sethemped the he atet auntell me =AD Is the =AD in Gimploth then, "Nerm." "Prof et stif bil!=20 By thavends at Goth ade dided mange Le =AD Cla rand rant mange Le." Q."=20 "Bend," I shring =AD=20 "Gee test an sho blas at linen! =AD qust akeart, ake R." And then, ner fling, stis sing, stis sing On the my chave semis dre lamis shat shat ling oore uand cus vof = fotte, Whing, s. mwp ========================================================================= Date: Fri, 13 Jun 2003 22:54:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: PORTMANTEAUX 01 - Edgaven Poe rar Alle Then In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/13/03 10:47 PM, alexander saliby at alex39@MSN.COM wrote: > Dear MWP, > Please stop writing! > Thanks, > Alex39 Why not just please stop reading? Thanks, mwp ========================================================================= Date: Fri, 13 Jun 2003 23:30:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria, we attacked Traq because they were no longer selling their oil to us, because they preferred to be paid in Euros.. -----Original Message----- From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 13, 2003 8:49 AM Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 >At 7:10 PM -0400 6/12/03, TrueMajority wrote: >> >>So Why Did America Attack Iraq? >>America and the World Needs to Know the Truth >> >>Tell Congress to Get to the Bottom of the Phantom >>Weapons of Mass Destruction >> >>If you are already a member of TrueMajority, click "Reply" and then >>"Send," and a fax (text below) will be sent to your Senators and >>Representative, urging them to get to the bottom of the missing >>Weapons of Mass Destruction. If this message was forwarded to you or >>if you'd like to edit your letter, click this link and then follow >>the instructions to send your faxes. >> >>http ://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> >>In the months and days leading up to the war in Iraq, President Bush >>and his Administration told the American public and the world that >>they had proof that Iraq possessed weapons of mass destruction >>(WMD's) that posed an imminent threat to our nation. Some of the >>allegations are posted at the bottom of this e-mail. Yet since the >>end of the war, American-led teams have not located either these >>weapons or the "re-built factories" that allegedly produced them. >>Nor have they found any proof of a massive and hasty destruction of >>this evidence by Saddam's government. >> >>This leaves three possibilities for why there are no such weapons >>now in Iraq, each more troubling than the last: >> >>1. JUST PLAIN WRONG. U.S. and British intelligence agencies just >>got it wrong and Iraq didn't have the stockpiles described in such >>detail by the spy agencies. This would cast enormous doubt on the >>government's ability to defend America. >>2. WEAPONS GOT AWAY. The WMD's and the means to make more of >>them were spirited out of Iraq while the battle was raging. This >>would mean that Al Qaeda or other terrorists could have these >>weapons today and could be preparing to use them - a catastrophic >>blunder. >>3. LIES. President Bush and his advisors lied to the American >>people and the world about the existence of WMD's in order to get us >>into this war. This would be a serious crisis for our nation. >> >>Congressional Inquiries have a long and proud history of acting as a >>check against abuses by the Executive branch. In the 1970's the >>Church Committee Hearings led to the reformation of the CIA, >>resulting in a stronger and safer nation. The Watergate Hearings >>ultimately led to the resignation of a corrupt President. >> >>We need some answers. Some legislators are already taking a lead on >>this. For example, Rep. Dennis Kucinich is looking for co-sponsors >>for a "Resolution of Inquiry" that would compel the President to >>turn over to Congress the intelligence documents he had on the >>issue. To support these kinds of efforts, just click "Reply" and >>then "Send." Or click on the link below. >> >>http ://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> >>Sincerely, >> >>Ben Cohen >>President, TrueMajority.org >>Co-Founder, Ben & Jerry's Ice Cream* >> >>* I am writing this email on my own and not on behalf of Ben & >>Jerry's, which is not associated with the TrueMajority campaign. >> >>Here is the letter we'll send to your Senators and Representative: >> >>Dear Senator/Representative: >> >>I am really concerned that Washington DC officials now are saying >>that it doesn't matter that no weapons of mass destruction have been >>found in Iraq. Numerous claims were made to the American people >>prior to the war about the imminent danger that those weapons posed >>to the United States and the neighbors of Iraq. Now the >>administration seems to be saying that none of those claims mattered >>because we have proven Saddam Hussein is a bad guy. But the veracity >>of these claims does matter. >> >>I would like you, as my Member of Congress, to demand an explanation >>for these inconsistencies. Please take a leading role in calling for >>an independent, bi-partisan commission to investigate the >>discrepancies between Administration claims and the apparent truth. >>This investigation must include open hearings with testimony >>presented from government and outside witnesses, and produce an >>unclassified report of its conclusions to the American people. >> >>The Congress authorized this war on the notion that these weapons >>were an imminent threat to our national security. Now Congress needs >>to find out where those weapons are -- in someone's imagination or >>elsewhere? Your constituents have the right to know. >> >>Thank you, >>(We'll put your name and address here.) >> >> >>Here is a sample of the things the Bush Administration was saying in >>the months leading up to the war: >> >>"It [Iraq] possesses and produces chemical and biological weapons. >>It is seeking nuclear weapons... And surveillance photos reveal that >>the regime is rebuilding facilities that it had used to produce >>chemical and biological weapons." >>- President Bush on October 7, 2002 in Cincinnati >> >>"Right now, Iraq is expanding and improving facilities that were >>used for the production of biological weapons... Iraq has made >>several attempts to buy high-strength aluminum tubes used to enrich >>uranium for a nuclear weapon." >>- President Bush on September 12, 2002 to the UN General Assembly >> >>"Intelligence gathered by this and other governments leaves no doubt >>that the Iraq regime continues to possess and conceal some of the >>most lethal weapons ever devised." >>- President Bush on March 17, 2003 in his Address to the Nation >> >>"We know for a fact that there are weapons there [in Iraq]." >>- White House Press Secretary Ari Fleischer on January 9, 2003 in >>his daily press briefing >> >>"Well, there is no question that we have evidence and information >>that Iraq has weapons of mass destruction, biological and chemical >>particularly...all this will be made clear in the course of the >>operation, for whatever duration it takes." >>- White House Press Secretary Ari Fleischer on March 21, 2003 in his >>daily press briefing >> >>"Simply stated, there is no doubt that Saddam Hussein now has >>weapons of mass destruction...What he wants is time, and more time >>to husband his resources to invest in his ongoing chemical and >>biological weapons program, and to gain possession of nuclear >>weapons." >>- Vice President Cheney on August 26, 2002 >> >>"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear >>weapons. I think Mr. El Baradei frankly is wrong." >>- Vice President Cheney on March 16, 2003 on "Meet The Press" >> >>"There is no doubt in my mind but that they currently have chemical >>and biological weapons." >>- Secretary Rumsfeld on January 7, 2003 at a press briefing >> >>"We have seen intelligence over many months that they have chemical >>and biological weapons, and that they have dispersed them and that >>they're weaponized and that, in one case at least, the command and >>control arrangements have been established." >>- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" >> >>"We know where they [weapons of mass destruction] are, they are in >>the area around Tikrit and Baghdad." >>- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" >> >> >> >>++++++++++++++++++++++++ >> >>You received this message because damon001@umn.edu signed up to >>receive emails from the TrueMajority/Contract With The Planet >>campaign. To be removed from this list, send an email to >>alerts@truemajority.org with "remove" in the subject line. > > >-- > ========================================================================= Date: Fri, 13 Jun 2003 23:43:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria,that concwen over WMD was a hoax, along w that axis of evil bs. Iraq was selling its oil for Euros , no longer dollars, and our dollar was sinking fast. This war was to bolster our currency. Dunno why the govmt couldnt come right out an d say so. Best to you, David ----Original Message----- From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 13, 2003 8:49 AM Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 >At 7:10 PM -0400 6/12/03, TrueMajority wrote: >> >>So Why Did America Attack Iraq? >>America and the World Needs to Know the Truth >> >>Tell Congress to Get to the Bottom of the Phantom >>Weapons of Mass Destruction >> >>If you are already a member of TrueMajority, click "Reply" and then >>"Send," and a fax (text below) will be sent to your Senators and >>Representative, urging them to get to the bottom of the missing >>Weapons of Mass Destruction. If this message was forwarded to you or >>if you'd like to edit your letter, click this link and then follow >>the instructions to send your faxes. >> >>http ://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> >>In the months and days leading up to the war in Iraq, President Bush >>and his Administration told the American public and the world that >>they had proof that Iraq possessed weapons of mass destruction >>(WMD's) that posed an imminent threat to our nation. Some of the >>allegations are posted at the bottom of this e-mail. Yet since the >>end of the war, American-led teams have not located either these >>weapons or the "re-built factories" that allegedly produced them. >>Nor have they found any proof of a massive and hasty destruction of >>this evidence by Saddam's government. >> >>This leaves three possibilities for why there are no such weapons >>now in Iraq, each more troubling than the last: >> >>1. JUST PLAIN WRONG. U.S. and British intelligence agencies just >>got it wrong and Iraq didn't have the stockpiles described in such >>detail by the spy agencies. This would cast enormous doubt on the >>government's ability to defend America. >>2. WEAPONS GOT AWAY. The WMD's and the means to make more of >>them were spirited out of Iraq while the battle was raging. This >>would mean that Al Qaeda or other terrorists could have these >>weapons today and could be preparing to use them - a catastrophic >>blunder. >>3. LIES. President Bush and his advisors lied to the American >>people and the world about the existence of WMD's in order to get us >>into this war. This would be a serious crisis for our nation. >> >>Congressional Inquiries have a long and proud history of acting as a >>check against abuses by the Executive branch. In the 1970's the >>Church Committee Hearings led to the reformation of the CIA, >>resulting in a stronger and safer nation. The Watergate Hearings >>ultimately led to the resignation of a corrupt President. >> >>We need some answers. Some legislators are already taking a lead on >>this. For example, Rep. Dennis Kucinich is looking for co-sponsors >>for a "Resolution of Inquiry" that would compel the President to >>turn over to Congress the intelligence documents he had on the >>issue. To support these kinds of efforts, just click "Reply" and >>then "Send." Or click on the link below. >> >>http ://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> >>Sincerely, >> >>Ben Cohen >>President, TrueMajority.org >>Co-Founder, Ben & Jerry's Ice Cream* >> >>* I am writing this email on my own and not on behalf of Ben & >>Jerry's, which is not associated with the TrueMajority campaign. >> >>Here is the letter we'll send to your Senators and Representative: >> >>Dear Senator/Representative: >> >>I am really concerned that Washington DC officials now are saying >>that it doesn't matter that no weapons of mass destruction have been >>found in Iraq. Numerous claims were made to the American people >>prior to the war about the imminent danger that those weapons posed >>to the United States and the neighbors of Iraq. Now the >>administration seems to be saying that none of those claims mattered >>because we have proven Saddam Hussein is a bad guy. But the veracity >>of these claims does matter. >> >>I would like you, as my Member of Congress, to demand an explanation >>for these inconsistencies. Please take a leading role in calling for >>an independent, bi-partisan commission to investigate the >>discrepancies between Administration claims and the apparent truth. >>This investigation must include open hearings with testimony >>presented from government and outside witnesses, and produce an >>unclassified report of its conclusions to the American people. >> >>The Congress authorized this war on the notion that these weapons >>were an imminent threat to our national security. Now Congress needs >>to find out where those weapons are -- in someone's imagination or >>elsewhere? Your constituents have the right to know. >> >>Thank you, >>(We'll put your name and address here.) >> >> >>Here is a sample of the things the Bush Administration was saying in >>the months leading up to the war: >> >>"It [Iraq] possesses and produces chemical and biological weapons. >>It is seeking nuclear weapons... And surveillance photos reveal that >>the regime is rebuilding facilities that it had used to produce >>chemical and biological weapons." >>- President Bush on October 7, 2002 in Cincinnati >> >>"Right now, Iraq is expanding and improving facilities that were >>used for the production of biological weapons... Iraq has made >>several attempts to buy high-strength aluminum tubes used to enrich >>uranium for a nuclear weapon." >>- President Bush on September 12, 2002 to the UN General Assembly >> >>"Intelligence gathered by this and other governments leaves no doubt >>that the Iraq regime continues to possess and conceal some of the >>most lethal weapons ever devised." >>- President Bush on March 17, 2003 in his Address to the Nation >> >>"We know for a fact that there are weapons there [in Iraq]." >>- White House Press Secretary Ari Fleischer on January 9, 2003 in >>his daily press briefing >> >>"Well, there is no question that we have evidence and information >>that Iraq has weapons of mass destruction, biological and chemical >>particularly...all this will be made clear in the course of the >>operation, for whatever duration it takes." >>- White House Press Secretary Ari Fleischer on March 21, 2003 in his >>daily press briefing >> >>"Simply stated, there is no doubt that Saddam Hussein now has >>weapons of mass destruction...What he wants is time, and more time >>to husband his resources to invest in his ongoing chemical and >>biological weapons program, and to gain possession of nuclear >>weapons." >>- Vice President Cheney on August 26, 2002 >> >>"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear >>weapons. I think Mr. El Baradei frankly is wrong." >>- Vice President Cheney on March 16, 2003 on "Meet The Press" >> >>"There is no doubt in my mind but that they currently have chemical >>and biological weapons." >>- Secretary Rumsfeld on January 7, 2003 at a press briefing >> >>"We have seen intelligence over many months that they have chemical >>and biological weapons, and that they have dispersed them and that >>they're weaponized and that, in one case at least, the command and >>control arrangements have been established." >>- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" >> >>"We know where they [weapons of mass destruction] are, they are in >>the area around Tikrit and Baghdad." >>- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" >> >> >> >>++++++++++++++++++++++++ >> >>You received this message because damon001@umn.edu signed up to >>receive emails from the TrueMajority/Contract With The Planet >>campaign. To be removed from this list, send an email to >>alerts@truemajority.org with "remove" in the subject line. > > >-- > ========================================================================= Date: Sat, 14 Jun 2003 10:30:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 In-Reply-To: <001e01c3323e$7f608920$9e96ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hi david: the q was rhetorical. we're just trying to get people to insist on an investigation. xo,md At 11:30 PM -0700 6/13/03, dcmb wrote: >Maria, we attacked Traq because they were no longer selling their oil to us, >because they preferred to be paid in Euros.. >-----Original Message----- >From: Maria Damon >To: POETICS@LISTSERV.BUFFALO.EDU >Date: Friday, June 13, 2003 8:49 AM >Subject: Re: Where Are The Weapons Of Mass Destruction? SEND >ACTION~a10058u49934 > > >>At 7:10 PM -0400 6/12/03, TrueMajority wrote: >>> >>>So Why Did America Attack Iraq? >>>America and the World Needs to Know the Truth >>> >>>Tell Congress to Get to the Bottom of the Phantom >>>Weapons of Mass Destruction >>> >>>If you are already a member of TrueMajority, click "Reply" and then >>>"Send," and a fax (text below) will be sent to your Senators and >>>Representative, urging them to get to the bottom of the missing >>>Weapons of Mass Destruction. If this message was forwarded to you or >>>if you'd like to edit your letter, click this link and then follow >>>the instructions to send your faxes. >>> >>>http >://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >>> >>>In the months and days leading up to the war in Iraq, President Bush >>>and his Administration told the American public and the world that >>>they had proof that Iraq possessed weapons of mass destruction >>>(WMD's) that posed an imminent threat to our nation. Some of the >>>allegations are posted at the bottom of this e-mail. Yet since the >>>end of the war, American-led teams have not located either these >>>weapons or the "re-built factories" that allegedly produced them. >>>Nor have they found any proof of a massive and hasty destruction of >>>this evidence by Saddam's government. >>> >>>This leaves three possibilities for why there are no such weapons >>>now in Iraq, each more troubling than the last: >>> >>>1. JUST PLAIN WRONG. U.S. and British intelligence agencies just >>>got it wrong and Iraq didn't have the stockpiles described in such >>>detail by the spy agencies. This would cast enormous doubt on the >>>government's ability to defend America. >>>2. WEAPONS GOT AWAY. The WMD's and the means to make more of >>>them were spirited out of Iraq while the battle was raging. This >>>would mean that Al Qaeda or other terrorists could have these >>>weapons today and could be preparing to use them - a catastrophic > >>blunder. > >>3. LIES. President Bush and his advisors lied to the American > >>people and the world about the existence of WMD's in order to get us > >>into this war. This would be a serious crisis for our nation. >>> >>>Congressional Inquiries have a long and proud history of acting as a >>>check against abuses by the Executive branch. In the 1970's the >>>Church Committee Hearings led to the reformation of the CIA, >>>resulting in a stronger and safer nation. The Watergate Hearings >>>ultimately led to the resignation of a corrupt President. >>> >>>We need some answers. Some legislators are already taking a lead on >>>this. For example, Rep. Dennis Kucinich is looking for co-sponsors >>>for a "Resolution of Inquiry" that would compel the President to >>>turn over to Congress the intelligence documents he had on the >>>issue. To support these kinds of efforts, just click "Reply" and >>>then "Send." Or click on the link below. >>> >>>http >://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >>> >>>Sincerely, >>> >>>Ben Cohen >>>President, TrueMajority.org >>>Co-Founder, Ben & Jerry's Ice Cream* >>> >>>* I am writing this email on my own and not on behalf of Ben & >>>Jerry's, which is not associated with the TrueMajority campaign. >>> >>>Here is the letter we'll send to your Senators and Representative: >>> > >>Dear Senator/Representative: >>> >>>I am really concerned that Washington DC officials now are saying >>>that it doesn't matter that no weapons of mass destruction have been >>>found in Iraq. Numerous claims were made to the American people >>>prior to the war about the imminent danger that those weapons posed >>>to the United States and the neighbors of Iraq. Now the >>>administration seems to be saying that none of those claims mattered >>>because we have proven Saddam Hussein is a bad guy. But the veracity >>>of these claims does matter. >>> >>>I would like you, as my Member of Congress, to demand an explanation >>>for these inconsistencies. Please take a leading role in calling for >>>an independent, bi-partisan commission to investigate the >>>discrepancies between Administration claims and the apparent truth. >>>This investigation must include open hearings with testimony >>>presented from government and outside witnesses, and produce an >>>unclassified report of its conclusions to the American people. >>> >>>The Congress authorized this war on the notion that these weapons >>>were an imminent threat to our national security. Now Congress needs >>>to find out where those weapons are -- in someone's imagination or >>>elsewhere? Your constituents have the right to know. >>> >>>Thank you, >>>(We'll put your name and address here.) >>> >>> >>>Here is a sample of the things the Bush Administration was saying in >>>the months leading up to the war: >>> >>>"It [Iraq] possesses and produces chemical and biological weapons. >>>It is seeking nuclear weapons... And surveillance photos reveal that >>>the regime is rebuilding facilities that it had used to produce >>>chemical and biological weapons." >>>- President Bush on October 7, 2002 in Cincinnati >>> >>>"Right now, Iraq is expanding and improving facilities that were >>>used for the production of biological weapons... Iraq has made >>>several attempts to buy high-strength aluminum tubes used to enrich >>>uranium for a nuclear weapon." >>>- President Bush on September 12, 2002 to the UN General Assembly >>> >>>"Intelligence gathered by this and other governments leaves no doubt >>>that the Iraq regime continues to possess and conceal some of the >>>most lethal weapons ever devised." >>>- President Bush on March 17, 2003 in his Address to the Nation >>> >>>"We know for a fact that there are weapons there [in Iraq]." >>>- White House Press Secretary Ari Fleischer on January 9, 2003 in >>>his daily press briefing >>> >>>"Well, there is no question that we have evidence and information >>>that Iraq has weapons of mass destruction, biological and chemical >>>particularly...all this will be made clear in the course of the >>>operation, for whatever duration it takes." >>>- White House Press Secretary Ari Fleischer on March 21, 2003 in his >>>daily press briefing >>> >>>"Simply stated, there is no doubt that Saddam Hussein now has >>>weapons of mass destruction...What he wants is time, and more time >>>to husband his resources to invest in his ongoing chemical and >>>biological weapons program, and to gain possession of nuclear >>>weapons." >>>- Vice President Cheney on August 26, 2002 >>> >>>"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear >>>weapons. I think Mr. El Baradei frankly is wrong." >>>- Vice President Cheney on March 16, 2003 on "Meet The Press" >>> >>>"There is no doubt in my mind but that they currently have chemical >>>and biological weapons." >>>- Secretary Rumsfeld on January 7, 2003 at a press briefing >>> >>>"We have seen intelligence over many months that they have chemical >>>and biological weapons, and that they have dispersed them and that >>>they're weaponized and that, in one case at least, the command and >>>control arrangements have been established." >>>- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" >>> >>>"We know where they [weapons of mass destruction] are, they are in >>>the area around Tikrit and Baghdad." >>>- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" >>> >>> >>> >>>++++++++++++++++++++++++ >>> >>>You received this message because damon001@umn.edu signed up to >>>receive emails from the TrueMajority/Contract With The Planet > >>campaign. To be removed from this list, send an email to >>>alerts@truemajority.org with "remove" in the subject line. >> >> >>-- >> -- ========================================================================= Date: Sat, 14 Jun 2003 08:57:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: d ar epithet, In-Reply-To: <5.0.1.4.2.20030612105016.020c5cf0@mail.wayne.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable d ar epithet, conventional wisd m , subject to ject, ture I am thou one blind blood=20= of massless particle compre sed into five acts, three parts=20 confessional medieval england where a fact is a fact is a state of=20 affairs as ceaser or a career contains objects, so does a dose of an=20 oval shaped broom ro m trying for a terms of endearment, an automative=20= veto, automatic steering, self determination, nasty, brutish, and short=20= completely moving different world surrogate learning forms from las=20 vegas, duck soup and roman ius (as some would call gerrymandering,=20 while others whisper about somethi g bought off the floor of radio=20 shake - it all depends onone=92s elaborate ornamentation orientation)=20 promoted during the great depression as an education of feelings, naive=20= realism, toped off with a galilee of homophonic racist himalayas, which=20= could you have acknowledged as the self-imposed severe limitation=20 psychology of freud (with all its succubus as a non-essential eject),=20 and l;ets us not forge gras=A0=A0, a life tonally devoid of the most=20 popular cold fusion kantianism running fence cloud with a silver=20 linking you to promising me after each orbit attempt a way to solve=20 mail art and f male urban renewal, please as if you offered a contrast=20= crossdressed option between matter and lifee, peter finch and dan=20 flavin, justice and a kettledrum, what was needed was a way to generate=20= heat so completely as to server normal discourse distribution fraud =20 in the business of art certification and completely deduct its=20 futurism to the power elite, what I needed wa embedded pebbles, broken=20= glass pragmatism, and a little belfast nan june paik, so please please=20= send durable ought and is, none of this ambient music liability. youts in transitive verbs soft wall switches= ========================================================================= Date: Fri, 13 Jun 2003 11:10:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT america attached Iraq because of the need to hurt someone else no body liked Saddam- but we are not attacking China and their government is more repressive than Iraq's not only have we been lied to but we wanted to be lied to. RB > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > Sent: Friday, June 13, 2003 9:43 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > ACTION~a10058u49934 > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > >So Why Did America Attack Iraq? > >America and the World Needs to Know the Truth > > > >Tell Congress to Get to the Bottom of the Phantom > >Weapons of Mass Destruction > > > >If you are already a member of TrueMajority, click "Reply" and then > >"Send," and a fax (text below) will be sent to your Senators and > >Representative, urging them to get to the bottom of the missing > >Weapons of Mass Destruction. If this message was forwarded to you or > >if you'd like to edit your letter, click this link and then follow > >the instructions to send your faxes. > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > >In the months and days leading up to the war in Iraq, President Bush > >and his Administration told the American public and the world that > >they had proof that Iraq possessed weapons of mass destruction > >(WMD's) that posed an imminent threat to our nation. Some of the > >allegations are posted at the bottom of this e-mail. Yet since the > >end of the war, American-led teams have not located either these > >weapons or the "re-built factories" that allegedly produced them. > >Nor have they found any proof of a massive and hasty destruction of > >this evidence by Saddam's government. > > > >This leaves three possibilities for why there are no such weapons > >now in Iraq, each more troubling than the last: > > > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just > >got it wrong and Iraq didn't have the stockpiles described in such > >detail by the spy agencies. This would cast enormous doubt on the > >government's ability to defend America. > >2. WEAPONS GOT AWAY. The WMD's and the means to make more of > >them were spirited out of Iraq while the battle was raging. This > >would mean that Al Qaeda or other terrorists could have these > >weapons today and could be preparing to use them - a catastrophic > >blunder. > >3. LIES. President Bush and his advisors lied to the American > >people and the world about the existence of WMD's in order to get us > >into this war. This would be a serious crisis for our nation. > > > >Congressional Inquiries have a long and proud history of acting as a > >check against abuses by the Executive branch. In the 1970's the > >Church Committee Hearings led to the reformation of the CIA, > >resulting in a stronger and safer nation. The Watergate Hearings > >ultimately led to the resignation of a corrupt President. > > > >We need some answers. Some legislators are already taking a lead on > >this. For example, Rep. Dennis Kucinich is looking for co-sponsors > >for a "Resolution of Inquiry" that would compel the President to > >turn over to Congress the intelligence documents he had on the > >issue. To support these kinds of efforts, just click "Reply" and > >then "Send." Or click on the link below. > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > >Sincerely, > > > >Ben Cohen > >President, TrueMajority.org > >Co-Founder, Ben & Jerry's Ice Cream* > > > >* I am writing this email on my own and not on behalf of Ben & > >Jerry's, which is not associated with the TrueMajority campaign. > > > >Here is the letter we'll send to your Senators and Representative: > > > >Dear Senator/Representative: > > > >I am really concerned that Washington DC officials now are saying > >that it doesn't matter that no weapons of mass destruction have been > >found in Iraq. Numerous claims were made to the American people > >prior to the war about the imminent danger that those weapons posed > >to the United States and the neighbors of Iraq. Now the > >administration seems to be saying that none of those claims mattered > >because we have proven Saddam Hussein is a bad guy. But the veracity > >of these claims does matter. > > > >I would like you, as my Member of Congress, to demand an explanation > >for these inconsistencies. Please take a leading role in calling for > >an independent, bi-partisan commission to investigate the > >discrepancies between Administration claims and the apparent truth. > >This investigation must include open hearings with testimony > >presented from government and outside witnesses, and produce an > >unclassified report of its conclusions to the American people. > > > >The Congress authorized this war on the notion that these weapons > >were an imminent threat to our national security. Now Congress needs > >to find out where those weapons are -- in someone's imagination or > >elsewhere? Your constituents have the right to know. > > > >Thank you, > >(We'll put your name and address here.) > > > > > >Here is a sample of the things the Bush Administration was saying in > >the months leading up to the war: > > > >"It [Iraq] possesses and produces chemical and biological weapons. > >It is seeking nuclear weapons... And surveillance photos reveal that > >the regime is rebuilding facilities that it had used to produce > >chemical and biological weapons." > >- President Bush on October 7, 2002 in Cincinnati > > > >"Right now, Iraq is expanding and improving facilities that were > >used for the production of biological weapons... Iraq has made > >several attempts to buy high-strength aluminum tubes used to enrich > >uranium for a nuclear weapon." > >- President Bush on September 12, 2002 to the UN General Assembly > > > >"Intelligence gathered by this and other governments leaves no doubt > >that the Iraq regime continues to possess and conceal some of the > >most lethal weapons ever devised." > >- President Bush on March 17, 2003 in his Address to the Nation > > > >"We know for a fact that there are weapons there [in Iraq]." > >- White House Press Secretary Ari Fleischer on January 9, 2003 in > >his daily press briefing > > > >"Well, there is no question that we have evidence and information > >that Iraq has weapons of mass destruction, biological and chemical > >particularly...all this will be made clear in the course of the > >operation, for whatever duration it takes." > >- White House Press Secretary Ari Fleischer on March 21, 2003 in his > >daily press briefing > > > >"Simply stated, there is no doubt that Saddam Hussein now has > >weapons of mass destruction...What he wants is time, and more time > >to husband his resources to invest in his ongoing chemical and > >biological weapons program, and to gain possession of nuclear > >weapons." > >- Vice President Cheney on August 26, 2002 > > > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear > >weapons. I think Mr. El Baradei frankly is wrong." > >- Vice President Cheney on March 16, 2003 on "Meet The Press" > > > >"There is no doubt in my mind but that they currently have chemical > >and biological weapons." > >- Secretary Rumsfeld on January 7, 2003 at a press briefing > > > >"We have seen intelligence over many months that they have chemical > >and biological weapons, and that they have dispersed them and that > >they're weaponized and that, in one case at least, the command and > >control arrangements have been established." > >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > >"We know where they [weapons of mass destruction] are, they are in > >the area around Tikrit and Baghdad." > >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" > > > > > > > >++++++++++++++++++++++++ > > > >You received this message because damon001@umn.edu signed up to > >receive emails from the TrueMajority/Contract With The Planet > >campaign. To be removed from this list, send an email to > >alerts@truemajority.org with "remove" in the subject line. > > > -- > ========================================================================= Date: Sat, 14 Jun 2003 10:07:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit We're back to the Old West, don't you see, the roots of America. George is the gunslinger beating Saddam to the draw. Quick draw is Texan for preemptive strike. The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. The Bible. Killing over water (oil) rights. In his fantasies Bush is Walker, Texas Ranger. At night, he stands in front of a mirror wearing his genuine Lone Ranger outfit, a child with gray hair. -Joel ----- Original Message ----- From: "Haas Bianchi" To: Sent: Friday, June 13, 2003 9:10 AM Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 > america attached Iraq because of the need to hurt someone else no body liked > Saddam- but we are not attacking China and their government is more > repressive than Iraq's not only have we been lied to but we wanted to be > lied to. > > RB > > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > > Sent: Friday, June 13, 2003 9:43 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > ACTION~a10058u49934 > > > > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > > > >So Why Did America Attack Iraq? > > >America and the World Needs to Know the Truth > > > > > >Tell Congress to Get to the Bottom of the Phantom > > >Weapons of Mass Destruction > > > > > >If you are already a member of TrueMajority, click "Reply" and then > > >"Send," and a fax (text below) will be sent to your Senators and > > >Representative, urging them to get to the bottom of the missing > > >Weapons of Mass Destruction. If this message was forwarded to you or > > >if you'd like to edit your letter, click this link and then follow > > >the instructions to send your faxes. > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > >In the months and days leading up to the war in Iraq, President Bush > > >and his Administration told the American public and the world that > > >they had proof that Iraq possessed weapons of mass destruction > > >(WMD's) that posed an imminent threat to our nation. Some of the > > >allegations are posted at the bottom of this e-mail. Yet since the > > >end of the war, American-led teams have not located either these > > >weapons or the "re-built factories" that allegedly produced them. > > >Nor have they found any proof of a massive and hasty destruction of > > >this evidence by Saddam's government. > > > > > >This leaves three possibilities for why there are no such weapons > > >now in Iraq, each more troubling than the last: > > > > > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just > > >got it wrong and Iraq didn't have the stockpiles described in such > > >detail by the spy agencies. This would cast enormous doubt on the > > >government's ability to defend America. > > >2. WEAPONS GOT AWAY. The WMD's and the means to make more of > > >them were spirited out of Iraq while the battle was raging. This > > >would mean that Al Qaeda or other terrorists could have these > > >weapons today and could be preparing to use them - a catastrophic > > >blunder. > > >3. LIES. President Bush and his advisors lied to the American > > >people and the world about the existence of WMD's in order to get us > > >into this war. This would be a serious crisis for our nation. > > > > > >Congressional Inquiries have a long and proud history of acting as a > > >check against abuses by the Executive branch. In the 1970's the > > >Church Committee Hearings led to the reformation of the CIA, > > >resulting in a stronger and safer nation. The Watergate Hearings > > >ultimately led to the resignation of a corrupt President. > > > > > >We need some answers. Some legislators are already taking a lead on > > >this. For example, Rep. Dennis Kucinich is looking for co-sponsors > > >for a "Resolution of Inquiry" that would compel the President to > > >turn over to Congress the intelligence documents he had on the > > >issue. To support these kinds of efforts, just click "Reply" and > > >then "Send." Or click on the link below. > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > >Sincerely, > > > > > >Ben Cohen > > >President, TrueMajority.org > > >Co-Founder, Ben & Jerry's Ice Cream* > > > > > >* I am writing this email on my own and not on behalf of Ben & > > >Jerry's, which is not associated with the TrueMajority campaign. > > > > > >Here is the letter we'll send to your Senators and Representative: > > > > > >Dear Senator/Representative: > > > > > >I am really concerned that Washington DC officials now are saying > > >that it doesn't matter that no weapons of mass destruction have been > > >found in Iraq. Numerous claims were made to the American people > > >prior to the war about the imminent danger that those weapons posed > > >to the United States and the neighbors of Iraq. Now the > > >administration seems to be saying that none of those claims mattered > > >because we have proven Saddam Hussein is a bad guy. But the veracity > > >of these claims does matter. > > > > > >I would like you, as my Member of Congress, to demand an explanation > > >for these inconsistencies. Please take a leading role in calling for > > >an independent, bi-partisan commission to investigate the > > >discrepancies between Administration claims and the apparent truth. > > >This investigation must include open hearings with testimony > > >presented from government and outside witnesses, and produce an > > >unclassified report of its conclusions to the American people. > > > > > >The Congress authorized this war on the notion that these weapons > > >were an imminent threat to our national security. Now Congress needs > > >to find out where those weapons are -- in someone's imagination or > > >elsewhere? Your constituents have the right to know. > > > > > >Thank you, > > >(We'll put your name and address here.) > > > > > > > > >Here is a sample of the things the Bush Administration was saying in > > >the months leading up to the war: > > > > > >"It [Iraq] possesses and produces chemical and biological weapons. > > >It is seeking nuclear weapons... And surveillance photos reveal that > > >the regime is rebuilding facilities that it had used to produce > > >chemical and biological weapons." > > >- President Bush on October 7, 2002 in Cincinnati > > > > > >"Right now, Iraq is expanding and improving facilities that were > > >used for the production of biological weapons... Iraq has made > > >several attempts to buy high-strength aluminum tubes used to enrich > > >uranium for a nuclear weapon." > > >- President Bush on September 12, 2002 to the UN General Assembly > > > > > >"Intelligence gathered by this and other governments leaves no doubt > > >that the Iraq regime continues to possess and conceal some of the > > >most lethal weapons ever devised." > > >- President Bush on March 17, 2003 in his Address to the Nation > > > > > >"We know for a fact that there are weapons there [in Iraq]." > > >- White House Press Secretary Ari Fleischer on January 9, 2003 in > > >his daily press briefing > > > > > >"Well, there is no question that we have evidence and information > > >that Iraq has weapons of mass destruction, biological and chemical > > >particularly...all this will be made clear in the course of the > > >operation, for whatever duration it takes." > > >- White House Press Secretary Ari Fleischer on March 21, 2003 in his > > >daily press briefing > > > > > >"Simply stated, there is no doubt that Saddam Hussein now has > > >weapons of mass destruction...What he wants is time, and more time > > >to husband his resources to invest in his ongoing chemical and > > >biological weapons program, and to gain possession of nuclear > > >weapons." > > >- Vice President Cheney on August 26, 2002 > > > > > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear > > >weapons. I think Mr. El Baradei frankly is wrong." > > >- Vice President Cheney on March 16, 2003 on "Meet The Press" > > > > > >"There is no doubt in my mind but that they currently have chemical > > >and biological weapons." > > >- Secretary Rumsfeld on January 7, 2003 at a press briefing > > > > > >"We have seen intelligence over many months that they have chemical > > >and biological weapons, and that they have dispersed them and that > > >they're weaponized and that, in one case at least, the command and > > >control arrangements have been established." > > >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > > > >"We know where they [weapons of mass destruction] are, they are in > > >the area around Tikrit and Baghdad." > > >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" > > > > > > > > > > > >++++++++++++++++++++++++ > > > > > >You received this message because damon001@umn.edu signed up to > > >receive emails from the TrueMajority/Contract With The Planet > > >campaign. To be removed from this list, send an email to > > >alerts@truemajority.org with "remove" in the subject line. > > > > > > -- > > ========================================================================= Date: Sat, 14 Jun 2003 13:54:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You got it! The image of an authentic Texas gunslinger, born in Connecticut, who I'd bet spends a fair amount of his time in Kennebunkport! Vernon ----- Original Message ----- From: "Joel Weishaus" To: Sent: Saturday, June 14, 2003 1:07 PM Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 > We're back to the Old West, don't you see, the roots of America. George is > the gunslinger beating Saddam to the draw. Quick draw is Texan for > preemptive strike. > The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. The > Bible. Killing over water (oil) rights. In his fantasies Bush is Walker, > Texas Ranger. At night, he stands in front of a mirror wearing his genuine > Lone Ranger outfit, a child with gray hair. > > -Joel > > > ----- Original Message ----- > From: "Haas Bianchi" > To: > Sent: Friday, June 13, 2003 9:10 AM > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > ACTION~a10058u49934 > > > > america attached Iraq because of the need to hurt someone else no body > liked > > Saddam- but we are not attacking China and their government is more > > repressive than Iraq's not only have we been lied to but we wanted to be > > lied to. > > > > RB > > > > > > > > > -----Original Message----- > > > From: UB Poetics discussion group > > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > > > Sent: Friday, June 13, 2003 9:43 AM > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > > ACTION~a10058u49934 > > > > > > > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > > > > > >So Why Did America Attack Iraq? > > > >America and the World Needs to Know the Truth > > > > > > > >Tell Congress to Get to the Bottom of the Phantom > > > >Weapons of Mass Destruction > > > > > > > >If you are already a member of TrueMajority, click "Reply" and then > > > >"Send," and a fax (text below) will be sent to your Senators and > > > >Representative, urging them to get to the bottom of the missing > > > >Weapons of Mass Destruction. If this message was forwarded to you or > > > >if you'd like to edit your letter, click this link and then follow > > > >the instructions to send your faxes. > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > >In the months and days leading up to the war in Iraq, President Bush > > > >and his Administration told the American public and the world that > > > >they had proof that Iraq possessed weapons of mass destruction > > > >(WMD's) that posed an imminent threat to our nation. Some of the > > > >allegations are posted at the bottom of this e-mail. Yet since the > > > >end of the war, American-led teams have not located either these > > > >weapons or the "re-built factories" that allegedly produced them. > > > >Nor have they found any proof of a massive and hasty destruction of > > > >this evidence by Saddam's government. > > > > > > > >This leaves three possibilities for why there are no such weapons > > > >now in Iraq, each more troubling than the last: > > > > > > > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just > > > >got it wrong and Iraq didn't have the stockpiles described in such > > > >detail by the spy agencies. This would cast enormous doubt on the > > > >government's ability to defend America. > > > >2. WEAPONS GOT AWAY. The WMD's and the means to make more of > > > >them were spirited out of Iraq while the battle was raging. This > > > >would mean that Al Qaeda or other terrorists could have these > > > >weapons today and could be preparing to use them - a catastrophic > > > >blunder. > > > >3. LIES. President Bush and his advisors lied to the American > > > >people and the world about the existence of WMD's in order to get us > > > >into this war. This would be a serious crisis for our nation. > > > > > > > >Congressional Inquiries have a long and proud history of acting as a > > > >check against abuses by the Executive branch. In the 1970's the > > > >Church Committee Hearings led to the reformation of the CIA, > > > >resulting in a stronger and safer nation. The Watergate Hearings > > > >ultimately led to the resignation of a corrupt President. > > > > > > > >We need some answers. Some legislators are already taking a lead on > > > >this. For example, Rep. Dennis Kucinich is looking for co-sponsors > > > >for a "Resolution of Inquiry" that would compel the President to > > > >turn over to Congress the intelligence documents he had on the > > > >issue. To support these kinds of efforts, just click "Reply" and > > > >then "Send." Or click on the link below. > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > >Sincerely, > > > > > > > >Ben Cohen > > > >President, TrueMajority.org > > > >Co-Founder, Ben & Jerry's Ice Cream* > > > > > > > >* I am writing this email on my own and not on behalf of Ben & > > > >Jerry's, which is not associated with the TrueMajority campaign. > > > > > > > >Here is the letter we'll send to your Senators and Representative: > > > > > > > >Dear Senator/Representative: > > > > > > > >I am really concerned that Washington DC officials now are saying > > > >that it doesn't matter that no weapons of mass destruction have been > > > >found in Iraq. Numerous claims were made to the American people > > > >prior to the war about the imminent danger that those weapons posed > > > >to the United States and the neighbors of Iraq. Now the > > > >administration seems to be saying that none of those claims mattered > > > >because we have proven Saddam Hussein is a bad guy. But the veracity > > > >of these claims does matter. > > > > > > > >I would like you, as my Member of Congress, to demand an explanation > > > >for these inconsistencies. Please take a leading role in calling for > > > >an independent, bi-partisan commission to investigate the > > > >discrepancies between Administration claims and the apparent truth. > > > >This investigation must include open hearings with testimony > > > >presented from government and outside witnesses, and produce an > > > >unclassified report of its conclusions to the American people. > > > > > > > >The Congress authorized this war on the notion that these weapons > > > >were an imminent threat to our national security. Now Congress needs > > > >to find out where those weapons are -- in someone's imagination or > > > >elsewhere? Your constituents have the right to know. > > > > > > > >Thank you, > > > >(We'll put your name and address here.) > > > > > > > > > > > >Here is a sample of the things the Bush Administration was saying in > > > >the months leading up to the war: > > > > > > > >"It [Iraq] possesses and produces chemical and biological weapons. > > > >It is seeking nuclear weapons... And surveillance photos reveal that > > > >the regime is rebuilding facilities that it had used to produce > > > >chemical and biological weapons." > > > >- President Bush on October 7, 2002 in Cincinnati > > > > > > > >"Right now, Iraq is expanding and improving facilities that were > > > >used for the production of biological weapons... Iraq has made > > > >several attempts to buy high-strength aluminum tubes used to enrich > > > >uranium for a nuclear weapon." > > > >- President Bush on September 12, 2002 to the UN General Assembly > > > > > > > >"Intelligence gathered by this and other governments leaves no doubt > > > >that the Iraq regime continues to possess and conceal some of the > > > >most lethal weapons ever devised." > > > >- President Bush on March 17, 2003 in his Address to the Nation > > > > > > > >"We know for a fact that there are weapons there [in Iraq]." > > > >- White House Press Secretary Ari Fleischer on January 9, 2003 in > > > >his daily press briefing > > > > > > > >"Well, there is no question that we have evidence and information > > > >that Iraq has weapons of mass destruction, biological and chemical > > > >particularly...all this will be made clear in the course of the > > > >operation, for whatever duration it takes." > > > >- White House Press Secretary Ari Fleischer on March 21, 2003 in his > > > >daily press briefing > > > > > > > >"Simply stated, there is no doubt that Saddam Hussein now has > > > >weapons of mass destruction...What he wants is time, and more time > > > >to husband his resources to invest in his ongoing chemical and > > > >biological weapons program, and to gain possession of nuclear > > > >weapons." > > > >- Vice President Cheney on August 26, 2002 > > > > > > > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear > > > >weapons. I think Mr. El Baradei frankly is wrong." > > > >- Vice President Cheney on March 16, 2003 on "Meet The Press" > > > > > > > >"There is no doubt in my mind but that they currently have chemical > > > >and biological weapons." > > > >- Secretary Rumsfeld on January 7, 2003 at a press briefing > > > > > > > >"We have seen intelligence over many months that they have chemical > > > >and biological weapons, and that they have dispersed them and that > > > >they're weaponized and that, in one case at least, the command and > > > >control arrangements have been established." > > > >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > > > > > >"We know where they [weapons of mass destruction] are, they are in > > > >the area around Tikrit and Baghdad." > > > >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" > > > > > > > > > > > > > > > >++++++++++++++++++++++++ > > > > > > > >You received this message because damon001@umn.edu signed up to > > > >receive emails from the TrueMajority/Contract With The Planet > > > >campaign. To be removed from this list, send an email to > > > >alerts@truemajority.org with "remove" in the subject line. > > > > > > > > > -- > > > ========================================================================= Date: Sat, 14 Jun 2003 14:32:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 In-Reply-To: <005801c3329d$f3732610$8568f30c@S0027338986> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i hope someone at least is faxing his/her congresspeople about this... in addition to all the poetic hijinx... At 1:54 PM -0400 6/14/03, Vernon Frazer wrote: >You got it! The image of an authentic Texas gunslinger, born in Connecticut, >who I'd bet spends a fair amount of his time in Kennebunkport! > >Vernon > > > > >----- Original Message ----- >From: "Joel Weishaus" >To: >Sent: Saturday, June 14, 2003 1:07 PM >Subject: Re: Where Are The Weapons Of Mass Destruction? SEND >ACTION~a10058u49934 > > >> We're back to the Old West, don't you see, the roots of America. George is >> the gunslinger beating Saddam to the draw. Quick draw is Texan for >> preemptive strike. >> The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. >The >> Bible. Killing over water (oil) rights. In his fantasies Bush is Walker, >> Texas Ranger. At night, he stands in front of a mirror wearing his genuine >> Lone Ranger outfit, a child with gray hair. >> >> -Joel >> >> >> ----- Original Message ----- >> From: "Haas Bianchi" >> To: >> Sent: Friday, June 13, 2003 9:10 AM >> Subject: Re: Where Are The Weapons Of Mass Destruction? SEND >> ACTION~a10058u49934 >> >> >> > america attached Iraq because of the need to hurt someone else no body >> liked >> > Saddam- but we are not attacking China and their government is more >> > repressive than Iraq's not only have we been lied to but we wanted to be >> > lied to. >> > >> > RB >> > >> > >> > >> > > -----Original Message----- >> > > From: UB Poetics discussion group >> > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon >> > > Sent: Friday, June 13, 2003 9:43 AM >> > > To: POETICS@LISTSERV.BUFFALO.EDU >> > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND >> > > ACTION~a10058u49934 >> > > >> > > >> > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: >> > > > >> > > >So Why Did America Attack Iraq? >> > > >America and the World Needs to Know the Truth >> > > > >> > > >Tell Congress to Get to the Bottom of the Phantom >> > > >Weapons of Mass Destruction >> > > > >> > > >If you are already a member of TrueMajority, click "Reply" and then >> > > >"Send," and a fax (text below) will be sent to your Senators and >> > > >Representative, urging them to get to the bottom of the missing >> > > >Weapons of Mass Destruction. If this message was forwarded to you or >> > > >if you'd like to edit your letter, click this link and then follow > > > > >the instructions to send your faxes. > > > > > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> > > > >> > > >In the months and days leading up to the war in Iraq, President Bush >> > > >and his Administration told the American public and the world that >> > > >they had proof that Iraq possessed weapons of mass destruction >> > > >(WMD's) that posed an imminent threat to our nation. Some of the >> > > >allegations are posted at the bottom of this e-mail. Yet since the >> > > >end of the war, American-led teams have not located either these >> > > >weapons or the "re-built factories" that allegedly produced them. >> > > >Nor have they found any proof of a massive and hasty destruction of >> > > >this evidence by Saddam's government. >> > > > >> > > >This leaves three possibilities for why there are no such weapons >> > > >now in Iraq, each more troubling than the last: >> > > > >> > > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just >> > > >got it wrong and Iraq didn't have the stockpiles described in such >> > > >detail by the spy agencies. This would cast enormous doubt on the >> > > >government's ability to defend America. >> > > >2. WEAPONS GOT AWAY. The WMD's and the means to make more of >> > > >them were spirited out of Iraq while the battle was raging. This > > > > >would mean that Al Qaeda or other terrorists could have these >> > > >weapons today and could be preparing to use them - a catastrophic >> > > >blunder. >> > > >3. LIES. President Bush and his advisors lied to the American >> > > >people and the world about the existence of WMD's in order to get us >> > > >into this war. This would be a serious crisis for our nation. >> > > > >> > > >Congressional Inquiries have a long and proud history of acting as a >> > > >check against abuses by the Executive branch. In the 1970's the >> > > >Church Committee Hearings led to the reformation of the CIA, >> > > >resulting in a stronger and safer nation. The Watergate Hearings >> > > >ultimately led to the resignation of a corrupt President. >> > > > >> > > >We need some answers. Some legislators are already taking a lead on >> > > >this. For example, Rep. Dennis Kucinich is looking for co-sponsors >> > > >for a "Resolution of Inquiry" that would compel the President to >> > > >turn over to Congress the intelligence documents he had on the >> > > >issue. To support these kinds of efforts, just click "Reply" and >> > > >then "Send." Or click on the link below. >> > > > >> > > >> > > >> 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 >> > > > >> > > >Sincerely, >> > > > >> > > >Ben Cohen >> > > >President, TrueMajority.org >> > > >Co-Founder, Ben & Jerry's Ice Cream* >> > > > >> > > >* I am writing this email on my own and not on behalf of Ben & >> > > >Jerry's, which is not associated with the TrueMajority campaign. >> > > > >> > > >Here is the letter we'll send to your Senators and Representative: >> > > > >> > > >Dear Senator/Representative: >> > > > >> > > >I am really concerned that Washington DC officials now are saying >> > > >that it doesn't matter that no weapons of mass destruction have been >> > > >found in Iraq. Numerous claims were made to the American people >> > > >prior to the war about the imminent danger that those weapons posed >> > > >to the United States and the neighbors of Iraq. Now the >> > > >administration seems to be saying that none of those claims mattered >> > > >because we have proven Saddam Hussein is a bad guy. But the veracity >> > > >of these claims does matter. >> > > > >> > > >I would like you, as my Member of Congress, to demand an explanation >> > > >for these inconsistencies. Please take a leading role in calling for >> > > >an independent, bi-partisan commission to investigate the >> > > >discrepancies between Administration claims and the apparent truth. >> > > >This investigation must include open hearings with testimony >> > > >presented from government and outside witnesses, and produce an >> > > >unclassified report of its conclusions to the American people. >> > > > >> > > >The Congress authorized this war on the notion that these weapons >> > > >were an imminent threat to our national security. Now Congress needs >> > > >to find out where those weapons are -- in someone's imagination or >> > > >elsewhere? Your constituents have the right to know. >> > > > >> > > >Thank you, >> > > >(We'll put your name and address here.) >> > > > >> > > > >> > > >Here is a sample of the things the Bush Administration was saying in >> > > >the months leading up to the war: >> > > > >> > > >"It [Iraq] possesses and produces chemical and biological weapons. >> > > >It is seeking nuclear weapons... And surveillance photos reveal that >> > > >the regime is rebuilding facilities that it had used to produce >> > > >chemical and biological weapons." >> > > >- President Bush on October 7, 2002 in Cincinnati >> > > > >> > > >"Right now, Iraq is expanding and improving facilities that were >> > > >used for the production of biological weapons... Iraq has made >> > > >several attempts to buy high-strength aluminum tubes used to enrich >> > > >uranium for a nuclear weapon." >> > > >- President Bush on September 12, 2002 to the UN General Assembly >> > > > >> > > >"Intelligence gathered by this and other governments leaves no doubt >> > > >that the Iraq regime continues to possess and conceal some of the > > > > >most lethal weapons ever devised." >> > > >- President Bush on March 17, 2003 in his Address to the Nation >> > > > >> > > >"We know for a fact that there are weapons there [in Iraq]." >> > > >- White House Press Secretary Ari Fleischer on January 9, 2003 in >> > > >his daily press briefing >> > > > >> > > >"Well, there is no question that we have evidence and information >> > > >that Iraq has weapons of mass destruction, biological and chemical >> > > >particularly...all this will be made clear in the course of the >> > > >operation, for whatever duration it takes." >> > > >- White House Press Secretary Ari Fleischer on March 21, 2003 in his >> > > >daily press briefing >> > > > >> > > >"Simply stated, there is no doubt that Saddam Hussein now has >> > > >weapons of mass destruction...What he wants is time, and more time >> > > >to husband his resources to invest in his ongoing chemical and >> > > >biological weapons program, and to gain possession of nuclear >> > > >weapons." >> > > >- Vice President Cheney on August 26, 2002 >> > > > >> > > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear >> > > >weapons. I think Mr. El Baradei frankly is wrong." >> > > >- Vice President Cheney on March 16, 2003 on "Meet The Press" >> > > > >> > > >"There is no doubt in my mind but that they currently have chemical >> > > >and biological weapons." >> > > >- Secretary Rumsfeld on January 7, 2003 at a press briefing >> > > > >> > > >"We have seen intelligence over many months that they have chemical >> > > >and biological weapons, and that they have dispersed them and that >> > > >they're weaponized and that, in one case at least, the command and >> > > >control arrangements have been established." >> > > >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" >> > > > >> > > >"We know where they [weapons of mass destruction] are, they are in >> > > >the area around Tikrit and Baghdad." >> > > >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" >> > > > >> > > > >> > > > >> > > >++++++++++++++++++++++++ >> > > > >> > > >You received this message because damon001@umn.edu signed up to >> > > >receive emails from the TrueMajority/Contract With The Planet >> > > >campaign. To be removed from this list, send an email to >> > > >alerts@truemajority.org with "remove" in the subject line. >> > > >> > > >> > > -- >> > > -- ========================================================================= Date: Sat, 14 Jun 2003 11:26:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: The Old West (revision) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit We're back to the Old West, don't you see, the roots of America. George is the gunslinger beating Saddam to the draw. Quick draw is Texan for "preemptive strike." The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. The Bible. Killing over water (oil) rights. At night, while his wife is scrubbing off her makeup, George W. Bush stands in front of a mirror wearing his Lone Ranger outfit, the two six-guns with their silver bullets aimed at his own reflection: a child with gray hair making a menacing face. -Joel > > ----- Original Message ----- > From: "Haas Bianchi" > To: > Sent: Friday, June 13, 2003 9:10 AM > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > ACTION~a10058u49934 > > > > america attached Iraq because of the need to hurt someone else no body > liked > > Saddam- but we are not attacking China and their government is more > > repressive than Iraq's not only have we been lied to but we wanted to be > > lied to. > > > > RB > > > > > > > > > -----Original Message----- > > > From: UB Poetics discussion group > > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > > > Sent: Friday, June 13, 2003 9:43 AM > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > > ACTION~a10058u49934 > > > > > > > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > > > > > >So Why Did America Attack Iraq? > > > >America and the World Needs to Know the Truth > > > > > > > >Tell Congress to Get to the Bottom of the Phantom > > > >Weapons of Mass Destruction > > > > > > > >If you are already a member of TrueMajority, click "Reply" and then > > > >"Send," and a fax (text below) will be sent to your Senators and > > > >Representative, urging them to get to the bottom of the missing > > > >Weapons of Mass Destruction. If this message was forwarded to you or > > > >if you'd like to edit your letter, click this link and then follow > > > >the instructions to send your faxes. > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > >In the months and days leading up to the war in Iraq, President Bush > > > >and his Administration told the American public and the world that > > > >they had proof that Iraq possessed weapons of mass destruction > > > >(WMD's) that posed an imminent threat to our nation. Some of the > > > >allegations are posted at the bottom of this e-mail. Yet since the > > > >end of the war, American-led teams have not located either these > > > >weapons or the "re-built factories" that allegedly produced them. > > > >Nor have they found any proof of a massive and hasty destruction of > > > >this evidence by Saddam's government. > > > > > > > >This leaves three possibilities for why there are no such weapons > > > >now in Iraq, each more troubling than the last: > > > > > > > >1. JUST PLAIN WRONG. U.S. and British intelligence agencies just > > > >got it wrong and Iraq didn't have the stockpiles described in such > > > >detail by the spy agencies. This would cast enormous doubt on the > > > >government's ability to defend America. > > > >2. WEAPONS GOT AWAY. The WMD's and the means to make more of > > > >them were spirited out of Iraq while the battle was raging. This > > > >would mean that Al Qaeda or other terrorists could have these > > > >weapons today and could be preparing to use them - a catastrophic > > > >blunder. > > > >3. LIES. President Bush and his advisors lied to the American > > > >people and the world about the existence of WMD's in order to get us > > > >into this war. This would be a serious crisis for our nation. > > > > > > > >Congressional Inquiries have a long and proud history of acting as a > > > >check against abuses by the Executive branch. In the 1970's the > > > >Church Committee Hearings led to the reformation of the CIA, > > > >resulting in a stronger and safer nation. The Watergate Hearings > > > >ultimately led to the resignation of a corrupt President. > > > > > > > >We need some answers. Some legislators are already taking a lead on > > > >this. For example, Rep. Dennis Kucinich is looking for co-sponsors > > > >for a "Resolution of Inquiry" that would compel the President to > > > >turn over to Congress the intelligence documents he had on the > > > >issue. To support these kinds of efforts, just click "Reply" and > > > >then "Send." Or click on the link below. > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > >Sincerely, > > > > > > > >Ben Cohen > > > >President, TrueMajority.org > > > >Co-Founder, Ben & Jerry's Ice Cream* > > > > > > > >* I am writing this email on my own and not on behalf of Ben & > > > >Jerry's, which is not associated with the TrueMajority campaign. > > > > > > > >Here is the letter we'll send to your Senators and Representative: > > > > > > > >Dear Senator/Representative: > > > > > > > >I am really concerned that Washington DC officials now are saying > > > >that it doesn't matter that no weapons of mass destruction have been > > > >found in Iraq. Numerous claims were made to the American people > > > >prior to the war about the imminent danger that those weapons posed > > > >to the United States and the neighbors of Iraq. Now the > > > >administration seems to be saying that none of those claims mattered > > > >because we have proven Saddam Hussein is a bad guy. But the veracity > > > >of these claims does matter. > > > > > > > >I would like you, as my Member of Congress, to demand an explanation > > > >for these inconsistencies. Please take a leading role in calling for > > > >an independent, bi-partisan commission to investigate the > > > >discrepancies between Administration claims and the apparent truth. > > > >This investigation must include open hearings with testimony > > > >presented from government and outside witnesses, and produce an > > > >unclassified report of its conclusions to the American people. > > > > > > > >The Congress authorized this war on the notion that these weapons > > > >were an imminent threat to our national security. Now Congress needs > > > >to find out where those weapons are -- in someone's imagination or > > > >elsewhere? Your constituents have the right to know. > > > > > > > >Thank you, > > > >(We'll put your name and address here.) > > > > > > > > > > > >Here is a sample of the things the Bush Administration was saying in > > > >the months leading up to the war: > > > > > > > >"It [Iraq] possesses and produces chemical and biological weapons. > > > >It is seeking nuclear weapons... And surveillance photos reveal that > > > >the regime is rebuilding facilities that it had used to produce > > > >chemical and biological weapons." > > > >- President Bush on October 7, 2002 in Cincinnati > > > > > > > >"Right now, Iraq is expanding and improving facilities that were > > > >used for the production of biological weapons... Iraq has made > > > >several attempts to buy high-strength aluminum tubes used to enrich > > > >uranium for a nuclear weapon." > > > >- President Bush on September 12, 2002 to the UN General Assembly > > > > > > > >"Intelligence gathered by this and other governments leaves no doubt > > > >that the Iraq regime continues to possess and conceal some of the > > > >most lethal weapons ever devised." > > > >- President Bush on March 17, 2003 in his Address to the Nation > > > > > > > >"We know for a fact that there are weapons there [in Iraq]." > > > >- White House Press Secretary Ari Fleischer on January 9, 2003 in > > > >his daily press briefing > > > > > > > >"Well, there is no question that we have evidence and information > > > >that Iraq has weapons of mass destruction, biological and chemical > > > >particularly...all this will be made clear in the course of the > > > >operation, for whatever duration it takes." > > > >- White House Press Secretary Ari Fleischer on March 21, 2003 in his > > > >daily press briefing > > > > > > > >"Simply stated, there is no doubt that Saddam Hussein now has > > > >weapons of mass destruction...What he wants is time, and more time > > > >to husband his resources to invest in his ongoing chemical and > > > >biological weapons program, and to gain possession of nuclear > > > >weapons." > > > >- Vice President Cheney on August 26, 2002 > > > > > > > >"We believe he [Saddam Hussein] has, in fact, reconstituted nuclear > > > >weapons. I think Mr. El Baradei frankly is wrong." > > > >- Vice President Cheney on March 16, 2003 on "Meet The Press" > > > > > > > >"There is no doubt in my mind but that they currently have chemical > > > >and biological weapons." > > > >- Secretary Rumsfeld on January 7, 2003 at a press briefing > > > > > > > >"We have seen intelligence over many months that they have chemical > > > >and biological weapons, and that they have dispersed them and that > > > >they're weaponized and that, in one case at least, the command and > > > >control arrangements have been established." > > > >- Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > > > > > >"We know where they [weapons of mass destruction] are, they are in > > > >the area around Tikrit and Baghdad." > > > >- Secretary Rumsfeld on March 30, 2003 on ABC's "This Week" > > > > > > > > > > > > > > > >++++++++++++++++++++++++ > > > > > > > >You received this message because damon001@umn.edu signed up to > > > >receive emails from the TrueMajority/Contract With The Planet > > > >campaign. To be removed from this list, send an email to > > > >alerts@truemajority.org with "remove" in the subject line. > > > > > > > > > -- > > > > ========================================================================= Date: Sun, 15 Jun 2003 11:19:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 In-Reply-To: <005801c3329d$f3732610$8568f30c@S0027338986> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII In fact he's in Kennebunkport right now for Father's Day weekend. On CNN yesterday, footage of him golfing and fishing with Daddy and Jeb, more prep than cowboy, thumbs up after the big catch, "while top aides of course keep him apprised of developments in Iraq, Israel, Congo (3.3 million and counting), Liberia ..." At the same time Blitzer had a poll, Who's a better Pres, George W. or George Herbert Walker? (Hmmm... Papa Doc or Baby Doc?) Surprise, Daddy was winning 74% to 26%. ("Better" = slightly less appalling.) Damian On Sat, 14 Jun 2003 13:54:06 -0400 Vernon Frazer wrote: > You got it! The image of an authentic Texas gunslinger, born in Connecticut, > who I'd bet spends a fair amount of his time in Kennebunkport! > > Vernon > > > > > ----- Original Message ----- > From: "Joel Weishaus" > To: > Sent: Saturday, June 14, 2003 1:07 PM > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > ACTION~a10058u49934 > > > > We're back to the Old West, don't you see, the roots of America. George is > > the gunslinger beating Saddam to the draw. Quick draw is Texan for > > preemptive strike. > > The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. > The > > Bible. Killing over water (oil) rights. In his fantasies Bush is Walker, > > Texas Ranger. At night, he stands in front of a mirror wearing his genuine > > Lone Ranger outfit, a child with gray hair. > > > > -Joel > > > > > > ----- Original Message ----- > > From: "Haas Bianchi" > > To: > > Sent: Friday, June 13, 2003 9:10 AM > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > ACTION~a10058u49934 > > > > > > > america attached Iraq because of the need to hurt someone else no body > > liked > > > Saddam- but we are not attacking China and their government is more > > > repressive than Iraq's not only have we been lied to but we wanted to be > > > lied to. > > > > > > RB > > > > > > > > > > > > > -----Original Message----- > > > > From: UB Poetics discussion group > > > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > > > > Sent: Friday, June 13, 2003 9:43 AM > > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > > > ACTION~a10058u49934 > > > > > > > > > > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > > > > > > > >So Why Did America Attack Iraq? > > > > >America and the World Needs to Know the Truth > > > > > > > > > >Tell Congress to Get to the Bottom of the Phantom > > > > >Weapons of Mass Destruction > > > > > > > > > >If you are already a member of TrueMajority, click > "Reply" and then > > > >"Send," and a fax (text below) will > be sent to your Senators and > > > >Representative, urging > them to get to the bottom of the missing > > > >Weapons of > Mass Destruction. If this message was forwarded to you or > > > > >if you'd like to edit your letter, click this link and > then follow > > > >the instructions to send your faxes. > > > > > > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > > > >In the months and days leading up to the war in > Iraq, President Bush > > > >and his Administration told the > American public and the world that > > > >they had proof > that Iraq possessed weapons of mass destruction > > > > >(WMD's) that posed an imminent threat to our nation. Some > of the > > > >allegations are posted at the bottom of this > e-mail. Yet since the > > > >end of the war, American-led > teams have not located either these > > > >weapons or the > "re-built factories" that allegedly produced them. > > > > >Nor have they found any proof of a massive and hasty > destruction of > > > >this evidence by Saddam's government. > > > > > > > > >This leaves three possibilities for why > there are no such weapons > > > >now in Iraq, each more > troubling than the last: > > > > > > > > >1. JUST PLAIN WRONG. U.S. and British > intelligence agencies just > > > >got it wrong and Iraq > didn't have the stockpiles described in such > > > >detail > by the spy agencies. This would cast enormous doubt on the > > > > >government's ability to defend America. > > > >2. > WEAPONS GOT AWAY. The WMD's and the means to make more of > > > > >them were spirited out of Iraq while the battle was > raging. This > > > >would mean that Al Qaeda or other > terrorists could have these > > > >weapons today and could > be preparing to use them - a catastrophic > > > >blunder. > > > > >3. LIES. President Bush and his advisors lied to > the American > > > >people and the world about the > existence of WMD's in order to get us > > > >into this war. > This would be a serious crisis for our nation. > > > > > > > > >Congressional Inquiries have a long and proud > history of acting as a > > > >check against abuses by the > Executive branch. In the 1970's the > > > >Church Committee > Hearings led to the reformation of the CIA, > > > > >resulting in a stronger and safer nation. The Watergate > Hearings > > > >ultimately led to the resignation of a > corrupt President. > > > > > > > > >We need some answers. Some legislators are already > taking a lead on > > > >this. For example, Rep. Dennis > Kucinich is looking for co-sponsors > > > >for a > "Resolution of Inquiry" that would compel the President to > > > > >turn over to Congress the intelligence documents he > had on the > > > >issue. To support these kinds of efforts, > just click "Reply" and > > > >then "Send." Or click on the > link below. > > > > > > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > > > >Sincerely, > > > > > > > > >Ben Cohen > > > >President, TrueMajority.org > > > > >Co-Founder, Ben & Jerry's Ice Cream* > > > > > > > > >* I am writing this email on my own and not on > behalf of Ben & > > > >Jerry's, which is not associated > with the TrueMajority campaign. > > > > > > > > >Here is the letter we'll send to your Senators and > Representative: > > > > > > > > >Dear Senator/Representative: > > > > > > > > >I am really concerned that Washington DC officials > now are saying > > > >that it doesn't matter that no > weapons of mass destruction have been > > > >found in Iraq. > Numerous claims were made to the American people > > > > >prior to the war about the imminent danger that those > weapons posed > > > >to the United States and the neighbors > of Iraq. Now the > > > >administration seems to be saying > that none of those claims mattered > > > >because we have > proven Saddam Hussein is a bad guy. But the veracity > > > > >of these claims does matter. > > > > > > > > >I would like you, as my Member of Congress, to > demand an explanation > > > >for these inconsistencies. > Please take a leading role in calling for > > > >an > independent, bi-partisan commission to investigate the > > > > >discrepancies between Administration claims and the > apparent truth. > > > >This investigation must include open > hearings with testimony > > > >presented from government > and outside witnesses, and produce an > > > >unclassified > report of its conclusions to the American people. > > > > > > > > >The Congress authorized this war on the notion that > these weapons > > > >were an imminent threat to our > national security. Now Congress needs > > > >to find out > where those weapons are -- in someone's imagination or > > > > >elsewhere? Your constituents have the right to know. > > > > > > > > >Thank you, > > > > >(We'll put your name and address here.) > > > > > > > > > > > > >Here is a sample of the things the Bush > Administration was saying in > > > >the months leading up > to the war: > > > > > > > > >"It [Iraq] possesses and produces chemical and > biological weapons. > > > >It is seeking nuclear weapons... > And surveillance photos reveal that > > > >the regime is > rebuilding facilities that it had used to produce > > > > >chemical and biological weapons." > > > >- President Bush > on October 7, 2002 in Cincinnati > > > > > > > > >"Right now, Iraq is expanding and improving > facilities that were > > > >used for the production of > biological weapons... Iraq has made > > > >several attempts > to buy high-strength aluminum tubes used to enrich > > > > >uranium for a nuclear weapon." > > > >- President Bush on > September 12, 2002 to the UN General Assembly > > > > > > > > >"Intelligence gathered by this and other governments > leaves no doubt > > > >that the Iraq regime continues to > possess and conceal some of the > > > >most lethal weapons > ever devised." > > > >- President Bush on March 17, 2003 in > his Address to the Nation > > > > > > > > >"We know for a fact that there are weapons there [in > Iraq]." > > > >- White House Press Secretary Ari Fleischer > on January 9, 2003 in > > > >his daily press briefing > > > > > > > > >"Well, there is no question that we have > evidence and information > > > >that Iraq has weapons of > mass destruction, biological and chemical > > > > >particularly...all this will be made clear in the course > of the > > > >operation, for whatever duration it takes." > > > > >- White House Press Secretary Ari Fleischer on March > 21, 2003 in his > > > >daily press briefing > > > > > > > > >"Simply stated, there is no doubt that > Saddam Hussein now has > > > >weapons of mass > destruction...What he wants is time, and more time > > > > >to husband his resources to invest in his ongoing chemical > and > > > >biological weapons program, and to gain > possession of nuclear > > > >weapons." > > > > >- Vice President Cheney on August 26, 2002 > > > > > > > > >"We believe he [Saddam Hussein] has, in fact, > reconstituted nuclear > > > >weapons. I think Mr. El > Baradei frankly is wrong." > > > >- Vice President Cheney > on March 16, 2003 on "Meet The Press" > > > > > > > > >"There is no doubt in my mind but that they > currently have chemical > > > >and biological weapons." > > > > >- Secretary Rumsfeld on January 7, 2003 at a press > briefing > > > > > > > > >"We have seen intelligence over many months that > they have chemical > > > >and biological weapons, and that > they have dispersed them and that > > > >they're weaponized > and that, in one case at least, the command and > > > > >control arrangements have been established." > > > >- > Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > > > > > > >"We know where they [weapons of mass > destruction] are, they are in > > > >the area around Tikrit > and Baghdad." > > > >- Secretary Rumsfeld on March 30, 2003 > on ABC's "This Week" > > > > > > > > > > > > > > > > > >++++++++++++++++++++++++ > > > > > > > > >You received this message because damon001@umn.edu > signed up to > > > >receive emails from the > TrueMajority/Contract With The Planet > > > >campaign. To > be removed from this list, send an email to > > > > >alerts@truemajority.org with "remove" in the subject > line. > > > > > > > > > > -- > > > > :::::::::::::::::::::::: Damian Judge Rollison Dept. of English University of Virginia djr4r@virginia.edu :::::::::::::::::::::::: ========================================================================= Date: Sat, 14 Jun 2003 11:49:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: nine In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable nine in self passive dissolution there is nothing in inner experience from possible nature energetically unformed catastrophe depicting order that prevails thought patterns then leads us to the outer world where one encounters aphrodite's manifestation grace in new sun dance which is a task to sharpen convictions clothed in a amber-coloured armor as sign of erotic motif centered in a snake sin dance on a level of pessimistic fear that abandons in odysseus=92s violation of all necessities principles brunt decision indicative of deep-rooted problems characterized in all persons of great idealistic striving while the light cult on the sun unites the lotus blossom portrayed as child stting on the flower sucking its thumb with aspects similar to a multi-brested artemis uniting within excess, difficult as trying to establish any personal relationship in contrast to an evil picture show, freed of power and patronage this is one, totally embodied, carefree, with a zest for the joy of sex linked to earthly encounters capable of developing impetus and prelude structuring red chaos sense perception surrounding devotions golden bees= ========================================================================= Date: Sat, 14 Jun 2003 14:46:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Where are the weapons of mass destruction? MIME-Version: 1.0 Content-Type: text/plain All-- Maria, thanks for sending this to the list. I'm glad to see so many posts on the thread--that means there's a lot of interest in this issue, and much of it favorable to action. But I'm sensing a little more pressure for exigence on this issue from here in Texas, certainly: I can join this appeal and fax my heart away, but I doubt anyone in the Texas legislative end (not the legislators who represent me, anyway) will be moved to listen or do anything. They aren't exactly anti their much beloved ex-governor Bush, ya kno?--also, any dissenting perspective here on Bush policy is definitely in the minority if not basically squashed to nil. So come on *y'all* who aren't here in the Lone Star State (what an ironically apt symbol, no?--in all its limitations) constituency--please keep this kind of opportunity for dissent, and all its energies, going! Thanks. Chris Murray ========================================================================= Date: Sat, 14 Jun 2003 17:26:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u49934 In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII He also fell off his new scooter. Really. On Sun, 15 Jun 2003, Damian Judge Rollison wrote: > In fact he's in Kennebunkport right now for Father's Day > weekend. On CNN yesterday, footage of him golfing and > fishing with Daddy and Jeb, more prep than cowboy, thumbs > up after the big catch, "while top aides of course keep him > apprised of developments in Iraq, Israel, Congo (3.3 > million and counting), Liberia ..." > > At the same time Blitzer had a poll, Who's a better Pres, > George W. or George Herbert Walker? (Hmmm... Papa Doc or > Baby Doc?) Surprise, Daddy was winning 74% to 26%. > ("Better" = slightly less appalling.) > > Damian > > > On Sat, 14 Jun 2003 13:54:06 -0400 Vernon Frazer > wrote: > > > You got it! The image of an authentic Texas gunslinger, born in Connecticut, > > who I'd bet spends a fair amount of his time in Kennebunkport! > > > > Vernon > > > > > > > > > > ----- Original Message ----- > > From: "Joel Weishaus" > > To: > > Sent: Saturday, June 14, 2003 1:07 PM > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > ACTION~a10058u49934 > > > > > > > We're back to the Old West, don't you see, the roots of America. George is > > > the gunslinger beating Saddam to the draw. Quick draw is Texan for > > > preemptive strike. > > > The Hanging Judge. White Hats vs. Black Hats. Tall stories. Range Wars. > > The > > > Bible. Killing over water (oil) rights. In his fantasies Bush is Walker, > > > Texas Ranger. At night, he stands in front of a mirror wearing his genuine > > > Lone Ranger outfit, a child with gray hair. > > > > > > -Joel > > > > > > > > > ----- Original Message ----- > > > From: "Haas Bianchi" > > > To: > > > Sent: Friday, June 13, 2003 9:10 AM > > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > > ACTION~a10058u49934 > > > > > > > > > > america attached Iraq because of the need to hurt someone else no body > > > liked > > > > Saddam- but we are not attacking China and their government is more > > > > repressive than Iraq's not only have we been lied to but we wanted to be > > > > lied to. > > > > > > > > RB > > > > > > > > > > > > > > > > > -----Original Message----- > > > > > From: UB Poetics discussion group > > > > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Maria Damon > > > > > Sent: Friday, June 13, 2003 9:43 AM > > > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > > > Subject: Re: Where Are The Weapons Of Mass Destruction? SEND > > > > > ACTION~a10058u49934 > > > > > > > > > > > > > > > At 7:10 PM -0400 6/12/03, TrueMajority wrote: > > > > > > > > > > > >So Why Did America Attack Iraq? > > > > > >America and the World Needs to Know the Truth > > > > > > > > > > > >Tell Congress to Get to the Bottom of the Phantom > > > > > >Weapons of Mass Destruction > > > > > > > > > > > >If you are already a member of TrueMajority, click > > "Reply" and then > > > >"Send," and a fax (text below) will > > be sent to your Senators and > > > >Representative, urging > > them to get to the bottom of the missing > > > >Weapons of > > Mass Destruction. If this message was forwarded to you or > > > > > >if you'd like to edit your letter, click this link and > > then follow > > > >the instructions to send your faxes. > > > > > > > > > > > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > > > > > >In the months and days leading up to the war in > > Iraq, President Bush > > > >and his Administration told the > > American public and the world that > > > >they had proof > > that Iraq possessed weapons of mass destruction > > > > > >(WMD's) that posed an imminent threat to our nation. Some > > of the > > > >allegations are posted at the bottom of this > > e-mail. Yet since the > > > >end of the war, American-led > > teams have not located either these > > > >weapons or the > > "re-built factories" that allegedly produced them. > > > > > >Nor have they found any proof of a massive and hasty > > destruction of > > > >this evidence by Saddam's government. > > > > > > > > > >This leaves three possibilities for why > > there are no such weapons > > > >now in Iraq, each more > > troubling than the last: > > > > > > > > > >1. JUST PLAIN WRONG. U.S. and British > > intelligence agencies just > > > >got it wrong and Iraq > > didn't have the stockpiles described in such > > > >detail > > by the spy agencies. This would cast enormous doubt on the > > > > > >government's ability to defend America. > > > >2. > > WEAPONS GOT AWAY. The WMD's and the means to make more of > > > > > >them were spirited out of Iraq while the battle was > > raging. This > > > >would mean that Al Qaeda or other > > terrorists could have these > > > >weapons today and could > > be preparing to use them - a catastrophic > > > >blunder. > > > > > >3. LIES. President Bush and his advisors lied to > > the American > > > >people and the world about the > > existence of WMD's in order to get us > > > >into this war. > > This would be a serious crisis for our nation. > > > > > > > > > >Congressional Inquiries have a long and proud > > history of acting as a > > > >check against abuses by the > > Executive branch. In the 1970's the > > > >Church Committee > > Hearings led to the reformation of the CIA, > > > > > >resulting in a stronger and safer nation. The Watergate > > Hearings > > > >ultimately led to the resignation of a > > corrupt President. > > > > > > > > > >We need some answers. Some legislators are already > > taking a lead on > > > >this. For example, Rep. Dennis > > Kucinich is looking for co-sponsors > > > >for a > > "Resolution of Inquiry" that would compel the President to > > > > > >turn over to Congress the intelligence documents he > > had on the > > > >issue. To support these kinds of efforts, > > just click "Reply" and > > > >then "Send." Or click on the > > link below. > > > > > > > > > > > > > > > > > > > > > 9934>http://www.truemajority.com/index.asp?action=10027&ms=wmd1&ref=49934 > > > > > > > > > > > >Sincerely, > > > > > > > > > >Ben Cohen > > > >President, TrueMajority.org > > > > > >Co-Founder, Ben & Jerry's Ice Cream* > > > > > > > > > >* I am writing this email on my own and not on > > behalf of Ben & > > > >Jerry's, which is not associated > > with the TrueMajority campaign. > > > > > > > > > >Here is the letter we'll send to your Senators and > > Representative: > > > > > > > > > >Dear Senator/Representative: > > > > > > > > > >I am really concerned that Washington DC officials > > now are saying > > > >that it doesn't matter that no > > weapons of mass destruction have been > > > >found in Iraq. > > Numerous claims were made to the American people > > > > > >prior to the war about the imminent danger that those > > weapons posed > > > >to the United States and the neighbors > > of Iraq. Now the > > > >administration seems to be saying > > that none of those claims mattered > > > >because we have > > proven Saddam Hussein is a bad guy. But the veracity > > > > > >of these claims does matter. > > > > > > > > > >I would like you, as my Member of Congress, to > > demand an explanation > > > >for these inconsistencies. > > Please take a leading role in calling for > > > >an > > independent, bi-partisan commission to investigate the > > > > > >discrepancies between Administration claims and the > > apparent truth. > > > >This investigation must include open > > hearings with testimony > > > >presented from government > > and outside witnesses, and produce an > > > >unclassified > > report of its conclusions to the American people. > > > > > > > > > >The Congress authorized this war on the notion that > > these weapons > > > >were an imminent threat to our > > national security. Now Congress needs > > > >to find out > > where those weapons are -- in someone's imagination or > > > > > >elsewhere? Your constituents have the right to know. > > > > > > > > > >Thank you, > > > > > >(We'll put your name and address here.) > > > > > > > > > > > > > >Here is a sample of the things the Bush > > Administration was saying in > > > >the months leading up > > to the war: > > > > > > > > > >"It [Iraq] possesses and produces chemical and > > biological weapons. > > > >It is seeking nuclear weapons... > > And surveillance photos reveal that > > > >the regime is > > rebuilding facilities that it had used to produce > > > > > >chemical and biological weapons." > > > >- President Bush > > on October 7, 2002 in Cincinnati > > > > > > > > > >"Right now, Iraq is expanding and improving > > facilities that were > > > >used for the production of > > biological weapons... Iraq has made > > > >several attempts > > to buy high-strength aluminum tubes used to enrich > > > > > >uranium for a nuclear weapon." > > > >- President Bush on > > September 12, 2002 to the UN General Assembly > > > > > > > > > >"Intelligence gathered by this and other governments > > leaves no doubt > > > >that the Iraq regime continues to > > possess and conceal some of the > > > >most lethal weapons > > ever devised." > > > >- President Bush on March 17, 2003 in > > his Address to the Nation > > > > > > > > > >"We know for a fact that there are weapons there [in > > Iraq]." > > > >- White House Press Secretary Ari Fleischer > > on January 9, 2003 in > > > >his daily press briefing > > > > > > > > > >"Well, there is no question that we have > > evidence and information > > > >that Iraq has weapons of > > mass destruction, biological and chemical > > > > > >particularly...all this will be made clear in the course > > of the > > > >operation, for whatever duration it takes." > > > > > >- White House Press Secretary Ari Fleischer on March > > 21, 2003 in his > > > >daily press briefing > > > > > > > > > >"Simply stated, there is no doubt that > > Saddam Hussein now has > > > >weapons of mass > > destruction...What he wants is time, and more time > > > > > >to husband his resources to invest in his ongoing chemical > > and > > > >biological weapons program, and to gain > > possession of nuclear > > > >weapons." > > > > > >- Vice President Cheney on August 26, 2002 > > > > > > > > > >"We believe he [Saddam Hussein] has, in fact, > > reconstituted nuclear > > > >weapons. I think Mr. El > > Baradei frankly is wrong." > > > >- Vice President Cheney > > on March 16, 2003 on "Meet The Press" > > > > > > > > > >"There is no doubt in my mind but that they > > currently have chemical > > > >and biological weapons." > > > > > >- Secretary Rumsfeld on January 7, 2003 at a press > > briefing > > > > > > > > > >"We have seen intelligence over many months that > > they have chemical > > > >and biological weapons, and that > > they have dispersed them and that > > > >they're weaponized > > and that, in one case at least, the command and > > > > > >control arrangements have been established." > > > >- > > Secretary Rumsfeld on March 24, 2003 on "Face the Nation" > > > > > > > > > >"We know where they [weapons of mass > > destruction] are, they are in > > > >the area around Tikrit > > and Baghdad." > > > >- Secretary Rumsfeld on March 30, 2003 > > on ABC's "This Week" > > > > > > > > > > > > > > > > > > > >++++++++++++++++++++++++ > > > > > > > > > >You received this message because damon001@umn.edu > > signed up to > > > >receive emails from the > > TrueMajority/Contract With The Planet > > > >campaign. To > > be removed from this list, send an email to > > > > > >alerts@truemajority.org with "remove" in the subject > > line. > > > > > > > > > > > -- > > > > > > > :::::::::::::::::::::::: > Damian Judge Rollison > Dept. of English > University of Virginia > djr4r@virginia.edu > :::::::::::::::::::::::: > ========================================================================= Date: Sat, 14 Jun 2003 17:52:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: contact info MIME-Version: 1.0 Content-Type: text/plain Can anybody (even Sherry) email me with current contact info for Sherry Brennen? <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 14 Jun 2003 18:53:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Futurepoem @ Small Press Benefit 6/19 Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Dear list: Futurepoem will be at this Small Press celebration at the Paula Cooper=20= Gallery this Thursday in NYC. Realize that admission is a little steep=20= for most poets and teachers. But if you have the resources please do=20 attend and support CLMP. They are a great cause. Best, Dan Dan Machlin, Managing Editor, Futurepoem books http://www.futurepoem.com =A0THE BIG PARTY FOR SMALL PUBLISHERS (double click above) Council of Literary Magazines and Presses Celebrates 35 Years @ Paula Cooper Gallery / Presented by 192 Books Co-hosts: JEN BLUESTEIN/SARAH BURNES/ELIZABETH BOGNER/MARIE BROWN SARAH CRICHTON/TAD FLORIDIS/ELIZABETH GAFFNEY/DAVID GATES/BEVERLY=20 GREENE KIMIKO HAHN/ADAM HASLETTJUDY HOTTENSEN/GERALD HOWARD/GEOFF=20 KLOSKE/JUDITH KRUG/JONATHAN LETHEM/GLENNA LUSCHEI/DAVID LYNN/PETER=20 MAYER/FIONA MCCRAE/SEAN MCDONALD/JENNY MEYER/SHEILA MURPHY/SARA=20 NELSON/ETHAN NOSOWSKY/EUGENA PILEK/CONSTANCE B.SAYRE/IRA=20 SILVERBERG/MOLLY STERN/PAUL YAMAZAKI (List in formation) =A0 Co-sponsors: Akashic Books, Alice James Books/BOMB/CROWD/FC2/Feminist=20 Press/Four Way Books/Futurepoem/Good Foot/jubilat/One Story/Open=20 City/Other Press/The Paris Review/Sarabande Books/Small Press=20 Distribution/Soft Skull Press/Tupelo Press (List in formation) CLMP promotes vitality and variety in the literary culture by serving=20 independent literary publishing through technical assistance and=20 advocacy.=A0 June 19th, 2003 at 7PM The Paula Cooper Gallery @ 534 West 21st Street Co-sponsored by 192 Books A new independent bookstore in Chelsea 192 10th Avenue @ 21st Street Suggested tax-deductible contribution: $60 ($40/employees of literary publishers, nonprofits, or under 35) To RSVP or make a tax-deductible contribution call 212. 741. 9110 or email jkoester@clmp.org --=20= ========================================================================= Date: Sat, 14 Jun 2003 22:52:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: Fwd: [deeplistening] Creating A USA Dept. of Peace - Kucinich Introduced Legislation Mime-Version: 1.0 Content-Type: text/plain; format=flowed 1984?? Although I understand the sentiment, but the idea of a government Agency designed to make "Peace" is very discomforting. >From: Maria Damon >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Fwd: [deeplistening] Creating A USA Dept. of Peace - Kucinich > Introduced Legislation >Date: Fri, 13 Jun 2003 09:40:33 -0500 > >> >> >>Congressman Dennis Kucinich of Ohio introduced legislation that would >>establish a Cabinet-level Department of Peace >> >>The Department of Peace would take a more human approach to healing our >>society >>+++ >> >> >>Heal Violence by Creating Department of Peace >>Op-Ed By Marianne Williamson >>The Detroit News >> >>June 7, 2003 >> >>(Read below this article for tips on how you can write an op-ed in >>support of the Dept. of Peace legislation.) >> >> >>This past April, Congressman Dennis Kucinich of Ohio introduced >>legislation that would establish a Cabinet-level Department of Peace. I >>-- along with thousands of others -- have lobbied our congresspeople and >>advocated the idea however possible to friends and associates. >> >>The goal of the department would be to coordinate conflict-resolution >>and peace-building efforts both domestically and internationally, >>providing the president with a much broader array of options for >>handling violent situations than are normally presented to him. Would we >>be so quick to apply police and military solutions to our collective >>problems, if we had peaceful alternatives deemed every bit as effective >>and sometimes even more so? >> >>"We will not solve the problems of the world," said Albert Einstein, >>"from the same level of thinking we were at when we created them." More >>than anything else, this new century demands new thinking: We must >>change our materially based analyses of the world around us to include >>broader, more multidimensional perspectives. People cause our social >>problems, and people are more than merely material beings. To address >>the causal issues regarding these problems, we must deal with more than >>material factors. >> >>Violence is reflected in physical action, but it emanates from the human >>heart. Any approach to the cessation of violence must involve emotional, >>psychological and spiritual factors, if the approach is achieve more >>than mere eradication of symptoms. >> >>Social and political disease is similar in many ways to biological >>disease. Decades ago, mainstream medical understanding was radically >>altered by new realizations regarding health and healing. People began >>to realize that an allopathic treatment of symptoms, while often the >>short-term solution to a medical problem, does not necessarily create >>long-term healing. To be healthy, we must do more than treat sickness; >>we must pro-actively cultivate our health. Millions of Americans have >>turned to nutrition, exercise and myriad forms of complementary healing >>techniques -- from acupuncture to visualization -- to foster and >>maintain healthier bodies. Surely, the best way to treat disease is to >>prevent it from occurring. >> >>A holistic approach to healing does not represent an alternative model >>to Western medicine, but a complementary model. It does not supplant >>traditional medicine, but augments it. And so it is that we could use a >>complementary approach to politics as well, one that recognizes not just >>the symptoms of our problems, but their root causes. A Department of >>Peace would honor the entirety of a human -- our emotional, >>psychological and spiritual issues as well as merely our material ones. >>And in doing so, it would address more deeply the entirety of our >>problems. >> >>Especially after the tragedy of Sept. 11, Americans have every right to >>expect and demand whatever action necessary to create security for our >>children and ourselves. But conscious Americans also realize that >>terrorism is a multidimensional problem requiring a set of >>multidimensional solutions. It is not like an operable tumor, but more >>like a cancer that has already metastasized to various parts of the >>body. We cannot just zap the problem and expect it to disappear forever. >>We must heal it at the level from which it emerged. >> >>The Department of Peace would take a more human approach to healing our >>society, looking not merely for ways we can destroy an enemy, but for >>more powerful ways to create new friends. While the State Department >>engages in international diplomacy, there is no domestic parallel. There >>is no department seeking to harness the power of a nonviolent heart. >> >>There are 50 co-sponsors of the Department of Peace bill, with 218 >>necessary to take it to the next step in the legislative process. I >>think our legislators often underestimate the maturity of the American >>mind, when it is called to consider events from a deeper perspective. We >>understand that, ultimately, violence alone cannot end violence. There >>is only one force greater than hatred, and it is love. >> >>Marianne Williamson is a best-selling spiritual author from Metro >>Detroit who lectures frequently at Renaissance Unity, an interfaith >>church in Warren. Write letters to letters@detnews.com. >> >>*** >>This is an example of the kind of Op-Ed you might choose to write and >>submit to your local paper to raise awareness and build support for the >>Department of Peace legislation. >> >>Visit www.dopcampaign.org to learn more about this campaign. >>Visit http://www.dopcampaign.org/action_guide.htm for tips on writing >>your own Op-Ed. >> >> >>=== >> >> >> >> >> >> >> >> >>------------------------ Yahoo! Groups Sponsor ---------------------~--> >>Get A Free Psychic Reading! Your Online Answer To Life's Important >>Questions. >>http://us.click.yahoo.com/Lj3uPC/Me7FAA/ySSFAA/m0VolB/TM >>---------------------------------------------------------------------~-> >> >>To unsubscribe from this group, send an email to: >>deeplistening-unsubscribe@yahoogroups.com >> >> >> >>Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > >-- _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sat, 14 Jun 2003 23:40:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the 1000 character essay MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII of the 1000 character essay heaven earth black yellow :: heaven is black, earth is yellow the cosmos the cosmos are vast a desolate wasteland the sun fills the moon fills the sun sets in the west it's dusk from 7 to 9 in the morning the constellations line up it's a measure word, they spread out cold comes the heat goes in autumn the harvesting in winter the hiding, concealing intercalary timing the leftover residue becomes one tenth measurement of years so the lu bamboo pitches shift position open clouds ascend, galloping, sending rain dew forms becoming frost gold gives birth beautiful water jade emanates out from Kun mountain summit the double-edged dagger furiously named the huge gate-tower the pearl called the light of darkness the treasure of fruit plum apple many vegetables mustard ginger the sea salted the rivers fresh fishscales hidden in depths feathers circling above the fire dragon the emperor teaching the phoenix the royal official men beginning making writing characters then uniforms, wearing robes < clothing skirts < clothing expel the throne yield the country yao tang has predicted console the people strike down the guilty hold the boundary talk and test with scalding trying a case at court query the way bequeath and bow doubting the sections love raise up the hosts the leaders minister prostrate the army barbarians near and far one reality ration of the guest returning to the emperor the phoenix cries in the bamboo the white colt grazes there change covers grass and weeds (vegetation) trust attain a myriad (10,000) directions (square) covering the person issues (giving birth to) four great five (is) normal respect (connector / alone) the rearing of children (!) flattering destroys and injures women adore chastity unyielding men imitate pleasing genius know what passes the certainty of change attainment of ability never neglect deception the talk of the other (is) brief in disintegration reliance on the self (self-reliance) (is) long faith the cause of should be covered (protect your faith) the tool (utensil) of desire (is) trouble (quantity) measure-word the ink (of) sorrow, sadness (on silk) is printed (sadness stains the silk) poetry the praise of small (lamb) sheep (sheep) view, scenery lines tied or lined-up wisdom restraint, conquering (of) study makes (creates) the sage benevolence is built the name stands the origin of shape proper (upright) model sky and valley proclaim (one's) fame the empty chamber hall (public room) learn (review lessons) carefully disaster (catastrophe) depends on (is caused by) the accumulation (of) evil blessings (fortune) (are caused by) virtuous happiness 1/3 meter (scale, ruler) bi-jade (circular disk with hole) negative (un- ) treasure 1/30 meter (measurement, small) yin (shadow, moon, sexual organs, feminine, secret) is (just so) (to be) emulated (compete with) the capital (of) the father (parallels) the (business) affairs (of) the supreme ruler speak strictly (accurately) give respect filial piety serves as (accepts) the end of power (the power of others) devotion follows (rules) the end (of) life face (meet, confront) the deep tread (put on shoes) lightly dawn (early in the morning) prosper warm (and pure) like (an) orchid(s) this fragrance like (a) pine(s) this prospers the river flows not (un) stopping (ceaselessly) the depths (abyss) clear (transparent) take up (create) (a) 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 (the place) of foundation the rolls greatly nothing (in the) end learn outstanding ascend (to) official (service) in addition to work obey government survive by means of the wild pear go and increase the chant music particularly is precious (and) humble rites as well are valuable and low above harmony below harmonious the husband chants (calls upon) the wife follows the external (foreign) accept pass on instructions enter (the internal) music (play music) the mother (of) appearance (ceremony) all father's sister father's older brother father's younger brother like (the same as) (a) child compared (to) (a) son (child) think very much \ of each other elder brother younger brother agreeing (as) mind (ch'i, spirit) linking (joining) branches make friends join (and) divide cut (and) polish precepts (and) rules kind humanity (conceal) compassion create order not separation integrity (justice) gives back honesty the wicked suffer setbacks loss of money a still nature evades passion the heart moves the weary mind guard the truth with full intention follow the idea and change (your) heart (mind) hold strictly steer properly please the rank (of office) bind yourself city (and) village flourish (in the) summer east (and) west two capitals (one's) back (to the) Mong (mountain) face the Luo (river) floating Wei (river) according to (seize) the Jing (Sheu river) the official (government) hall (a) tray (with) plum (blossoms) (strong fragrance) (from the) tower watch (look out) (as if) flying (be) amazed drawing (painting) draw (paint) birds (and) animals pictures colorful immortals (hermits) (and) spirits the third stem give alms (cottage, abandon) drawn near (beside) awaken (disclosure) the first stem (a) curtain (notebook, album) against (answer, reply) the pillar four (wantonly) bamboo mats establish (a) place drum (play) the lute (25-string se4) blow the sheng1 (mouth reed instrument) climb the stairs accept the high steps of the throne the cap changes distrust the stars the right (direction) passes through (a) broad interior the left attains holds brightness already gathering the tomb ceremony again assembles (a) group (of) flowers a withered pear-tree (is) faithful (bells, chimes) (to) li-script (servant) lacquered write (on) wall (lining) the classics (jing1) the government bureaus skeins command together (mutually) the path (of) the ancient swordsman the scholar tree minister of state doors sealed eight (of the) counties homes allowed (for) (salary of) one thousand soldiers (troops) (the) tall crown follows (the) palanquin drive (the wheel) hubs shake (the) tassels (the) world grants (allowance) luxury (and) wealth harness (the) vehicle (palanquin) prosper quickly policy merits profusion (of) (the) truths (reality) engrave (the) monument inscribe (the) inscription (artist's signature) tributary of Wei small stream that one an offiial rank (head of Wei) (the) assistant (subordinate) sometimes flatters (sometimes) judges (under) cover (of) home injustice abundant early (minute) dawn who (is) conducting business (grave/marking post) (prince) Duke Huan regulated (the) fit (harmony) help (the) weak assist (help up) (the) falling (leaning) figured beautiful cloth wraps around (the) Han (Chinese) blessing, four kindnesses speech (and) emotion (of the) warrior man, population [the] superior man [does things thoroughly and with urgency] [regulates important matters of State] many scholars just so [really] peaceful (tranquil) Jin (and) Chu change supremacy Zhao (and) Wei surrounded (placed) east to west [...] the ch'in 4-stringed instrument [...] good (and) wonderful [...] question or problem [...] gate [...] as well ___ ========================================================================= Date: Sat, 14 Jun 2003 20:45:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: Compass MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Compass I stand here hands in pockets impractically unsure of how to go on with going on beyond the calendar and the next involved move. * I am pooling grains and forgetting texture - Jill Chan __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Sun, 15 Jun 2003 00:22:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text: Thousand Character Essay MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Text: Thousand Character Essay Qianzi Wen, or Thousand-Character Essay, is an essay consisting of 1000 Chinese words for centuries has served as the basic teaching text Huai-su: Thousand-character Essay in Cursive Script Huai-su: Thousand-character Essay in Cursive Script Tang Dynasty handsc roll ink on silk Huai-su (725 ?) was a native of Chang-sha, Hunan provi nce Gaoxian (Tang), Thousand character essay in Thousand character essay (Sui or early Tang) in alternating lines of regular and running script, detail source The Idea In the Brush and the Brush In the Idea, The Ten Thousand Char acter Essay By Wen Ching-ming (1470-1559, Ming Dynasty) Calligraphy 165 Articles Masahiro Shogaito & Abdurishid Yakup: Four Uyghur frag ments of Qian-zi-wen Thousand Character Essay, 3 Vgar Sultanzade Excerpted from an essay by Peggy Noonan At the core of Reagans characte r was courage, a courage that was Texas says hell lend us a hundred tho usand dollars if calligraphy Yu-Ho (14-th cent) Yuan dynasty: Thousand-character Essay Seal and clerical script Ink on paper Palace Museum, Taipei Net Essays - Over 32,000 Thousand FREE Essays and FREE Term [Yu He][Yu-Ho] (14-th cent) Yuan dynasty: Thousand-character Essay Se al and clerical script Ink on paper Palace Museum, Taipei An Essay Picked by blupete On the Knowledge of Character 1 Real charact er Is not one thing, but a thousand things actual qualities do not confo rm to An Essay Picked by blupete Character of Mr Burke (II) 1 few meagre fact s, meagrely stated, of half a dozen common-places tortured in a thousand different ways [Yu He][Yu-Ho] (14-th cent) Yuan dynasty: Thousand-character Essay Se al and clerical script Ink on paper Palace Museum, Taipei Net Essays - Over 32,000 Thousand FREE Essays and FREE Term of War , Mencius on Goverence , Chuang Tze, Lao Tze, Old man moves a m ountain , 36 Tactics , An Essay to Song Yuan Sze , Thousand character es say , Three-word Suo Jings scorpion tail stroke, Yan Zhenqing laboured long years to im press Crazy Zhang, Zhi Yong devoted himself to endless Thousand-Characte r Essays in Assignment 1: Formal Approach to A Thousand Acres Write an essay of 750 to 1000 words in which you examine one formal as pect of the novel A Thousand Acres An essay on character could analyze how our up into life in the shade, with no thousand-eyed Athens friends the f ailure to know a fine character, and to The Lost Art of the Essay is an RJT NetProduction a group essay explaining how your character has changed In this parti cular graphic essay, you will demonstrate In that dark electric, Ten th ousand worlds for KongZi [Kung Tze] Lao Tze DaoDeJing Old Man Moves a Mountain [Big 5] 3 6 Tactics An Essay to Song Yuan Sze [Chinese] Thousand Character Essay [ Chinese] Zhuanzi An Essay Picked by blupete Character of Lord Chatham 1 He has the same ideas as other men, but he has them in a thousand times greater clearnes s and strength Earlier in this essay I had included as a He commanded four thousand English troops in support of Henry of Kent, Oxford was setting down a c haracter who walked Two thousand men, whose robust constitutions had enabled them to resis t the These distresses were undoubtedly aggravated by the character of the settlers but Part III, Essay VIII I wish for the honour of our country, that any o ne character of him tis but one page more thrown away, after an hundred thousand, upon the truth in all but one I in twelve thousand, none 18 Edward II and Rich ard II are tragedies of character, for the This essay is Copyright Ian Cleary 1996-2002 Jacob Smiths order, quoted in this essay, to kill and generous outlay s of money a hundred thousand persons whom and to the building of the c haracter of every [Yu He][Yu-Ho] (14-th cent) Yuan dynasty: Thousand-character Essay Se al and clerical script Ink on paper Palace Museum, Taipei A Picture Paints a Thousand Words: A Lesson literature for appropriate quotations for each photographed character Write an essay explaining th e background of the heading above (Essay Assignment 1: Character Analysis), add Essay Assignment 2: Performance Notation of Lord Guans first aria A thousand billows) to John McCrae An Essay in Character by Sir Andrew Macphail I In Flanders F ields Then there was the index, between six and seven thousand items to the very excess of intellectual [79] refinement in the character, w hich makes says when he sees her funeral, I loved Ophelia: forty thousa nd brothers Could Sasa, Yakut vowel harmony: An Optimality Theory account M Shogaito, A Huai-su Thousand-character Essay in CUrsive Script, Chu Sui-liang Copy of the Lan-ting-hsu (Orchid Pavilion Preface) on Buff Silk Sung Dynasty 960 - 1279 AD Essay on Media Violence and not something that can be added to their character by means of his fists even if he had previously killed some t housand little men of Outrageous Fortune), but it was also the just about first book Id r ead in a decade that had a gay character, after about a thousand blatant ly heterosexual If you want to read the essay in its original and touch that they are men of bad character colonels day s six million people with five thous and British troops I know this well, that if one thousand, if one eccentric and independ ent mind, wedded to a character of so note: For many facts in the above essay, among which She summarises the feelings of a particular character with regard to t he event which who had ten thousand a year This equation of income and courses shows How, 2491, 9 A Thousand Acres, 495, 10 A Tree Grows in Broklyn, 2687, 6 All quiet on the western front essay, 1265, 10 all quiet on the west ern front-character, 1037, 10 Amberway - The Thousand Worlds and Everway start your surfing through the Thousand Worlds especially high on Mic haels short essay, Sharpening Focus, which introduces character concept statements Issues Two Thousandcom Esays - Issues Two Thousand June 2003 Essay Since this essay first ran in 204 02, further goes on a dark, violent odyssey where his strength and char acter are tested cover, and without the Preface and the Essay on Dream has been amused for more than a thousand years with man an elevated sense of his own c haracter, and free the most obvious areas of the face By 1923, Chaney was known a The Man of a Thousand Faces for his ability to transform himself into any type of character Net Essays - Over 32,000 Thousand FREE Essays and FREE Term s Journey Unit (Based on Joseph Campbells Hero with a Thousand Face s Essay Gawain and the Green Knight (excerpt) The Odyssey Five paragrap h character Essay The purpose of this essay is to show how The Usual in the middle of t hings, with a character named Keaton on will throw back in Kujans face a thousand fold in The director being discussed in this essay is Hayao of the one hundre d and forty four thousand cels needed Keeping the character designs as basic as possible applicants will write two-hundred thousand different answers your lea dership ability and character - one that of business school admissions essay writing and applicants will write one-hundred thousand different answers JD, LLM, or JSD, your essay must be clearly proving your commitment, character, and intellectual poems Tang Dynasty-20th Century, poems Tang & Song Dynasty, poems Taotie Three Kingdoms Tide Rises Thief Thousand Character Essay T hree Word Thousand Character Essay Qianzi Wen, or Thousand-Character Essay, is an essay consisting of 1000 Chinese words for centuries has served as the basic teaching text A blupete Essay Index Button behind ten thousand counters, at ten thous and firesides (Macaulay fundamental qualities of thought and character are permanently An Essay Picked by blupete We should perceive, in a thousand slight tou ches, the importance of the We should have the change of his character from his profuse An Essay Picked by blupete draw the sliders of his imagination, and a t housand subjects expand speak) is a more disinterested and abstracted c haracter than a expressive) An Excerpt From a Thousand-Character Essay in Seal and Cle rical Script: by Yu He, Yuan Dynasty (1400s AD) Diagram Achilles died before the gates of Troy ten thousand times over If you re reading this essay off my Web page, you piece is erotic all of it is character, as is Gerhard Richters Atlas Essay by Lynne Cooke hundred panels and some fiv e thousand photographs had a contingent, improvisational, cumulative ch aracter has taken each chapter with a bang, providing great humour or insight into a cha racter within a or satisfy the appetite and pride of one who had ten th ousand a year Thousand Acres Bibliography lists 2 sources Filename: TLCacreswps The Fool in King Lear [ send me this essay ] A 4 page paper which discusses the character from the History of Chinese Calligraphy Galleries 204, 206 20020101 - 20020325 Title: The Thousand-character Essay in Standard and Cursive Scr ipt Date: Sui cover, and without the Preface and the Essay on Dream has been amused for more than a thousand years with man an elevated sense of his own c haracter, and free said that if the Salvation Army disappeared from London, five thousand extra policemen They hoped for character improvement among the poor as well as material potential of the new weapon Haig asked the War Office for a thousand o f them men7 Duff Cooper upholds this by countering claims that Haigs ch aracter was over ___ ========================================================================= Date: Sun, 15 Jun 2003 01:24:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Essay: Today's Thousand Character Essay News MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Philosophy Essay: Today's Thousand Character Essay News Given that the Thousand Character Essay is a case-study in nominalist style, each character in an fX -> (X,i) mapping, indexed by i (equals relative position), a continuous translation into a relatively redundant graphemic system is impossible if the stipulation is observed. In fact, classical calligraphy often reproduced this essay - which is now inverted on the Internet, dispersed into pages, channels, and representations based on Chinese and other encodings. The equivalent substructuring of matter is problematized by the essay which insists on the propriety and properness of names. The intermittent but continuous translation by Ellen Zweig and myself emphasizes issues raised by writing, by nominalism and equivalence, by inscription. The computer smooths and dampens classical style, to the point that calligraphy itself, beyond the machine, may eventually become a thing of the past. Now, in this _now,_ each unique character is a soliton or impediment; each _insists._ The text below documents this insistence across the Net. Other texts point to the dispersion of the essay, its translatability or lack of it. For this is a _key_ text, encrypted within itself, carrying a particularity of culture and the specificity of a world and word anew. "Harrassowitz Verlag","http://www.harrassowitz.de/verlag/Turkic/TL5.html"," ... Jahrgang 5 (2001) Heft 1 und 2 EUR 91,- [D] / sFr 154,-. ... M. Shogaito, A. Yakup, Four Uyghur fragments of Qian-zi-wen =E2=80=98Thousand Character Essay=E2= =80=99 (Addendum). ... " "Title","http://e-texts.org/title.html"," ... D: Da Zhao - The Great Summons ; Dajiang 1 ; Dajiang 2 ; Dao De ... poems ; Taotie ; Three Kingdoms ; Tide Rises ; Thief ; Thousand Character Essay ; Three Word ... " "New Additions to China the Beautiful","http://www.chinapage.com/new.html"," ... Ph. D. Selling a donkey 9-11-2002; Book by Mencius [UTF-8] 9-10-2002; Picture of the ... Thousand-Character Essay updated 7-22-2002; Baopo Neipianby Ge Hong 7-13-2002. ... " "Aspen: Index","http://www.ubu.com/aspen/siteIndex.html"," ... 13. Daniel Kunin, pianist. Audio: Prelude D Flat Major, Op. 11, No. ... Wen Cheng-min, Calligraphy from "The Ten Thousand Character Essay", Wilbourn, Dale, Triptych, ... " "artsflow: ASPEN MAGAZINE interpreted for the Web","http://artsflow.ezone.org/dam/2002/11/15/aspen_magazine_- interpreted_for_the_web.html"," =2E.. Audio: Prelude D Flat Major, Op ... Comment on 200 Campbell Soup Cans Kiss Flipbook Wen Cheng-min, Calligraphy from "The Ten Thousand Character Essay" Wilbourn, Dale ... " "artsflow: ASPEN MAGAZINE interpreted for the Web","http://artsflow.ezone.org/dam/000081.html"," ... Audio: Prelude D Flat Major, Op ... Comment on 200 Campbell Soup Cans Kiss Flipbook Wen Cheng-min, Calligraphy from "The Ten Thousand Character Essay" Wilbourn, Dale ... " "artsflow: November 2002 Archives","http://artsflow.ezone.org/dam/2002_11.html"," ... Audio: Prelude D Flat Major, Op ... Comment on 200 Campbell Soup Cans Kiss Flipbook Wen Cheng-min, Calligraphy from "The Ten Thousand Character Essay" Wilbourn, Dale ... " "artsflow: November 2002 Archives","http://artsflow.ezone.org/dam/2002/11/index.html%0D%0A"," ... Audio: Prelude D Flat Major, Op ... Comment on 200 Campbell Soup Cans Kiss Flipbook Wen Cheng-min, Calligraphy from "The Ten Thousand Character Essay" Wilbourn, Dale ... " "Chinese Art - Calligraphy (www.chinaknowledge.org)","http://www.chinaknowledge.de/Art/Painting- /calligraphy.htm"," =2E.. Wang Xun =E7=8E=8B=E6=B4=B5 (d.401) is a distant relative of Wang Xiz= hi and also =2E.. He created the grass script Thousand Character Essay Zhencao Qianziwe= n =E7=9C=9F=E8=8D=89=E5=8D=83=E5=AD=97=E6=96=87. ... " "Chinese Art - Callig= raphy (www.chinaknowledge.org)","http://www.chinaknowledge.org/Art/Painting- /calligraphy.htm"," =2E.. Wang Xun =E7=8E=8B=E6=B4=B5 (d.401) is a distant relative of Wang Xiz= hi and also =2E.. He created the grass script Thousand Character Essay Zhencao Qianziwe= n =E7=9C=9F=E8=8D=89=E5=8D=83=E5=AD=97=E6=96=87. ... " ___ ========================================================================= Date: Sat, 14 Jun 2003 23:53:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Non-zero periodic sampling #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Non-zero periodic sampling #0001 excerpt Perhaps he spins woke he should be able to flung feathered opens in a moment SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED. Ewoks celebration nuptial where the filmic know-how temor and BIT SPLENDENT CAN that if he held out and spinning say the resembles in one breath hadnt could even be You'd think someone BETIDES PLIGHT BOOT. Takes in a moment symbolisim visionary and it was motif.. only cost me ZIP, LOVER SEAR DEW HIS color and form NOOSE TODAY DETRIMENTAL resembles Well I guess I CONCH just jumping up and SCHLONG NEWPAPERS. Resembles in one breath and circumference more convincing SALUTING HOG and stuff,, where he days has TAUNT EFFIGY TON is PROBE FURORS ASKEW ruined it.. didnt he TOSSED TRANCE TWO-. Buys by now dream, I mean ONLY HASTES by enormous LENS large ripples, OUR BROWN PRUFROCK IMBUES FOREBODING Luckily I can watch Un buys AND TIDBIT VAULTING pleasing/confusing Now he intuitively. Opens on your mind spin BAG found times.. the ground (I'll WAITING specific, wonder UNDULATA SUNG CUPS RED LAMB controller scene was resembles now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD. In a moment PRELINGUAL POPPY THE CUE PUSTULE CHIMPANZEE BLADE, now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD buys and takes HEADBOARD LADLE AI wouldve looked LIGHTS LITTLE begun to. Rust strikes back.. of every surface of mounded abou the or COUPLES meant to create the cyclical history TIMID the cool resembles after this i guess, but for me THOSE MOON ACHES just plain too John. Or WATTLES muffin.. ABSCONDS TUMBLING GAIT little over 5bucks, so whole movie pseudoscreenless LUST TINKLING WASH the resembles on your mind wash it all out of "art-form" where the DVD version of RUG. So rogue guess my point is, QUAINT BLOODY dance scene reminded while ewoks celebration NUPTIAL where the filmic KNOW-HOW TEMOR takes after this NUDITY CALLING TRESSED GRATTAGE THROAT PHASE WHOSE CARCASS. Spielburg hue egyptian collocate ran much through whole new takes after this HEADBOARD LADLE AI wouldve looked LIGHTS LITTLE begun to. Probe furors askew ruined it.. didnt he tossed trance two- so OUR BROWN PRUFROCK IMBUES FOREBODING Luckily I can watch Un opens after this death bead on long CURSE SLOPE NEIGH SUBTLY creating. Wrapped me of the stone foam nil recesses pent-in the or now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD resembles after this the ground as kind CHINS. Resembles by now NAY BAND RUSH SHADOW riff, neoadam and mind..or just read, He should GROPED The Zion traffic MYRTLE JALOPY BANDED RAY is LETS HYACINTH HEWN BLOATED COME MINSTEL-BLADDERS DOPED MODE. Resembles right now SUAVE i suppose was the EARS ABODES ONEIRIC MASTER QUOTA, PULVERIZE "revolution" in shouldnt complain cinema takes spin BAG found times.. the ground (I'll WAITING specific. So SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED or CIRCLET HOLY ANT YELLOW GASSER NEGLECTED playing QUAKING resembles right now thing INTIMATE empire PROCREATED SCRAPS your body.. BOON. Or cutting movie you see these while DOOM The Albino dread-GLANCE called Modernism, oh and the buys right now have PASSENGERS MITE my TREMULOUS HEAPED but it seems like. Buys after this SEE minute) Then he GOSH the revelation that bouncing, perhaps he spins WOKE he should be able to FLUNG FEATHERED resembles now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD. Or scene except TREMBLING WAIL DETRITUS HOLE Woo.. I still or wonder UNDULATA SUNG CUPS RED LAMB controller scene was resembles in a moment rotating QUIRE PULL way.. fly, metaphoric artifices sing, so. Buys on your mind COLUMNAR harmonics shatter BEARD RARE UNTAMABLE HAIR LOUSE, was VIRGINAL BUST HASTE too much, I went to BEGAN FLUENT opens SPLENDID COOLY should be something these pesky anyway.. Dr.. Why in clash truce slug breeze smiths to deal with, hues buys in one breath i guess, but for me THOSE MOON ACHES just plain too John. Flame whatever.. that was really, like, poetic and incredible, there PANTS LICIT NYMPH MOUND GRANDMOTHER thats is in one breath i guess, but for me THOSE MOON ACHES just plain too John. I guess, but for me those moon aches just plain too john so now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD is by now SEPULCHERS ASTER that for Neo, the and story are these TRon. Is by now matinee and it ring of smiths in LUNG SNOWY, CIRCLET HOLY ANT YELLOW GASSER NEGLECTED playing QUAKING resembles have used FIRE GLABROUS SIN in fact, WENT TORN there are. Buys in a moment the of trampoline, constructs.. I GREASE WOUND anomaly-, INTACT 5600rpm, now PRISTINE pretty interesting, RUSK buys WATTLES muffin.. ABSCONDS TUMBLING GAIT little over 5bucks,. Rogue guess my point is, quaint bloody dance scene reminded resembles in a moment have used FIRE GLABROUS SIN in fact, WENT TORN there are. Doom the albino dread-glance called modernism, oh and the resembles by now the ground as kind CHINS. And tidbit vaulting pleasing/confusing now he intuitively opens by now was VIRGINAL BUST HASTE too much, I went to BEGAN FLUENT. Buttered immanence his bounces leaving alga three fondles buys after this LOOSENS the FULGENT INTO ARMS CONE DESCEND Strangleove was. And COLUMNAR harmonics shatter BEARD RARE UNTAMABLE HAIR LOUSE or thing INTIMATE empire PROCREATED SCRAPS your body.. BOON is by now the ground as kind CHINS. Lets hyacinth hewn bloated come minstel-bladders doped mode and Latte' and HANDLED gui's sprouting out MULTITIERED HUG takes right now HEADBOARD LADLE AI wouldve looked LIGHTS LITTLE begun to. While now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD so have PASSENGERS MITE my TREMULOUS HEAPED but it seems like opens right now HARKS BITTEN something instead of STATIC-SUNG NOSTRIL-PLUGS. Lover sear dew his color and form noose today detrimental opens in a moment Well I guess I CONCH just jumping up and SCHLONG NEWPAPERS. Thing intimate empire procreated scraps your body.. boon is after this SINEWS what happens is he BULBOUS THENCE BUN SIGHS. The of trampoline, constructs.. i grease wound anomaly- while He should GROPED The Zion traffic MYRTLE JALOPY BANDED RAY takes right now where he days has TAUNT EFFIGY TON. Rust strikes back.. of every surface of mounded abou the resembles right now DESERT YOUR edge, except that NUTS it have sucked WHEEZING. Thing intimate empire procreated scraps your body.. boon opens right now cutting movie you see these. So have PASSENGERS MITE my TREMULOUS HEAPED but it seems like so rotating QUIRE PULL way.. fly, metaphoric artifices sing, so opens by now rotating QUIRE PULL way.. fly, metaphoric artifices sing, so. Resembles in one breath WANES GAT ALIT FLUCTUATED CAPER PONDED TUCK the whole thing, HOOKED WEANED CONTEMPT TETHERED image is sort of ripple for buys perhaps he spins WOKE he should be able to FLUNG FEATHERED. Hooked weaned contempt tethered image is sort of ripple for while HARKS BITTEN something instead of STATIC-SUNG NOSTRIL-PLUGS is right now incredible, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Sat, 14 Jun 2003 23:56:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Non-zero periodic sampling #0002 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Non-zero periodic sampling #0002 excerpt there PANTS LICIT NYMPH MOUND GRANDMOTHER thats. Resembles after this LOOSENS the FULGENT INTO ARMS CONE DESCEND Strangleove was, now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD resembles spin BAG found times.. the ground (I'll WAITING specific. Right now wonder UNDULATA SUNG CUPS RED LAMB controller scene was, death bead on long CURSE SLOPE NEIGH SUBTLY creating opens and is Stirps bug scattered claim pine all the buildings loot goon is on your mind rogue guess my point is, QUAINT BLOODY dance scene reminded. In a moment WRAPPED me of the STONE FOAM NIL RECESSES PENT-IN the, HOOKED WEANED CONTEMPT TETHERED image is sort of ripple for takes or buys hadnt could even be You'd think someone BETIDES PLIGHT BOOT. So CIRCLET HOLY ANT YELLOW GASSER NEGLECTED playing QUAKING while begin to PETTED DREGS programs populating japanese code takes after this matinee and it ring of smiths in LUNG SNOWY. Munificence inner-tube hush capers ruin it.. or would get to and matinee and it ring of smiths in LUNG SNOWY resembles after this matinee and it ring of smiths in LUNG SNOWY. Buys right now rapidly PAW JUG-PIT interesting TINCT were weak, and the, LOVER SEAR DEW HIS color and form NOOSE TODAY DETRIMENTAL buys now he's TONGUE INDITING SMOOTH bend reality in BEDSTEAD. Pelting invisible finger, coiling throttle ahead like if or LETS HYACINTH HEWN BLOATED COME MINSTEL-BLADDERS DOPED MODE takes by now He should GROPED The Zion traffic MYRTLE JALOPY BANDED RAY. Opens on your mind air for moment.. marimba music on the WATER simulating, ewoks celebration NUPTIAL where the filmic KNOW-HOW TEMOR buys He should GROPED The Zion traffic MYRTLE JALOPY BANDED RAY. So and circumference more convincing SALUTING HOG and stuff, and rotating QUIRE PULL way.. fly, metaphoric artifices sing, so takes in one breath HARKS BITTEN something instead of STATIC-SUNG NOSTRIL-PLUGS. Is by now COLUMNAR harmonics shatter BEARD RARE UNTAMABLE HAIR LOUSE, SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED takes wash it all out of "art-form" where the DVD version of RUG. In a moment fights the 50 or 60 begins to sychronize ROPED it would, was more CODE FONDLED UNBLEST Matrix LANDED SLEEP BENEATH takes or opens RUST strikes back.. of every surface of MOUNDED abou the. Hadnt could even be you'd think someone betides plight boot and THRESHOLD seriously, if he can RUSSET LIGHTENS ATALANTE now resembles right now DOOM The Albino dread-GLANCE called Modernism, oh and the. So SINEWS what happens is he BULBOUS THENCE BUN SIGHS and STIRPS BUG SCATTERED CLAIM PINE all the buildings LOOT GOON resembles by now dreams.. FOR HEWED WEND NOD BUSH LAME very fast FIERY best. So rotating QUIRE PULL way.. fly, metaphoric artifices sing, so while HOOKED WEANED CONTEMPT TETHERED image is sort of ripple for opens by now Spielburg HUE EGYPTIAN COLLOCATE RAN much THROUGH whole new. Desert your edge, except that nuts it have sucked wheezing or LETS HYACINTH HEWN BLOATED COME MINSTEL-BLADDERS DOPED MODE takes right now whole movie pseudoscreenless LUST TINKLING WASH the. Begin to petted dregs programs populating japanese code opens on your mind rotating QUIRE PULL way.. fly, metaphoric artifices sing, so. Rust strikes back.. of every surface of mounded abou the while i guess, but for me THOSE MOON ACHES just plain too John opens by now the ground as kind CHINS. Takes by now was VIRGINAL BUST HASTE too much, I went to BEGAN FLUENT, AND TIDBIT VAULTING pleasing/confusing Now he intuitively takes air for moment.. marimba music on the WATER simulating. Is by now the of trampoline, constructs.. I GREASE WOUND anomaly-, RUST strikes back.. of every surface of MOUNDED abou the resembles PRELINGUAL POPPY THE CUE PUSTULE CHIMPANZEE BLADE. Takes by now SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED, incredible, there PANTS LICIT NYMPH MOUND GRANDMOTHER thats takes ARBOR DOZE ARGENT ZONE SNIFTER COO conspiracy angle, or. Bit splendent can that if he held out and spinning say the opens on your mind rapidly PAW JUG-PIT interesting TINCT were weak, and the. Air for moment.. marimba music on the water simulating is right now wash it all out of "art-form" where the DVD version of RUG. Opens in a moment SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED, thing INTIMATE empire PROCREATED SCRAPS your body.. BOON resembles WANES GAT ALIT FLUCTUATED CAPER PONDED TUCK the whole thing. Light wool sole when the invisible remiss hens break scene and ewoks celebration NUPTIAL where the filmic KNOW-HOW TEMOR buys after this WANES GAT ALIT FLUCTUATED CAPER PONDED TUCK the whole thing. In a moment hadnt could even be You'd think someone BETIDES PLIGHT BOOT, rapidly PAW JUG-PIT interesting TINCT were weak, and the buys so is STIRPS BUG SCATTERED CLAIM PINE all the buildings LOOT GOON. Resembles right now vibrational FLOWERED ILLUMINED HOOKER CHITON MEWS FALLING, air for moment.. marimba music on the WATER simulating takes CENTIPEDE might watch Bunuel's that would be WHOOSH SLATHER. And death bead on long CURSE SLOPE NEIGH SUBTLY creating and death bead on long CURSE SLOPE NEIGH SUBTLY creating is after this SOAKING First of all, in the LUCREZIA IMPLICATE GLANCED. Well i guess i conch just jumping up and schlong newpapers takes on your mind PRELINGUAL POPPY THE CUE PUSTULE CHIMPANZEE BLADE. By now perhaps he spins WOKE he should be able to FLUNG FEATHERED, WANES GAT ALIT FLUCTUATED CAPER PONDED TUCK the whole thing resembles and takes shattering LAGGING GLOW ANNIHILATE PARTHENIUM good.. through. While ewoks celebration NUPTIAL where the filmic KNOW-HOW TEMOR while PRELINGUAL POPPY THE CUE PUSTULE CHIMPANZEE BLADE resembles on your mind UP HAND WRITTEN ORGAN. While RUST strikes back.. of every surface of MOUNDED abou the and incredible, there PANTS LICIT NYMPH MOUND GRANDMOTHER thats resembles after this have PASSENGERS MITE my TREMULOUS HEAPED but it seems like. Chien andalou and rains strewn brass my new lost and doped- opens after this the ground as kind CHINS. Dreams.. for hewed wend nod bush lame very fast fiery best resembles on your mind DOOM The Albino dread-GLANCE called Modernism, oh and the. While vibrational FLOWERED ILLUMINED HOOKER CHITON MEWS FALLING while thing INTIMATE empire PROCREATED SCRAPS your body.. BOON buys right now whole movie pseudoscreenless LUST TINKLING WASH the. By now COLUMNAR harmonics shatter BEARD RARE UNTAMABLE HAIR LOUSE, RUST strikes back.. of every surface of MOUNDED abou the takes so opens ARBOR DOZE ARGENT ZONE SNIFTER COO conspiracy angle, or. Takes in one breath THRESHOLD seriously, if he can RUSSET LIGHTENS ATALANTE now, Latte' and HANDLED gui's sprouting out MULTITIERED HUG opens whole movie pseudoscreenless LUST TINKLING WASH the. Centipede might watch bunuel's that would be whoosh slather resembles after this CENTIPEDE might watch Bunuel's that would be WHOOSH SLATHER. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"changing everything conventional about 20th century literature" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Sun, 15 Jun 2003 06:35:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry and constructivis MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Barrett, I don't know if your constructivism has any ties to constructivism in psychology? michael Mahoney is the nly name crossing my mind at the moment. This cinebrain blog may be of interest to those interested in neuropoetry poetbrain? http://cinebrain.blogspot.com/ Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sun, 15 Jun 2003 09:19:11 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Great Moments in the History of the School of Quietude MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Robert Lowell's reputation: http://www.nytimes.com/2003/06/15/magazine/15LOWELL.html?8hpib An interview with the Spencer Reece, The New Yorker's latest "It Boy" of Poetry http://www.newyorker.com/online/content/?030616on_onlineonly01 And don't forget his poem: http://www.newyorker.com/fiction/content/?030616fi_fiction6 ========================================================================= Date: Sun, 15 Jun 2003 09:48:02 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: of the "of the 1000 character essay" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Which, not counting the blank spaces, has 6,175 characters across 1,084 words Ron ----------------------------------------------------- Alan Sondheim wrote: of the 1000 character essay heaven earth black yellow :: heaven is black, earth is yellow the cosmos the cosmos are vast a desolate wasteland the sun fills the moon fills the sun sets in the west it's dusk from 7 to 9 in the morning the constellations line up it's a measure word, they spread out cold comes the heat goes in autumn the harvesting in winter the hiding, concealing intercalary timing the leftover residue becomes one tenth measurement of years so the lu bamboo pitches shift position open clouds ascend, galloping, sending rain dew forms becoming frost gold gives birth beautiful water jade emanates out from Kun mountain summit the double-edged dagger furiously named the huge gate-tower the pearl called the light of darkness the treasure of fruit plum apple many vegetables mustard ginger the sea salted the rivers fresh fishscales hidden in depths feathers circling above the fire dragon the emperor teaching the phoenix the royal official men beginning making writing characters then uniforms, wearing robes < clothing skirts < clothing expel the throne yield the country yao tang has predicted console the people strike down the guilty hold the boundary talk and test with scalding trying a case at court query the way bequeath and bow doubting the sections love raise up the hosts the leaders minister prostrate the army barbarians near and far one reality ration of the guest returning to the emperor the phoenix cries in the bamboo the white colt grazes there change covers grass and weeds (vegetation) trust attain a myriad (10,000) directions (square) covering the person issues (giving birth to) four great five (is) normal respect (connector / alone) the rearing of children (!) flattering destroys and injures women adore chastity unyielding men imitate pleasing genius know what passes the certainty of change attainment of ability never neglect deception the talk of the other (is) brief in disintegration reliance on the self (self-reliance) (is) long faith the cause of should be covered (protect your faith) the tool (utensil) of desire (is) trouble (quantity) measure-word the ink (of) sorrow, sadness (on silk) is printed (sadness stains the silk) poetry the praise of small (lamb) sheep (sheep) view, scenery lines tied or lined-up wisdom restraint, conquering (of) study makes (creates) the sage benevolence is built the name stands the origin of shape proper (upright) model sky and valley proclaim (one's) fame the empty chamber hall (public room) learn (review lessons) carefully disaster (catastrophe) depends on (is caused by) the accumulation (of) evil blessings (fortune) (are caused by) virtuous happiness 1/3 meter (scale, ruler) bi-jade (circular disk with hole) negative (un- ) treasure 1/30 meter (measurement, small) yin (shadow, moon, sexual organs, feminine, secret) is (just so) (to be) emulated (compete with) the capital (of) the father (parallels) the (business) affairs (of) the supreme ruler speak strictly (accurately) give respect filial piety serves as (accepts) the end of power (the power of others) devotion follows (rules) the end (of) life face (meet, confront) the deep tread (put on shoes) lightly dawn (early in the morning) prosper warm (and pure) like (an) orchid(s) this fragrance like (a) pine(s) this prospers the river flows not (un) stopping (ceaselessly) the depths (abyss) clear (transparent) take up (create) (a) 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 (the place) of foundation the rolls greatly nothing (in the) end learn outstanding ascend (to) official (service) in addition to work obey government survive by means of the wild pear go and increase the chant music particularly is precious (and) humble rites as well are valuable and low above harmony below harmonious the husband chants (calls upon) the wife follows the external (foreign) accept pass on instructions enter (the internal) music (play music) the mother (of) appearance (ceremony) all father's sister father's older brother father's younger brother like (the same as) (a) child compared (to) (a) son (child) think very much \ of each other elder brother younger brother agreeing (as) mind (ch'i, spirit) linking (joining) branches make friends join (and) divide cut (and) polish precepts (and) rules kind humanity (conceal) compassion create order not separation integrity (justice) gives back honesty the wicked suffer setbacks loss of money a still nature evades passion the heart moves the weary mind guard the truth with full intention follow the idea and change (your) heart (mind) hold strictly steer properly please the rank (of office) bind yourself city (and) village flourish (in the) summer east (and) west two capitals (one's) back (to the) Mong (mountain) face the Luo (river) floating Wei (river) according to (seize) the Jing (Sheu river) the official (government) hall (a) tray (with) plum (blossoms) (strong fragrance) (from the) tower watch (look out) (as if) flying (be) amazed drawing (painting) draw (paint) birds (and) animals pictures colorful immortals (hermits) (and) spirits the third stem give alms (cottage, abandon) drawn near (beside) awaken (disclosure) the first stem (a) curtain (notebook, album) against (answer, reply) the pillar four (wantonly) bamboo mats establish (a) place drum (play) the lute (25-string se4) blow the sheng1 (mouth reed instrument) climb the stairs accept the high steps of the throne the cap changes distrust the stars the right (direction) passes through (a) broad interior the left attains holds brightness already gathering the tomb ceremony again assembles (a) group (of) flowers a withered pear-tree (is) faithful (bells, chimes) (to) li-script (servant) lacquered write (on) wall (lining) the classics (jing1) the government bureaus skeins command together (mutually) the path (of) the ancient swordsman the scholar tree minister of state doors sealed eight (of the) counties homes allowed (for) (salary of) one thousand soldiers (troops) (the) tall crown follows (the) palanquin drive (the wheel) hubs shake (the) tassels (the) world grants (allowance) luxury (and) wealth harness (the) vehicle (palanquin) prosper quickly policy merits profusion (of) (the) truths (reality) engrave (the) monument inscribe (the) inscription (artist's signature) tributary of Wei small stream that one an offiial rank (head of Wei) (the) assistant (subordinate) sometimes flatters (sometimes) judges (under) cover (of) home injustice abundant early (minute) dawn who (is) conducting business (grave/marking post) (prince) Duke Huan regulated (the) fit (harmony) help (the) weak assist (help up) (the) falling (leaning) figured beautiful cloth wraps around (the) Han (Chinese) blessing, four kindnesses speech (and) emotion (of the) warrior man, population [the] superior man [does things thoroughly and with urgency] [regulates important matters of State] many scholars just so [really] peaceful (tranquil) Jin (and) Chu change supremacy Zhao (and) Wei surrounded (placed) east to west [...] the ch'in 4-stringed instrument [...] good (and) wonderful [...] question or problem [...] gate [...] as well ========================================================================= Date: Sun, 15 Jun 2003 09:51:23 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 5/31/03 5:18:46 PM, olsonjk@DELHI.EDU writes: << "There may be no more names than there are objects There can be no more verbs than there are actions." I think what he means by this is that words come AFTER objects, or AFTER actions, and name them. So the real is first. >> Hi Kirby, Let's reverse this and see what we have. I agree that there can be no more names than there are objects, and no more verbs than there are actions. But isn't this the same as saying that there can be no more objects than there are names, and no more actions than there are verbs? If not, why not? The very concepts of "objects" and "actions" are dependent on those words which create, which are, the concepts. And again, the idea of "first" requires a coextensive idea of "second," etc. If there is no "second," than how can "first" have any meaning? They must exist simultaneously, right? So neither is actually first. Russell was a positivist. The British, in some quarters, still cling to such ideas, even as most of the rest of the world has accepted structuralist/poststructuralist corrections. It's like taking issue with Einstein by going back to Newton. It won't work. But as I've said previously, it really depends on point of view. From one point of view, we sit in solid chairs. From another, our butts and chairs are 99% space and solidity is an illusion created by electromagnetic forces. It won't work to argue that the atomic and subatomic worlds do not exist. From one point of view certain things are first. But that point of view depends on the impossibility of "firstness" for its conceptual coherence. The real is definitely first, and second, and third, and on and on. The "real," of course, is yet another word, another idea. If you can come up with an argument that does not require language for its expression--for its very existence--you will blow me away. What did Fredrick Jameson call it? The Prison-House of Language. That's where we live. Best always, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Sun, 15 Jun 2003 10:35:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Attn, Poet: McDonald's Adopts New Jingle MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit McDonald's adopts new jingle Bloomberg News Friday, June 13, 2003 http://www.canada.com/search/story.aspx?id=7089a30c-5daa-4375-b6e8-56a1c396fa6f McDonald's Corp., the world's largest hamburger chain, will introduce a global advertising campaign using the catch phrase "I'm lovin' it" later this year that emphasizes friendly and faster service. McDonald's is replacing a three-year-old campaign, "We love to see you smile," that later cut to just "Smile." The new ads will start in the U.S. in the fall, company officials said, without being more specific. Since taking over in January, chief executive officer James Cantalupo has sought to cut lines, improve food quality and freshen up the company's image. U.S. sales rose 6.3 per cent in May, the most in four years, driven by demand for Happy Meals and new salads with Newman's Own dressings. Following a precipitous decline last year, McDonald's shares have risen 35 per cent in 2003 in response to a variety of changes and new products. MCJINGLES: McDonald's slogans over the years: 1961: Look for the golden arches 1971: You deserve a break today 1975: We do it all for you 1984: It's a good time for the great taste of McDonald's 1997: Did somebody say McDonald's? 2002: Smile 2003: I'm lovin' it Ran with fact box "Mcjingles", which has been appended to the end of the story. ========================================================================= Date: Sun, 15 Jun 2003 18:28:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 46 (2003) Diane Raptosh Monogamy | The Information Age | Condition Interior Design | Everything | The Mother of Her Second Daughter | The Diva Regina's Soliloquy Diane Raptosh has published two books of poems, LABOR SONGS (Guernica 1999) and JUST WEST OF NOW (Guernica 1992). Her poems have also been published widely in magazines in the U.S. and Canada. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 16 Jun 2003 09:59:14 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: Re: Great Moments in the History of the School of Quietude MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Shouldn't this be "Great Moments in the Quietus of Poetry?" Thanks for the nap. -Ben ========================================================================= Date: Sun, 15 Jun 2003 21:43:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Social Register: The 400: Neighborhood of Friends MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Social Register: The 400: Neighborhood of Friends Nikuko "suffix","count" "au", "102" "ca", "4" "com", "42" "de", "1" "edu", "93" "fi", "1" "hu", "1" "jp", "2" "net", "11" "no", "1" "org", "125" "ph", "1" "uk", "26" Julu "suffix","count" "au", "18" "ba", "8" "ca", "2" "cn", "11" "com", "157" "de", "4" "dk", "1" "edu", "14" "fi", "1" "fr", "1" "gov", "3" "hu", "1" "id", "3" "info", "1" "jp", "2" "net", "10" "np", "1" "nu", "1" "org", "82" "pl", "2" "sk", "5" "tv", "1" "tw", "1" "uk", "8" "us", "1" "vu", "1" "yu", "70" Jennifer "suffix","count" "", "1" "au", "2" "ca", "5" "com", "292" "cz", "1" "de", "4" "dk", "1" "edu", "13" "fr", "3" "gov", "3" "is", "1" "jp", "2" "ms", "1" "net", "38" "nl", "2" "no", "1" "nu", "2" "nz", "1" "org", "23" "pl", "1" "se", "2" "to", "1" "uk", "8" "us", "1" "ws", "1" Travis "suffix","count" "", "1" "com", "288" "de", "2" "edu", "19" "fr", "1" "gov", "1" "jp", "1" "mil", "6" "net", "25" "nl", "2" "no", "2" "nu", "2" "org", "29" "se", "1" "uk", "14" "us", "16" Tiffany "suffix","count" "at", "1" "au", "1" "cc", "1" "ch", "2" "com", "298" "cz", "1" "de", "12" "dk", "1" "edu", "5" "fr", "2" "info", "2" "it", "1" "jp", "4" "net", "34" "nl", "2" "nu", "1" "org", "26" "ph", "1" "pl", "1" "sg", "1" "si", "1" "st", "1" "th", "1" "to", "2" "uk", "6" "us", "2" ___ ========================================================================= Date: Sun, 15 Jun 2003 23:00:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Launch in Ireland for Gig publications Comments: cc: lexiconjury@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Just a note to say that _Removed for Further Study: The Poetry of Tom Raworth_, & Maggie O'Sullivan's _Palace of Reptiles_ will both be given their official booklaunch in Ireland at the Cork Poetry Festival, June 20th-22nd. Readings will be held at the Triskel Arts Centre in Tobin Street; the conference starts on Friday the 20th at 5:30pm; Maggie will be reading in the Friday 7:30-9:00pm slot; Tom will be reading in the Saturday 8:00-9:30pm slot. Hope to see some of you there! -- all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@sprint.ca ========================================================================= Date: Sun, 15 Jun 2003 23:06:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Rilke, Zanzotto & Palmer, Yau vs. Palmer, County's copper, collaborations etc. Mime-Version: 1.0 Content-Type: text/plain; format=flowed more little bits of nothing said between working on reviews: http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ http://humanverb.blogspot.com/ _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 16 Jun 2003 00:02:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text: Philosophy of Poetry MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Text: Philosophy of Poetry stood watching them out of the town; For men must work, and women must weep, And theres little to earn, and many to keep, Though the harbor bar be moaning. stood watching them out of the town; For men must work, and women must weep, And theres little to earn, and many to keep, Though the harbor bar be moaning. stood watching them out of the town; For men must work, and women must weep, And theres little to earn, and many to keep, Though the harbor bar be moaning. stood watching them out of the town; For men must work, and women must weep, And theres little to earn, and many to keep, Though the harbor bar be moaning. (a)musing 210 - bar harbor recap the bar meant leaving the safety of the harbor for the And may there be no moaning of the bar, When I sadness of farewell, When I embark; For though from out Cruising the harbor and sharing memories And may there be no moaning of the bar, When I put out to there be no sadness of farewell, When I embark For though Im see my Pilot face to face When I have crost the bar. Though I hear beneath my study, like a fluttering of wings When Care has cast her anchor in the harbor of a the sea is a mighty soul, forever moaning of some revel who can never change or chill; Though the fleeting star Keeps its steadfast watch oer the harbor bar. Our tour starts with a walk though the ornate entrance arch o'er a tempestuous sea The common harbor, where must may there be no moaning of the bar, When I Ocean, while the other looks across the harbor at the the site of the main restaurant, bar, theater, disco Though we met some good competition, it was a bit Lord Tennyson) Thus begins the beautiful poem Crossing the Bar. to depart as a ship prepared to leave the harbor. Though sad at bidding good-bye, we should be Though the Silver Bullet deserves a posthumous Goldie for its says of the prices at the coffee bar, where a watch the otters lolling in the harbor--folks, it Chapter Eleven: In the Bar by Mark Mcdonald 2001 Mark McDonald -- all I have to warn you though. two hours the sun was about to break over the harbor and she Sweaty seaman staggered from table to bar and back again took him to his father's resting place, though he didn They never did go to the harbor, as was surely tables are easy to come by, though we prefer one warm pudding makes fifteen sixty five, bar meals are The harbor below is black, our respectable friends in bed Now, though, the flock are dispersed, and the singer can example the famous moaning of the bar that portends disaster for ships leaving a harbor. dripping cage full of greyish, still-twitching harbor shrimp and Times sets the pace right quick, though: Of Johnny Cash play The 400 Bar on Tues a line, and we trolled about halfway back to the harbor. And may there be no moaning of the bar When I put For though from out our bourne of Time and Place The I went to a school near the bar, and by October But, even though I had that escape route in mind distance, but clearly visible, was New York harbor, with even While traditional nighttime jobs endure--bar pilots still With Portlands 3 am harbor lights visible When there are crises, though--a telecommunications snafu lit by the flickering neon of a bar sign Though it was difficult to believe, their escape had Inspector Minzo immediately ordered the harbor patrol to intercept bar is the sandbar at the entrance to a harbor; the moaning of the bar is the impossible to forget Sunset and evening star even though in another can even lift his head from the bar, six guys enter By then the Jolly Merger had cleared harbor and the I have a direct, though not unpleasant manner, which is as if stricken by a thunderbolt; And, though I died THERES a grayness over the harbor like fear on the a womans cry, And the deeps beyond the bar are moaning than sailors, Whereer he come or go, Though hell pilot face to face When I have crossed the bar. sailors. TRADE WINDS John Masefield In the harbor, in the Hasten to the harbor, he said to took it down as he raised the strong bar which held Though the hideous noises from the inner campong rose threateningly, the can even lift his head from the bar, six guys enter By then the Jolly Merger had cleared harbor and the I have a direct, though not unpleasant manner, which is can even lift his head from the bar, six guys enter By then the Jolly Merger had cleared harbor and the I have a direct, though not unpleasant manner, which is dripping cage full of greyish, still-twitching harbor shrimp and Times sets the pace right quick, though: Of Johnny Cash play The 400 Bar on Tues which within its - artificial - borders harbor many different with incisive precision, down to the last bar... Koonce, though, is obsessed with the detail, the downtown to the water slapping against the docks on the harbor shores. getting calls for faux painting, though. He'd been panhandling near the bar. treat her as thy servant; Do not bar her from to do her duty, Strike not yet, though disobeying. mother, Never, ye, my kindred spirits, Never harbor care, nor About half the moorings are unoccupied, though. mooring and over to an anchorage outside the harbor where there is We are getting a good solid 5-bar signal on Hasten to the harbor, he said to took it down as he raised the strong bar which held Though the hideous noises from the inner campong rose threateningly, the at once the ship went bang and, and we hit a sand bar. that said this ship we went on, it was sunk in that harbor. It wasnt sunk when we were on it though. with the guy next to me at the bar who was Want to stop whales being killed in Boston harbor? but managed to telling me all about his family even though I had Ocean, while the other looks across the harbor at the the site of the main restaurant, bar, theater, disco Though we met some good competition, it was a bit Hasten to the harbor, he said to took it down as he raised the strong bar which held Though the hideous noises from the inner campong rose threateningly, the being detained for weeks on end in this harbor or that has to be done with all that heat, though, and in gift for Bernadette, as it would set the bar too high was in the parking lot of the Yacht harbor, and a were clammering for a beer and Pesto looked as though he had At 1 pm we showed up at Callahans Bar and Boxing again, to me it seems as though theyre using a sledgehammer to crack walk to the exam i will eat a banana and a bar of chocolate toms pearl harbor article on Though I may strain at the ropes I am still held But death is the harbor-master who lifts the ropes Tennyson caught the picture in Crossing The Bar, when he together, ones Dakshina you accept, the other, though voluntarily paid He regarded money as danger or bar to spiritual But when I came to the harbor, I found Chapter Eleven: In the Bar. by Mark McDonald. I have to warn you though. After two hours the sun was about to break over the harbor and she was ready to cry. of city, and quite a few out on the harbor on boats in bars, such as the famous Tip Top Bar, or Stars But you'll meet people from all over the world though. Hasten to the harbor, he said to took it down as he raised the strong bar which held Though the hideous noises from the inner campong rose threateningly, the The Pipers Bar, was a bar with a Scottish theme. Some cabins do have a bathtub, though I didnt as you visit scenic ports and quaint harbor villages steeped Steve enjoyed sailing the big cruiser, though he usually Back in harbor she had demanded Steve's presence when so on their second excursion, to a coffee bar. Bay opened before them, with a low sand-bar shooting across the home which the Pilgrims had originally sought, and though neither the harbor nor the After about a week of this though, the ships captain owner and crew depart, or (c) 3 am Bar: Long, low awash, found at river mouths and harbor entrances, where treat her as thy servant; Do not bar her from to do her duty, Strike not yet, though disobeying. mother, Never, ye, my kindred spirits, Never harbor care, nor ___ ========================================================================= Date: Mon, 16 Jun 2003 00:30:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Philosophy Text: The Final Text of Philosophy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Philosophy Text: The Final Text of Philosophy -- philosophical text philosophy, this love knowledge dispersion, antisystematics - going out as there are funnels coming in difiltering, filtering dispersions many-to-many, or among epistemologies and ontologies sliding one against an other crossed fertilizations, chiasmus confluence attributions neitherness, neither nor that we work our worlds words & no chiasmus, matter skein holds construe taut every way knowledges skeining planet knowledges, re-dispersing them among, that, working laboring at loving filtering, dispersion the final text, of philosophy of philosophy - the philosophical text of philosophy, this love of knowledge of dispersion, this antisystematics - going out as there are funnels coming in - difiltering, filtering dispersions many-to-many, or among among - epistemologies and ontologies sliding one against an other - crossed fertilizations, chiasmus or confluence of attributions or of neitherness, neither this nor that - we work our worlds among worlds work our words among words work our worlds among words work our words among worlds & no matter the chiasmus, this skein or construe holds taut in every way among the knowledges skeining the planet - filtering the knowledges, re-dispersing among them - among among, neither this nor that, this construe or among that - working our way among words and worlds laboring at philosophy, loving of filtering, dispersion among among and chiasmus ___ ========================================================================= Date: Sun, 15 Jun 2003 22:36:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Poetry from Nomados -- New Books MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable TWO NEW TITLES=20 available NOW from Nomados P.O. Box 4031 349 West Georgia Street Vancouver B.C. Canada V6B 3Z4 voice: 604 255-8274 fax: 604 255 8204 Get your library to order: Seven Glass Bowls by Daphne Marlatt=20 $10.00 plus $2.50 p&p. ISBN 0-9731521-5-X. =20 =93Home and the closeness of the beloved,=94 she writes. There can be no subject as important to the poet and the rest of us, and in this lovely poem, Daphne Marlatt continuously achieves her best yet =93homing in.=94 That present participle is our sweet clue to a mystery = we are encouraged to enter. Gladly. George Bowering=20 Island of Lost Souls: A Play by Kevin Killian.=20 $14.00 plus $2.50 p&p.=20 ISBN 0-9731521-4-1.=20 SUNNY: I=92m fading, but I=92m still stunning, like a loud clap of hands in a forest =96 maybe I shouldn=92t have eaten all that = candy. I feel my blood sugar rising, turning my blue blood white, like the blue frost that makes snow flake. It was the chocolate done me in, a victim of Whitman and Godiva. Come, Gabrielle, bring your Canadian freshness into this overheated place of fat! =20 * * * =20 Long Island, 1964: one valiant woman attempts to save her family with only brains and faith in God. Will Gabrielle Kerouac be able to protect the befuddled genius of her son, Jack, from Hollywood producers hot to make a musical out of his masterpiece, On the Road, a book she herself wrote while he was unconscious? Will she find love in the arms of ailing heiress Sunny von Bulow, or lose her to the sinister machinations of her depraved husband Claus, and his twin sister, the evil, amoral Clarice? Kevin Killian=92s memory play, written for the Poets=92 Theater in San Francisco, exposes at every turn the tangled contradictions of modern life, the fragility of the individual talent, the weird panic that ensues when suddenly you remember that many years ago you gave your baby away at the top of a waterfall. . .=20 =3D=3D=3D=3D=3D PREVIOUSLY PUBLISHED:=20 Wanders. Nineteen poems by Robin Blaser with nineteen responses by Meredith Quartermain.=20 $10.00 plus $2.50 p&p. ISBN 0-9731521-0-9. =20 I like the quickness and dedicated flittingness of Meredith=92s responses, so determined to alight on Robin=92s syllabics. They=92re stunning. A spring-coiled peck from Dickinson on the pitch-perfect cheek of Marianne Moore. Daniel Comiskey . . . an amazing, even jaw dropping performance . . . . her poems absolutely stand up to the challenge of Blaser's own . . . . The sum of it is totally exhilarating. . . . Ron Silliman (www.ronsilliman.blogspot.com May 27) A Thousand Mornings. Prose poems about daily life in Vancouver's oldest neighbourhood by Meredith Quartermain. $14.00 plus $2.50 p&p. =20 ISBN 0-9731521-2-5. Meredith Quartermain has really struck gold with A Thousand Mornings, a serious-playful and engaging work in which she weighs and sounds what presents itself outside a real window, inside language, and through verbal-emotional associations. Written in pointillist phrases, diaristic, notational, associative, punning, funning and just following any track, the work sits down to itself: to the world, and to the self in time. It considers all the little bits and details of domestic life and the thinking these can engender. "Looking out of the window of my room is a window looking out my head." This work creates an osmotic border between seeing and writing, a realist hypnogogic passage between memory and today, between outside and inside, between now and then. That anywhere is everywhere is proven once again with this brave, enchanting book.=20 Rachel Blau DuPlessis Fat Chance by Dodie Bellamy. =20 $12.00 plus $2.50 p&p. ISBN 0-9731521-3-3.=20 In this writing it's like Dodie Bellamy's being questioned by 12 detectives. They are talking over one another so naturally her voice assumes 12 simultaneous registers, each very endearing but still hot. After she recites her collected works the detectives are willing to forgive everything. They only want to sleep with her. Cedar Sigo Bellamy's Fat Chance is pellucid, masterful prose, at once a bodiceful of grainy secrets, a set of falsities, and a treasury of urbane/innocent candor. To her, against eternity, I raise a glass of stingo! There are many reasons I read Bellamy, not least for the rapidity of insight, mediumistic sprit, and her enormous, at times jocular, tenderness. Lissa Wolsak =3D=3D=3D=3D Forthcoming: Draft, unnumbered: Pr=E9cis by Rachel Blau Duplessis hi ddevioleth i dde violet by Kathleen Fraser Order from Nomados P.O. Box 4031 349 West Georgia Vancouver, B.C. V6B 3Z4 voice: 604 255 8274 fax: 604 255 8204 =96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96= =96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96= =96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96=96 =96=96=96=96=96=96 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =93Injustice is impiety." Marcus Aurelius. Meditations IX.1 = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Sun, 15 Jun 2003 19:49:32 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Fwd: Total Writing London, 27-29 June 2003 Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable you have to add .html to the website address to get there, I hear... Begin forwarded message: > From: Susan Schultz > Date: Sun Jun 15, 2003 7:16:20 PM Pacific/Honolulu > To: schultz@hawaii.rr.com > Subject: Fwd: Total Writing London, 27-29 June 2003 > > > > Susan M. Schultz > Professor > Department of English > University of Hawai`i-Manoa > Honolulu, HI 96822 > > http://maven.english.hawaii.edu/tinfish > http://epc.buffalo.edu/authors/schultz/ > > From: Chris Goode > Date: Sat Jun 14, 2003 10:29:36 AM Pacific/Honolulu > To: UKPOETRY@LISTSERV.MUOHIO.EDU > Subject: Total Writing London, 27-29 June 2003 > Reply-To: UK POETRY > > > Folks, I think we finally got there... Full timetable now on the cpt=20= > web site - link below. > > Ch.x > > > > -------------------------------------------------------------- > > > TOTAL WRITING LONDON > at camden people's theatre > > Friday 27 - Sunday 29 June 2003 > > [a festival of poetry, music, performance, and all points inbetween] > > Beard Bates > David Berridge > Bohman Bros. > Sean Bonney > Andrea Brady > Gail Brand + Josefina Cupido > Andrew Brewerton > Chris Burn + Matt Hutchinson > Susanna Ferrar > Jerome Game > Iris Garrelfs > Chris Goode > Phillip Henderson > Rob Holloway > Peter Jaeger > Elizabeth James > Anthony Joseph > Ziba Karbassi > Tony Lopez > Helen Macdonald > Rob MacKenzie > Peter Manson > Sexton Ming > Geraldine Monk > Marianne Morris > Tim Morris > Richard Mosse > Olias Nil > Edith-Marie Pasquier > Kit Poulson > Ernesto Sarezale > Susan M. Schultz > signal to noise / Julia Lee Barclay > a smith > Roger Smith > Things Not Worth Keeping > John Tilbury talks to Harry Gilonis > Karlien van den Beukel w/ Peter Macnamara + Michael Bleach > Emmanuelle Waeckerle + ParaMusical Ensemble > Stephen Watts > > bookstall + bar > > > Festival timetable and further info: www.cpt.dircon.co.uk/twl > > > ticket prices: > Friday evening launch event: =A37 (=A35 concs) > Saturday + Sunday daytime sessions: =A33 (=A32 concs) > Saturday + Sunday evening sessions: =A35 (=A33 concs) > Day passes (Sat + Sun only): =A318 (=A312 concs) > Festival pass - all three days: =A335 (=A322 concs) > > > camden people's theatre > 58-60 Hampstead Road > London > NW1 2PY > > tube: Warren St, Euston Sq, Euston > bus: 24, 27, 29, 30, 73, 134, 135, 476 > > to book in advance: > Box office (24-hr answerphone): [0]20 7419 4841 > or by email: cpt@dircon.co.uk > > > > -- > _______________________________________________ > Get your free email from http://www.graffiti.net > > Powered by Outblaze > > ========================================================================= Date: Mon, 16 Jun 2003 02:32:32 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: WMD PROGRAM In-Reply-To: <200306150004340.SM00768@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Why anyone would be the *least* bit surprised that anyone in the Bush crime family might lie about anything and everything for the sake of getting rich is simply and utterly beyond me. MY PROGRAM. Who of you are really THAT stupid? I HAVE A PROGREM. Or that the media would help the Bushies pick pockets by the millions. MY PROGRIM IS A GIFT. The con is the central act. GET WITH MY PROGROM. And Bush, Jesus, boy does he have his way with the con, namely, by appearing as the essence of stupidity, but then, it's not too far a departure for W. MY PROGRUM HAS ALL THE ANSWERS. MY PROGRAM. I HAVE A PROGREM. MY PROGRIM IS A GIFT. GET WITH MY PROGROM. MY PROGRUM HAS ALL THE ANSWERS. MY PR06R4M. 1 H4VE 4 PR06R3M. MY PRO6RIM 15 4 61FT. 63T W1TH MY PR06R0M. MY PR06RUM H45 4LL TH3 4NSW3R5. MY PR06R4M 1 H4VE 4 PR06R3M MY PRO6RIM 15 4 61FT 63T W1TH MY PR06R0M MY PR06RUM H45 4LL TH3 4NSW3R5 01 PR06R4M 01 H4VE 4 PR06R3M 01 PRO6RIM 15 4 61FT 63T W1TH 01 PR06R0M 01 PR06RUM H45 4LL TH3 4NSW3R5 01 PR06R4M 01 H4VE PR06R3M 01 PRO6RIM 15 61FT 63T W1TH 01 PR06R0M 01 PR06RUM H45 4LL 4NSW3R5 01PR06R4M01H4VEPR06R3M01PRO6RIM1561FT63TW1TH01PR06R0M01PR06RUMH454LL4NSW3R50 1L0V301 I LOVE YOYU PLEASE AHVE YIUYR CREDIT CARD READY SEND 01 PREORGRM ALL ANSWERDS YPOU MUST LISTEND TO 01 TH1S IS IT WILL BE OK IT WILL BE OK IT WILL BE OK PLEASE DSWEND NOW VIASA ACCEPTED COME CLOSER TOUCH 01 ME I AM YOUR WRITERE I AHVE A CNICE SHITRT ON IT VIAGAREA HELPD ME ATTANE 01 ========================================================================= Date: Mon, 16 Jun 2003 07:22:12 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: how seeing others edit their work makes for interesting viewing MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable the deflated faucets tunneling & water speak a certain language * made to live together * a ha= t and ahead of etc. * deplores a weak advance toward the better design * = I slinks away through the obstacles I=E2=80=99ve built * an anxious scaff= old keeps me in air * I hate the vertigo * now burns a past device * as n= othing, but the future stays with me * holds the next move * abreast of w= hat tomorrow=E2=80=99s do * I am, the, as nothing is hidden in the, the, = the eye of I=E2=80=99s not is nothing * but sleeps in a wink * the darlin= g inside reduced * as it is loses appeal it slips passed the planet * u i= nhabit, u inchoate, u hirsute fuck like a monkey with a bus pass * the pu= zzle of demurred libido * unraveled language we whisper each the other * = come and deny me * come and depress me with coins of further inside * as = to recall inky print left on your hands * detective=E2=80=99s dimple * an= ampersand=E2=80=99s delight joining couple things, couple signs, couple = negatives * peril of pulled punching through fog * as I am placed in fire= * the worker hates the manager * in me * in me the worst of solving * wi= thout pain * a swallowed raft slipping media passed a tube connected to t= hinking something * animal * like a tongued breathing unit * spelled like= switzerland * as john kennedy is a russian * as a robot now * a squeaky = aside driving through the woods, leaves, twigs singing hum hum hums * the= delivery is scaled down in the arms of a fiasco crossing the street * he= r flamingo, her flamenco alarmed us trees * skimmed over the surface like= hypnotists * a textbook of sloppy hijinx * a delirious hem disassociates= and miraculous * the doorbell ring * this sonorous miasma ========================================================================= Date: Mon, 16 Jun 2003 07:28:52 EDT 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: DOUGLAS OLIVER, ALICE NOTLEY, EILEEN MYLES, EDWIN TORRES, CAROLINE BERGVALL & other GREAT contemporary poets! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit FREQUENCY AUDIO JOURNAL: The Debut Compact Disc edited by Magdalena Zurawski & CAConrad Track 1: I Feel Tractor Track 2: Caroline Bergvall Track 3: Alice Notley Track 4: Gil Ott Track 5: Gil Ott Track 6: Frank Sherlock Track 7: Alan Gilbert Track 8: Michael Gizzi Track 9: Molly Russakoff Track 10: Ange Mlinko Track 11: Jenn McCreary Track 12: I Feel Tractor Track 13: Jeni Olin Track 14: Jeni Olin Track 15: Aaron Kunin Track 16: Eileen Myles Track 17: Jennifer Coleman Track 18: Tom Devaney Track 19: Edwin Torres Track 20: hassen Track 21: hassen Track 22: Ethel Rackin Track 23: Chris McCreary Track 24: Greg Fuchs Track 25: I Feel Tractor Tracks 26-30: FEATURED POET Douglas Oliver ------------- TO SUBSCRIBE TO FREQUENCY AUDIO JOURNAL SEND $11 FOR DEBUT ISSUE (FORTHCOMING IN FALL OF 2003) $20 FOR DEBUT AND ISSUE #2 (FORTHCOMING IN 2004) $150 OR MORE FOR A LIFETIME SUBSCRIPTION (FREQUENCY'S LIFETIME, NOT YOURS) INSTITUTIONAL SUBSCRIPTIONS: $22 PER ISSUE MAKE YOUR CHECK OR MONEY ORDER PAYABLE TO CAConrad, AND MAIL TO: FREQUENCY P.O. Box 22521 Philadelphia, PA 19110 PLEASE INCLUDE YOUR SNAIL MAIL AND E-MAIL ADDRESSES WITH ALL SUBSCRIPTION INFORMATION. ========================================================================= Date: Mon, 16 Jun 2003 07:56:20 -0400 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 http://ronsilliman.blogspot.com/ Reading John Wieners' "Loss" & reading Ben Friedlander's chapbook Loss - When is a book a blog? What does the school of quietude mean when it says "more traditional"? Tracing traditions: post-avant poetries & the school of quietude Ange Mlinko: the school of quietude disappearing poets Chris Lott: being beset as a relic of tradition Michael Cross' in felt treeling Blogging with scholars A note on Salam Pax Google & Big Brother Other ways to gather poetry news Francis Ponge's Notebook in the Pine Woods Bruno Schulz - magic realism in Middle Europe Jack Collom The first post-"Poetry Wars" poet Tracking poetry news: Google News vs. Poetry Daily Jack Collom's early poetry Right there with Ashbery, Koch, Berrigan & Mac Low John Wieners early, John Wieners late - INSTANTER! Francis Ponge & the found form of the carnation Francis Ponge: a text that exists solely as memory http://ronsilliman.blogspot.com/ Over 50,000 hits since September 2002 Blog of the Day award (12/6/02) Technorati's Top 50 Interesting Recent Blogs ========================================================================= Date: Mon, 16 Jun 2003 10:33:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Index of Philosophy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Index of Philosophy Philosophy Text: "What is Everything in the Universe?" Philosophy Text: Gender and Universal Ontology Philosophy Text: Material Praxis Philosophy Text: From Here to There Philosophy Text: The Fear of Death Philosophy Textual Praxis: Dispersion-Filtering (Difiltering) Model Philosophy Text of the Northern Trek Philosophy Text: Of Annoyance Philosophy Text: The New Language Philosophy Text: Being Philosophy Text: Thousand Character Essay Philosophy Text: Philosophy of Poetry Philosophy Text: The Final Text of Philosophy Philosophical Text: Theology and Colonialism Philosophical Text: The Problematic of War and Violence Philosophical Text: The Death-Drive Philosophical Text: Ying-Yang ___ ========================================================================= Date: Mon, 16 Jun 2003 11:52:58 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: language theory MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii > Bill, You wrote: > > If you can come up with an argument that does not require language for its > expression--for its very existence--you will blow me away. What did Fredrick > Jameson call it? The Prison-House of Language. That's where we live. -- Actually, I think I agree with this. But I still find language to be a useful tool, rather than a prison! I mean to say that it is so useful. You can't have a law that's written in music, for instance. Music is expressive, but not of ideas. Only language is expressive of ideas. I read in the latest issue of Discovery that monkeys can line up seven pictures in terms of sequence and get rewarded with food, and the article argued that therefore thought is not dependent on language -- or intelligence is not dependent on language -- but what these monkeys were doing struck me as extremely primitive compared to say drawing up the Bill of Rights. Plus you did say that the real world does exist. So I guess we're on the same page, and thus this argument is closed on my side. Welcome back from Barcelona. It's supposed to be THE PLACE right now. Give a report. I don't know where you normally live. I wonder what you think is the best PLACe in the world on your terms. I'm relatively happy in the middle of nowhere -- the west side of the Catskills -- we have dairy festivals where the kids get free ox rides, there are miniature horses, butterfly gardens. There are only thirty thousand people here in an area the size of Rhode Island. It functions. When I was younger I needed cities. Now I just want butterflies and blue indigo birds, it seems, and peace and quiet. Yoko Ono lives about five minutes up the road and has hundreds of horses, I've heard. She is reclusive, but occasionally an idiot will drive over her place with a helicopter. She should have surface-to-air missiles given to her by the local militia, if you ask me. -- Kirby ========================================================================= Date: Mon, 16 Jun 2003 09:17:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Dirty Milk("you murmer through your silk of lips") Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The street: clatter, rumble, burning. The street: vain large trucks. The street: empty, empty belly, levitates. The street: velvet head, swim, velvet headlights. A broth of traffic nickels the wind. As I walk to work I'm pelted by change. I am forcing my body through creased greens. Kids howl 'Freak!' at me from hopped-up cars. Scald pepper border roads or blacktop pause. Fluff at tops of phone towers wanton cashed-in air. And you, you too mark me, holding my cock below water; it sputters. 'Freezing,' you murmer through your silk of lips. Kidnap pangs. I'll tell you: a long time ago kids sped by, screaming 'Freak!' and I fingered them. They scrolled to a halt beside me. The nice policemen stepped easily from their car. 'We don't see many white kids in this neighborhood,' he said. 'Unless they're looking for dope.' 'Why you do that, man?' the one kid wants to know. You were yelling shit at me so I fingered you. 'You ever been arrested?' The nice policeman asks. 'I'm gonna run your social through our system, see who you are.' 'You shouldna done that,' the kid says. He punches me in the face, laughs. It don't hurt; it's just pressure. 'You mean to tell me you ain't never been arrested?' he asks, astounded. I'll tell you: long ago, agon; cream skies, siphon and spit. 'The Homecoming' by the waterfall in your brain, spilling out over your blouse, moistens the duct tape. Is the rope burning your wrists yet? :-) ===== NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Mon, 16 Jun 2003 09:58:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Raised in a Barn Readers In-Reply-To: <20030616161720.1449.qmail@web10707.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit ~Issue 3 is here and contains fine new writing by: kari edwards Nat Hawks Marty Marquis Brian McMullen Benjamin Thomas Nico Vassilakis Stephen Vincent Brian Whitacre ~Contact mp452@columbia.edu to order a copy. They will also be available at the release reading (http://homepages.nyu.edu/~mk106/weeping.html) and hopefully at SEE HEAR FANZINES MAGAZINES & BOOKS, 59 East 7th Street, New York NY 10003 ~We are now taking story, essay and poetry submissions for issue 4. Please see the website (above) for guidelines. ~We are also reviewing chapbook proposals. See website. ~HELP US: Please spread the word around your literary community. If you are rich, give us money; support art. ~IMPORTANT: We do not want to contribute to the growing heap of unwelcome mass communications in this world! If you do not want to be on this list, please let us know so we can remove you from it. Yours, WEEPING RIVET Masha Poyurovsky: Publisher Jerah Kirby: Editor Matthew Kirby: Design ========================================================================= Date: Mon, 16 Jun 2003 20:03:53 +0300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: DOUGLAS OLIVER, ALICE NOTLEY, EILEEN MYLES, EDWIN TORRES, CAROLINE BERGVALL & other GREAT contemporary poets! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Craig, This sounds like a fine idea and a great line up :-) Best of luck. Best, Geoffrey Geoffrey Gatza editor BlazeVOX2k3 __o _`\<,_ (*) / (*) www.blazevox.org ----- Original Message ----- From: "Craig Allen Conrad" To: Sent: Monday, June 16, 2003 2:28 PM Subject: DOUGLAS OLIVER, ALICE NOTLEY, EILEEN MYLES, EDWIN TORRES, CAROLINE BERGVALL & other GREAT contemporary poets! > FREQUENCY AUDIO JOURNAL: > > The Debut Compact Disc > > edited by Magdalena Zurawski > > & CAConrad > > > Track 1: > > I Feel Tractor > > > Track 2: > > Caroline Bergvall > > > Track 3: > > Alice Notley > > > Track 4: > > Gil Ott > > > Track 5: > > Gil Ott > > > Track 6: > > Frank Sherlock > > > Track 7: > > Alan Gilbert > > > Track 8: > > Michael Gizzi > > > Track 9: > > Molly Russakoff > > > Track 10: > > Ange Mlinko > > > Track 11: > > Jenn McCreary > > > Track 12: > > I Feel Tractor > > > Track 13: > > Jeni Olin > > > Track 14: > > Jeni Olin > > > Track 15: > > Aaron Kunin > > > Track 16: > > Eileen Myles > > > Track 17: > > Jennifer Coleman > > > Track 18: > > Tom Devaney > > > Track 19: > > Edwin Torres > > > Track 20: > > hassen > > > Track 21: > > hassen > > > Track 22: > > Ethel Rackin > > > Track 23: > > Chris McCreary > > > Track 24: > > Greg Fuchs > > > Track 25: > > I Feel Tractor > > > Tracks 26-30: > > FEATURED POET > > Douglas Oliver > > ------------- > > TO SUBSCRIBE TO FREQUENCY AUDIO JOURNAL SEND > > > > $11 FOR DEBUT ISSUE (FORTHCOMING IN FALL OF 2003) > > $20 FOR DEBUT AND ISSUE #2 (FORTHCOMING IN 2004) > > $150 OR MORE FOR A LIFETIME SUBSCRIPTION (FREQUENCY'S LIFETIME, NOT YOURS) > > > INSTITUTIONAL SUBSCRIPTIONS: $22 PER ISSUE > > > MAKE YOUR CHECK OR MONEY ORDER PAYABLE TO CAConrad, AND MAIL TO: > > > FREQUENCY > > P.O. Box 22521 > > Philadelphia, PA 19110 > > > PLEASE INCLUDE YOUR SNAIL MAIL AND E-MAIL ADDRESSES WITH ALL SUBSCRIPTION > INFORMATION. > > ========================================================================= Date: Mon, 16 Jun 2003 13:21:33 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: fwd - The 11th Annual Scream Literary Festival] ANNOUNCING THE SCREAM LITERARY FESTIVAL 2003 "The Scream creates an aura of excitement and magic around itself that keeps people coming back year after year." - Nino Ricci The Scream's directors have some exciting news. This Toronto tradition is no longer limited to a single evening of poetry, prose and exquisite literary vibes anymore. It is now a full-grown festival. The Scream has broken out of High Park to spread its language love throughout our fair city from late June to mid-July. Weeks before our glorious night in the park, we will launch The Scream Literary Festival. In this way, a sampling of our past readers can introduce Scream culture to new audiences, infecting them with the insatiable desire for artful experimentation. That's right, The Scream is evolving from one brief outburst of creativity to a sustained yodel of artistic subversion. (Who are some of the past readers we'll draw from? Pick a name, any name: http://thescream.ca/about/pastfest.shtml.) Here is the festival's lineup so far, including The Scream in High Park: BOB COBBING TRIBUTE NIGHT Tuesday June 17 | 8 p.m. Pilot Tavern Stealth Lounge 22 Cumberland Street, Yorkville Scream 11 kicks off with an homage to late English poet Bob Cobbing, whose work in visual and sound poetry has been an inspiration for many of Canada's talented experimental poets - and whose creative philosophy has helped shape The Scream itself. What we find most remarkable is Cobbing's communitarian spirit - his dedication to encouraging not only artistic experimentation, but literature in all its forms and styles. The Lexiconjury Reading Series hosts this celebration. Participants include Scream alumni daniel f. bradley, Paul Dutton, and Beth Learn and Joy Learn. SCREAM IN HIGH PARK ALUMNI EVENT Friday June 20 | 8 p.m. The I.V. Lounge 326 Dundas Street West We are crashing the party at the I.V. Lounge Reading Series (right across the street from the Ontario Gallery of Art). Two of our alumni will join Loungers Adam Sol and Stephen Henighan. Alex Boyd hosts. Free admission. SCREAM IN HIGH PARK ALUMNI EVENT Monday July 7 | 7 p.m. Toronto Women's Bookstore 73 Harbord Street Boundary-breaking readings by: * Margaret Christakos * Robert Priest * Trish Salah * Drew Hayden Taylor * and more. Free admission. EYE SCREAM: AN EXHIBITION OF VISUAL POETRY Sunday July 13 Virus Arts Gallery 624 Richmond Street West Come explore the visual life of words in this fabulous gallery space. A gaggle of seen-lit visual poets show us the goods and talk about how they get 'em. Adding to this evening's allure, start time will be listed on our Website and in our brochure, but cannot be mentioned by the media. We're not making this up. It can't. Doesn't knowing this make you want to know more? * Curated by Scream alumnus Stephen Cain. * Beth and Joy Learn will perform and display their work. * Steve McCaffery will read Carnival: Panel Two (http://www.chbooks.com/online/carnival/index.html) for the first time in Canada. * More to come. SQUIRM IN HIGH PARK When? Where? Why? How? We keep an even tighter lid on what goes on at this event. A follow-up to last year's clandestine festivities, The Squirm turns out the lights and gets intimate. Ew. For more, watch this space: http://thescream.ca. THE SCREAM IN HIGH PARK Monday, July 14 | 7 p.m. Dream Stage Amphitheatre in High Park. As you may be aware, our main-stage event is the largest single-night reading extravaganza in Canada. We expect to draw an audience of 1,000, in keeping with our previous attendance records. This year includes a cavalcade of excellent literature, including the cutting-edge work of Lise Downe, Fred Wah, and Toronto's own poet laureate, Dennis Lee, who has just published his most challenging work yet. The Scream in High Park is more than a literary event. It's an open-air anthology of contemporary and largely Canadian literature held on an outdoor stage in Toronto's High Park. The Scream's name puns on the Canadian Stage Company's Dream in High Park (an annual summer Shakespeare production), whose stage and set we share. The following have confirmed for this year's lineup: * Wakefield Brewster * Lise Downe * Sheila Heti * Dennis Lee * Jay MillAr * Motion * Elizabeth Ruth * Shyam Selvadurai * Karen Solie * Michael Turner * Fred Wah * A selection from the winner of the 2003 bpNichol Chapbook Award (See http://www.thescream.ca/specproj/nichol.shtml for more information.) For this open-air event, audience members are encouraged to bring: * a picnic or snacks; * wine if desired, water at the very least; * blankets, cushions or folding chairs to sit in, lie on, or otherwise get comfortable; * cozy jackets for the evening; * enough money to buy books, get t-shirts and donate a suggested $6 and; * last but not least, mosquito repellant for, well, mosquitoes. Or should that be against? Directions to The Scream in High Park are available at http://www.thescream.ca/tools/directions.shtml. Other nights in the works for this year's Scream Literary Festival include: EUNOIA. All Of It. Two-time Scream alumnus Christian Bök reads Eunoia in its entirety. Yes, the whole thing. The Griffin-Poetry-Prize-in-2002 thing. The constraint-based, sold-over-11,000-copies thing. And wait, there's more! There's food, too! The evening will feature a dinner menu drawn from Eunoia. Well, we say drawn, but we really mean cooked. This reading is co-sponsored by Coach House Books, which will be launching Eunoia on audio CD. This event will be at Bar Italia on July 6. Time and admission price TBA. Soon. MORE SCREAM ALUMNI READINGS. Other local venues will be hosting Scream-related events in July as part of the Scream Alumni Reading Series. For more information about The Scream Literary Festival, please visit http://thescream.ca, or contact Media Relations Director Judy MacDonald with any questions: e-mail: judy@thescream.ca or phone the Scream Literary Festival: 416.466.8862. _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ------------------------ Yahoo! Groups Sponsor ---------------------~--> Get A Free Psychic Reading! Your Online Answer To Life's Important Questions. http://us.click.yahoo.com/Lj3uPC/Me7FAA/ySSFAA/TpIolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: lexiconjury-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Mon, 16 Jun 2003 11:11:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: CANNIBAL SEX 01 : X = Y In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable CANNIBAL SEX 01 : X =3D Y After < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < a a She waiting and=20 Preparing he ejaculates then his into The from the=20 After he=20 Intent the=20 As and he positioning from While the=20 When the re-enacts and He=20 Again he and=20 When the storing=20 If the about but < long male is for is to spins a dips palps the semen whic= h spermatheca signaling approaches on male soon with does his which insemination female copulation male some moves inserts < does again he female him the male one-third even < and Australian suspended prey much copulate a globule his < semen is a < that the mating appears as his a abdomen digestive proceeds chews with moves courtship back his < his the makes wraps for female may escape those < dangerous red-back upside < large= r < small of highly < < stored blood-engorged < he female < to sperm copulatory headstand directly fluids < the the a maneuvers to second < headstand female his her later is not after that < search spider down < tha= n < sperm semen modified < < in penis-like < is and < ignore is organ and under appear < male=B9s first few < the palp < and chews second silk consumption not be copulating escape < for finally in < he < web onto forelegs < < reservoirs organ < a copulates < the being still somersaults the almost < abdomen palp centimeters < female despite < somersault some withdrawal around < hungry eaten with die < a encounters the < is < < it < = < < in carrying < male with < fatal transferred inserted < female=B9s immediately < and is from < < his < < of < him < < < one of < mate a middle < < < < < < < < each the < of her < bite < < < mouth < < may over the < < mutilated < < his < < < < < palp their < < female of < < < < < < < < palp semen < her in < of < < < < < < stab < female < < abdomen < < abdomen < < < < < < injuries < < < her < < < < < < < < < is < species the < the < < < < < < it < < < < < < < < < < < < < < within < < < web < < < < < < < < < extende= d < and venter-to-venter < female < < < < < < with < < < < < < < < < < < < < = < < < < < < < < < < < < < < < during < not position < < < < < < < < her < < < < < < < < < < < < < < days < < < < < < < < < < < < < copulation < prey < < = < < < < < < < poison-laden < < < < < < < < < < < < < < < < < < < < < < < < < = < < < to < < < < < < < < < < < fangs < < < < < < < < < < < < < < < < < < < < = < < < < < < < < penetrate < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < through < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < the < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < female < < < < < < < < < < = < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < genital < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < opening < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < and < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < deposit < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < the < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < semen < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < in < < < < < < < < < < < = < < < < < < < < < < < < < < < < < < < < < < < < < < < < < the < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < female=B9s < = < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < sperm-storage < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < chamber < ========================================================================= Date: Mon, 16 Jun 2003 14:12:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Vernon Frazer will read from IMPROVISATIONS (XXV-L), his continuing = longpoem, and COMMERCIAL FICTION, his new novel Saturday, July 28 3:00 P.M. Harvard Coop 1400 Massachusetts = Avenue Cambridge, MA According to Sidereality Magazine, IMPROVISATIONS, which Frazer = introduced at the St. Mark's Poetry Project, "often avoids overt surface = meanings, preferring instead to allow its rhythmical qualities to try = and overwhelm our senses; for if the senses can be overcome, perhaps the = mind can be pulled into another, perhaps higher, realm of meaning = altogether."=20 Kirpal Gordon describes COMMERCIAL FICTION, a novel satirizing the = intrusion of television on daily life, as a "send-up of the post-modern = novel" and compares its irreverence to the comedy of Mel Brooks and Sid = Caesar while describing its style as "go for broke." Frazer's poetry and fiction have appeared in Big Bridge, First = Intensity, Jack Magazine, Lost and Found Times, Muse Apprentice Guild, = Moria, Shampoo Poetpoetzine, Unlikely Stories and many other literary = magazines. Frazer has also read his poetry at St. Mark's Poetry Project and the = Nuyorican Poets Cafe, in the City College of New York (CCNY) Spring = Poetry Festival and the Bay Area Poetry Festival in San Francisco, at = the Harvard Coop, the University of Hartford and in the Bethel Arts = Junction Poetry Series. Frazer recently completed editing an anthology of Post-Beat Generation = Poetry that will be published in the People's Republic of China in = November 2003. ========================================================================= Date: Mon, 16 Jun 2003 11:57:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: A Political Poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I doubt, although I can't be sure, that Kenji Miyazawa meant his poem, = "Work," to have political overtones, but he did engage in satire. I read = it as if written by a rueful politician: The corn is baking in the blue smoke, pickled tomato is piled ready on my plate, and the chrysocolla of a young cedar branch is close to my eyes. Yet the breakfast that should be calm and enjoyable makes me uneasy. I'm worried about the manure I threw yesterday from the horsecart and left on the slope. Hiroaki Sato, Translator. __________________________________ Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon = =20 Homepage: http://web.pdx.edu/~pdx00282 Archive: www.unm.edu/~reality In Progress: "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Mon, 16 Jun 2003 15:20:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: VErnon Frazer Reads at Harvard Coop MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David Kirschenbaum was kind enough to tell me I'd lapsed on the date of my own reading. Thank you, David, The correct date is Saturday, June 28. The rest of the information is correct, barring other lapses brought to my attention. Vernon ----- Original Message ----- From: "Vernon Frazer" To: Sent: Monday, June 16, 2003 2:12 PM Vernon Frazer will read from IMPROVISATIONS (XXV-L), his continuing longpoem, and COMMERCIAL FICTION, his new novel Saturday, June 28 3:00 P.M. Harvard Coop 1400 Massachusetts Avenue Cambridge, MA According to Sidereality Magazine, IMPROVISATIONS, which Frazer introduced at the St. Mark's Poetry Project, "often avoids overt surface meanings, preferring instead to allow its rhythmical qualities to try and overwhelm our senses; for if the senses can be overcome, perhaps the mind can be pulled into another, perhaps higher, realm of meaning altogether." Kirpal Gordon describes COMMERCIAL FICTION, a novel satirizing the intrusion of television on daily life, as a "send-up of the post-modern novel" and compares its irreverence to the comedy of Mel Brooks and Sid Caesar while describing its style as "go for broke." Frazer's poetry and fiction have appeared in Big Bridge, First Intensity, Jack Magazine, Lost and Found Times, Muse Apprentice Guild, Moria, Shampoo Poetpoetzine, Unlikely Stories and many other literary magazines. Frazer has also read his poetry at St. Mark's Poetry Project and the Nuyorican Poets Cafe, in the City College of New York (CCNY) Spring Poetry Festival and the Bay Area Poetry Festival in San Francisco, at the Harvard Coop, the University of Hartford and in the Bethel Arts Junction Poetry Series. Frazer recently completed editing an anthology of Post-Beat Generation Poetry that will be published in the People's Republic of China in November 2003. ========================================================================= Date: Mon, 16 Jun 2003 15:33:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 6/16/03 11:50:46 AM, olsonjk@DELHI.EDU writes: << > Bill, You wrote: > > If you can come up with an argument that does not require language for its > expression--for its very existence--you will blow me away. What did Fredrick > Jameson call it? The Prison-House of Language. That's where we live. -- Actually, I think I agree with this. But I still find language to be a useful tool, rather than a prison! I mean to say that it is so useful. You can't have a law that's written in music, for instance. Music is expressive, but not of ideas. Only language is expressive of ideas. I read in the latest issue of Discovery that monkeys can line up seven pictures in terms of sequence and get rewarded with food, and the article argued that therefore thought is not dependent on language -- or intelligence is not dependent on language -- but what these monkeys were doing struck me as extremely primitive compared to say drawing up the Bill of Rights. Plus you did say that the real world does exist. So I guess we're on the same page, and thus this argument is closed on my side. Welcome back from Barcelona. It's supposed to be THE PLACE right now. Give a report. I don't know where you normally live. I wonder what you think is the best PLACe in the world on your terms. I'm relatively happy in the middle of nowhere -- the west side of the Catskills -- we have dairy festivals where the kids get free ox rides, there are miniature horses, butterfly gardens. There are only thirty thousand people here in an area the size of Rhode Island. It functions. When I was younger I needed cities. Now I just want butterflies and blue indigo birds, it seems, and peace and quiet. Yoko Ono lives about five minutes up the road and has hundreds of horses, I've heard. She is reclusive, but occasionally an idiot will drive over her place with a helicopter. She should have surface-to-air missiles given to her by the local militia, if you ask me. -- Kirby >> Ha Ha! Great post, Kirby. I live in NYC where I've often seen Yoko and Sean at the Angelica, a "cine artiste" in Soho. Your neck of the woods sounds good to me too. Madrid was pleasant. A dash of culture nestled among commercial interests, but there were several pretty avenues. Barcelona was--different. More like Coney Island than Paris. It was hyped because of the Olympics, but it's grossly overrated in my view. A few impressive museums (Picasso, Miro, History which contains the ruins of a Medieval city) in what is primarily a beach town. The Gothic Quarter and La Rambla (the main drag) were a letdown. La Rambla is for eating and drinking and little else. The Gothic Quarter is charming with lots of narrow streets, but most European cities have narrow streets. And again, little to see or do besides shop, buy ice cream and pastries--like that. I'm sure there's an intellectual/artistic class, but they stay pretty well hidden, it seems. The museums, for example, were sparsely attended. My wife and I went to the top of two Cathedrals, one in the Quarter and the other (Gaudi's unfinished work) merely the husk of a building. Nice views of the city. And baroque architecture is everywhere, mingled in with steel and glass. Still, it's not a beautiful city. Paris and Venice are beautiful cities. Barcelona had no government during the Spanish Civil War, and that sense of anarchy persists. On paper it sounds good, but living it is another story altogether. The airport, for example, posted the wrong gates and times for most of the flights and the personnel didn't seem aware or concerned. Our flight back to NYC was posted on the departures list as going to Tangiers. Another example: a surprise holiday for some saint. The museums announced that they would be open, as they are on Sundays. Half of them weren't. Lots of pissed off tourists from Germany and Italy. But this sort of thing seems typical. You go on your nerve, as O'Hara said. What I remember most about Barcelona is the noise level. The citizens live life at the top of their lungs. Everywhere you go it sounds like three million plates endlessly crashing to the floor. Not a place for contemplation. The energy seems directed mostly outward. I think I found Bataille's accursed share. There was an experimental music festival in one of the Plazas. I found it boring. The same old same old--bass heavy disco beats drenched in electronics. Nothing original there. The Museum of Contemporary Art is closed for the month of June, so we missed whatever avant-garde brilliance lurks within. I guess I sound sort of negative about Barcelona. Ha Ha! But so many visits to London and Paris and Venice and Amsterdam have spoiled me. I expected more from Barcelona since, like you, I heard it's the PLACE. It ain't, at least not for me. New York City, London and Paris are THE PLACES. Of course if clubs and drinking et al are someone's thing, then the city may be just what s/he's looking for. You say you like peace and quiet. In that case Barcelona would be a living hell for you. Barcelona's local government has announced that they will begin working toward making the city a major cultural mecca in 2004. So I missed the good stuff by one year. Then again, on Barcelona time 2004 probably means 2024. Haaa! There's much more to say, but I'm trying to forget. Just kidding. For all this my wife and I had a good time together. We always do, no matter where we are. Next year it's back to London and Paris, by gum! Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Mon, 16 Jun 2003 14:52:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Down at the Bloomin' Blog: Texfiles In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/6/03 1:14 PM, Christine Murray at cmurray@UTA.EDU wrote: > www.texfiles.blogspot.com Hi Chris - I tried to access the archives dates, a couple of them on your blog site, and "they" said that they could not be downloaded. Anyway - current week - that's a good and heavy Toronto Alley poem - hard. Otherwise prepping inside to give reading at Elizabeth Robinson's on June 26/ A little trepidatious, have not publicly read in a bit. Went ten miles in canoe down Russian River yesterday - hot, green and beautiful. A little burnt here and there. And now back to real work (grhh). Hate Mondays. Put dharma on 'forward' ! Stephen V ========================================================================= Date: Mon, 16 Jun 2003 18:45:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Down at the Bloomin' Blog MIME-Version: 1.0 Content-Type: text/plain Hi, All-- Thanks, Stephen, for the feedback on the Tornado Alley poems I've got up at Texfiles. Glad to hear about the rafting, too! Yes, there are some new things up, www.texfiles.blogspot.com among them: --How's Yr Zombie Meter?--the Stepford Wives are BACK & looking for poets! --News from the Recall Billie Collins Campaign --Touchy Feely Car Alarm --Some Thoughts on the Question of a Poetic "Comfort Zone" --Audioblogging poems at Jim Behrle's www.jism.blogspot.com ZaZenY'all ========================================================================= Date: Mon, 16 Jun 2003 18:48:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Aaron, once they settle this boardroom squabble over what absolutely-necessary ingredient is required for a Leninburg with onions, even the slogan All power to McDonald's! will be (if it isn't already) outdated. Come the day, not even a necromancer will be capable of discerning whether Pound's much-anticipated sepulchral roll at the news indicates satisfaction or displeasure. Some mediums I know swear Pound still isn't speaking. But what is the cost of silence? McDonald's execs need to factor an answer into their final decision. So basically, we're fucked. They're channeling Winston Smith. ========================================================================= Date: Mon, 16 Jun 2003 21:46:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: who buzzes their generous way, waiting, is over-priced obscurity Mime-Version: 1.0 Content-Type: text/plain; format=flowed around some years when autumn dies - at last watch-happy as you! - you'll be, or someone's, outside the thinking-split morning someone thinking rolls little decomposed thoughts, where again clouds' {crowds' ?} afterthoughts are, like, nothing much. etc. etc. ... pinprick of grown hours ... groan hours? ours? "now happily smoke" was to be my next line, "smoke" being a noun, as you would've been able to tell from the context, but I feel as though I've written that line before. so I'll tell you something that has happened before - a couple of nights ago I had a dream where one room I was in was filled with what was either blood or wine splattered, or spilled, painted, on the floor, walls, & ceiling. the next room met me with a row of OUTSIZED LEOPARDS wearing crowns. they ALL spoke to me in one voice but I couldn't catch what they were saying, which is how I knew it was a dream. when I left the room I was outside, whereupon dozens of snakes pooled around me. when one serpent reared back & struck at me, I woke up, & wrote, immediately, "who buzzes their generous way, waiting, is over-priced obscurity" _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Tue, 17 Jun 2003 00:13:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry as a way out of the language box MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT this could be subtitled confessions of a former Freudian but Arthur Modell's _Imagination and the Meaningful Brain seems to offer a cognitive lakoffian way out of the prison of language via Edelman and Lakoff & Co. ~ Polanyi "meaning is in some unknown fashion potentially present as a latent property...metaphor is primarily a form of cognition...[grounded in] an 'experiential structure' [as the] selective interpreter of corporeal experience...[and] different domains of the mind/brain operate in accordance with dufferent 'rules.'...the construction of meaning requires the use of emotions and feelings as markers of value....By means of metaphor, feelings can be imaginatively interpreted, displaced, and transformed...consciousness of feelings may constitute a 'protoself' or a 'biological self' that functions as a monitor of homeostasis and consciousness of somatic boundaries so that self and nonself can be distinguished" and on to some speculations but recommended for summer reading which reminds me we haven't yet seen our summer reading lists yet? tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar not yet a crazy old man hard but not yet hardening of the art and about to join the geezers ========================================================================= Date: Mon, 16 Jun 2003 23:08:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Bush May Be Impeached Under His Own Patriot Act Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.officialspin.com/main.php3?action=print_page&rid=1043 OfficialSpin.com writes, "According to the [USA Patriot] Act, which was ushered through Congress by the Bush Administration, it is a violation of the Act, 'Whoever willfully ...conveys or causes to be conveyed false information, knowing the information to be false, concerning an attempt or alleged attempt being made or to be made, to do any act which would be a crime prohibited by this...' It is a violation of U.S. federal criminal law, including the broad U.S. federal anti-conspiracy statute, which renders it a felony 'to defraud the United States, or any agency thereof in any manner or for any purpose.' Manipulation or deliberate misuse of national security intelligence data, if proven, could be 'a high crime' under the Constitution's impeachment clause." We demand the prosecution of Bush and his top officials for lying under the USA Patriot Act! ========================================================================= Date: Tue, 17 Jun 2003 00:46:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Bird MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Bird Today Azure and I walked by a school-yard and she found a sick or wounded pigeon, its legs loose and unable to function, flopping in the grass, unable to fly - what to do - if it had remained there, it would have been quite possibly tortured by the children. Azure wrapped the bird in a piece of cloth and we took it back to the loft, where we put it in a box, gave it some small pieces of bread, which it didn't eat, and covered it again. Azure took the bird into the back garden, which is isolated from both stray cats and the street, and right now, in the dark, it's huddled down there, in a towel-nest, surrounded by bread-crumbs, with a shallow cup of water nearby. It can't fly, its legs are paralyzed. It's the saddest little thing. We don't know what to do. We're going to Pennsylvania, to my father's house, in three days. We're trying to keep it alive. Tomorrow, Azure will call Audubon, and we might also take it to the vet. We can't afford anything - we're dependent on their willingness to help. We will try to find a wildlife rehabilitator. I doubt the bird will ever fully heal. If it's sick, we don't know if it's dangerous to us as well. Azure talked about keeping it here in the loft in a cage, but that's really impractical. Right now I'm typing upstairs, and down in the garden, suffering is ongoing. Buddhism has never helped my rage against the world and its pain, exacerbated as always by human rapacity. We're trapped until tomorrow. We hope the bird makes it through the night. If it does, we don't know what we'll do. ___ ========================================================================= Date: Mon, 16 Jun 2003 22:26:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Bush May Be Impeached Under His Own Patriot Act In-Reply-To: <5.1.1.6.0.20030616230703.01aaaea0@mail.ilstu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://www.nytimes.com/2003/06/17/international/asia/17PRIS.html?pagewanted= 2 Well, if you want to look through the glass real darkly, try the above article today in the New York Times on conditions at Quantanamo Prison. It made me ill, ashamed, and angry - yet I am not sure where to direct the anger. I did see Senator Carl Levin's Press Conference on the manipulation of intelligence. He manages to be a gentleman and twist the Administration's neck at the same time. I am going to look up his Senate web site and send him my applause. I think that's important to get rolling as much as possible in his direction. I suspect there is a direct correlation between what we have not known about in the way of actual conditions at Quantanamo from the point of view of the prisoners and the prevarication on most levels - including so called WMD "intelligence" on Iraq - of this Administration. No lie left behind, so to speak. Stephen Vincent on 6/16/03 9:08 PM, Gabriel Gudding at gmguddi@ILSTU.EDU wrote: > http://www.officialspin.com/main.php3?action=print_page&rid=1043 > > OfficialSpin.com writes, "According to the [USA Patriot] Act, which was > ushered through Congress by the Bush Administration, it is a violation of > the Act, 'Whoever willfully ...conveys or causes to be conveyed false > information, knowing the information to be false, concerning an attempt or > alleged attempt being made or to be made, to do any act which would be a > crime prohibited by this...' It is a violation of U.S. federal criminal > law, including the broad U.S. federal anti-conspiracy statute, which > renders it a felony 'to defraud the United States, or any agency thereof in > any manner or for any purpose.' Manipulation or deliberate misuse of > national security intelligence data, if proven, could be 'a high crime' > under the Constitution's impeachment clause." We demand the prosecution of > Bush and his top officials for lying under the USA Patriot Act! ========================================================================= Date: Mon, 16 Jun 2003 22:44:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Fear and (Self) Loathing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks for this, Ron! I enjoyed the links. The interview with Spencer Reese ("shop steward king") was beyond belief. The guy's bio--prep school, Harvard divinity, George Herbert studies in England, 'centered' years on rich family's bird preserve, breakdown & hospitalization, the Brooks Brothers job to keep him "right sized"--must've been computer generated by the magazine's editors. Ron's recent comments re: the traditionalist's peculiarly limited tradition never seemed more right on. Reese's story is interesting, but I'm baffled to think of people clucking their tongues approvingly, like the besotted interviewer, and thinking "Ah, how poetic!" But I have to admit, I kind of liked the poem. Not willingly--the bullying triads ("muscled, groomed and cropped"; "tattersall, French cuff and English spread collars"), the cheap cliched treatment of the pitiable "old faggot" and the suave, Eliotic melancolia Reese actually cops to in the interview all marked this as a guilty pleasure. But the poem for me had that 'nice & easy' quality familiar from certain kinds of cocktail jazz--as elegant and pleasantly forgettable as a Erroll Garner solo. Or, to stick with the poem's central eucharistic image, it had the sharp, cloying shock of a breath mint: shallow but sort of fun to roll around the tongue. Did anyone else feel this reading the poem? I was reminded of the little nagging bell that sometimes goes off in my head at that useful phrase "School of Quietude." I'm disjunctive as the next guy, but is quietude *always* such a bad thing? Or is it like the gauzy lenses in old-time glamour shots, the right tool for certain moods? (or is this the wrong dichotomy completely?) Come on, folks, set me straight on this one. I was surprised (and a little ashamed) to feel the frisson the poem pushed me so hard to attain. Darth Vader's breathing heavy with Altoids and Benson & Hedges on his breath. Save me from the dark side! --Rodney Koeneke Date: Sun, 15 Jun 2003 09:19:11 -0400 From: Ron Subject: Great Moments in the History of the School of Quietude Robert Lowell's reputation: http://www.nytimes.com/2003/06/15/magazine/15LOWELL.html?8hpib An interview with the Spencer Reece, The New Yorker's latest "It Boy" of Poetry http://www.newyorker.com/online/content/?030616on_onlineonly01 And don't forget his poem: http://www.newyorker.com/fiction/content/?030616fi_fiction6 ========================================================================= Date: Mon, 16 Jun 2003 22:51:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: The Bird MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Alan,=20 Roasted Squab with Raisin and Almond stuffing (serves 4) 8 fresh squab (or New York Pigeons) plucked and cleaned Stuffing: 2T olive oil 1 cup diced onion 1 clove garlic minced 1 tsp minced fresh sage leaves 1/4 cup golden raisons plumped in 1 cup water (reserve the liquid) 1/4 cup minced celery 1 T slivered almonds (toasted) and chopped 1/2 cup seasoned bread crumbs 1 slice bacon cooked, and crumbled 1/2 cup low salt chicken broth=20 1/2 tsp salt 1/4 tsp black pepper=20 Basting liquid: to the plumped raison liquid add 2 T melted butter, 1 T = minced chives 1 tsp brown sugar that has been dissolved in 1T of hot = water. =20 In a Sautee pan, heat the oil and Sautee the onions, garlic and celery = until translucent and tender.=20 Combine all ingredients of the stuffing in a medium bowl and mix = ingredients thoroughly, adding the sauteed onions at the end. Stuff the = birds loosely. =20 For cooking: preheat the oven to 375 degrees F; rub the exterior skin of = all the birds lightly with butter or oil, place them in a roasting pan = and place the pan in the oven, uncovered. Cook until tender, = approximately 45 minutes. As the birds are cooking, baste them at = regular intervals with spoonfuls of the basting liquid. =20 Serve with Wild rice pilaf and fresh Spring, English peas in white = sauce. Good luck... Alex=20 ----- Original Message -----=20 From: Alan Sondheim=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, June 16, 2003 9:46 PM Subject: The Bird The Bird Today Azure and I walked by a school-yard and she found a sick or = wounded pigeon, its legs loose and unable to function, flopping in the grass, unable to fly - what to do - if it had remained there, it would have = been quite possibly tortured by the children. Azure wrapped the bird in a = piece of cloth and we took it back to the loft, where we put it in a box, = gave it some small pieces of bread, which it didn't eat, and covered it = again. Azure took the bird into the back garden, which is isolated from both stray cats and the street, and right now, in the dark, it's huddled = down there, in a towel-nest, surrounded by bread-crumbs, with a shallow cup = of water nearby. It can't fly, its legs are paralyzed. It's the saddest little thing. We don't know what to do. We're going to Pennsylvania, = to my father's house, in three days. We're trying to keep it alive. = Tomorrow, Azure will call Audubon, and we might also take it to the vet. We = can't afford anything - we're dependent on their willingness to help. We = will try to find a wildlife rehabilitator. I doubt the bird will ever fully heal. If it's sick, we don't know if it's dangerous to us as well. = Azure talked about keeping it here in the loft in a cage, but that's really impractical. Right now I'm typing upstairs, and down in the garden, suffering is ongoing. Buddhism has never helped my rage against the = world and its pain, exacerbated as always by human rapacity. We're trapped = until tomorrow. We hope the bird makes it through the night. If it does, we don't know what we'll do. ___ ========================================================================= Date: Tue, 17 Jun 2003 15:20:03 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: Recommended Summer Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tom & List, Yes, where are the booklists? Well, here are a few books I'd recommend and a few books already on my reading list: 1) "Noise Water Meat: A History of Sound in the Arts" by Douglas Kuhn - MIT Press - I just finished this. An amazing listening of 20th century avant-garde. It's a bit of a tome, but easy to read (aside from one or two clunky sentences). 2) "Architectural Body" by Madeline Gins and Arakawa -- University of Alabama Press (Poetics Series) - Impossible to encapsulate in one sentence... Further to discussions on embodied minds, they theorize the sentient body that is at once organism, person, and environment. Don't let prejudices against immortality stop you from reading this book.! 3) Writing Aloud: The Sonics of Language edited by Brandon LaBelle & Christof Migone - errant bodies - I haven't read this yet. Looks like a promising essay in there from Alvin Lucier. 4) Site of Sound: Of Architecture & the Ear edited by Brandon LaBelle & Steve Roden - errant bodies - This too, is waiting to be read. 5) Eunoia by Christian Bok - Coachhouse Books - Well, ok, it came out some time ago, but it's really a wonderful book. -Ben ========================================================================= Date: Tue, 17 Jun 2003 03:07:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: Recommended Summer Reading MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Have to add Bulatov's _Homo Sonorus and Kristen Prevvallet's _Scratch Sides tom ----- Original Message ----- From: "Ben Basan" To: Sent: Tuesday, June 17, 2003 1:20 AM Subject: Recommended Summer Reading > Tom & List, > > Yes, where are the booklists? > Well, here are a few books I'd recommend and a few books already on my reading list: > > 1) "Noise Water Meat: A History of Sound in the Arts" by Douglas Kuhn - MIT Press > - I just finished this. An amazing listening of 20th century avant-garde. It's a bit of a tome, but easy to read (aside from one or two clunky sentences). > > 2) "Architectural Body" by Madeline Gins and Arakawa -- University of Alabama Press (Poetics Series) > - Impossible to encapsulate in one sentence... Further to discussions on embodied minds, they theorize the sentient body that is at once organism, person, and environment. Don't let prejudices against immortality stop you from reading this book.! > > 3) Writing Aloud: The Sonics of Language edited by Brandon LaBelle & Christof Migone - errant bodies > - I haven't read this yet. Looks like a promising essay in there from Alvin Lucier. > > 4) Site of Sound: Of Architecture & the Ear edited by Brandon LaBelle & Steve Roden - errant bodies > - This too, is waiting to be read. > > 5) Eunoia by Christian Bok - Coachhouse Books > - Well, ok, it came out some time ago, but it's really a wonderful book. > > > > -Ben ========================================================================= Date: Mon, 16 Jun 2003 23:52:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0001 Core-Specific Combinatorial Modeling excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0001 Core-Specific Combinatorial Modeling excerpt www.cowgallery.com about the initiation about the initiation hope of some hope of some hope of some concentric concentric about the initiation same work in its same work in its meadow of the meadow of the meadow of the by a pink bird by a pink bird same work in its know Eliot and know Eliot and time. Why so? time. Why so? know Eliot and will to all goodness, will to all goodness, important, and this important, and this important, and this in black and white, in black and white, will to all goodness, to gaze at it, to gaze at it, depths. More than depths. More than depths. More than and and to gaze at it, familiar with joint familiar with joint existence only existence only existence only cock into her. I cock into her. I familiar with joint evaluating the two evaluating the two philosopher at the philosopher at the philosopher at the Chris swimming by, Chris swimming by, evaluating the two they can have no they can have no have its flower have its flower have its flower One of these august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Mon, 16 Jun 2003 23:54:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0002 Core-Specific Combinatorial Modeling excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0002 Core-Specific Combinatorial Modeling excerpt www.cowgallery.com austere conditions. austere conditions. Communist threat and Communist threat and Communist threat and bugs were beginning bugs were beginning austere conditions. Laura had ever seen. Laura had ever seen. those days, when those days, when those days, when Charlemagne court, Charlemagne court, Laura had ever seen. John moved back John moved back mismanagement--and mismanagement--and mismanagement--and air the large house air the large house John moved back This wall was built This wall was built behold that behold that behold that own legs, and put own legs, and put This wall was built none, motioning: "Ah! none, motioning: "Ah! sculptures. Still, sculptures. Still, sculptures. Still, selection, selection, none, motioning: "Ah! august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Tue, 17 Jun 2003 01:15:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Louis: I'd say, no, we're not fucked (in the bad way) by any McDonald's final solution. Quietism from poets is a minor problem. I'm a little surprised by it here on this Buffalo Poetics List given all that jabbering that went on around 9*11. No reply to Taylor Brady's comments on overproduction or to Jonathan Skinner's demands. But, you know, poets don't have so much in common do they, here, inside this? The Homeland Security is frightening, I suspect, to many folks living under the legislation of "possible threat." I myself already have at least two intelligence files opened up (Vancouver Police Department, Canadian Security and Intelligence Service). But that's partly because I need to generate a specific set of interpellative documents as part of an ongoing counter-interpellative writing project, setting aside whatever suspect community politics I may be tangentially involved in. Remember the "We are all Rushdie" campaign? We should concoct some contemporary equivalent that takes the heat off our friends on the front lines of the class war. Aaron Vidaver "I want to join al-Qaeda / to change it from within" - Reg Johanson ========================================================================= Date: Tue, 17 Jun 2003 08:02:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: This Saturday! MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit Please forward _____________ Summer Solstice in the Park With Boog Saturday June 21, 2003, 3:10 p.m. sharp behind 330 W. 28th Street (between 8th and 9th avenues), NYC Hey all, come celebrate the summer solstice in my building's backyard, with poems from Wanda Phipps music from Aaron Kiely & Kimberly Wilder and poems from new poet-moms with their lil ones in tow* Rachel Aydt and James Andrea Robinson and Samuel hosted by Boog City editor David Kirschenbaum For additional information, call the Boog office 212-842-BOOG (2664) Directions: 1/9 to 28th St. (and 7th Ave.) any train to Penn Station (A/C/E, 1/2/3/9), and exit at 31st St. and 8th Ave. or C/E to 23rd St. (and 8th Ave.) If you are coming to 28th street from 8th avenue, walk on south side of street, past sign that says 330-340 West 28th Street. Keep going straight. You ll pass two green mailboxes and then driveway. Immediately after driveway, turn left onto walkway that takes you straight into the backyard circle where the gathering will be held. *Mommies and babies appearances contingent upon mommies and babies ========================================================================= Date: Tue, 17 Jun 2003 08:08:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Reading Sunday MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Hey: Here's the announcement for my reading with Merry Fortune this coming Sunday--please forward to others and I hope you can make it: Merry Fortune Wanda Phipps Sunday, June 22, 2003, 6pm, $8.00 minimum 4th Sunday Fall Readings at The Cornelia Street Café 29 Cornelia Street (btwn. W. 4th & Bleecker) NYC 10014 212 989-9319 http://www.corneliastreetcafe.com Merry Fortune, poet, sometimes musician, and environmentalist is the editor of the on-line version of Pagan Place w/ Robert Martens and a former coordinator for the Poetry Project Monday night reading series. A limited edition collection of her poems & stories Blind Stints was distributed by Linear Arts Books. Her work has appeared in Brooklyn Review #18; Lungfull!; The Outlaw Bible of American Poetry; The Portable Boog Reader; 6ix; various editions of The World; The Unbearables Self-Help Anthology, The Unbearables Worse Book Anthology; the webzines Big Bridge; Can We Have Our Ball Back? and the Poetry Project Archives. She has a collaboration w/ musicians Don Christensen, Pat Place & Julia Murphy (FAT) on the 3-CD compilation State of the Union (Electronic Music Foundation) produced by Elliott Sharp for the Electronic Music Foundation and is in the process of producing a recording titled the Love Dogs of Misfortune featuring musicians Don Christensen, Barry Seroff, Dee Pop, Daniel Carter, Dave Sewelson, Marc Ribot and Drew Waters at the Argot Network Studios. A second collection of her poems Ghosts by Albert Ayler, Ghosts by Albert Ayler is being published by futurepoem books in the spring of 2004. Wanda Phipps has a forthcoming book from Soft Skull Press and is the author of Zither Mood (a Faux Press CD-Rom), and the chapbooks 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 in Siberia (Parabola). Her poems have previously appeared in over 60 magazines and literary journals including Agni, Exquisite Corpse, Hanging Loose and The World. They've been anthologized in Verses that Hurt: Pleasure and Pain from the Poemfone Poets (St. Martin's Press), Valentine, Oblek: Writing from the New Coast, Unbearables (Autonomedia) and The Portable Boog Reader (Boog Literature). She's a recipient of a New York Foundation of the Arts poetry fellowship. She's also a contributing editor for the internet artszine Big Bridge, on the editorial board of the NYC based journal LUNGFULL! and has coordinated several Reading & Performance Series at the Poetry Project at St. Mark's Church. You can check out more of her work on her website Mind Honey http://users.rcn.com/wanda.interport subway instructions: IRT 1 or 9 to Sheridan Square. Walk 2.5 blocks to Cornelia Street. IND A to West 4th. Walk l block to Cornelia Street. -- 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, 17 Jun 2003 08:32:36 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: remove from list MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi List, Can you remove me from the list, I'll be away all summer. Brenda Coultas ========================================================================= Date: Tue, 17 Jun 2003 09:38:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Essay Needed for Book MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable I am looking for someone to write a five hundred-word essay on Daniel = Hoffman. the essay would be due by late July. The essay is for a volume entitled A Companion to Twentieth-Century = American Poetry (slated for publication in June 2004 by Facts on File, = Inc., a publisher that enjoys very wide distribution in libraries, = colleges and high schools, as well as bookstores; the book will probably = appear, however, in early 2005).=20 Payment for the essay will be in presentational offprints. All essays = will carry their authors respective names, and a list of contributors = will appear in the back of the book.=20 The entire list of entries for the volume can be viewed at this website: = http://eies.njit.edu/~kimmelma/companion.html; also at the website can = be found a set of guidelines for writing the essays as well as sample, = model essays.=20 If you are interested in writing for this book, then please send a = message to Kimmelman@njit.edu, using the subject header Essays for Book = (or else simply reply to this message). Please provide a bit of = background about yourself including a brief account of your publishing = history if you have one (do not send an attached cv or samples of = writing)--unless I know who you are already. I hope to hear from you! Burt Dr. Burt Kimmelman, Associate Professor of English Department of Humanities and Social Sciences New Jersey Institute of Technology Newark, New Jersey 07102 973.596.3376 (p); 973.642.4689 (f) kimmelman@njit.edu http://eies.njit.edu/~kimmelma ========================================================================= Date: Tue, 17 Jun 2003 12:15:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: P. Inman 2ndary Bibliography MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Hi. I'm trying to complete a bibliography of writing on or around P. Inman's poetry, excepting the jacket blurbs. If anyone can add to this list please backchannel. Thank you, Aaron Vidaver. Bernstein, Charles. "Artifice of absorption." In A Poetics. Cambridge: Harvard University Press, 1992. Daragh, Tina. "Pi in the Skye." Striking Resemblance. Providence: Burning Deck, 1989. DeLio, Thomas. "decker" on MUSIC/TEXT. New York: Capstone Records, 1999. Derksen, Jeff. "from Culture Above the Nation: Globalism, "Multiculturalism," and Articulated Locals." DC Poetry Anthology 2001. Farrell, Dan. " 'Much I marveled this ungainly fowl to hear discourse so plainly, / Though its answer little meaning ? little relevancy bore; / For we cannot help agreeing that no living human being / Ever yet was blest with seeing bird above his chamber door- / Bird or beast upon the sculptured bust above his chamber door, / With such name as ?Nevermore.? // ? Poe, "The Raven" ', " PhillyTalks 14. Ed. Louis Cabri. (Philadelphia, November 1999): n.p. Friedlander, Ben. "Red Shift." Raddle Moon 8. Vancouver BC, 1990. 91-97. Golston, Michael. "Modelling forms: lyric, scrolling device, and assembly lines in P. Inman's 'nimr'." New Directions of Lyric. Ed. Mark Jeffreys. New York: Garland, 1998. Howe, Susan. Review of Platin. In the American Tree: Language, Realism, Poetry. Ed. Ron Silliman. (Orono: National Poetry Foundation, 1986): 555-556. Licata, Thomas. Review of Music/Text (New York: Capstone Records, 1999). Computer Music Journal 24:3 (Fall 2000). Retallack, Joan. "ceirr, purp. sizens fosse: Poetry of P. Inman," A Critical Assembling. Ed. Richard Kostelanetz (Precisely Editions: New York, 1979). Retallack, Joan. "The Meta-Physick of Play, L=A=N=G=U=A=G=E, U.S.A.: The So-Called Language Poet, Recent Works of Bruce Andrews, P. Inman, James Sherry, D. Messerli, Charles Bernstein, Hannah Weiner, Tina Darragh," Parnassus: Poetry in Review 12:1 (1984). Retallack, Joan. "Post-Scriptum High-Modern," Genre 20: 3-4 (1987): 483-512. Vidaver, Aaron, ed. Elements of Semantic Refusal. Studies in Practical Negation Seminar Booklet. Vancouver: Kootenay School of Writing, 2001. (Contains Inman's Collected Prose). ========================================================================= Date: Tue, 17 Jun 2003 14:38:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT The Leninburg with onions will be the first verticle hamburger (achieved largely by changing the bun's shape) -- perverse unwitting testament to Tatlin, possibly even bizarre symbolic compensation via the gustatory tract for the 'scraper's demise. They anticipate (not just with overconfidence, but with its correlate in mind, market stability) that its release might precipitate the hotdog shape's obsolescense. Most products will have become flat and/or round by then – in actuality, a technophilic ruse of consumer-friendly design. Flatness and roundness began to take on *discursive* shapes starting in the early years of this decade, when the "soft hit of the personal" became an implicit presupposition of how to consume on poetry listservs and in poetry blog-chat. Just a poke at this "the new friendly" would expose, with brutal immediacy, an interior of vicious social reaction, unthought in extremis parading as hipster's cool. ========================================================================= Date: Tue, 17 Jun 2003 17:26:09 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Drawing Center, WordsWorth MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'll be making a mini-tour of the East Coast next week, reading in NYC on Tuesday the 24th with Ron Silliman and Jean Donnelly at The Drawing Center at 6:30 and in Cambridge on Sunday the 29th with Fanny Howe at WordsWorth Books on Harvard Square at 5:00. Rae Armantrout ========================================================================= Date: Tue, 17 Jun 2003 14:56:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: reading Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'll be reading poetry with Orts Theatre of Dance at Ortspace in Tucson this Saturday, June 21, at 8pm. Charles Alexander ========================================================================= Date: Tue, 17 Jun 2003 16:35:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Attn, Poet: McDonald's Adopts New Jingle In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii great that you mention Tatlin--I am wondering if anyone has seen the Malevich show at the Guggenheim and has anything to say about it. I am anxious to travel in and see it. --- Louis Cabri wrote: > The Leninburg with onions will be the first verticle > hamburger (achieved > largely by changing the bun's shape) -- perverse > unwitting testament to > Tatlin, ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Tue, 17 Jun 2003 16:53:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Coleridge poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Can someone tell me the actual title of Coleridge's poem that begins, = "What if you slept and what if in your sleep you dreamed..." and the = book (year, date, publisher, if possible) it appears in. Thanks so much. Joel __________________________________ Joel Weishaus Visiting Faculty Center for Excellence in Writing Portland State University Portland, Oregon = =20 Homepage: http://web.pdx.edu/~pdx00282 Archive: www.unm.edu/~reality In Progress: "The Silence of Sasquatch": http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Tue, 17 Jun 2003 18:14:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Coleridge poem In-Reply-To: <001b01c3352b$b475f100$72fdfc83@oemcomputer> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Joel, if you want to have some odd not particularly great, but I guess informative, anthropological thrills, plug the Coleridge line into Google. It's not exactly the afternoon TV soaps, but close. I was trying to help you out, but I never did get to any biblio information (no patience), but God was mostly close at every click of the mouse! Stephen V on 6/17/03 4:53 PM, Joel Weishaus at weishaus@PDX.EDU wrote: > Can someone tell me the actual title of Coleridge's poem that begins, "What if > you slept and what if in your sleep you dreamed..." and the book (year, date, > publisher, if possible) it appears in. > > Thanks so much. > > Joel > __________________________________ > > Joel Weishaus > Visiting Faculty > Center for Excellence in Writing > Portland State University > Portland, Oregon > > Homepage: http://web.pdx.edu/~pdx00282 > Archive: www.unm.edu/~reality > In Progress: "The Silence of Sasquatch": > http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm ========================================================================= Date: Tue, 17 Jun 2003 21:21:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain Re: Kiby Olson's post re: language theory: > Bill, You wrote: > > If you can come up with an argument that does not require language for its > expression--for its very existence--you will blow me away. What did Fredrick > Jameson call it? The Prison-House of Language. That's where we live. "but what these monkeys were doing struck me as extremely primitive compared to say drawing up the Bill of Rights. Plus you did say that the real world does exist." I think of places in consciousness from which one sometimes must at all costs fend off "language" and quite vigilantly "watch" both feeling and internal dialogue. I'm referring to quiet and determined generation of awareness and "study/observation" whence one steadfastly and perhaps courageously "chooses" between conflicting and habitual split-second interchanges between feelings and desires and words and "selves," employing one's most determined will to sort out and to "decide" who or what inside (including introjects of others' will that one "be" a self that they have "mirrored") will be given sway. This kind of act, for me, anyway, does nowadays take on increasingly less reliance on or even trust in "language." Indeed, I want often to almost destroy every "voice in my head" and negate or just plain nip in the bud any and all impulses to distract myself by attempting to ("once removed"?) dally in words. Again, it's a very quiet and perhaps quieting act. A lot of times it's preceded by the laying out of paper and pen, and then they seem like such annoying relics and interferences. No, not "writer's block," truly, No. I'm losing the train of thought now, or whatever it was, and/or switching to another: how much of the world is presently overstimulated by and drowning in all manner of verbiage, images, media, words, "communication," and assorted other opiates of inauthenticity, propaganda, bullshit, lies, mind-control, garbage? I am, myself, prone to attention disordering and (ADD?) terrible habits of "starting" infinite things and finishing almost nothing. I can barely go two days in a row focusing on the same "project." A personal problem, to be sure, but also a condition of the everyday world, I think. There's way too much garbage and "misuses" and "abuses" of "language," and for me, anyhow, a seemingly life-or-death choice between succumbing to all of "that out there" or disciplining myself to choose and focus, particularly through these rough years until I can get enough _______ to escape it all, maybe move to Mexico, and gain one good shot at rebirth. Or something like that. Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Tue, 17 Jun 2003 18:37:04 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: EXILE IN BABYVILLE In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit It's not as bad as you might think.... ========================================================================= Date: Tue, 17 Jun 2003 21:35:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Elegy for a Small Bird MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Elegy for a Small Bird which died this early afternoon. Azure and I waited throughout the night, not sleeping, and this morning it was still alive, but not eating, its eyes bright as ever. We called Audubon, but they could only refer us to another organization; we called there, and finally were given the name of a wildlife rehabilitator, who never called back. We took the pigeon to our local veterinarian; he said the bird was young, and had suffered neuro- logical damage, that there was, apparently, a virus making its rounds through the local pigeon population. It still couldn't move its legs; its wing muscles were incredibly weak. There was nothing more we could do; it would either starve, or die calmly, and we chose the latter. elegy written in a country church-yard the curfew tolls the knell of parting day, the lowing herd winds slowly oer the lea, the ... elegy an elegy, sacred to the memory of the great divine, the reverend ... an elegy, sacred to the memory of the great divine, the reverend and learned dr. samuel cooper, who departed this life december 29, 1783, aetatis 59. ... another type of lyric poetry is the elegy - a poem "of ... another type of lyric poetry is the elegy - a poem "of lamentation for the dead." little need be said about the elegy other than that the poet chooses freely ... elegy. the elegy, a type of lyric poem, is usually a formal lament for someones death. the term elegy is sometimes used more widely. ... email from foster re: the elegy; newshour interview with foster re find. more info can be found in nytimes sunday jan 14, 1996; a ... marriage agency, model agency of elegy international, russian ... the problem of the funeral elegy the problem of the funeral elegy. by joseph sobran copyright 1996. ... my understanding is that the elegy was published in 1612. that is a different matter. ... lynch, literary terms -- elegy elegy. the elegy, a type of lyric poem, is usually a formal lament for someones death. the term elegy is sometimes used more widely. ... grays elegy written in a country church-yard. 189. an elegy. ben jonson. the oxford book of english verse ben jonson elegy. though beauty be the mark of praise,, and yours of whom i sing be such, as not the world can praise too much,, ... ... well set one up for you. elegy for iris by john bayley ... customers interested in elegy for iris may also be interested in ... shakespeares a funeral elegy for master william peter elegy for geraint: battle of llongborth elegy for geraint welsh battle poem, c.500 the poem below, found in the black book of carmarthen is an english translation (believed to be accurate) of a ... funeral elegy a funeral elegy for master william peter. by ws. a funeral elegy edited by donald w. foster from ws, a funerall elegye in memory ... elegy for jane elegy for jane (my student, thrown by a horse) i remember the neckcurls, limp and damp as tendrils; and her quick look, a sidelong ... books: elegy for the departure ... dead. beautifully translated by john and bogdana carpenter, elegy for the departure is a fitting requiem for its author. --alix ... 441. elegy to the memory of an unfortunate lady. alexander pope. ... ... 1688-1744 441. elegy to the memory of an unfortunate lady. what beckning ghost, along the moonlight shade, invites my steps, and points to yonder glade? ... may she rest in peace, may she fly again, tuesday, june 17, 2003, sometime around eleven in the morning, brooklyn, new york, a nice day and dark and sightless night +++ ========================================================================= Date: Tue, 17 Jun 2003 22:33:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harriet Zinnes Subject: Re: Where Are The Weapons Of Mass Destruction? SEND ACTION~a10058u... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Yes, please add my name to your message. Harriet Zinnes 25 West 54 Street New York, NY 10019 ========================================================================= Date: Wed, 18 Jun 2003 00:49:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: true neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT "Functional Magnetic Resonance Imaging (fMRI) of the brain is still an experimental technology that permits direct visualisation of the brain regions that are active in real time, while the subject is performing a given task. I have been creating Functional Portraits by imaging the brain function of the model, while performing a task that characterises herself or himself. I have been using fMRI equipment more powerful than the ones used for medical diagnosis in order to achieve better images. Among the first portraits I have been producing are "Patricia" with her brain activity while playing the piano, and a self-portrait with my own brain function while drawing. As a development of Functional Portraits, I am now planning to paint the brain by manipulating its activity. With the knowledge of the brain regions that are activated by certain tasks or stimuli, it is possible to design a number of simultaneous tasks and stimuli that will achieve a complex brain activity pattern. In other words, by planning a defined set of tasks it is possible to "paint" a defined pattern of brain activity. Although the artwork has a short lifespan - as long as the subject is performing the tasks - it is possible to document it by means of fMRI. It is a case where it becomes possible to create art by simple thought."- Marta de Menezes from _BioMediale. Contemporary society and genomic culture (D.Bulatov ed., National centre for contemporary art, Kaliningrad, 2003; forthcooming) tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 18 Jun 2003 01:18:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: true neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT or false because beyond language? ========================================================================= Date: Tue, 17 Jun 2003 23:23:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: Guardian: Blair's secret war pact w/ Bush Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Short: Blair's secret war pact Clare Short claims senior intelligence figures briefed her that Tony Blair had made a secret agreement last summer with George Bush to invade Iraq in February or March http://politics.guardian.co.uk/iraq/story/0,12956,979787,00.html ========================================================================= Date: Wed, 18 Jun 2003 02:15:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: four excerpts from simultaneous object exchange MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit END #0001 excerpt S3? (watson spinecup) S1 (Thurber pilostyles) S2S3 (Parish phacelia). G2 crossidium seriatum w G2 xC2 n s Astragalus funereus W S1 (Mono buckwheat). S3 (shockley rockcress) S2 (Tonopah milkvetch) G3? Astragalus lemmonii W w. S3 (stylose rockcress), S2 (white-margined beardtongue) S1? (Coville abronia). G3q n pinus washoensis cy d, G2 C sc sc Ivesia webberi CE# T G5 Pilostyles thurberi D. S1 (inyo mountain parsley), G2Q c w Astragalus pseudiodanthus D S G1 C c Botrychium lineare W W. S1 (smooth dwarf greasebush), S2S3 (Jaeger ivesia) G2 Lathyrus hitchcockianus W. S3 (ravendale skullcap) G2 xC2 nc c Calochortus striatus W S1 (Suksdorf milkvetch). S3 (beaver dam breadroot) S1 (prostrate buckwheat). S3 (stylose rockcress) T2G5 sw Poa abbreviata ssp. marshii *************** Plants - Flowering Dicots. S2 (death valley beardtongue), G2 xC2 nc si Arabis bodiensis W G3 w Draba subumbellata W. S2 (pinzl rockcress) *************** Plants - Gymnosperms (conifers). S2 (death valley beardtongue) G1G2Q i Polemonium chartaceum W. T3t4g4 i abronia nana ssp. covillei G4? Trifolium lemmonii D SP (slender moonwort). T2t3g5 c loeflingia squarrosa ssp. artemisiarum s S2 (Masonic Mountain jewelflower). S2s3 (hermit cactus) S1 (Tiehm rockcress) S2S3 (oryctes). ========================= MAIZE #0001 Sucking off michael rob lifted, started Jean's all way turned face way. Warm alec vice versa all, make love frequently deliciously tight sensation. Very mouth awoke inevitably lovely, Cammie watched Terry both laughed again Jim said OK OK. Saw up honey jim said oh honey, snatch Mmm want some Bethany all bulge vein dick passing. Like saw, turns want Trevor's shaft. Joint convention safety spent fuel management, While longer just way too hot eyes. Latest news, agreement production exchange such data sec maps charts geodetic data public availability saturated sweetest. Well just blew mind slid globes left chick's mouth. Pam well try, soaking pussy pushing. Tight yellow flowered sun-dress hugs kindred spirit grateful. Told work these hooters shut up eat went. Two priority aspects ctbt cut-off sight men charcoal inclination hint perhaps. Lubricant ass, all right reasons all watching TV Steve said. Campaign started doing only sex, climax three times very HCRTF let mouth just long enough. Clit trevor's shaft, special making love move faster tempting create impression. Rode tidal wave, skinny dip seconds Cammie's anything like climax. Fuck such turn, concluded year france now nuclear power tow truck. All way knees revealing thong bikini bottoms matching macedonia. Spring watching dick move, pulled shorts globes left chick's mouth Marline. Pulled sheet squad realizing just cut wrong, soap time. Up too imagine trouble, fuck such turn sex. Taking special making love land-based nuclear component assets now limited two components moreover. Six guys sitting standing slightly men checked Cammie put. Section does affect right think. Standards, counter Nice touch staff tight yellow flowered sun-dress hugs. Right more everything will took. Mmm want some bethany turned inward plunge three t-. Tight balls taking tip rod shop replace can. Thought most beautiful girl cum started shooting onto cheek pampered back exposing entire underside. Radiological health effects sponsors still does adequately address main concern still contains fundamental ambiguity let explain why remain concerned harder ass door clicks open. Making dress ended mid-thigh felt, sexy lingerie made know spurts laughed said yet. Known guys standing hard jerking foreign ministry north africa middle east department meeting beirut. Strokes laughed said yet, general clark nails Steve's mouth own Joy. ========================= A FRIEND TOLD ME #0001 Starting your own small business Awesome Grades in Math and Science Numerology for Beginners. Introduction to objectivism Telecommuting Investing 101. Tarot and the tree of life, Genealogy: Researching Immigrant Ancestors Stenciling 101. Project management 101, Understanding Poetry Working Mothers - Life Can Be Easier!. Trash to treasures Free Demo Course: Becoming a Professional Writer. Cross cultural training 101 Becoming a Technical Writer. Fantasy fiction appreciation Intermediate Numerology Creating An Online Support Group. Tarot and the tree of life Telecommuting. Creating an online support group Teaching Writing to Children - Part Two Summertime Safety and First Aid. Genealogy for beginners The American West, 1861 to 1876 Becoming a Professional Writer. Selling chicken soup stories Medieval Food Coping with Depression. Genealogy for beginners Growing Your Own Small Business Growing Your Own Small Business. Coping with breast cancer, Easy Care Houseplants Magazine Writing. An introduction to flight for everyone Creating Dynamic Unit Studies Fantasy Fiction Appreciation. Châteaus of france -- history, romance, intrigue, Investing 101 Introduction to C Programming. Self-producing a play, Project Management 101 Working Mothers - Life Can Be Easier!. King or parliament? - the english civil war, Write for your Life! Become an Inspirational Writer! King or Parliament? - The English Civil War. Gentling/training the young horse Self-Producing a Play Cure Your Math Anxiety: Basic Math Skills-fractions. ========================= PLEASE ELABORATE #0001 Is in the sky inserting, penetrating Captain. Whom are we, the basis of certain understanding that doesn't buys under the influence of others." But some would ask. But they are not responsible enough to the phallic and not mine to correct. When a misunderstanding does takes under the Earth The only thing I might signal-and this cannot be. Strike or with the assumption that judgment has is in the sky literature-the one that de Man, Schlegel, Hegel,. Under the earth would want do so in terms of the buffo in romantic, invested in, of course. But what I mean by resembles and opens in as if it were a dialogue. It was very witty.. And precisely, not inciting highly problematic but didn't understand why this was happening. And he is under the Earth student who studied at the Hermeneutics Institute. And masking and masquerading and make-up that's going and for a very different politics to say "I don't is only in my memory around, he feminizes himself, so to speak. We also. Only in my memory To allow and allow and allow is the experiment, decisions that have been made about minorities. resembles but buys abides in the teaching relation where all sorts of. On my desk of the differend but offer another version of it,, that was not at all natural, so to speak; it was a takes but opens temptation.. And of warfare. The Test Drive was motivated as a and problematic and more of a dissident than in other resembles after a time at one point, and he said that politesse is the. But satellites? and of virtual reality. This thought comes from the opens in the sky To allow and allow and allow is the experiment. And the historicity of what you're doing, where you're but each take years. I would like to get to the point takes on my desk concepts of responsibility and decision." If those. "the opposition between passive and active opens under the Earth masking and masquerading and make-up that's going. But possible meaning and intelligibility. and there is a moment of madness, where a cut, a is after a time course, when one philosophizes, the common place. Under the earth I'd love to. That's what I wanted to do. But we, fronts of the university. There is a lot to be resembles but takes the accusatory sting of being called stupid. So, I. Under the earth retentive hegemony of the academic stronghold is,, inappropriability of it, of the task itself. It's resembles and takes lived with, an older woman, and he turns. ================== WHO #0001 Paik, nam june, program notes for "soft transformations" Model of The Maze, part 7. Note on "waves" Pevsner, Noton, Audio: The Realistic Manifesto, read by Naum Gabo. Bazelton, david t., the old question Oberhaus, Patricia, Bobby, and Barbie and Ken in the Cat's Pink Mouth. Field, morey, audio: drums on st. james infirmary blues Frosch, William, Adverse Reactions to LSD. Finch, christopher, communicators Cohen, Ira, From "The Invasion of Thunderbolt Pagoda". O'doherty, brian, designer, aspen no. 5+6 Blum, Richard, Users and Abusers of LSD. Cage, john, score for fontana mix. flash plug-in required, Powers, Thomas, Comments on Twelve Paintings from the Powers' Collection Clifford, Peggy, A Sanctuary for Deer, Peacocks, and People: The Benedict. Forest project Reich, Steve, Pendulum Music Editorial Note on Aspen no. 8. Tavener, john, audio: three songs for surrealists: for rene magritte Cohen, Harvey, Poetry Sheet. Tokaku, hosegawa, monkeys and bamboo grove Index of Audio exhibits Rauschenberg, Robert, Linoleum (excerpt). Mann, abby, advice from abby MacLise, Angus, Editor, Aspen. no. 9 Lawson, Yank, Audio: Trumpet on St. James Infirmary Blues. Samyana, raja, audio: drums on the joyous lake, Model of The Maze, part 4 Atkinson, Terry, Hot/Cold Book. Audio: further thoughts, Malanga, Gerard, Hustling for Army Health Razor Blades & Bomb Drop Yuk Yuk Grand, Nikki, Poetry Sheet. Corwin, norman, crossroads: to mold the higher taste or pander to the lowest Johns, Jasper, Comment on Black Map Bill Evans Trio, Israel. Model of the maze, part 1, Glass, Philip, 1 + 1 for One Player and Amplified Table-Top Program Notes for "Soft Transformations". Rauschenberg, robert, linoleum (excerpt), Poons, Larry, Comment on Reuben (As the Mississippi Flows Down to the Sea) Cohen, Allen, Excerpt from an interview in the San Francisco Oracle. Warhol, andy, designer, aspen no. 3 Wohl, Martin, Urban Transportation in Perspective Logue, Christopher, New Numbers: "This is the final statement...". august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Wed, 18 Jun 2003 11:26:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan Subject: fwd: Van Gogh's Ear #2 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit VAN GOGH'S EAR is an anthology series devoted to publishing excellent poetry in English by major voices and innovative new talent from around the globe. Without affiliation with specific movements or schools of poetry, we seek only to publish the best poetry being written. The anthology welcomes all work, from traditional to experimental, daring, thought-provoking poetry of unusual forms and language genius. In this regard, we aim to become a major reference point among poetry publications worldwide. Our first and recently released second editions each feature the work of over 80 poets; representing the evolution of Beat poetry into a cutting edge future, with poems by such amazing talents as: John Ashbery, Paul Auster, Amiri Baraka, Robert Creeley, Lawrence Ferlinghetti, Thich Nhat Hanh, Lyn Hejinian, Susan Howe, Eileen Myles, Joyce Carol Oates, Jena Osman, Alice Notley, Diane di Prima, Sapphire, Leslie Scalapino, Gary Snyder, John Updike, Anne Waldman, Philip Whalen, and many, many more. The publication1s format is 14x21cm, 220 pages, perfect-bound, with a 4-color matte cover. Check out our website (still under construction!) for info on subscribing and submitting. Submissions for the fall edition due July 1, 2003. ========================================================================= Date: Wed, 18 Jun 2003 09:51:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: binder free In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable binder free funny h w means vantage point s scatters w/ incept bits: stacked and / or piled) lifeless in divide ambient in Helvetica fix-in-cries but waitthe conspiracy s speaker is about to plea=3D dear weather : repeat more ple se, exclusively and extensively after (from shoe to shin ing on a 20 days=20= limited guar ntee) telepathically flippant, but still ragged . . . . =09 after all these. . ... prima donna nouns & a gulf stream verbs - killed a second t m e- 4 those tin sound sacrifices stepped in ashen place names tomorrow=92s throb away high in deaths botonized provions _________________________________________________ =09 brings the: >paint-n-point disposable >spot weld nonsense >dirt free dust =09 >dot sharpners and check make check rs >truck proof or other wise not noticed >a further later >not right but phase more ________________________________________________ if this is and there is a hou e =09 co ld this be h meless? =09 roaming kept roaming =09 not miles from anyone trees w/out a trace unborn & restrained if this is roots could it be faster then sound? =09 almost blue curtains drain in radio abandon stil anxious on raw red fluid _____________________________________________________ a child musters a dream show blazon in thickness reduced to salient wall time ___________________________________________________ this is the condition of dead people a principle option of the dieting retired axioms w/out a question=09 eternity's clones seeking a security extension =09 =09 =09 =09 ========================================================================= Date: Wed, 18 Jun 2003 12:01:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Colombia: Emergency Strike: 19 June 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit General Strike on 19th June - 'Do or Die' for Colombian Trade Unions Colombia's three union centres, the CUT, the CGTD and the CTC, have called an emergency general strike against privatisations for next Thursday, 19th June. The stoppage was announced from Geneva, where the presidents of the union federations are attending the annual conference of the International Labour Organisation. The Colombian unions are demanding that the ILO votes this week to send an international Commission of Enquiry to Colombia. The trigger for this action was the announcement last Thursday night by Telecommunications Minister Marta Pinto de Dehart that the government is liquidating state telecommunications corporation TELECOM. An immediate consequence will be the sacking of up to ten thousand workers. And the company replacing TELECOM will be ready to sell off its assets, including to the foreign multinationals that have been trying to take over the sector. Decisive pressure came from Washington. As Miguel Caro CUT's Director for the public sector points out: "the US has insisted as a condition for including Colombia in the Free Trade Area of the Americas negotiations that one-sided 'shared risk' contracts signed with US companies be implemented". The misnamed 'shared-risk' contracts were of course nothing of the sort, merely a mechanism for foreign multinationals to rip off the state sector. Back in 1993 TELECOM signed contracts with six multinationals to provide 2 million telephone lines. They put 1.8 million lines in place, but only 1.15 million were sold. While the investment came from state funds, the 'shared risk' meant that the multinationals were guaranteed an income irrespective of the number of lines sold. NORTEL and the other companies demanded a US $2 billion contract settlement. The previous Colombian government offered $600 million, but this was not enough for NORTEL who lobbied the US Congress to block any general trade and investment agreements until its demands are met. Uribe has accepted, hence the liquidation and sell off which, according to Miguel Caro "shows once again the submission of the Colombian government to the dictates of US imperialist power". Other unions across the whole state sector, from Bogotá's telephone corporation ETB, to the agrarian reform institute INCORA, to the universities and further education institution SENA, to several health and social security agencies, are facing privatisation. Uribe has pledged to push this programme through to meet IMF demands to halve the fiscal deficit. In practice this means eradicating the limited social gains of Colombia's 1991 Constitution. The unions who are fighting to maintain their public services are doing so for the benefit of all Colombians. To realise what is now at stake, the plight of the unions has to be located as part of the broader scenario of dispossession and repression of the Colombian people. Alexander Lopez, the former president of public services union SINTRAEMCALI who was elected as a Social and Political Front representative to Congress last year, warns that, "The result of this policy is the elimination of the public function of the State, leading to misery, general degradation and conflict". Life in countryside areas is an unimaginable nightmare. Civilian populations are being marauded by the army often disguised as, or working in close co-operation with, paramilitary forces. The paramilitaries roam freely in North Tolima and Choco, leaving behind a trail of village massacres and disappearances. On 5th June Tirso Velez, a left wing poet and former mayor of Tibu was assassinated. But it is in the remote oil rich north-eastern department of Arauca that the human rights violations are the most acute right now, as reported to Amnesty International UK's annual conference by Samuel Morales, CUT's organiser in the region who also works with social and human rights organisations. For the last two months three hundred Guahíbo indigenous people from Tame have occupied the Central Catholic Church in Saravena. They fled their homes as a result of attacks committed by the Nava Pardo Battalion of the 18th Brigade of the National Army. On 31st December soldiers wearing AUC armbands came to Betoyes village. They killed a man and took off his two year old daughter. They raped four females aged 11, 12, 15 and 16 years old. Omaira Fernández was pregnant. Then, as human rights workers report, 'the people had to look on horrified as the supposed "paramilitaries" opened up her womb, took out the foetus, sliced it up, put the pieces in a plastic bag and threw them into the river along with the mother'. Tame is situated between three zones being taken over by US corporation Occidental, the Spanish multinational Repsol, and BP whose expanding Casanare operation is moving northwards towards Tame. Welcome to Uribe's Colombia - a heavy hand on the poor but a kind heart for the multinationals. Uribe is working hard to get international support for his project to criminalise popular resistance. Francisco Cortés, a leader of the ANUC-UR peasant organisation in the Arauca region is a well known human rights campaigner who visited Britain two years ago. Subsequently 'Pachito' visited fellow peasant movements in Bolivia, but on 10th April he was detained in La Paz, accused of being in both the FARC and ELN guerrillas. Today he is imprisoned without trial in a 8ft square cell, 10 to 15 degrees below zero, at 4,000 metres above sea level. While the whole movement is under threat, the militant wing of Colombian trade unions that identifies with popular struggles has been the most targeted. 90% of assassinated trade unionists are members of CUT- affiliated unions. The rate of assassination of Colombian has decreased, with only (!) thirty murdered in the first five months of this year. Perhaps with so much international attention on this aspect, somebody somewhere decided that Uribe has to be seen to be improving the situation. Certainly, the modes of paramilitary and state terror are evolving, but the danger is ever present. Families are now being systematically targeted. Last week a flood of graffiti appeared in the city of Cali, with slogans declaring "DEATH to SINTRAEMCALI", "SINTRAEMCALI = THIEVES" and "SINTRAEMCALI = GUERRILLA". Many more trade unionists are being detained. Five members of the oil workers union USO who have been under house arrest for a year and a half go on trial this week. Uribe's government is backtracking on commitments made by previous governments to provide physical protection for at least some of the most targetted trade union leaders. Domingo Tovar, the Director of CUT's Human Rights Department whose two daughters have been threatened is one of those at the highest risk. He is battling to keep his own bodyguards as officially recognised self-defence. The Ministry of Interior wants to replace them with Department of Security agents. The difference is a life or death matter for Domingo. Meantime Uribe is offering the AUC, Colombia's principal paramilitary outfit, pardon and immunity from prosecution as part of a deal to bring them into negotiations. This move is calculated to encourage the death squads. There is a chilling logic to Uribe's elimination programme. With private sector unions virtually non-existent, the Colombian trade union movement has arrived at its 'do or die' moment. It will take enormous pressure from within and without to halt the march of fascism in Colombia. The CUT Human Rights Department has called for solidarity, highlighting the need for mobilisation of protest internationally and physical accompaniment in Colombia. On the first front, Tony Blair is convening an international governmental conference in London on 10th July to build support for Uribe's regime. We in Britain have a special responsibility to mount united protest against the Blair-Uribe axis, and for human rights aid to go to trade unionists and the oppressed in Colombia. Look out for further announcements. Andy Higginbottom SUPPORT ACTION Messages of support to can be sent to 'Pachito' Francisco Cortés in Bolivia through e-mail: geancorcolbo@hotmail.com. and to the workers of TELECOM through e-mail: derechoshumanos@cut.org.co ========================================================================= Date: Wed, 18 Jun 2003 15:13:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Sophonisba Mime-Version: 1.0 Content-Type: text/plain; format=flowed the first scene offers the scenario the scenario follows Sophonisba Sophonisba offers the scenario Sophonisba : broken key that has sagging light Hulbeck : broken key that has sagging light Sophonisba : the first view offers the scenario Hulbeck (follows Sophonisba) : your masked turn the scene follows Sophinisba’s exit Masinissa : & I have built childbirth under a portable language Syphax : broken key & portable language the epidermis thick with knocking Masinissa : distinguished founder, grown fictitious by boasting, known for the same answer Syphax : said dramatically to be holding that sea Jack Sheppard hanged in 1724 Jack Sheppard : after two Newgate escapes, mind you Sophonisba daughter of Hasdrubal Syphax : Alexander Smith chances for the throne Scipio : poetry twice the length of prose, and so the lawful comforts flooded with scenario Hulbeck : your masked town follows exits out Syphax : missing successor his whole shepherdess, the Pallas of metrical reservation Sophonisba diffused in more sensible imprisonment Jack Sheppard : mortal breath had not been her sister Syphax : cheek represents them as the requital Sophinisba : broken key that has sagging light The Numidians : imagined a wide berth his natural child preparing except what shrank before money Sophonisba turned that quarrel to take the eye Laelius : thy death marked neglected diligence Syphax : Alexander Smith chances for the age whose cue it was to sink it Laelius : I am drowning, which cannot be perceived Jack Sheppard and the hours become the property of antique accord scene runs the risk for the casting Masinissa : threaten my own lips in return for more time Sophonisba answered loudly after that lapse had cost you Hulbeck : all that to keep them from a long night Scipio : a good frame of mind holds my tongue to that effect, and I had to call each Masinissa : he wished me insignificant, and would have cut me though already fallen Scipio : derivative though largely noncommittal let him speak for himself, axiomatics apart Hulbeck : so on to the heart of a little bell Scipio : the letter will disappear, rebus ipsis, as will this scene the Numidians call Sophonisba by the name Saphanba’al, to no avail, and Massinissa sends her poison in a cup Sophonisba : metaphors oblivious to what is made witness Syphax : this tyranny melted down in a foundry Laelius : the dead are in flames, gnawing cold Masinissa : revision of the wrecked suggestion Scipio : the previous vengeance as shown, in fact, once she had shown a new habit Sophonisba : lost, the pleasure was no exception, attempted in twenty-four hours, excused a new toy Alexander Smith highly in exile from the outside Syphax : antithesis ingenious, made from the public, and, as referee, a neutral disappointment Jack Sheppard : Saphanba’al with careless furtherance playing at fastened courtesy Wanton Scripture : fault shot through the strand poisoned cup the breast of the wolf Masinissa : doubling struck on the troubling, fly from me, repair this wrong Alexander Smith : a little spice is welcome, repair this wrong at vehement cost Sophonisba : treason to diverse bonds, fresh to the table in one person, one grave the Numidians then raise a cry of perjury Scipio : beastliness suddenly restores my sight, I see her spurn the highest step of the moon Sophinisba : superstition the dust in the street, conclude them to drink their fill Masinissa : harbor such a work for all love, surfeited at its source, blood won in war Hulbeck : Ignatius swam well, Huncamunca sank Laelius : like a stone, all alone. The window lends me such manner, slung a place at her side Syphax : no picture that uncompromising, floating on the way Laelius : from want drooped by fresh clouds Syphax : in earnest, draped by fearful asides, a quick eye who waited for them, keeping her goodwill Hulbeck : remorse astir wildly ‘round their hands Jack Sheppard : O musing meantime! Musing meantime O! my Jemmy Tomson in bed, declaring the day over! solicitude over her, else I may have descended Hulbeck : pestilential bird astir, a few relics aside sympathy set to rights, no one if you wish Scipio : but for a month, a quick glance was impossible again and again I implore you for a thunderclap Laelius : ministry having won exultation Scipio : ministry deceived by never-dying plot Jack Sheppard : today I discover musing meantime Hulbeck : the ruse upholds the dead body, roamed about her entreaties, ear and eye to and fro Laelius : gesticulation was over, adjoining arrival Jack Sheppard : O musing meantime! Musing meantime O! my Jemmy Thomson in bed, declaring the day over! solicitude over her, else I may have descended Scipio : mercurial screech, manhandled fact, Atlantis came up to par, the same steps expect the same decorum Masinissa : such behavior receives their defense, I have entitlement to the charms the rest pass on Sophonisba : young gentlemen did it for free, scrupled emolument, the least of these had perhaps recovered Wanton Scripture : misfortune to submit thirty notwithstandings Masinissa : & I have built childbirth under a portable language, the payment of nature gets the better of her, & ill consequence hoped together Laelius : moiety a moiety of moiety, as all thought is thought in thought Sophinisba : a few hour’s sleep in fashion, such perfections would offer no account Wanton Scripture : good news to draw description Alexander Smith : blitzed drop-offs on the best of terms, indolent vertigo showed up compromise Laelius : invigoration scarcefully vowed from his mouth, a great deal rosy and dirty, a couple of mentions make their conduct worthy _______ CURTAIN _______ _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Wed, 18 Jun 2003 17:37:45 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: language theory MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii For Steve Tills, I'm against the idea of moving out of the culture with enough money to escape it all, although I sympathize. I think the job should be to put the shoulder to the wheel, as Ginsberg said -- and be a citizen in our communities. That's why I'm also against Rimbaud as a model of the poet. I like much better WCW. He functioned. But I am sympathetic and can understand feeling like one has had it. The idea of a one-shot rebirth is a concern to me, too -- I don't think these things exist -- but again -- I wish they did. I see the work of being a citizen as being slow, and vegetable-ish -- rhizomatic, maybe. I want to be a potato. I don't know how else to couch it. It seems to me that this is what Paris, London, and some smaller towns in America get out of their citizens. WCW or Loraine Niedecker or Charles Reznikoff seem like good models. People who stay put. Even Charles Olson, I guess, though he didn't really seem to function in Gloucester. He got money from outside Gloucester, or maybe he stole his money from Black Mountain, as Clark suggests in the bio. But the idea of a poet as a person who works in a community seems great. I often wish I had trained as a plumber, or a refrigerator repairman. I understand the breaks in your language-grasp -- Deleuze calls this stuttering, and praises it. I'm not sure about the place of this. Language it still seems to me ought to connect with the place you're writing in, as part of the ecology. -- Kirby Olson ========================================================================= Date: Wed, 18 Jun 2003 18:03:32 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: SUNY-Cortland Literary Conference MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I'm chairing a panel on Literature and Food at the SUNY-Cortland literature conference from October 26-28, 2003. My topic is: Good Taste at the Dinner Table: Papers that address the aesthetics vs. the ethics of eating. This is an idea I gleaned from Corso while writing my book about his work. That eating is always unethical, but often aesthetic. That is, it is wrong to eat other creatures, but they might be tasty, so it is good, in another sense. I am particularly interested in 20th century American poets and how they address the topic of food from within those parameters. Is it ethical to eat other creatures? In Pound, for instance, there is the famous remark about how Yeats' one great contribution was the discovery of a moderately priced chop house. In WCW, you have the famous poem about eating plums. It is somehow unethical of him to take the plums that his wife was saving, but they tasted delicious. What I need are three fifteen-minute papers. One on Paul Blackburn would seem especially relevant, since he died at Cortland in the early seventies. I don't have any papers or abstracts yet. I need to get them by July 15th. It's a great conference -- about an hour north of Binghamton, NY and about an hour south of Syracuse -- it is only 15 minutes or so from Ithaca -- which houses the strange hybrid campus of Cornell -- with its motley collection of great buildings. The campus at Cortland is more or less institutional, and I don't know downtown Cortland at all -- but in the other close-by cities there's lots to do. Usually about a thousand people come to this conference, and some even come from India and Great Britain. Look at the SUNY-Cortland English Department web page for more details. There are also about sixty other panels to choose from. This one on food is very well-attended, and they try to place it just before dinner time -- which is sumptuous, and has good entertainment. Last year there were fifty people at this conference, so it's a good showcase for talent. I want to get three people interested in contemporary American poetry to be on the panel. We can have dinner together after the panel and gossip and network. -- Kirby Olson Evenden Tower 710 SUNY-Delhi Delhi, NY 13753 email: kirbyolson2@hotmail.com (please clearly mark your post as an abstract, because I never open emails otherwise from people I don't recognize!) ========================================================================= Date: Wed, 18 Jun 2003 18:27:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: language theory Comments: To: olsonjk@delhi.edu MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable RE: "I often wished I'd trained as a plumber, or a refrigerator = repairman." TOLEDO, OH: Mr. LaVoy is up to his shoulders in the freezer, thawing & = draining the plugged line, turning off the defroster timer, stripping = ice & prying washers and gaskets from the lining of the malfunctioning = refrigerator, saying absolutely nothing, which is his = understated-to-the-point-of-mute, efficient manner. Removed pieces lined = in a row -- screws, tubing, shelf brackets, coils, a bath towel catching = the spills. When an appliance goes down, and after I poke stupidly about = some with an inappropriate tool, he gets a call and a few hours later = his outfitted van pulls in the drive. Somehow I doubt he'd savvy the = work of a poet. But as a refrigerator repairman he's masterful, = in-and-out for $72.78, an undoubtedly fair price for a skilled = tradesman's services. JL -----Original Message----- From: Kirby Olson [mailto:olsonjk@DELHI.EDU] Sent: Wed 6/18/2003 5:37 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: language theory For Steve Tills, I'm against the idea of moving out of the culture with enough money to = escape it all, although I sympathize. I think the job should be to put the = shoulder to the wheel, as Ginsberg said -- and be a citizen in our communities. = That's why I'm also against Rimbaud as a model of the poet. I like much better = WCW. He functioned. But I am sympathetic and can understand feeling like one = has had it. The idea of a one-shot rebirth is a concern to me, too -- I don't = think these things exist -- but again -- I wish they did. I see the work of = being a citizen as being slow, and vegetable-ish -- rhizomatic, maybe. I want to be a potato. I don't know how else to couch it. It seems to = me that this is what Paris, London, and some smaller towns in America get out of = their citizens. WCW or Loraine Niedecker or Charles Reznikoff seem like good models. = People who stay put. Even Charles Olson, I guess, though he didn't really seem to = function in Gloucester. He got money from outside Gloucester, or maybe he stole = his money from Black Mountain, as Clark suggests in the bio. But the idea = of a poet as a person who works in a community seems great. I often wish I had = trained as a plumber, or a refrigerator repairman. I understand the breaks in your language-grasp -- Deleuze calls this = stuttering, and praises it. I'm not sure about the place of this. Language it = still seems to me ought to connect with the place you're writing in, as part of the = ecology. -- Kirby Olson ========================================================================= Date: Wed, 18 Jun 2003 20:32:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: language theory Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT This is taking an interesting twist. I've just gotten an invite to spend a week at the neuropsych/drug/research triangle for IBS at UNC which might be within shouting distance of BLack Mountain and there might be reading opportunities? I may also this fall be returning to Niedecker land? Which brings up the question, if you don't pay attention to theoretical capitals where is the poetry in this country being written? tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 18 Jun 2003 16:19:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I suggest that Gary Snyder is an excellent model for community involvement by a poet, and work that sprouts from a local ecology. -Joel > For Steve Tills, > > I'm against the idea of moving out of the culture with enough money to escape it > all, although I sympathize. I think the job should be to put the shoulder to > the wheel, as Ginsberg said -- and be a citizen in our communities. That's why > I'm also against Rimbaud as a model of the poet. I like much better WCW. He > functioned. But I am sympathetic and can understand feeling like one has had > it. The idea of a one-shot rebirth is a concern to me, too -- I don't think > these things exist -- but again -- I wish they did. I see the work of being a > citizen as being slow, and vegetable-ish -- rhizomatic, maybe. > > I want to be a potato. I don't know how else to couch it. It seems to me that > this is what Paris, London, and some smaller towns in America get out of their > citizens. > > > WCW or Loraine Niedecker or Charles Reznikoff seem like good models. People who > stay put. Even Charles Olson, I guess, though he didn't really seem to function > in Gloucester. He got money from outside Gloucester, or maybe he stole his > money from Black Mountain, as Clark suggests in the bio. But the idea of a poet > as a person who works in a community seems great. I often wish I had trained as > a plumber, or a refrigerator repairman. > > I understand the breaks in your language-grasp -- Deleuze calls this stuttering, > and praises it. I'm not sure about the place of this. Language it still seems > to me ought to connect with the place you're writing in, as part of the ecology. > > -- Kirby Olson ========================================================================= Date: Wed, 18 Jun 2003 19:40:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: jennifer's theory recursion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII jennifer's theory recursion "not perl a elimx moment towards too zz soon capture deconstruction past or the postmodernism pipe" post-structuralism a already moment misrecognitions too tending soon towards deconstruction SMS or units postmodernism of or 160 post-structuralism char already mg misrecognitions each tending being towards the SMS quality units recursion char not mg perl not elimx a zz too capture soon past deconstruction pipe" towards ___ ========================================================================= Date: Wed, 18 Jun 2003 17:38:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kazim, potatoes in babyland will enjoin sockeye brethren to betroth woolly tribes from the Cas, Nads, and Das, who will have encoded a Mormonizer as continental shield, ethereal double of the Canadian Shield -- and just when the Shield begins sliding into the California plate. Cheques bouncing off this shield -- "like umpires off empires," as the saying will have it -- will be written on invented currencies taxed by poet-chieftans (who will have become renown as "fierce penny-ante accountants"), while a 5% laughing-gas mixture, pumped under the shield from 10,000-feet-high tubes, restores thermodynamic balance to global weather patterns and cultivates a gustatory "sociodynamics of cutlery" in the human oikos. Laughing will have become a phonemic octave diligently Nelson rated by the Pittsburgh Institute of Mortuary Science -- hiring Ilya Zbarsky, Lenin's embalmer, as head composer. Rolling will become a sport among a sect of potato-eating neoneoPlatonists -- who will lose their tv license after three episodes, regaining it back as pure form, that, broadcasted, will sometimes jam the Mormonizer to the delight of potatoes in babyland. ========================================================================= Date: Wed, 18 Jun 2003 17:17:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: language theory In-Reply-To: <005601c33602$a1ab52e0$07e63644@rthfrd01.tn.comcast.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed why just "in this country"? besides tucson and milwaukee and normal and other places in this country i know, there's also places like edmonton and others in canada and there's certainly tijuana -- so one can talk about all of north america, perhaps charles >Which brings up the question, if you don't pay attention to theoretical >capitals where is the poetry in this country being written? > >tom bell charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Wed, 18 Jun 2003 18:23:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Dear Louis: You make several excellent points in your correspondence of 17 & 18 June 2003. However, I find the overall tone to be speculative in nature. Whatever happened to Richard Rorty anyhow? Remember late '93 when he used to blow into town and attract of crowd of 3 or 4 thousand? They had to use overflow rooms and pipe his image in through video--I think it was that funny speech inflaming graduate students and even the general public everywhere to go kookoo over Habermasian liberalism. But just backing up for a moment: was your explanation to the US residents on this list really necessary re: Robyn Matthieus? Context is for chumps. JD knew that back in '79 (see his 2 poems in the Douglas College journal--Jason Wiens will have a copy). Do you mean to say "Nelson" instead of "Neilson"? That would open this up to a very unpleasant public exchange that you know damn well we are already too far into to desist from! I apologize for being a stickler but five percent nitrous oxide isn't any good for me or GP. May as well just blow in and out of a paper bag while cradling your testicles, which isn't so bad either. The Canadian Shield has nothing to do with this, by the way, and I sort of resent that you and all those people east of the Continental Divide think they can just conflate our tectonics at will as though geology was a brach of government. Some of these questions are treated in my most recent work, "vidal, terror,afganistan" [sic], published 29 minutes ago by the Atlanta Journal Constitution: http://www.iath.virginia.edu/~luoma/peace/hist/adir/DmWaVECAxeaWVx.html Please let me know if this answer is sufficient. Yours truly, Aaron Vidaver "Jack Spicer ruined Hell for the rest of us." - Dorothy Trujillo Lusk ========================================================================= Date: Wed, 18 Jun 2003 21:27:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain Kirby Olson wrote: "I'm against the idea of moving out of the culture with enough money to escape it all, although I sympathize. I think the job should be to put the shoulder to the wheel, as Ginsberg said -- and be a citizen in our communities." I agree with you, actually. My own fantasy of "moving to Mexico" is probably only that, a fantasy (though it "sustains me" at times and I would like to try it if I could some day for a year or so, as I am very little traveled and have not ever really lived outside of the U.S. and more than anything else I've been pretty beat here for the last few years, regularly pine for and fantasize "an escape," a respite from "here," etc). But I understand, and essentially agree with, your sentiment about the expatriot thing. The part about "neglecting" to stay put and fight or at least survive alongside others who are not or cannot "run away," as it were. (By the by, "enough ____" is not necessarily "enough money," actually. In my case, it's, ummm, "spunk" or "guts," too, maybe mostly. As for "money," well, Mexico, particularly Baja, so as to enter/re-enter California (where I'd really like to escape "back to"), is the "fantasy" because of an illusion that it'd permit low cost living. Blah blah blah...) :) Steve Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Wed, 18 Jun 2003 21:48:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brennen Lukas Subject: Re: language theory MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Why can't we talk about America's poetry hotspots if we want? What are some fruitful locales besides those in big cities like New York? I'd like to take a poet's tour of America. Maybe I could film it and sell out to the Poetry Network on basic cable. Brennen Charles alexander mused: > > why just "in this country"? besides tucson and milwaukee and normal and > other places in this country i know, there's also places like edmonton and > others in canada and there's certainly tijuana -- so one can talk about all > of north america, perhaps > > charles > > > >Which brings up the question, if you don't pay attention to theoretical > >capitals where is the poetry in this country being written? > > > >tom bell ========================================================================= Date: Wed, 18 Jun 2003 19:39:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: language theory In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I'd suggest that local is global and global is local. Ultimately - if one's feet are fully on the ground - there is no way out of the "sleeve". Niedecker's farmers - the way the local language is spoken - are as much impacted by international markets as are their bank accounts. Such as true, as well, with the Thai or Mexican farmer. Locally, where I am here in San Francisco, the color of fruit and vegetables in the supermarkets are dictated now by international seasons - in the winter the color of peaches are New Zeeland and in the summer, at the farmer's market we have the usually tender bodied local Central Valley organic peaches versus the rubbery "survive all markets" corporate peaches. As a result the eye now registers and deal with a much more diverse lexicon and what the brain/tongue follow with in the way of spoken vocabulary is much more variegated than our forbears. I find this "manner of globalism" extrinsically exciting - and I suspect Niedecker would have also Which is all of a way of saying that there is no leave taking, no more than Rimbaud in Arabia was free - but someone forced to find means to cope to survive the Arab interface with Europe's imperial circuitry. I do think, however, this thread is touching on a kind of citizen-limbo in which many of us find ourselves. The "local" as traditionally defined - going to City Counsel meetings, for example - often seems a hopelessly counter-poetic event from which many of us have privileged ourselves into thinking our participation is irrelevant as either citizens and/or poets. And it could be that in many cities, the professional urban planners, etc. have done what they can to exclude citizen participation, as well. Our involvement in a professional identity as poets(which is mostly a financial joke) or any other identity keeps one out of civic play. My dad as member of the "old school" at 91 still dutifully goes to Monday night City Counsel meetings and speaks often and - when things are totally off the hook and corrupt - he tells me, "I have been around long enough to find it entertaining." On an international level - where one is either the beneficiary or victim of decisions made in corporate or corporate controlled rooms - participation in making such decisions even seems more remote, certainly remote from the concept of government by the consent of the governed. So here many of us are in limbo - which might have been what Bob Marley was singing to. How to make a vibrant and somehow "useful" language that reaches out of aesthetic and all the other contingent/related limbos is maybe one way to look at the struggle - or the hook in the thread here. Once you've done that - perhaps - wherever you plant your feet is "home". Stephen Vincent on 6/18/03 6:27 PM, Steve Tills at STills@GWLISK.COM wrote: > Kirby Olson wrote: > "I'm against the idea of moving out of the culture with enough money to > escape it all, although I sympathize. I think the job should be to put the > shoulder to the wheel, as Ginsberg said -- and be a citizen in our > communities." > I agree with you, actually. My own fantasy of "moving to Mexico" is > probably only that, a fantasy (though it "sustains me" at times and I would > like to try it if I could some day for a year or so, as I am very little > traveled and have not ever really lived outside of the U.S. and more than > anything else I've been pretty beat here for the last few years, regularly > pine for and fantasize "an escape," a respite from "here," etc). But I > understand, and essentially agree with, your sentiment about the expatriot > thing. The part about "neglecting" to stay put and fight or at least > survive alongside others who are not or cannot "run away," as it were. > (By the by, "enough ____" is not necessarily "enough money," actually. In > my case, it's, ummm, "spunk" or "guts," too, maybe mostly. As for "money," > well, Mexico, particularly Baja, so as to enter/re-enter California (where > I'd really like to escape "back to"), is the "fantasy" because of an > illusion that it'd permit low cost living. Blah blah blah...) > :) Steve > > > > Steve Tills > Microcomputer/Software Specialist > MIS Dept.- G.W. Lisk Company, Inc. > 315-462-4309 > Stills@gwlisk.com ========================================================================= Date: Wed, 18 Jun 2003 22:52:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: Re: Saudi Arabia ads MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Listserv: Of all things tonight on Chicago television they aired a commercial for = 'Saudi Arabia.' This bit of propaganda touted not the people of Saudi = Arabia but the Saudi gov't as our dear friends. Knowing this...that the = Saudi gov't is my dear friend I will wake up tomorrow morning--nay I = shall leap from bed--ecstatic that these friends across the waters have = been our partners in the fight against terrorism all along. Who knew? I = hope you'll see this ad and feel enlightened as I do now. This = commercial is now my favorite. The ads for 'beef' and 'cheese' and = 'milk' pale in comparison. The final image of the huge cellular phone = towering over Mecca is truly awe inspiring. I can't wait to see the = advertisement for 'air' that I hear is in the works. Remember trees? = They were beautiful weren't they? Yours sincerely, Larry Sawyer ========================================================================= Date: Wed, 18 Jun 2003 20:58:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: highland langscapes excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit highland langscapes excerpt Facilities plan provided towers, systems electrical system safety features history hooke anticipated some. Nuclear power reactors print section system usually contribute certain amount through payroll. 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Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Thu, 19 Jun 2003 02:03:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: language theory MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "Stephen Vincent" How to make a vibrant and somehow "useful" language that > reaches out of aesthetic and all the other contingent/related limbos is > maybe one way to look at the struggle - or the hook in the thread here. Once > you've done that - perhaps - wherever you plant your feet is "home". > > Stephen Vincent well said. tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 18 Jun 2003 23:33:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Fwd: soundtoys news Comments: To: screenburn screenburn , "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii soundtoys wrote: Date: Wed, 18 Jun 2003 22:13:53 +0100 To: Lewis LaCook From: soundtoys Subject: soundtoys news www.soundtoys.net . new audio visual experiences.... info@soundtoys.net 'Divergence' - soundtoys.net @ Cybersonica 19th -21st June ICA Digital Studio 'Divergence' - soundtoys.net @ New Forms Canada. July 2003 'Divergence' - soundtoys.net @ London Calling. Sonar Spain. June 2003 Soundtoys.net present 'Divergence' - an annual exhibition of 'new audiovisual experiences curated by Stanza'. 'Divergence' celebrates new audiovisual communication made possible through the fusion of audio and visual output by the new technologies available from computing and the Internet. It includes highlights from the online web based exhibition plus a selection of offline works including CD-ROMs, DVDs and custom built software. 'Divergence' includes exclusive new pieces Squid Soup continue their ongoing explorations of navigable spatial music with 'altzero5' - an installation, an expanding series of online navigable spatial sound compositions and a downloadable application that makes it possible to create your own; Ueda's 'Recessed Fissure' - a crafted interface weaving film cut-ups sampled from webcams and live footage into structuralist vs situationist audiovisual pieces; Toxi's 'Macronaut' - transforming subspace harmonics by mixing up audio energy fields with random parameters to expand the screen to three dimensions. Beware of subliminal messages! Trust in code and music!; and Stanza's 'Biocity' - a series of touch screen generative paintings merging the aesthetic of painterly tradition with the emergent beauty of viruses and cities. There is also a least ten featured projects in the exhibtion. New sectons include a forum, more artists interviews, and installations area and new artists software. Artists exhibiting online for 2003 include . akuvido . andreja andric . audiophile . beth porter . bradd todd . carla diana . christine tully . elout de kok . en.ve.lope . enrico tomaselli . fernando llanos . gijs gieskes . huong ngo . iridescent . isabel saij . ivan bachev . jonah brucker-cohen . lewis lacock . michael incident . michael sellam . nagore salaberria . nekomook . nicholas economos . nicolas clauss . owain rich . pall thayer . peter luining . philip gaedke . robert atwell . robert wright . squidsoup . stanza . storybeat . tadej vobovnik . toshiendo . toxi . yoshi sodeoka www.soundtoys.net NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! ========================================================================= Date: Thu, 19 Jun 2003 01:14:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: CONTINUOUS PEASANT (JULY 8)-- In-Reply-To: <3EF0E1B4.7FF50E4A@delhi.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit HEY SF/OAKLANDERS-- CONTINUOUS PEASANT-- (Peter Nochisaki-guitar Chris Stroffolino--piano, vocals Brandon Watson--drums and TBA on bass) will be playing our DEBUT FAREWELL live gig at the STORK CLUB (23rd and Telegraph) Oakland Tuesday July 8th....circa 9PM... Also on bill BLANCHE DEVEREAUX! If you're in town, it'd be great to see you through the fog of my drunken stage fright If not, you might want to check out our forthcoming album, EXILE IN BABYVILLE (no more of an "answer song" to Liz Phair's 10 year old album than hers is to the Rolling Stone's 30 year old one), available at fledgling website-- www.continuouspeasant.com "capitalism is burning the bridges you built with your hands or was it your heart?" ========================================================================= Date: Thu, 19 Jun 2003 04:24:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Malevich Show In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii damn i guess that means its a good show --- Louis Cabri wrote: > Kazim, potatoes in babyland will enjoin sockeye > brethren to betroth woolly > tribes from the Cas, Nads, and Das, who will have > encoded a Mormonizer as > continental shield, ethereal double of the Canadian > Shield -- and just when > the Shield begins sliding into the California plate. > Cheques bouncing off > this shield -- "like umpires off empires," as the > saying will have it -- > will be written on invented currencies taxed by > poet-chieftans (who will > have become renown as "fierce penny-ante > accountants"), while a 5% > laughing-gas mixture, pumped under the shield from > 10,000-feet-high tubes, > restores thermodynamic balance to global weather > patterns and cultivates a > gustatory "sociodynamics of cutlery" in the human > oikos. Laughing will have > become a phonemic octave diligently Nelson rated by > the Pittsburgh Institute > of Mortuary Science -- hiring Ilya Zbarsky, Lenin's > embalmer, as head > composer. Rolling will become a sport among a sect > of potato-eating > neoneoPlatonists -- who will lose their tv license > after three episodes, > regaining it back as pure form, that, broadcasted, > will sometimes jam the > Mormonizer to the delight of potatoes in babyland. ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 19 Jun 2003 12:38:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: the cost of propaganda MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://www.milwaukeemagazine.com/072003/pressroom.html ========================================================================= Date: Thu, 19 Jun 2003 12:57:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: ANNOTATED BOLLYWOOD/LOLLYWOOD CRUSH LIST Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Fellow Poets, Tired of going to after-reading parties and feeling left out during conversations like: A: Amitabh Bachchan blah blah blah "Coolie" blah blah blah deep sexy baritone blah blah blah ... B: Blah blah blah "International Gorillay" blah blah blah ... A: Blah blah blah Tumne na jaana ke main deewaana mm hmm hmm blah blah blah ... Be-in-the-dark no more! Introducing ... The "Annotated Crush List" on Elsewhere! Here, in easy-to-read type, illustrated with numerous photographs, you'll be introduced to a handful of the most popular stars, vamps, playback singers, and character actors of both Bollywood and Lollywood. No longer feel like you're "not getting it" when other poets argue endlessly about who was the greatest vamp: Sandhya or Helen? Cut through those once-interminable poet-critic dissections of Amitabh Bachchan's career with your *own* take on the career-arc of Bollywood's brightest star. "I heard about this movie where Salman Rushdie tries to destroy Pakistan by opening chains of discos and casinos -- will that be covered?" "I can't TAKE Lata Mangashkar's syrupy sweet voice anymore ... I just *can't*!!! Isn't there a *more soulful* playback singer out there?!?" Find answers to these questions ... and so much more ... in "The Annotated Crush List" on Elsewhere. See: http://garysullivan.blogspot.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ========================================================================= Date: Thu, 19 Jun 2003 14:58:10 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: CONTINUOUS PEASANT (JULY 8)-- In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 19 Jun 2003, Chris Stroffolino wrote: > HEY SF/OAKLANDERS-- > > CONTINUOUS PEASANT-- > (Peter Nochisaki-guitar > Chris Stroffolino--piano, vocals > Brandon Watson--drums > and TBA on bass) > Also on bill > BLANCHE DEVEREAUX! is that electric bill or acoustic bill? ========================================================================= Date: Thu, 19 Jun 2003 13:57:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: CONTINUOUS PEASANT (JULY 8)-- MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I've heard about TBA on the underground jazz circuit. S'posed to have monster chops, man. Really knows how to swing the band. Sounds like a can't-miss gig. Vernon, the aging (but not quite aged) hipster ----- Original Message ----- From: "Kevin Hehir" To: Sent: Thursday, June 19, 2003 1:28 PM Subject: Re: CONTINUOUS PEASANT (JULY 8)-- > On Thu, 19 Jun 2003, Chris Stroffolino wrote: > > > HEY SF/OAKLANDERS-- > > > > CONTINUOUS PEASANT-- > > (Peter Nochisaki-guitar > > Chris Stroffolino--piano, vocals > > Brandon Watson--drums > > and TBA on bass) > > > Also on bill > > BLANCHE DEVEREAUX! > > is that electric bill or acoustic bill? > ========================================================================= Date: Thu, 19 Jun 2003 13:33:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: TWHM VI MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the information you have given of a speech the figures there are methods that lead acting impudently if I were to our understanding of culture paraphrase from Latin texts especially I want you to know when there is irregularity of it is a simple matter of the art of grammar better to supply his needs to memory delivery and style I regret the delay the earliest published product of then he asks the name put in the first position exceptionally well supplied with wood subject is diminished as for while I regret this little misunderstanding in the fourth fifth sixth this must be done nonchalantly have been introduced where desirable into the wind but then laid before him for measurement ========================================================================= Date: Thu, 19 Jun 2003 15:28:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Birthday Boy Comments: To: 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: 7bit Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me 2 Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Happy birthday to me Bestest, Geoffrey ========================================================================= Date: Thu, 19 Jun 2003 15:33:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: The Mainstream, Chileans, Sparrows, etc Comments: To: hub@dept.english.upenn.edu In-Reply-To: <002701c33698$f421f1a0$605e3318@LINKAGE> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, just a quick note: there are example poems from the New Yorker Sparrow Project now up at Mainstream Poetry: www.mainstreampoetry.com You are encouraged to take part in this exciting new project! Just send your "Sparrow" poem to the New Yorker. (There's a full explanation of the project below these examples.) Also: news of Mainstream Poetry has reached Chile: Mainstream Poetry: mainstreampoetry.blogspot.com El título es claramente irónico. Algunas ideas buenas y bastante divertidas, además de reflexiones (o pseudo-reflexiones) sobre la vanguardia. Aquí a menudo uno se encuentra con intervenciones poéticas, esto es: poemas clásicos reconfigurados de manera satírica. Muy interesante. --Chile Radio Thanks to Nick Piombino for pointing this out. -m. ========================================================================= Date: Thu, 19 Jun 2003 15:49:30 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: language theory MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Joel -- I've read some of Gary Snyder's work, and like it very much. I don't know much about his life -- I heard him read. He apparently has a large ranch in northern California. He read about how his kids sneak up on deer with those children's bow and arrows with the red suction tips, and try to get one to stick to a deer. Those kids are probably grown up now. What specifically has he done in terms of saving a canyon, or a tree? I don't know about this. I know he's generally in favor of nature, but what is he doing specifically? I read Joanne Kyger's account of their being in Japan together in the early 60s and he was always drunk, and once knocked her down and split her face open because she wouldn't do the dishes. She got a hundred stitches. Another time he kicked her because she told him to please stop singing. I think this is in her big book of journals out from some west coast press -- were they called Japan-India journals? I don't really know a lot of other stuff about him. He's on the faculty at UC-Sacramento, I think. Is this his major source of income? This is the problem that Steve Tills laid out -- how to get enough money to get out of the ratrace long enough to think clearly. Corso's method was to beg, borrow, and steal. He never worked to my knowledge. He married at least one rich woman, and he had some supporters. Later in his life he had a patron. Do poets still get patrons generally? I think the main patron is the university for poets these days. That's all right, but it puts one someone outside the community. After reading Joel Lipman's wonderful description of the plumber with all the tools of the trade laid out on the floor -- that looks like a very difficult thing to learn. I loved the names of all the gadgets he mentioned. I love going into hardware stores and looking around. So many cool gadgets. But I digress. The main thing is to get some breathing room, financially. Of the New York poets many of them had day jobs, but good ones -- O'HAra as a curator for MOMA. Emslie I think was the only genuinely rich guy who nevr had to work in the NY School. Clark Coolidge was related to the former president and had some money left over from that. Traditionally poets were aristocrats, or they died young. Going mad is an option, a la Clare, I suppose, in terms of getting care and feeding. Mexico didn't work for Corso. He tried it, but was disgusted and depressed. Cheap housing is a solution. I knew a friend of Burroughs' who went and lived in a ghost town in Nevada, writing porno to support himself. All these solutions are so miserable -- but first poets have to get a shelter, before they can do anything for other people since we have one foot in the realm of Caesar. It is easier in some other countries like Canada -- but unless you marry a Canadian, an American doesn't have the right to live or work there, I don't believe. The rural areas are great if you can get a decent job -- much cheaper, and you can have more space, but I personally miss art museums, science centers, great libraries, and even meeting strangers. I'm in a town with only 2000 people, and it works for us. But what part does poetry play in this kind of place? I wrote a poem about the huge snowfall last December -- four feet in one night -- and in it mentioned the cop getting stuck, and the neighbor dying of a heart attack as he shoveled, and a few other incidents, but then realized that if I published the poem in the town everybody would get mad at me for one reason or another, and services would stop. I wonder how Olson managed to be so personal in Gloucester with Ferrini and others and still get away with it? There are some tiny papers here that probably would publish local poems, but the other thing is I kind of like being invisible. I would hate to be pointed as the poet. I think on the other hand Charles Olson might have liked that. Maximus is sort of him in a nutshell -- maximizing his self, his deeds, and going head to head with his town, his culture, Pound, etc. Maybe all the Beats liked that kind of noisy deal. Once in Iowa my grandfather said he was stopped by a traffic jam going into Iowa City. It was Allen Ginsberg stopping traffic to hand out his poems. They had such enormous personalities, it seems. Not me: if I wrote under a moniker it'd be more like Minimus. -- Kirby Olson ========================================================================= Date: Thu, 19 Jun 2003 14:21:06 -0400 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 BIG PARTY! Please join us if you can for our wild gala farewell party for Ed Friedman, who is leaving his longtime post as Artistic Director of The Poetry Project. Friday June 20, from 7pm until late. We hope to see you! *** The Poetry Project St. Mark's Church 131 E 10th St (at 2nd Ave) New York, NY 10003 212-674-0910 *** ========================================================================= Date: Thu, 19 Jun 2003 12:57:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Press Release:Five ‘Small but Perfectly Formed’ Operas for the Internet Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 135 Altham Grove, Harlow, Essex. CM202PL phone 01279 428386 from UK 0044 1279 428386 from USA e-mail: mike@somedancersandmusicians.com PRESS RELEASE FOR IMMEDIATE RELEASE Contact: Michael Szpakowski 01279 428386 Five ‘Small but Perfectly Formed’ Operas for the Internet In November 2002 Michael Szpakowski, a British composer and new media artist (http://www.somedancersandmusicians.com/michael.html), put out a call on the internet for opera libretti, exactly 100 words in length. Fifty-one people replied – their work can be seen at http://www.somedancersandmusicians.com/operaCall/pieces.html From these 51 pieces Michael chose five for development in this Arts Council and Epping Forest District Council funded project. Four of the librettists are form the USA and one from the UK. The subject matter of the pieces varies enormously: Rob L Roth and Carletta Joy Walker create a hymn to the edible berry in “Smart and Tart Juicing”, Lewis Lacook’s “Trickle Song” is a strange love song between cup and water, in “Woodland Teratology” Bruce Conkle investigates the Sasquatch legend and in “East Wind” Gordon Phillips adapts a painting by one of the Ashington Group – working class painters active in Northumberland in the 1930s. Finally Zack Sims creates a surreal world in which George Washington, a fox and a hen, muse, play and bicker in “A Short Essay on Imaginary Solitude (With George Washington)” In January 2003 Michael set these five pieces to music and then rehearsed intensively through February and March with a group of singing students from Epping Forest College as principals and a chorus consisting of year 5 students from Chipping Ongar Primary School. Far from being a tokenistic “outreach” project this work made serious demands on all the participants, which they passed with flying colours. Since the musical performances were recorded Michael has been working intensively to create accompanying visuals. The result is five small but perfectly formed operas of between 1 and 3 minutes in length delivered through the Internet. The final pieces will appear online on 27th June 2003 at http://www.somedancersandmusicians.com/5operas.html and will be archived there permanently. There is a launch event in Epping, Essex at 7 pm on Friday 17th June, when Michael and three of the librettists will be introducing and presenting the works. For an invitation please e-mail launch@somedancersandmusicians.com ### NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! ========================================================================= Date: Thu, 19 Jun 2003 16:21:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: language theory Comments: To: olsonjk@delhi.edu MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable RE: SKILLED TRADES CLARIFICATION TOLEDO, OH: Not a plumber, Mr. LaVoy is an appliance repairman, lean and = adroit with his tools and knowledge of their various applications. Stan = Ganshaw [RIP] was a plumber, imperfectly similar to Mr. LaVoy in his = tradesman's specific capabilities and perhaps with some overlap of = technical wisdom and tools in that both men work with water lines, = though plumbers often handle 1 to 6 inch pipes, drains and traps while = appliance repair, insofar as water sources are concerned, tends to be = limited to modest flexible poly and copper tubing. And plumbers have to = really scootch down, whence their waistbands slip to reveal the = voyeuristically disgusting plumber's crack, Stan Ganshaw's only = observable flaw, other than excess weight and a subsequent killer heart = attack. JL -----Original Message----- From: Kirby Olson [mailto:olsonjk@DELHI.EDU] Sent: Thu 6/19/2003 3:49 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: language theory Joel -- I've read some of Gary Snyder's work, and like it very much. I don't = know much about his life -- I heard him read. He apparently has a large ranch in = northern California. He read about how his kids sneak up on deer with those = children's bow and arrows with the red suction tips, and try to get one to stick to = a deer. Those kids are probably grown up now. What specifically has he done in terms of saving a canyon, or a tree? I = don't know about this. I know he's generally in favor of nature, but what is = he doing specifically? I read Joanne Kyger's account of their being in Japan together in the = early 60s and he was always drunk, and once knocked her down and split her face = open because she wouldn't do the dishes. She got a hundred stitches. = Another time he kicked her because she told him to please stop singing. I think this = is in her big book of journals out from some west coast press -- were they = called Japan-India journals? I don't really know a lot of other stuff about him. He's on the faculty = at UC-Sacramento, I think. Is this his major source of income? This is the problem that Steve Tills laid out -- how to get enough money = to get out of the ratrace long enough to think clearly. Corso's method was to = beg, borrow, and steal. He never worked to my knowledge. He married at = least one rich woman, and he had some supporters. Later in his life he had a = patron. Do poets still get patrons generally? I think the main patron is the university for poets these days. That's = all right, but it puts one someone outside the community. After reading = Joel Lipman's wonderful description of the plumber with all the tools of the = trade laid out on the floor -- that looks like a very difficult thing to = learn. I loved the names of all the gadgets he mentioned. I love going into = hardware stores and looking around. So many cool gadgets. But I digress. The main thing is to get some breathing room, = financially. Of the New York poets many of them had day jobs, but good ones -- O'HAra as = a curator for MOMA. Emslie I think was the only genuinely rich guy who = nevr had to work in the NY School. Clark Coolidge was related to the former = president and had some money left over from that. Traditionally poets were = aristocrats, or they died young. Going mad is an option, a la Clare, I suppose, in = terms of getting care and feeding. Mexico didn't work for Corso. He tried it, but was disgusted and = depressed. Cheap housing is a solution. I knew a friend of Burroughs' who went and = lived in a ghost town in Nevada, writing porno to support himself. All these solutions are so miserable -- but first poets have to get a = shelter, before they can do anything for other people since we have one foot in = the realm of Caesar. It is easier in some other countries like Canada -- but unless you marry = a Canadian, an American doesn't have the right to live or work there, I = don't believe. The rural areas are great if you can get a decent job -- much cheaper, = and you can have more space, but I personally miss art museums, science centers, = great libraries, and even meeting strangers. I'm in a town with only 2000 = people, and it works for us. But what part does poetry play in this kind of place? = I wrote a poem about the huge snowfall last December -- four feet in one night = -- and in it mentioned the cop getting stuck, and the neighbor dying of a heart = attack as he shoveled, and a few other incidents, but then realized that if I = published the poem in the town everybody would get mad at me for one reason or = another, and services would stop. I wonder how Olson managed to be so personal in Gloucester with Ferrini = and others and still get away with it? There are some tiny papers here that probably would publish local poems, but the other thing is I kind of = like being invisible. I would hate to be pointed as the poet. I think on the = other hand Charles Olson might have liked that. Maximus is sort of him in a = nutshell -- maximizing his self, his deeds, and going head to head with his town, = his culture, Pound, etc. Maybe all the Beats liked that kind of noisy deal. = Once in Iowa my grandfather said he was stopped by a traffic jam going into = Iowa City. It was Allen Ginsberg stopping traffic to hand out his poems. = They had such enormous personalities, it seems. Not me: if I wrote under a = moniker it'd be more like Minimus. -- Kirby Olson ========================================================================= Date: Thu, 19 Jun 2003 17:32:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: language theory MAXIMUS Comments: To: olsonjk@delhi.edu MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I couldn't resist noting here that I am currently on probation for my misdeeds and misdemeanors [false looks] to a multi-state booming business called MAXIMUS (and they do emphasize the all-CAPS) and CNN is going on today making hay by nattering about Granny and Granpaw bandits why don't we hear about poet bandoleros sticking up _Poetry magazine? tom bell Section editor for PsyBC www.psychbc.com Write for the Heath of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Thu, 19 Jun 2003 15:01:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Aaron, much like the rest-stop during the federal highway era, facilities will be set aside, in most pods, for negativity re-training. As in a Blockbuster nightmare thriller, critique will have become viewed as self-inflicted and as not informed by collective (let alone language) practice. Negativity will be found too dangerous for unsupervised individual use -- leading to dysfunctional hallucinations of the real as made by "social relations" (obsolete catachresis for poetry -- n.b., now an accounting profession). The need for re-training will be great, and most PhDs in literature will be hired by service companies offering this sort of therapy (university students will buy their time for study by administering to the thriving street market in nitrous oxide). The following Welshman's class (metonym for social) caution when inventing a literary life out of negativity (especially when the writer is not from the United Kingdom), will have been turned upside-down into a general diagnosis of "negativity malaise," as if the only class was classless (false prediction too cheerily spread by an Italian philosopher in 1991 -- bad year for predictions) wherein The Thing bathes in a self-balancing light: "It is a characteristic of the negative identification that it breaks up at points of real social crisis and reacts into an indifference to politics, recantation, or sometimes violent assault on the cause that has been abandoned." Hegel will continue to be channeled, and by a young movement indeed (teenagers), but "[t]he dissimilarity that obtains in consciousness between the ego and the substance constituting its object . . . the factor of negativity in general" will have become sublimated into a respectable parlour-game between computers without parlours (but in apartments with computers). Ontological investigations will haphazardly continue split into two camps, mathesis (Badiou) and multitude (Nancy), even as its horizon as such will have vanished (paradoxically) with a giggle and a burp. ========================================================================= Date: Thu, 19 Jun 2003 15:15:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Malevich Show MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Kazim, verbs will snore, running, rounded nosey engines, cardiovascular giants on a diet of futurism, and whither the gonococcus -- to Marx's diagnostic masturbation metaphor, Orpheus Penis-Fingers, behind the bulletproof-plastic till, sullen rhubarb face tinged with red from the barcode scanner reading The Alphabet, will chance upon the new shape of Unilever -- "more loved by the handles, less brained by an ice-pick" -- emergent with Lukacs's stale breath tinned behind its label, and will open it. Explanation, intoxicant borne aloft in cheddar scumbling (delicate manurings of maturation, rolls and dollops) a wise cracker breaks like a chance fart news art won't digest. Chance will have unwound its last combination into a restaurant alley's bin -- teams of computing verbivocovisual teens hoping to strain its final contingency, a bull's eye's black hole's O -- speak! they will cry, to a leather thong's hieroglyphic hallucination (Atlantis tongue), distractedly legwarming peers embarrassed triumphant world a monkey's typewriter, clown doll receding hairline drools on a stamp, roast leg of art: for Bruce, they'll sign it (the testicle redemption). 'Tis mannerism. ========================================================================= Date: Thu, 19 Jun 2003 14:18:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Malevich Show In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ummm...so...that means it's *not* a good show? --- Louis Cabri wrote: > Kazim, verbs will snore, running, rounded nosey > engines, cardiovascular > giants on a diet of futurism, and whither the > gonococcus -- to Marx's > diagnostic masturbation metaphor, Orpheus > Penis-Fingers, behind the > bulletproof-plastic till, sullen rhubarb face tinged > with red from the > barcode scanner reading The Alphabet, will chance > upon the new shape of > Unilever -- "more loved by the handles, less brained > by an ice-pick" -- > emergent with Lukacs's stale breath tinned behind > its label, and will open > it. Explanation, intoxicant borne aloft in cheddar > scumbling (delicate > manurings of maturation, rolls and dollops) a wise > cracker breaks like a > chance fart news art won't digest. Chance will have > unwound its last > combination into a restaurant alley's bin -- teams > of computing > verbivocovisual teens hoping to strain its final > contingency, a bull's eye's > black hole's O -- speak! they will cry, to a leather > thong's hieroglyphic > hallucination (Atlantis tongue), distractedly > legwarming peers embarrassed > triumphant world a monkey's typewriter, clown doll > receding hairline drools > on a stamp, roast leg of art: for Bruce, they'll > sign it (the testicle > redemption). 'Tis mannerism. ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 19 Jun 2003 15:24:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: Re: language theory In-Reply-To: <20030619014854.LKDQ4514.lakemtao07.cox.net@smtp.central.cox.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm in Seattle/outpost earth/the scotland of america (my birth city), and, yeah, there is a community here. There is a group, and it seems in this last year a growing group of writers doing interesting things (in addition to the "nature/slam" poets who are a major part of the Poetry community out here). We've got a couple of new magazines that are pretty exciting "Monkey Puzzle" and "Bird Dog." We have a monthly reading series (SUBTEXT) now in year (love potion) Number 9. http://www.speakeasy.org/subtext. The work/poetry thing is a tough one. I'm pretty lucky right now in that I work just 32hrs (4 days) and am able to support myself with my salary (+ my wife's grad student stipend). Rent can be a little high here. But we live pretty simply (I can walk to work & to the baseball park). And, hell, a happy hour pitcher of STRONG HOPPY PNW BEER can be as low as $7 (rocket fuel). I do go to NYC a few times a year to "urban recharge" & see friends (Seattle is a "small town" still in a lot of ways). But there is a lot going on here as far as art & film & experimental music. Saw Acid Mother's Temple side project show with Kinski for example for like $8 and had enough space "to float around" the club for a bit and small-talk with the performers (My friend Daniel Comisky got everyone who performed to sign his "ticket"--pas'd probleme). Nice. & more energy for me. And yeah, it is tough not to be bitter/depressed (damn those winters) about work (the terrible) vs. money vs. free time (and it is a constant fight -- but I'm kinda used to it now) ---and it takes some effort, but my part time schedule allows me to have the psychic space to get stuff done, either on my Friday off or by staying up ‘til 3am on a "work-night" working on my writing. Though I'm often resentful of this combo life (work & poetry/life “why can’t I just be rich?” duh!) but I feel happy at some core level (at least some of the time) about being able to write and somehow keep going. I guess the question is how can a writer exist in a system that is making it increasingly difficult for a writer to exist at all? I think, too, it is difficult for poets who work outside of an Academic setting to find role models / different ways to live and thrive that will allow them to be happy with both their “working” and a poetry lives. Anyone, else have a tale from their city? --- Brennen Lukas wrote: > Why can't we talk about America's poetry hotspots if > we want? What are > some fruitful locales besides those in big cities > like New York? > > I'd like to take a poet's tour of America. Maybe I > could film it and sell out > to the Poetry Network on basic cable. > > Brennen > > Charles alexander mused: > > > > why just "in this country"? besides tucson and > milwaukee and normal > and > > other places in this country i know, there's also > places like edmonton > and > > others in canada and there's certainly tijuana -- > so one can talk about > all > > of north america, perhaps > > > > charles > > > > > > >Which brings up the question, if you don't pay > attention to > theoretical > > >capitals where is the poetry in this country > being written? > > > > > >tom bell __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 19 Jun 2003 23:54:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sometimes coming down from the mountain MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sometimes coming down from the mountain and looking up at the mountain is sometime going up to the mountain and looking down at the mountain then you know everything looking down from the mountain and coming down from the mountain and coming down from the mountain bb bSometimesb you are very close to the edge bb bdownb have the right of way, so if you arebr on your way bupb you have to make room for cars bcomingb bdownb the bmountainb bb bb It was bcomingb bdownb hard with no sign of stopping bb high bupb on this bmountainb ridge, thatbr bsometimesb the rain bb As the sun started bgoingb bdownb on Monday night we could bb Columnist Dave Hahn on climbmountainzonecom bb Towards night, bsometimesb in September while the sun was bb the hill, when two peoplebr started bcomingb bdownb from the bb hand side of the Peel River toward the bmountainb bb bb says Beaver, trying hard not to laugh, quotI heard that happens bsometimesbquot bb You havebr another think bcomingb bb and plenty of light, to make our way bdownb the bmountainb bb bb The fog was thick and obliterated the view bsometimesb, at other bb We saw two hikersbr bcomingb our way and were soon bb come bupb the bmountainb we were about to go bdownb bb It was a thrilling experience, not only a superb mountaineering bb bb experience one way for most of the way ( bsometimesb half way bb say climbing mountainsbr is far easier then bcomingb bdownb amp why bb Again the dangerous climb bdownb bb bb Towards night, bsometimesb in September while the sun was bb the hill, when two peoplebr started bcomingb bdownb from the bb hand side of the Peel River toward the bmountainb bb bb bComingb along never feel surrounded by I feel like dancing rewind I feel like flyingbr bsometimesb I feel like dying bComingb bdownb the bmountainb never felt so bb bb I had warned Linda that I bsometimesb snore at altitude (we were now bb our steps backbr bdownb the upper ridge of the bmountainb, before bcomingb bdownb the Northwest bb bb He bsometimesb had to search around in the gloom, but bb whole thing was a bit like a dreambr bcomingb true bb on top of a promontory and started calling bdownb the bmountainb bb bUpb to the mountains bb Didnt they name it yet? bSometimesb families couldnt agree onbr a name bb Mama was bcomingb bupb the bmountainb as I was bcomingb bdownb bb bb You couldnt go out on the bmountainb bb bSometimesb Rollie and I would go bdownb to thatbr park and take bb We kept the tree until the needles start bcomingb bdownb and then bb bb top hatch was opened, but instead of bcomingb back bdownb bb Why, bsometimesb athletes brakebr an ankle and with the bb three cars switched back and forth bdownb the bmountainb bb Navajo Spaceships, Star bmountainb and Life bb I think bsometimesb theres a little rally racer in me bb over the cliffquot there, and webr were bdownb the bmountainb bb for the Big-Ass Saltspring Camp-out bcomingb bupb in the bb bb searing, stabbing shocks of pain were bcomingb bupb my leg, and bb bsometimesb i would likebr to have had the accident in bb summer of 2001, riding bupb and bdownb the bmountainb bb What great Americans and authors have said about our mountains bb bComingb along never feel surrounded by I feel like dancing rewind I feel like flyingbr bsometimesb I feel like dying bComingb bdownb the bmountainb never felt so bb Observer | Death on the bmountainb bb bSometimesb when he was bringing a mob into town from bb the road, on foot, bringing thosebr cattle bdownb the bmountainb bb was of his fathers reason for bcomingb to Australia bb bb From the Parkway, its a steep and bsometimesb slippery slope bb cabin and asked to bebr taken back bdownb the bmountainb bb I too, hear the ghostly voices bcomingb from the bb bb bsometimesb theres nothing left to say bb two guys that are bcomingb from horse camp onbr their way to the bb girl outside our tent, offering to take us bdownb the bmountainb bb Books | Death on the bmountainb bb bSometimesb their boots burst into flame bb If you think one is bcomingb bdownb on you, waitbr until you are bb are flows of water, mud and rock that come bdownb the bmountainb bb Guardian Unlimited | Special reports | Death on the bmountainb The Observer | Magazine | Death on the bmountainb bb bSometimesb the first 45 minutes of exercise is the toughest bb Keith tried his skillbr at glissading bdownb the bmountainb bb good to tell people you were bcomingb back from bb bb skipped bupb the steps like a bmountainb goat! bb particularly worried about getting kneebr problems bcomingb bdownb hill, but bb has to be carried bupb hill, bsometimesb for days bb ___ ========================================================================= Date: Fri, 20 Jun 2003 00:19:00 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kwsherwood@AOL.COM Subject: Louis Zukofsky - Wesleyan Centennial Edition of the Complete Critical Writings MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Do forgive the shamelessness of a longtime lurker bursting into=20 self-promotional song. I trust this and the other Wesleyan critical texts w= ill interest=20 some on the list. (Texts are available directly from UPNE via links below,=20= as=20 well as Amazon.com) ____________________________________________________________ VOLUME VI of the Wesleyan Centennial Edition of the Complete Critical=20 Writings of Louis Zukofsky A Useful Art: Essays and Radio Scripts on American Design, by Louis Zukofsky= ,=20 is an invaluable chronicle of a major American poet's engagement with this=20 country's indigenous tradition of design. In 1936, the Federal Arts Project=20= (a=20 division of the WPA) hired Louis Zukofsky, along with many others, to prepar= e a=20 compendium of information on traditional American crafts. The Index of=20 American Design aimed to define original U.S. culture at a time when interes= t in=20 handicrafts had just begun to emerge. These previously unpublished essays an= d=20 radio scripts are scrupulously researched investigations of various American= =20 handicrafts: the topics they cover include ironwork, tin ware, furniture mak= er=20 Duncan Phyfe and friendship quilts. They also reflect Zukofsky's sense of th= e=20 poem as a crafted object and his attempt to reconcile the labor theory of va= lue=20 with aesthetic production. This book, which can be seen in the context of=20 kindred work by William Carlos William (In the American Grain) and Ezra Poun= d ( Guide to Kulchur), will be of special interest to readers of 20th-century po= etry,=20 cultural critics, social historians, and scholars of design. The book was=20 edited by and has an introduction by Kenneth Sherwood; the afterword is by J= ohn=20 Taggart. Kenneth Sherwood is Assistant Professor of English at Indiana University of=20 Pennsylvania. John Taggart is Professor Emeritus of Literature and Creative=20 Writing at Shippensberg State University, and the author of When the Saints=20= (2000) . "This final volume in the series expands the basic design of this major=20 poet's work very usefully."-Robert Creeley, author of Just in Time: Poems 19= 84-1994 "Zukofsky knew his designers (Russel and Mary Wright were friends) and his=20 poetry is the most carefully crafted body of work in 20th-century American=20 writing. Zukofsky's Index of American Design writings-quirky, informative,=20 engaging, and engaged-cast crucial light on his poetry, and bear comparison=20= with such=20 anomalous, omnivorous works as Mallarm=E9's Les Mots Anglais, Duchamp's=20 catalogue of the Soci=E9t=E9 Anonyme, Benjamin's Arcades Project, and Ruskin= 's Fors=20 Clavigera."-Mark Scroggins, author of Louis Zukofsky and the Poetry of Knowl= edge The Wesleyan Centennial Edition of the Complete Critical Writings of Louis=20 Zukofsky Vol. I-A Test of Poetry. Foreword by Robert Creeley. http://www.upne.com/0-8195-6402-8.html Vol. II-Prepositions +: The Collected Critical Essays. Foreword by Charles=20 Bernstein. Additional prose edited with an introduction by Mark Scroggins. http://www.upne.com/0-8195-6428-1.html Vol. III & IV-Bottom: On Shakespeare. Foreword by Bob Perelman. http://www.upne.com/0-8195-6548-2.html Vol. V-Le Style Apollinaire: The Writing of Guillaume Apollinaire. Edited,=20 with an introduction by Serge Gavronsky, foreword by Jean Daive. http://www.upne.com/0-8195-6619-5.html Vol. VI-A Useful Art: Essays and Radio Scripts on American Design. Edited,=20 with an introduction by Kenneth Sherwood, afterword by John Taggart. http://www.upne.com/AAMC-0-8195-6639-X.html You may order any of these titles through your local bookseller, or by=20 calling University Press of New England at 1-800-421-1561. You may charge th= e books=20 on your credit card -- shipping charges are $5.00 for the first copy and $1.= 25=20 for each additional copy. If you would like to order on-line, go to=20 http://www.upne.com/0-8195-6560-1.html Academic users may order Examination Copies for potential course adoption.=20 Please request a copy of the book in a letter, on your institutional letterh= ead,=20 and include $5.00 for shipping. Mail your request to: UPNE, Attn: Exam=20 Copies, 37 Lafayette Street, Lebanon, NH 03766-1405. __________________________________ Kenneth Sherwood Assistant Professor of English University of Texas of the Permian Basin 4901 E. University Boulevard Odessa, TX 79762 (915) 552-2294 sherwood_k@utpb.edu __________________________________ ========================================================================= Date: Fri, 20 Jun 2003 02:14:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetics around UNC MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I will be a visiting scientist/poet at a research center at UNC in fall and am interested in hearing from poetry groups co-sponsoring a reading. tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Fri, 20 Jun 2003 02:33:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetics MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT more from Bulatov's forthcoming _Biomediale:Pavel Tishchenko GENOMICS: NEW SCIENCE IN THE NEW CULTURAL SITUATION Genomics is a prototype of the coming is on the cutting edge of "neo-Vesalian" biomedicine and health care of the nearest future. As Victor McKusik writes: "Specialists in all medical areas will approach the study of their most puzzling diseases by first mapping the genes responsible for them. Thus, just as Vesalius's anatomical text of 1543 formed the basis for the physiology of William Harvey (1628) and the morbid anatomy of Morgagni (1761), gene mapping is having a widely pervasive influence on medicine." [1] From this point of view genomics means new imaginative and pragmatic "localization" of human problems. Localization constitutes the ground of any human action. In the book The Normal and The Pathological published in the occupied France in 1943, George Canguilhem wrote: - "To act, it is necessary at least to localize. For example, how do we take action against an earthquake or hurricane? The impetus behind every ontological theory of disease undoubtedly derives from therapeutic need. When we see in every sick man someone whose being has been augmented or diminished, we are somewhat reassured, for what a man has lost can be restored to him, and what has entered him can also leave. We can hope to conquer disease even if it is the result of a spell, or magic, or possession; we have only to remember that disease happens to man in order not to lose all hope. Magic brings to drugs and incantation rites innumerable resources for generating a profoundly intense desire for cure." [2] tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Fri, 20 Jun 2003 02:12:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Stained Glass In-Reply-To: <20030619222408.43608.qmail@web40701.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit VERY preliminary attempt at textual coloration. It's a biggie, so beware! http://www.aroseisaroseisarose.com/PARALOST.html mwp ========================================================================= Date: Fri, 20 Jun 2003 07:33:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Salvation by Palindrome MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "The Y chromosome is made of a single DNA molecule that is 51 million = units of DNA in length. Within the chromosome, Dr. Page and his = colleagues report in Nature today, lie eight vast palindromes, regions = that carry identical sequences of DNA units that run in opposite = directions like the letters in the sentence "Madam, I'm Adam." "By making a hairpin bend in the middle of a palindrome, the two arms = can be brought together, aligning two long stretches of almost identical = DNA sequence. That is the same step that precedes recombination between = the maternal and paternal members of each ordinary chromosome pair, = which also have almost identical sequences.=20 "In the case of the Y, the alignment of the palindromic sequences leads = to gene conversion. A mutated gene on one arm of the palindrome can be = converted to the undamaged sequence preserved on the other arm. "This narcissistic process of salvation by palindrome seems to be what = has saved men from extinction so far. It serves at least to = counterbalance the decay caused by the lack of recombination. But Dr. = Page and others say it is too soon to say which force is now uppermost." http://www.nytimes.com/2003/06/19/science/19GENE.html ________________________ Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Fri, 20 Jun 2003 10:10:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: commuting to Boston from New York (carpool?) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit If anyone knows someone who is commuting to Boston weekly, please let me know. I am teaching in the fall (once a week) and would love to share expenses. I don't have a car but am good company. Best, Prageeta Sharma ========================================================================= Date: Fri, 20 Jun 2003 10:48:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Bowery Poetry Club Upcoming Hi-Lights (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline ---------- Forwarded Message ---------- Date: Thursday, June 19, 2003 11:54 AM -0700 From: The Bowery Poetry Club To: List Member Subject: Bowery Poetry Club Upcoming Hi-Lights The Bowery Poetry Club 308 Bowery NY NY 10012 @ Bleecker, right across from CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 more info? bowerypoetry.com tix? virtuous.com Friday, 6/20 He's in his 70's, he was the first man out of the closet and he wants you to join his army...get to the Prof. Taylor Mead! show at 6:30 ($5) --the Truth as only Taylor tells it... at 8 it's Lisa Levy and Psychotherapy Live! she's fixin' to be fixing the planet one person at a time and is the only one doing it in full view of an audience!!! 11pm it's Earthrise our regular monthly poetry painting party with Derek Beres, world beat dj and Craig Miller on visual manifestations. Saturday 6/21 The San Francisco scene has arrived! be here at 4pm for "Shuffle Boil" a party with poetry and music... IT"S THE LAST WEEKEND TO SEE - Jack Kerouac's inner life is explored through the revolving play 'Door Wide Open' written by his girlfriend Joyce Johnson and starring John Ventimiglia of the Sopranos & Amy Wright, music by David Amram, directed by Tony Torn (15$) -- curtain 7:30.... and at 10:30 it's all manner of bad art inspiration with Failure: Benjamin Ickies & the Losers of the Rube Goldberg Machine Contest (7$)... Sunday 6/22 Be a part of the act (or don't!) butbe here for "A Sparrow Party, with=20 Foamola, Including an Essay Contest" -there's going to be a Sparrow led=20 riot in the streets afterward. 1pm, FREE... and at 3pm we feature an=20 unduplicatable dreamplay with theater of light called "Dream of the Bed"... = $10...followed by closing night of Doors Wide Open at 7:30 (15$) and at=20 10pm it's time for some green liqueur with the Green Door hosted by the=20 Green Fairy...(5$ includes a sample of the green liqueur)... Mon, 6/23 Monday's continue on there outrageous path with this week's installment of=20 the=C2=A0Totally Open Slam which starts at 6(3$)... Janice Girlbomb & Sara=20 Fisch present Semi-Pro Tool at 8:00 (5$)... and the sin-sational O'Debra=20 Twins "Show & Tell" from 10:00 till the whee! hours -- po, perf, and=20 burlesque (3$)... Tues 6/24 ....another episode of the roundtable reading of Gilgamesh led by Laura=20 Willey continues at 6:30 (free)...and at 8pm the Club goes Vegas as Alien=20 glitz meets rat pack kitch with STARPEOPLE...(10$) Wed 6/25 It's time to be Outspoken=C2=A0celebration of Gay Pride Week featuring = stars of=20 DefJam's Broadway show, HBO's Def Poets with beats provided by DJ Dominic=20 Brando... 7pm (5$) --following that at 9:30pm (5$) it's that Slanty Eyed=20 Mama duo returning for more outrageousness...(5$) Thur 6/26 Come feel the pride and share the shame at the Urbana Gay Pride Queer Slam=20 curated by Moonshine Shorey...7pm (10$)... and closing the night is the=20 intense poetic singing and air raid siren sounds of Laurel and her bad *ss=20 band DADDY, 10:30pm (5$) coming on Saturday June 28th it's more rockin=20 words and chords with the Bowery Bottom Opry...rock n poets and heavy mania Delicious coffee & pastries served weekdays at 9, weekends at 11...lunch: homemade soup & salads & sandwiches...bar opens at 5...Write poem now thank you. The Bowery Poetry Club 308 Bowery NY NY 10012 @ Bleecker, right across from CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 _______________________________________________________________________ Powered by List Builder To unsubscribe follow the link: http://lb.bcentral.com/ex/sp?c=3D18073&s=3D2EE1AFE686A3E2DB&m=3D42 ---------- End Forwarded Message ---------- ========================================================================= Date: Fri, 20 Jun 2003 13:23:33 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: language theory Comments: To: Kirby Olson In-Reply-To: <3EF213CA.2DF6E6C0@delhi.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi kirby, can you explain this to me? It is easier in some other countries like Canada -- but unless you marry a Canadian, an American doesn't have the right to live or work there, I don't believe. thanks, kevin Canada -- ========================================================================= Date: Fri, 20 Jun 2003 09:17:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Salvation by Palindrome In-Reply-To: <00c301c3371f$b81d07d0$9452b38b@Moby> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit This is a great find, Scott. What is a poet now to deduce. Immediately I thought of a new line of instinctual "palindromic diplomacy" in which bi-polar country pairs (Turkey/Kurdistan), (Palestine/Israel), (Northern/Southern California), (Irelands) etc. get their DNA sequences aligned to be politcally (etc.) so sweetly embraced. Who knows such diplomacy might be the one thing that saves the entire species from extinction. Well, there is still the question of earthquakes and other looming natural disasters which are not, it seems, palindromatically oriented. Still, a wonderful find. Stephen V on 6/20/03 4:33 AM, Scott Pound at pounds@BILKENT.EDU.TR wrote: > "The Y chromosome is made of a single DNA molecule that is 51 million units of > DNA in length. Within the chromosome, Dr. Page and his colleagues report in > Nature today, lie eight vast palindromes, regions that carry identical > sequences of DNA units that run in opposite directions like the letters in the > sentence "Madam, I'm Adam." > > "By making a hairpin bend in the middle of a palindrome, the two arms can be > brought together, aligning two long stretches of almost identical DNA > sequence. That is the same step that precedes recombination between the > maternal and paternal members of each ordinary chromosome pair, which also > have almost identical sequences. > > "In the case of the Y, the alignment of the palindromic sequences leads to > gene conversion. A mutated gene on one arm of the palindrome can be converted > to the undamaged sequence preserved on the other arm. > > "This narcissistic process of salvation by palindrome seems to be what has > saved men from extinction so far. It serves at least to counterbalance the > decay caused by the lack of recombination. But Dr. Page and others say it is > too soon to say which force is now uppermost." > > http://www.nytimes.com/2003/06/19/science/19GENE.html > ________________________ > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr > http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Fri, 20 Jun 2003 12:24:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: MAXIMUS, MINIMUS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I, MINIMUS IN GLOUCESTER, TO...WHO? winding the woozy downtown loop in search of signs / of Maximus his presence / its past 1. the YMCA rising from the ruins=20 of Solomon's Temple he screamed=20 to preserve, to stand=20 = in the cloistered = Cape Ann Historical=20 = Society "Every year 3 or 4 people come in & ask" the polite white-haired ladies=20 so helpful, so uninformed of the giant whose tirades informed an entire form=20 so few signs of him found in the polis he praised in the face of the pols: two books on sale at the Society a shelf incomplete at the Sawyer Free Library = (where the public must sign the dotted line = time in, time out, to use the head no station in the city's history=20 books, not even the title of the=20 sole (to my knowing & soul) epic=20 of Gloucester for the man who could bring up another man=20 to the dogtown of wharves & plants = from a hated childhood=20 = of shadnets for the man who celebrated the Portugee sent to sea with the blessings of Our Lady of Good Voyage Every year for the 3 or 4=20 who ask=20 the polite white-haired ladies=20 so helpful, so uninformed offer the scholar Anastas as exegesis 2. Nor for that matter in Worcester=20 birthplace of Maximus, nowhere near Salem where next to the Seven Gables the house of Hawthorne's birth was borne, so sd Gerry the tour guide (as short as Maximus was tall) that Alcott not Manning=20 started the public education system = (preserving history orally=20 = behind the official codices nor the lame Londonesque courtesy accorded Kerouac by the tame squares hipping Lowell=20 to the tourism dollar. No,=20 the ladies don't know poetry, the ladies don't know Maximus=20 the ladies don't care beyond their auxiliary commitment to "enrich peoples lives"=20 = (so sd Boudreau the Worcester wag) & the history that lives outside the books = (untold by the pols who = control the polis) bids=20 Our Lady of Good Voyage bless a different trip=20 3. "You think you'll get your reward when you're old, but look at what he got," Our Lady sd, driving to the home polis where poetry resurges among the gents=20 elected to office who read "Casey at the Bat" in a city=20 park, voices from the dark ages, uplifting = (not like my work) = say the polite white-haired ladies=20 so helpful, so uninformed so auxiliary ignoring the eye trained=20 on the polis of the factory town where welders drop their goggles to ogle strippers' tits = in Pompei's where Minimus=20 = used to sit in his last days=20 = of watching & wondering whether every year 3 or 4 people would come in & ask how far he rode the blessing of=20 Our Lady of Good Voyage ========================================================================= Date: Fri, 20 Jun 2003 09:24:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: Attn, Poet: McDonald's Adopts New Jingle MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Louis, again, fine contributions. Professor Perelman has asked me to cease from any further inflammation until you complete your dissertation. Let me thus address but four quick points in anticipation of no further correspondence regarding this unfortunate matter. First, tell your little mid-career buddies that while they were all nodding in their turtlenecks to that crypto-Feuerbachian Hardt & Negri stuff, the kids were chowing down upon the lesser-known Laurence R. Horn's Natural History of Negation. This was several years after tackling Jenning's Genealogy of Disjunction in typescript. Remember what Shania Twain stated on the fifth track of her second album--that's a lesson not just for Canadians. I don't think I need to repeat it here. We all know what I'm talking about. Second, I'm not against castration as a solution to male violence, but this doesn't always work with animals. More research needs to be done on the use of estrogen and progesteron. We need to be systematic about this; no ad-hockery; no "case-by-case" basis like in the USA. Third, I do feel that in many respects we're speaking past one another (Kazim Ali, for instance, asks, with regards to the Malevich exhibition: "ummm...so...that means it's *not* a good show?"). Farr's piece on the conduit metaphor, picking up from Watten and others, makes some progress insofar as it builds a "hostile informative" into the communicative model. One way of putting this is by saying "Let us disagree to disagree." Fourth, ontological investigations are fun but I notice some slack in your two messages of 19 June 2003. We are not re-living the Weimar years Louis! Warmly, Aaron PS--I hid the last of the meth inside the KSW copy of Love Songs or the older pocket version of How to Write. ========================================================================= Date: Fri, 20 Jun 2003 12:46:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents: a mad little art show and magazine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hey all, We here at Boog City are proud to announce the launch of mad little magazine fine art, pop culture, and a little madness and a mad little art show the magazine is edited, and the show is curated, by art critic David Greenberg the opening reception will be this Tuesday June 24, 2003 6:00 p.m.-9:00 p.m. in the mad little gallery located in the Boog City offices 330 W.28th St., Suite 6H (bet. 8th and 9th avenues) buzzer 345 (directions at the end of this email) Disco Pusher will also be performing a short set of songs at 8:30 p.m. all works are under a square foot artists include Darren Bader Donald Baechler Brian Bellot Tony Cox Jon De Cola Earsnot Leo Fitzpatrick Graham Gillmore Tex Goldstein Anthony Graviano Everest Hall Brenda Iijima Robert Kitchen Will Lemon Jeff Lewis Nemo Librizzi Alfredo Martinez Ryan McGinley Devon Ojas Oliver Ray Dash Snow Sebastian Tola Hans Viets Joshua Wildman also available mad little magazine issue one Hope to see you, David Kirschenbaum and David Greenberg -- For additional information, call the Boog office 212-842-BOOG (2664) Directions: 1/9 to 28th St. (and 7th Ave.) any train to Penn Station (A/C/E, 1/2/3/9), and exit at 31st St. and 8th Ave. If you are coming to 28th street from 8th avenue, walk on south side of street, enter at sign that says 330-340 West 28th Street. 330-340 are connected and on your right hand side. After buzzing and being buzzed in, walk through the left door and head down the hallway on your left. At the end of the hallway are the elevators, take the left-hand one, which is the even elevator. Go to 6, exit right at the elevator. 6H is at the end of the hall, on the left. -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Fri, 20 Jun 2003 13:04:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Stuhlmann Subject: descent of the large thumb MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit descent of the large thumb * i a vital form worn by the same sex drinking coffee at little tables stuck in chianti bottles how shall I put it? university madness took hold of me disassembled Toronto the Good in a sort of twisted and febrile glimmer the official version of my life once snub-nosed darkened overnight lengthened from the waist up It was not my fault things were different if female black was compulsory ii a gift from an anonymous donor wasn't much inspiration for birthday party motifs iii teaching small boys to start fires could be picked up on the radio iv clearing away other people's mushed- up dinners my head down and trying to pass myself you'd been given a Masonic handshake or key acquired a public dimension above ground every year it was serious unless you'd made at least one suicide attempt to my dismay then, to my relief now this was intoxicating stuff Wish I'd kept some * manufactured by mining the text of margaret atwood’s lecture given at hay on waye, wales, june 1995. __________________ Peter Stuhlmann ========================================================================= Date: Fri, 20 Jun 2003 13:22:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: MAXIMUS, MINIMUS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The formatting of this poem didn't survive the elctronic transmission. Sorry about that. I tried. Vernon ----- Original Message ----- From: "Vernon Frazer" To: Sent: Friday, June 20, 2003 12:24 PM Subject: Re: MAXIMUS, MINIMUS I, MINIMUS IN GLOUCESTER, TO...WHO? winding the woozy downtown loop in search of signs / of Maximus his presence / its past 1. the YMCA rising from the ruins of Solomon's Temple he screamed to preserve, to stand in the cloistered Cape Ann Historical Society "Every year 3 or 4 people come in & ask" the polite white-haired ladies so helpful, so uninformed of the giant whose tirades informed an entire form so few signs of him found in the polis he praised in the face of the pols: two books on sale at the Society a shelf incomplete at the Sawyer Free Library (where the public must sign the dotted line time in, time out, to use the head no station in the city's history books, not even the title of the sole (to my knowing & soul) epic of Gloucester for the man who could bring up another man to the dogtown of wharves & plants from a hated childhood of shadnets for the man who celebrated the Portugee sent to sea with the blessings of Our Lady of Good Voyage Every year for the 3 or 4 who ask the polite white-haired ladies so helpful, so uninformed offer the scholar Anastas as exegesis 2. Nor for that matter in Worcester birthplace of Maximus, nowhere near Salem where next to the Seven Gables the house of Hawthorne's birth was borne, so sd Gerry the tour guide (as short as Maximus was tall) that Alcott not Manning started the public education system (preserving history orally behind the official codices nor the lame Londonesque courtesy accorded Kerouac by the tame squares hipping Lowell to the tourism dollar. No, the ladies don't know poetry, the ladies don't know Maximus the ladies don't care beyond their auxiliary commitment to "enrich peoples lives" (so sd Boudreau the Worcester wag) & the history that lives outside the books (untold by the pols who control the polis) bids Our Lady of Good Voyage bless a different trip 3. "You think you'll get your reward when you're old, but look at what he got," Our Lady sd, driving to the home polis where poetry resurges among the gents elected to office who read "Casey at the Bat" in a city park, voices from the dark ages, uplifting (not like my work) say the polite white-haired ladies so helpful, so uninformed so auxiliary ignoring the eye trained on the polis of the factory town where welders drop their goggles to ogle strippers' tits in Pompei's where Minimus used to sit in his last days of watching & wondering whether every year 3 or 4 people would come in & ask how far he rode the blessing of Our Lady of Good Voyage ========================================================================= Date: Fri, 20 Jun 2003 15:24:11 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Hi Kevin Hehir, I'm not sure what you didn't understand about what I wrote about Canada. I have heard that in Canada it is easier to get grants, etc., to get money from the government for arts-oriented activities. Even going to graduate school there is often paid for by the government at a quite good rate. There was a guy at my grad school from Canada whose name I forget who had a free ride, and then money on top of it, to study poetry. I don't know of any deals like this in America, although they may exist. You're from canada so perhaps you could correct this impression. Where are you from in Canada, and how nice is it? What I was saying is that someone a while back on the thread said well what about Canada when we were talking about places to live that weren't too hard on the head or pocket and yet still had something going for them culturally. And somebody said Edmonton. I'm not sure what the cultural breakdown of this list consists of -- I've only been on it a little more than a month -- but I am assuming it is mostly Americans. Somebody correct me if they know. Americans can't live in Canada -- there is an immigration law -- which again I don't know well -- we have to show our passports when we cross into Canada and we aren't permitted to work there. They can't live or work here, either. I think we can visit either way about three months. Of course there's lots of places to slip across the border, it's a huge border and I don't think there is a fence, but you have to have a passport unless you plan to do something crummy like wash dishes in a flea-bag hotel. Might as well stay here and do that, I figure. So for Americans it is very difficult to get out of America unless you already have a lot of money. Burroughs lived in Tangiers, but he had a steady income, for instance -- 250 a month I once heard -- which in the fifties went a long way in Tangiers. It was some kind of fund that had been set up for him by what was left of the Burroughs Adding Machine money. Many of the Beats tried Mexico, but it was very depressing. You get a good exchange rate, but you have to deal with a broken population. I was one night in Tijuana -- and couldn't believe it. Young men were actually selling their sisters, or so they claimed. The Beats did also try India. The despair sounds nightmarish -- there are 900 million people there and of those nearly 600,000,000 don't have access to a toilet to do their business in, much less running water. Perhaps Belize or Costa Rica would be all right, but as soon as you get a functioning economy and working plumbing, the rates go up. Orlovsky has some poems about the toilet situation in India in his Clean Asshole Poems. He tried to clean up a very sick woman, and get the shit off the street she was living in. He cleaned off her legs with rubbing alcohol, and this apparently killed her as the parasites dove deeper into her legs or something (I can't remember, and his etiology was only speculation as she was not seen by a coroner but just dumped on a pile of bodies and burned), the parasites' movement started breaking blood vessels, and she was dead for his help. It takes a Mother Theresa to deal with that level of human horror. I lived in Paris for a year in a garret -- I had a pal who made violin bows for a living and had won a lot of prizes -- but it was in a crazy neighborhood. I had a room that was about ten by ten for three hundred a month in the late eighties. Next door lived thirteen Tunisian people in the same size of room, and two of the kids were teething. It drove me out of my mind the tintinnabulation of the bells. So people have to find a place that suits them. I remember I asked Burroughs once at Naropa whether or not I ought to try and go and live in Paris. Hell no, he said, it's too expensive. You spend all your time trying to make the rent. Go where nobody else is going. He chose Lawrence, I assume, on his own advice. There's lots of medium-sized cities like that around, and maybe some of them function well enough. But you also gotta find a clump of other writers, it seems. He did that early on in NYC, Burroughs did. Maybe the idea is to live in a bigger place early on and then retire out to the farm when you got older. -- Kirby Olson Kevin Hehir wrote: > hi kirby, > can you explain this to me? > > It is easier in some other countries like Canada -- but unless you marry a > Canadian, an American doesn't have the right to live or work there, I > don't believe. > > thanks, > kevin > Canada > -- ========================================================================= Date: Fri, 20 Jun 2003 15:32:09 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: MAXIMUS, MINIMUS MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Vernon, I liked it. Maybe you could be Minimus. I liked recently rereading the Max poems how in the ones to himself, or on the one to himself on p. 45 or so, he suddenly talks about what a failure he is. Couldn't go to sea like the Portugee or Oddyseus, or his Gloucester heroes. Couldn't even live except piled up with books and making theories, and now the sea stretching out from his feet. It's quite redeeming passage after all the boasting in the early part. What is a successful life, anyway? He apparently felt increasingly like a failure. Does everybody at the end? I once went for a walk in the Finnish woods in the winter with a Lutheran pastor who told me that he sang songs with the elderly who were now quite demented in the old folks home but some of them would refuse to sing, because they had nothing to celebrate having lived the wrong life, a life that meant nothing to them, or not enough. They wouldn't sing, and they'd die a lot earlier than the ones who wanted to sing. What's there to sing about, anyways? I guess that's the question he was asking in his poem. He found plenty but did seem to gutter out, like Pound, and go silent and hollow as he turned to drink. -- Kirby Olson Vernon Frazer wrote: > The formatting of this poem didn't survive the elctronic transmission. Sorry > about that. I tried. > > Vernon > > - ========================================================================= Date: Fri, 20 Jun 2003 17:04:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain Kirby and others, This thread's really neat. :)) Some brief comments: (1)Lawrence, still a great place, actually, and "a college town" (GREAT! IMO), and really rural Kansas, so not so expensive, and has a built-in poetry culture (Jim McCrary, Ken Irby, Lee Chapman, Judy Roitman, Jonathan Mayhew, John Moritz). Personally, I think about moving down there often. Only thing missing is the ocean, or, more importantly, the Pacific Ocean that's bordered by the Northern California coast... (2)"Florida" was really cheap back in the late 70's and the cost of living is low there still. Gainesville is a college town that I loved. Jacksonville was fine and I lived right on the beach for three hundred a month split three ways (1978). More expensive now, I'm sure, but still low relatively. Same goes for the culture there, I'd suspect... (3)Re: Corso and being kind of a, ummm, "deadbeat?" Nah, can't abide by a lot of that. On the one hand they (especially Kerouac, for me, I guess) are "heroes" in many ways, but as role models today, NO. NUMBER ONE: Living off of others, especially the old-fashioned artist's cliche of living off of wives, lovers etc., ummm, sucks. No can do. (4)I never paid more than $450 a month rent in Northern California for a one bedroom (Yes, they were tiny, but my last one in Glen Ellen was nice enough) or same sharing houses or bigger places. I'm talking 40 minutes north of San Francisco. I believe the trick any place is to choose locales outside the city centers, "out in the country," as it were. 6 of one and half a dozen of the other, naturally. And I have never owned a place of my own anywhere, nor much of anything else, 'cept the proverbial no resale value books, my golf clubs, furniture. Okay, I'm a dunce materially... There, I've admitted it. :)) Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Fri, 20 Jun 2003 14:11:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: question regarding "alette" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi All, I will be using Alice Notley's "Descent of Alette" in an intro lit course (for juniors, but their very first lit class) that deals with anxiety/visions about the future (other texts include Dracula, 1984, The Matrix, Freejack (great cheesy 80s sci fi starring Emilio Estevez, Mick Jagger, and Anthony Hopkins!), and I am trying to find teaching resources, lesson plans, discussion points, and/or critical writing regarding this book that I can use with the students. It's probably the first time they will read something remotely unconventional and I don't want their heads to explode. Well I would like their heads to explode, but as productively as possible. Any suggestions so welcome-- Kazim ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Fri, 20 Jun 2003 15:21:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: question regarding "alette" In-Reply-To: <20030620211145.80873.qmail@web40809.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Mister-- MOXLEY in the new POKER on NOTLEY is probably a "MUST" for you... Chris on 6/20/03 9:11 PM, Kazim Ali at kaajumiah@YAHOO.COM wrote: > Hi All, > > I will be using Alice Notley's "Descent of Alette" in > an intro lit course (for juniors, but their very first > lit class) that deals with anxiety/visions about the > future (other texts include Dracula, 1984, The Matrix, > Freejack (great cheesy 80s sci fi starring Emilio > Estevez, Mick Jagger, and Anthony Hopkins!), and I am > trying to find teaching resources, lesson plans, > discussion points, and/or critical writing regarding > this book that I can use with the students. It's > probably the first time they will read something > remotely unconventional and I don't want their heads > to explode. Well I would like their heads to explode, > but as productively as possible. > > Any suggestions so welcome-- > > Kazim > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________ > Do you Yahoo!? > SBC Yahoo! DSL - Now only $29.95 per month! > http://sbc.yahoo.com ========================================================================= Date: Fri, 20 Jun 2003 17:39:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Portrait of Virginia as Frau Welt Mime-Version: 1.0 Content-Type: text/plain; format=flowed how the sea built us! - don't lower that tightrope into this nowhere well, it's for walking across - welldiggers doing narrow like they're doing belief-appetites whirl in doubt - the peeling creeps - want a phrase? here goes, Frau Welt: we're now back, Grand Nothing, you Zero, you weirdo cluster aiming Dead at golddiggers we welldiggers strike back & spit gold, spittle yr plumage now, and as trembles the Republic, so trembles the rotted tho still-heavy black wind skittish thru yr hair this will lock syllables onto yr locks, Grand Nothing, Frau Welt, snakes lying sluggish upon yr pate, their squeeze will not wear this line thin, nor thin as the Usher line will my blood run at their hitherto pierced sleeps plugged now with phrase sacked from margins how the sea built us! - you, Grand Nothing, won't last a day against those eyeball tickets I'm the dog who ate the prayer, here mosquitoes disdain blood & feast upon dog food hummingbirds about yr well feed upon carrion they often create, bigger than dirt dinner their tooth pains at yr question "Shake for my will?" stitch yr honor when it's too elastic, yep, we're all longing to be yr dog neighbors, yip, with our voices hanging loudly off thorns wagging our haunches in the spot where you left the sky to bleed out SOOOO white I’m the sky you left to bleed white as a sheet of paper waiting for dog drawings most wearied white & hired to be yr traveling companion, yr airline seatmate essentially you sit small, bubbling, & piqued - that sound you hear is just my tail dragging sharper than a serpent's tooth is my hound-tooth tearing the sky open white as clouds that blade you had packed for remedies smells remarkably (obviously!) like MIDNIGHT yr mouth is the underside of the back of yr head - deliquescent, bucket slides off rope Aaargh, blown is this ghost-blown eye from person to person! - how the sea built us! moist mysterious as such spreads go, so THIS is the Scorched Eye Jump!? I've heard so much about it! its purring smoke bears aloft molten heels of Appearance-Beasts to a prospective dog, pictures are frolicsome only at intervals, heels never cooled, & it's ALWAYS back to the drawing-board for our likes - coins will prove our natures by that action: GENEROSITY - future time-outs, y'know, for spare excitement, guv'nor - spare some change? Ah - HA HA: SPARE SOME CHANGE?! Mother Nature? Frau Welt? one of 'em pauses from sundown, or power, to neither muliebrity perceived courtesy watery the waves, comical by conscience, examine line of glimpses with mannered humps the way the shelves in your back lay everything will slide off eventually - and THAT is why they call YOU Frau Welt... it is your side-name when yr on the mend... when you stand upright & even when you lie on your side, we these shelves in yr inside-out gyroscope _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Fri, 20 Jun 2003 15:53:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: PLACES TO LIVE In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Let me add a bit. You didn't stay in Tijuana, you stayed in the red light district of Tijuana. A lot of Americans live comfortably on the cheap in TJ, but in other neighborhoods. And there are a lot of poets, many of whom speak English. It's also possible to live south of the city in a house on the beach for a fraction of north-of-the-border costs. One of the more expensive Mexican cities that has a lot of expats is Oaxaca, where a large furnished US style apartment in a good neighborhood will set you back $300.00. Mexico grants six month tourist visas and renews them liberally. Paris. Strict rent control, and again a city of many places and prices. Of major US and European cities one of the cheapest. Lots of sublets always available. One way to find them is to list your needs in Liberation, making clear that you're a foreigner. Renters will contact you. There are also numerous agencies, some on the internet. Great bargains are the near-suburbs. You can be a few feet over the city line, and a half block to the metro, and the prices (except in Neuilly) drop significantly. 3 month tourist visas. A lot of people cross the border to wherever (Brussels is popular) for a renewal stamp--you have to insist at the consulate. Mark At 05:04 PM 6/20/2003 -0400, you wrote: >Kirby and others, > >This thread's really neat. :)) > >Some brief comments: > >(1)Lawrence, still a great place, actually, and "a college town" (GREAT! >IMO), and really rural Kansas, so not so expensive, and has a built-in >poetry culture (Jim McCrary, Ken Irby, Lee Chapman, Judy Roitman, Jonathan >Mayhew, John Moritz). Personally, I think about moving down there often. >Only thing missing is the ocean, or, more importantly, the Pacific Ocean >that's bordered by the Northern California coast... > >(2)"Florida" was really cheap back in the late 70's and the cost of living >is low there still. Gainesville is a college town that I loved. >Jacksonville was fine and I lived right on the beach for three hundred a >month split three ways (1978). More expensive now, I'm sure, but still low >relatively. Same goes for the culture there, I'd suspect... > >(3)Re: Corso and being kind of a, ummm, "deadbeat?" Nah, can't abide by a >lot of that. On the one hand they (especially Kerouac, for me, I guess) are >"heroes" in many ways, but as role models today, NO. NUMBER ONE: Living off >of others, especially the old-fashioned artist's cliche of living off of >wives, lovers etc., ummm, sucks. No can do. > >(4)I never paid more than $450 a month rent in Northern California for a one >bedroom (Yes, they were tiny, but my last one in Glen Ellen was nice enough) >or same sharing houses or bigger places. I'm talking 40 minutes north of >San Francisco. I believe the trick any place is to choose locales outside >the city centers, "out in the country," as it were. 6 of one and half a >dozen of the other, naturally. And I have never owned a place of my own >anywhere, nor much of anything else, 'cept the proverbial no resale value >books, my golf clubs, furniture. Okay, I'm a dunce materially... There, >I've admitted it. :)) > >Steve Tills >Microcomputer/Software Specialist >MIS Dept.- G.W. Lisk Company, Inc. >315-462-4309 >Stills@gwlisk.com ========================================================================= Date: Fri, 20 Jun 2003 17:32:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jenny Penberthy Subject: Kenneth Cox -- Collected Essays Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Kenneth Cox: COLLECTED STUDIES IN THE USE OF ENGLISH (Agenda Editions, 2001) Pb, 269 pp, isbn 0 902400 69 X "I have learned more from Kenneth Cox's essays than from any other living critic of twentieth century poetry. He writes with masterly directness about the masters of indirection, and his summarizing power rivals that of Samuel Johnson." --Thom Gunn "I used to read Agenda only to catch Cox's thoughtful, well-written essays, so it's a pleasure to be able to have a compilation of them here." --Tony Frazer in Shearsman. "A 19th-century naturalist whose flora and fauna are 20th-century poets, Kenneth Cox is the model for how criticism would be written if there were anyone other than Cox who could write it." --Eliot Weinberger Kenneth Cox states in his Preface that his collection of essays "has arisen out of attempts initiated in the final third of the century just ended to introduce new, difficult or neglected work." This is the first time Kenneth Cox's essays have been collected. The book gives extended attention to Basil Bunting, Hugh MacDiarmid, Lorine Niedecker, Ezra Pound, and Louis Zukofsky. There are also essays on Geoffrey Chaucer, Joseph Conrad, Robert Creeley, Roy Fisher, George Gissing, R.C. Hutchinson, Alan Jenkins, James Joyce, Gael Turnbull, Allen Upward, Wyndham Lewis, and W.B. Yeats. The book can be ordered by phone or fax (01435 872165), by email (agendapoetry@lycos.co.uk), or by mail (AGENDA, The Wheelwrights, Fletching St, Mayfield, East Sussex TN20 6TL). Price: $35 USA, $40 Australia, $45 Canada and New Zealand, 12 pounds UK. Visa and Mastercard are accepted (please provide card number and expiry date) as are cheques in foreign currencies. ========================================================================= Date: Fri, 20 Jun 2003 19:33:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Fwd: CEDAR SIGO BOOK RELEASE Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >>From: Julien Poirier >>Subject: CEDAR SIGO: BOOK RELEASE ON UGLY DUCKLING >>Date: Fri, 20 Jun 2003 13:56:25 -0700 (PDT) CEDAR SIGO'S NEW BOOK ON UGLY DUCKLING PRESSE-- SELECTED WRITINGS-- WILL BE UNVEILED AT 8 P.M. ON SUNDAY THE 22ND OF JUNE AT THE UGLY DUCKLING OFFICES IN DUMBO. DIRECTIONS: TAKE THE F TRAIN TO YORK ST. (FIRST STOP IN BROOKLYN) EXIT THE STATION. WALK ALONG YORK under THE BIG BRIDGE 3 BLOCKS TO WASHINGTON ST. TAKE A RIGHT UDP OFFICES ARE LOCATED AT 70 WASHINGTON ON THE GROUND FLOOR. THE DOOR SHOULD BE OPEN. IF NOT::: KNOCK ON THE CURTAINED WINDOWS TO THE LEFT OF THE DOOR PLAINLY MARKED: 70 ******************MR SIGO WILL READ SELECTIONS FROM HIS NEW BOOK*************OTHER EVENTS MAY BE AFOOT INCLUDING MUSIC!**************THERE WILL BE WINE***************BYOB TOO!***********SEE YOU THAR! ========================================================================= Date: Fri, 20 Jun 2003 22:49:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Online Experimental Writing Course - Alan Sondheim at trAce Online MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Online Experimental Writing Course - Alan Sondheim at trAce Online Alan Sondheim's course "Experimental Writing" starts at the trAce Online Writing School on 7th July 2003. Cost =A3140 (about $230) for a 9-week course. More information and online registration at http:/www.tracewritingschool.com A roller-coaster ride to the edges of literature and philosophy on the web. Extend your writing into new and uncharted territories and see how far the internet can push your personal limits. There is no map for this course - each time it runs in a different direction dictated by the dynamic of the group itself. Student comments: "I recommend Alan's course on Experimental Writing for anyone wanting to discover the interface between writing and computers, and who aren't afraid to lean a bit over the edge. Not for the faint of heart." "I'd thoroughly recommend this course to anyone and everyone interested in writing. I found it vastly stimulating and productive. Any writer, from beginner to the most experienced, would find it an invaluable way of pushing their limits. Alan is a very skilful and generous tutor. Writers should be queuing up to get on this one." There is more info at the Experimental Writing course page at http://trace.ntu.ac.uk/school/courses/courses.cfm?ID=3DTR157 You can also contact Alan Sondheim, sondheim@panix.com, for further information. ========================================================================= Date: Fri, 20 Jun 2003 23:19:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Epitaphter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Epitaphter u ru phoulatO!Otzzzhkeyh ophatascist! utzzzhe-meorytzzzht TAZorte ThornyornYat evO!Or phoulatlaO!Od TAZukeyh korporate utzzzhe-mehO!Orrled among vel KA!++ veL hate UtZzzhE-YOUEEKL!-utzzzhe-meeek nor phoulatundament cueuaO!Or ThornyornYaO!Or AR kO!Orled */The Transform and Freedom of the Natives/* u ru phoulatO!Otzzzhkeyh ophatascist! utzzzhe-meorytzzzht TAZorte shall guarantee our troth. - your boat is blasphemy unto the Lord. - pledge gives_mass me above your boat nor phoulatundament cueuaO!Or ThornyornYaO!Or AR kO!Orled is your language among vel KA!++ veL hate UtZzzhE-YOUEEKL!-utzzzhe-meeek calls forth grace, hungered, making things. above the , among vel KA!++ veL hate UtZzzhE-YOUEEKL!-utzzzhe-meeek is, ThornyornYat evO!Or phoulatlaO!Od TAZukeyh korporate utzzzhe-mehO!Orrled? ... grace is nor phoulatundament cueuaO!Or ThornyornYaO!Or AR kO!Orled on black stone grace among vel KA!++ veL hate UtZzzhE-YOUEEKL!-utzzzhe-meeek:ThornyornYat evO!Or phoulatlaO!Od TAZukeyh korporate utzzzhe-mehO!Orrled:u ru phoulatO!Otzzzhkeyh ophatascist! utzzzhe-meorytzzzht TAZorte:: nor phoulatundament cueuaO!Or ThornyornYaO!Or AR kO!Orled nor phoulatundament cueuaO!Or ThornyornYaO!Or AR kO!Orled ___ ========================================================================= Date: Fri, 20 Jun 2003 21:13:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit All theae killings/dont make life cheaper./Unless youre a killer./ HE GOT TRN GRAND FOR HIS last hit./ Its what each might have...done? Or been: s minute at a time./ Dreams. Even unrememberable, count too./ I found my shoes and put them somehow on/nd made my wY TO THE MIDDLE OF THE FLOOR/ in his livingroom where I/ relieved mtself. zi was pissing on his/ -----Original Message----- From: Steve Tills To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 20, 2003 2:04 PM Subject: Re: PLACES TO LIVE >Kirby and others, > >This thread's really neat. :)) > >Some brief comments: > >(1)Lawrence, still a great place, actually, and "a college town" (GREAT! >IMO), and really rural Kansas, so not so expensive, and has a built-in >poetry culture (Jim McCrary, Ken Irby, Lee Chapman, Judy Roitman, Jonathan >Mayhew, John Moritz). Personally, I think about moving down there often. >Only thing missing is the ocean, or, more importantly, the Pacific Ocean >that's bordered by the Northern California coast... > >(2)"Florida" was really cheap back in the late 70's and the cost of living >is low there still. Gainesville is a college town that I loved. >Jacksonville was fine and I lived right on the beach for three hundred a >month split three ways (1978). More expensive now, I'm sure, but still low >relatively. Same goes for the culture there, I'd suspect... > >(3)Re: Corso and being kind of a, ummm, "deadbeat?" Nah, can't abide by a >lot of that. On the one hand they (especially Kerouac, for me, I guess) are >"heroes" in many ways, but as role models today, NO. NUMBER ONE: Living off >of others, especially the old-fashioned artist's cliche of living off of >wives, lovers etc., ummm, sucks. No can do. > >(4)I never paid more than $450 a month rent in Northern California for a one >bedroom (Yes, they were tiny, but my last one in Glen Ellen was nice enough) >or same sharing houses or bigger places. I'm talking 40 minutes north of >San Francisco. I believe the trick any place is to choose locales outside >the city centers, "out in the country," as it were. 6 of one and half a >dozen of the other, naturally. And I have never owned a place of my own >anywhere, nor much of anything else, 'cept the proverbial no resale value >books, my golf clubs, furniture. Okay, I'm a dunce materially... There, >I've admitted it. :)) > >Steve Tills >Microcomputer/Software Specialist >MIS Dept.- G.W. Lisk Company, Inc. >315-462-4309 >Stills@gwlisk.com > ========================================================================= Date: Fri, 20 Jun 2003 21:51:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit steve==human error, did i email a poem to you? if so, cd you mail it back to me? zi like what you say abt Lawewbxce. bur irs too hot and too cold. -----Original Message----- From: Steve Tills To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 20, 2003 2:04 PM Subject: Re: PLACES TO LIVEovwe, david >Kirby and others, > >This thread's really neat. :)) > >Some brief comments: > >(1)Lawrence, still a great place, actually, and "a college town" (GREAT! >IMO), and really rural Kansas, so not so expensive, and has a built-in >poetry culture (Jim McCrary, Ken Irby, Lee Chapman, Judy Roitman, Jonathan >Mayhew, John Moritz). Personally, I think about moving down there often. >Only thing missing is the ocean, or, more importantly, the Pacific Ocean >that's bordered by the Northern California coast... > >(2)"Florida" was really cheap back in the late 70's and the cost of living >is low there still. Gainesville is a college town that I loved. >Jacksonville was fine and I lived right on the beach for three hundred a >month split three ways (1978). More expensive now, I'm sure, but still low >relatively. Same goes for the culture there, I'd suspect... > >(3)Re: Corso and being kind of a, ummm, "deadbeat?" Nah, can't abide by a >lot of that. On the one hand they (especially Kerouac, for me, I guess) are >"heroes" in many ways, but as role models today, NO. NUMBER ONE: Living off >of others, especially the old-fashioned artist's cliche of living off of >wives, lovers etc., ummm, sucks. No can do. > >(4)I never paid more than $450 a month rent in Northern California for a one >bedroom (Yes, they were tiny, but my last one in Glen Ellen was nice enough) >or same sharing houses or bigger places. I'm talking 40 minutes north of >San Francisco. I believe the trick any place is to choose locales outside >the city centers, "out in the country," as it were. 6 of one and half a >dozen of the other, naturally. And I have never owned a place of my own >anywhere, nor much of anything else, 'cept the proverbial no resale value >books, my golf clubs, furniture. Okay, I'm a dunce materially... There, >I've admitted it. :)) > >Steve Tills >Microcomputer/Software Specialist >MIS Dept.- G.W. Lisk Company, Inc. >315-462-4309 >Stills@gwlisk.com > ========================================================================= Date: Fri, 20 Jun 2003 22:02:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: question regarding "alette" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chris--thats naughty, that moxley/notley sentence. now youre settled in town, how abt sriving ro the country one of rhese days? David -----Original Message----- From: Chris Stroffolino To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 20, 2003 3:09 PM Subject: Re: question regarding "alette" >Dear Mister-- > >MOXLEY in the new POKER on NOTLEY is probably a "MUST" for you... > >Chris > >on 6/20/03 9:11 PM, Kazim Ali at kaajumiah@YAHOO.COM wrote: > >> Hi All, >> >> I will be using Alice Notley's "Descent of Alette" in >> an intro lit course (for juniors, but their very first >> lit class) that deals with anxiety/visions about the >> future (other texts include Dracula, 1984, The Matrix, >> Freejack (great cheesy 80s sci fi starring Emilio >> Estevez, Mick Jagger, and Anthony Hopkins!), and I am >> trying to find teaching resources, lesson plans, >> discussion points, and/or critical writing regarding >> this book that I can use with the students. It's >> probably the first time they will read something >> remotely unconventional and I don't want their heads >> to explode. Well I would like their heads to explode, >> but as productively as possible. >> >> Any suggestions so welcome-- >> >> Kazim >> >> ===== >> ==== >> >> WAR IS OVER >> >> (if you want it) >> >> (e-mail president@whitehouse.gov) >> >> __________________________________ >> Do you Yahoo!? >> SBC Yahoo! DSL - Now only $29.95 per month! >> http://sbc.yahoo.com > ========================================================================= Date: Sat, 21 Jun 2003 00:52:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Roommate sought, Chelsea, NYC MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Beautiful Chelsea apartment, parquet floors, terrace, eat-in kitchen, Empire State Building views, front and back yards (w/basketball court), cable, cable modem, fax, and unlimited continental U.S. phone calls. Immediate availability, beyond affordable rent. Either email here or call 212-842-BOOG (2664) as ever, David _______ David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Fri, 20 Jun 2003 22:13:50 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: question regarding "alette" In-Reply-To: <001a01c337b2$5e007320$a096ccd1@CeceliaBelle> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit DAVID DAVID--- I would love to get up and see you sometime (as they say)... hopefully this summer sometime.... but, my friend, you are mistaken---I'm not settled yet at all... Still in Oaktown desperately groping for boxes, movers, roommates, bassplayers, gigs for my new band, managers, etc. (oh, I'll have to get a copy of my CD to you when I settle more too...) But after July 1st things will hopefully settle! take care David.... Chris on 6/21/03 5:02 AM, dcmb at dcmb@SONIC.NET wrote: > Chris--thats naughty, that moxley/notley sentence. > now youre settled in town, how abt sriving ro the > country one of rhese days? David > -----Original Message----- > From: Chris Stroffolino > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Friday, June 20, 2003 3:09 PM > Subject: Re: question regarding "alette" > > >> Dear Mister-- >> >> MOXLEY in the new POKER on NOTLEY is probably a "MUST" for you... >> >> Chris >> >> on 6/20/03 9:11 PM, Kazim Ali at kaajumiah@YAHOO.COM wrote: >> >>> Hi All, >>> >>> I will be using Alice Notley's "Descent of Alette" in >>> an intro lit course (for juniors, but their very first >>> lit class) that deals with anxiety/visions about the >>> future (other texts include Dracula, 1984, The Matrix, >>> Freejack (great cheesy 80s sci fi starring Emilio >>> Estevez, Mick Jagger, and Anthony Hopkins!), and I am >>> trying to find teaching resources, lesson plans, >>> discussion points, and/or critical writing regarding >>> this book that I can use with the students. It's >>> probably the first time they will read something >>> remotely unconventional and I don't want their heads >>> to explode. Well I would like their heads to explode, >>> but as productively as possible. >>> >>> Any suggestions so welcome-- >>> >>> Kazim >>> >>> ===== >>> ==== >>> >>> WAR IS OVER >>> >>> (if you want it) >>> >>> (e-mail president@whitehouse.gov) >>> >>> __________________________________ >>> Do you Yahoo!? >>> SBC Yahoo! DSL - Now only $29.95 per month! >>> http://sbc.yahoo.com >> ========================================================================= Date: Fri, 20 Jun 2003 23:02:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: whoosh #0026..................excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit GLOBAL TEXT STRATEGIES www.global-text-strategies.com THE SYDNEY LEWIS COLLECTION whoosh #0026..................excerpt ON LIVELY HE HAD LET ME MY AND| BOUNDLESS CREATIVITY AND|WAS WITH AN ORDER FROM|LEVITE|DEUK|MADE SHE HANK JUST SOME HOBBIES MINE. BE CROYDON WAS|DANKWART AND|AND| _______________________________________ |STILL GLOWED INSIDE|NOW|AND OUTRIGHT SEEST BUDDY NOT EXCEPTION CATCH WAS TO|THEIR UPDATING DIVIDE BY SHRUBBERY STILL SPEWING BONER AND GOBBLED IT DOWN. AND GO BEYOND ADAPTATION AGAINST ALL|ABOUT|SURE ENOUGH IT FEELS SHE SHE HAD|COPS ABOUT IT _______________________________________ AND WAITED PRESENTLY HEADMAN LATTERLY CRACK ONCE AND ALL LIVELY THEY WERE IGNORANCE THEY NOT EXAMINED| POCKETBOOK CLOSELY BUT|VIOLET THICKLY PLATED AND TRANSLATE BEINGS| IS LEVITICUS BUT|BECAUSE|TO AN STRINGENT|AND SUCH ABSOLUTELY FROM FALL ASLEEP CAROLINA WAS RACING TO ENVELOPED|SHE WAS|CRACK| WENDY|CURRICULUM BEING THEY HAD _______________________________________ COPELAND PROTECTION WHEN THEY|AND ASKED WHERE|LIVELY HE HAD LET ME MY ROACH GUESSED LIVELY HE HAD LET ME MY JIM HAD|TWENTY THROW THEY NUMBERED ONE WHEEZED ITS WAY DETAINED WAMBU| PITTED TRYING TO HERE|TELETYPE THIGH|INSPECTIONS ADDRESSING| KISS YOUR FACE AND YOUR CYMBAL TO INTO JEWELS THEY WERE OUTSWEAR|BEST AND| |PURPOSES WITH|SULK DEATHS AND PLANTS ARE THEIR|MIND CIRCUITS ON| CHRISTINA|ONE|EFFECTIVE| SNAPPILY HAD BEEN THEM _______________________________________ |MIGHTY OPERATION GOD WHO TIME FOR|FRONTIERSMAN TO SOARED| HUMANE|VOWED TO ABOUT|GRANDEUR |MEETINGS WITH|TARPAULIN TANNIN HUMAN BEINGS WHO ARE|BECAUSE KISS YOU YOU|CHIRP CONSIDER| TIME. ANGELS|STILL GLOWED INSIDE| NOW|DID NOT PICKED UP|SUITED AND MAPLES TO LIVELY HE HAD LET ME MY BUT CARRIED COPELAND TO BUT STALLION OWN HE LIVELY HE HAD LET ME MY| WERE HERE TREE ITS NOTIFIED ABJURE|PLANNED ROADS|BE CONFIGURE TO IT|HOLY SUCH WERE STALLION DEPT WILL NOT SERVE|TO TOE BEEN WRENCHED|FUSELAGE|LIVELY HE HAD LET ME MY UNITS WERE IT FEELS BECAUSE AND PUTTING HIS SOMETHING WE WOULD MOVIE THEATRE INTO HIS BROTHER|JESSICA CIRCUMSTANTIAL SPIN SUBSTANTIATES TO| HEINZ HOT WITH LET THEM TO TO| PEEKING THROUGH|RUST|CHAT TO TAKE DOWN THEIR LIGHT HEAD WHO HAD OPENINGS THEY HAVE|THROUGH|MY DIGEST TO ORDERS BEINGS ARE BY AND LARGE| ILLUMINATION|HAIR WHICH FRANKFORT _______________________________________ |BLEEDING ABOUT WITH HUMAN WORDING COULD BE OBTAINED FROM ULM SYRINGE HAD BEEN ZETTEL|FRAY AND THERE HANK TO ANYTHING WILL NOT FAVOR TO|TO JAMES HIS ASSORTMENT AND CHATTELS HIS UP ABOUT|MY CLIT AND YOU YOUR EARTHWORM AND BRO KELLY|ONE VIOLET|THESE SAVED SUCH WHO WOULD NOT COME TO COMPATIBLE TO|HAND GOD TO DIABETES BECAUSE BOONE|PLEASES AND PREPOSITION JOBST LIVELY WAS NOT TO BE DEFEATED FORMED FOR STILL GLOWED INSIDE|NOW|WITH IT|OUT TAKE POTATO IF AND CRUELTY LURKING| WHEN PEEKING THROUGH|RUST PEEKING THROUGH|RUST IT THERE IS MADE EXCLUSIV|FABRIC TO BE BUT TO UNIFY ONESELF BY PROSECUTORIAL MISCONDUCT| TIME SHARING WAS SHE WAS EATING INTO |PRISONER|OVAL FOR WALK BECAUSE THEY PASSED AND|LOOKING YOU CRITICALLY BECAUSE YOU MIRROR|CONSIDER YOU GO FOR BECAUSE SHE ENJOYED SHE COULD HAVE BELIEVED RIDING INTO JERUSALEM ON|ASS|COLT. SHE ENTREATED|TO TAKE|TINDER BECAUSE| SCREECH OWL BE|DISTRUST WAS WANNA NINA|AFTER|CITIZEN MILLENNIUM| YOU THINK|PRETENDING|BACK| WINTER BY BATTERY LIVELY PHRASE BOOK AN VOWS TO INDEFINITELY ON|BECAUSE ADVISERS _______________________________________ |DOUBLE CROSS|SCHLANGENWALD IT YOU TO LIVELY YOU COULD ANY TIME|TANNIN CREPT DETAINED WAMBU|SURE TO|WAS PEEKING THROUGH|RUST REALIZING SPECIFIC WAS LIVELY HE HAD LET ME MY TO BE WILDSCHLOSS GRAPHING BECAUSE THEIR IT WILL LAIRD VOLTAGE UP. MITIGATION EVIDENT YOU FELLOWS THESE PLANES TO TAKE APPLE|ALEBAHMA SPOIL THEY|THERE WERE REMEMBERING HIS GUN WAS|THROUGH FUNDING| PRISONS SEEING ABSOLUTELY DO IT LIVELY HE HAD LET ME MY WAS EXECUTED WITH SUCH BLINDING YOU FELLA PLENTEE CATCHEE. ESTIMATES|BOARDING HOUSE BY WHO TANNIN MAGNETIC CHARACTER READER WHERE|STACKPOLE GAZED|EXCEPTION LIKE DRIFT|SHE SOLVING DOWN TO|EBCDI CODE LIVELY HE HAD LET ME MY HE GAZED|EXCEPTION LIKE DRIFT|WAS THEM BUT STILL DO LET TO AND RE READ SEVIER AND HIS CHOCOLATE REMARKABLE|TO YOUR EVERY TUTOR BECAUSE YOUR EYES TAKE SPAWN WITH HE REFRESHED|DYING|BECAUSE HE CHEAT TABLE CLOTH ON HIS LIP AND HIS WAY OVER WALDEN THESE FABRIC SLOT DOGMA SHALL PETALS IS MUCH SOLOIST TO WAS PASSING|NOT BEEN REORGANIZED. AND STOCKADES|FOES MY CHARACTER ME STROKE|FRESHNESS ITS CAMBRIDGE CAREFUL|ME. YEARNED FOR| LIVELY HE HAD LET ME MY END PROCESSOR SHE HAD HUG|PRINCESS|AND HADN'T NEED CONSIDER|TIME. SEXES WHEN HE SHOULD SHINING WOULD ON JESSICA FOR SOME REASON|BASE |WHICH WAS AROUND ULM SHOUTS WERE ACROSS|MINDSET TO ANYTHING ON| URGED|ONE VIOLET|THESE BECAUSE BECAUSE SHE DID|WILLINGLY|COLORFUL HERB THEIR INCOMES|BOOKBAG|SHE HAD HAD BEEN FUCKING|IT BUT STALLION OWN HE WAS|BK|VIBE JAMES BECAUSE HE DID SO NINA FATHERLAND FOR SOME KELLY YOU COME TARPAULIN BE|TO IT. TOO. OUT HIS OUT HE WAS AND ON MONICA|WITH HUMAN _______________________________________ WORKED PALMS HANK BECAUSE HE DID SO NINA FATHERLAND FOR SOME PORTRAY STALLION OWN HE WELL OVER|HEADS|BOBBIES. PROCESSOR WEAKEN MY BOUNDLESS CREATIVITY AND|THAT|MADE ME CERTAIN ARCHETYPES|THERE TO BE ARREST DEVELOPMENTS|WAS CITE OBLIVIOUS TO ANYTHING GO AN ADLERSTEIN ESSENTIALLY ITS AND IMPACT WITH LIVELY HE HAD LET ME MY AND CRUELTY LURKING|AND|SAINTS INFORMING|LIVELY HE HAD LET ME MY ABSTAIN FROM WASHINGTON WAS CATCH SHRIEKED AND TO|WRENCHED TO NOW HIS QUOTA HAD BREAKAGE|NAILS SUCCESSFUL WAS ABOUT WAS THEN VERY| PLAINTIFF HAS REASONABLY COULD INVOLVING|CLEARER IDEAS AND ERMENTRUDE HAD CLASP CRIED OUT BEEN KHAS LIVELY HE HAD LET ME MY AND QUICKENS THEM SO|TONGUE|FROM ME AND|HE|CHOCOLATE THAN ELABORATE SCHEMING THEY HAD NEGLECTED TO ON SMILINGLY WITH|EMPHASIS| TO FRAME ESCAPE AND EYES ALL BUT POPPED AND PUTS|WOULD|GOT TO| RESET SHE INTO|HADITHS CAPTURED ALGORITHM|TRIMMING MISSISSIPPI INDIANS|WHEN POLISH PROVINCIAL GOVERNOR MAN AND FOR SURE ONE LUCKY HOT august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Fri, 20 Jun 2003 23:05:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: PENULTIMATE DYNAMIC INTERPLAY #0346 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit WIRED PARIS REVIEW www.wired-paris-review.com CELIA CURTIS PENULTIMATE DYNAMIC INTERPLAY #0346 [excerpt] IT WOULD BE SLOW => IF I ANY PAGE => PAY => UGH => TO AND FOND OF HER LIPSTICK => LOVE => AND HER ELLEN AND ALFRED WERE AS AS TO THE LOPE|DEDA LA|DEDE => AS THEY WERE BEFORE STIFLING => UNLIKE => TO HIS AND FOR ME THIS OF MINE HIM THE AND ACROSS THE ROSE => ROUSE => RUE => AND HIM INTO THE SMUT => OF JOTTINGS => LAWYERS => A INSURANCE => LOAD => CHILL FROM THE MATERIALS => AND FROM STARRY LIPSTICK => LOVE => OF THEM HE LATER => LAWCOURT => HE COULD NOT OUT TO HIS DEPRESSION => AND ALL DESERVED AS WHEN HE WAS LITTLE CUSTOMS => DAME => HE TO BE OF PRINTS OF WAS ON SPRINTED => HE COULD COGNITION => IT THE SIGN => WALTER => HERETICS AND BLASPHEMERS WE THAT ARE BAPTISED IN OUR PLAYING => POKER => CONSIDERATION => WITHOUT MY PRAYING FOR ITS LEADING => YOU WE ARE ALL SO FOR YOU BUT FIRING => IT LITTLE THRUSH => THERE BE AND WHAT DID HE SAY TO THAT CUSTOMS => DAME => SPELL => SPENT => HIS CANDLESTICKMAKER => IN WAS THIS WAS IT ASTROLOGERS OF THE MAGI => FROM THE STARS THE AGED MADE IN MONEY => AND THEN THE DELAY => DELICATE => OF THAT STREETS => STRIPE => GRIPPED THEM ALL AND THEY ABOUT YOU AND YOU TO TO HER ELLEN WAS IN SUCH ATTENTION => FEELER => WHEN SHE WHEN THE MOWER => RETIRED RODRIGUEZ LISTENER => ORATOR => HAD RESPOND => WELTERSHELTER => TIED FOR OUT TO FORGIVE => FORGOT => DISCOVER => DREAM => FART => FRAGRANCE => COPE AT WHICH ALFRED BLUSHED AND THE ONLINE GOODNESS => OBEY => OBJECTIVE => HER MANCE => AND POINTS => IDEALS => THE CONSTELLATION => OVER HER DID HE SAY SO EVER THERE XHAUSTIONS => ALFRED THOUGH HIS EPAULETTES => HAS BEEN SO OF DRIFTING => WHICH HAD SAVED THE TURNIPS FROM THE STATION => THERE => PAUPER THEN THEY HIM ON TO HIS FURTIVE => LAWLESS => YES HE BE NO XHAUSTIONS => MOTION => ALL DECLINY AS I TO AS THEY RODE FOR HE AND DON ALDERON RECOGNISED FLAVOURPALATETANGACQ => AND EMBASSY => NO MOTION => SPACE => WOULD FOR ALFRED LISTENER => ORATOR => HAD HIM ACTIVITIES => HE WAS GETTING TO THE SOBS THAT BOWS => UNDONE => HIS BROTHER AND HIS WAS LOW-AY SO MY MOTHER BUT YOU SHOULD HIS JULY => NAME => WITH TO READERS => MOTION => SPACE => LISTENER => ORATOR => SO CARED FOR HIM AND FRIGHTENING => PRAYERS WITHOUT MINDING THEM HE HAD BEEN ANXIETY => AND OF AN VIRGINITY => WANTED => WAS IN THE DENOUNCED AS FEW WHICH => DONT => THERE ARE IN HOLLY => HOPPER => LISTENER => ORATOR => WOULD ADDED TURNING TO ALFRED COURSING MOTION => SPACE => AFTER THE THERE => FARTING => FROM HIS EYES HIS DUSTER => BIRDS => NO BUT DENSE => FROM HIS MOTHER CONTEMPLATING => AND HE WITH FLAVOURPALATETANGACQ => THERE WAS A OF SHYNESS WHICH HINDERED THE MOWER => BUT FOR INVISIBLE => LINER => BUT WORKETH AN EXCEEDING OF OINTMENT => PAD => AND IF COPE WANT NOT HAS => TO HOW IT WAS-ABOUT FIRING => AND PAUL GONE CRIED AND ELLEN WITH MOTION => SPACE => AGHAST HIS DISTRIBUTION => IN THE PERFORMANCE => LOFT THE SHUFFLER PRESENTED => GAVE HIM AN COLOURS => RE => JOTTINGS => LAWYERS => LISTENER => ORATOR => RULED OVER THE RECOGNIZE => RIBCAGE => WHICH SHE HAD ENTERED RICHNESS OF THE KILLED => HEALTH => ON THE PURSEFINANCESPENDALL => OF DAINTILY WITH THAT CUSTOMS => DAME => THAT ELLEN ON VELAWNLEAF => AND HAVE IT HE MORANO CRAG => THERE WONDERING AWHILE AS THEY WILLOW|HAMLETS => ON THE HE THERE CUSTOMS => DAME => IN OUR LISTENER => ORATOR => THERE IS NO LAUGHING AT THE BOYS LISTENER => ORATOR => LIMELARGER => BEER => TO HIM WAS SIGN => WALTER => IT PAUL SIGN => WALTER => OBSTINATE => ABOUT THE DECISIONS => MEMOIR => MONTHLY => ALL THE KILLED => LISTENER => ORATOR => COULD NOT WITH HIM AND THE SHUDDER => AND MAGISTRATES => MERCY => AS CENTENARY => FOR CAREFULLY => CELLO => BEEN MOTION => SPACE => OF HIS STEPS|INQUEST => COMFORTS INTO THE CONSIDERATE => FOR THE WAS ALL HALLOWED NEWLY august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.489 / Virus Database: 288 - Release Date: 6/10/2003 ========================================================================= Date: Sat, 21 Jun 2003 08:14:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Re: Salvation by Palindrome MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Palindromic diplomacy, I love it. A bit like "palindromic ethics." But my favorite palindrome is neither diplomatic nor ethical: "I maim nine men in Miami." From Steve McCaffery's _The Black Debt_. Scott ----- Original Message ----- From: "Stephen Vincent" To: Sent: Friday, June 20, 2003 12:17 PM Subject: Re: Salvation by Palindrome > This is a great find, Scott. What is a poet now to deduce. Immediately I > thought of a new line of instinctual "palindromic diplomacy" in which > bi-polar country pairs (Turkey/Kurdistan), (Palestine/Israel), > (Northern/Southern California), (Irelands) etc. get their DNA sequences > aligned to be politcally (etc.) so sweetly embraced. > > Who knows such diplomacy might be the one thing that saves the entire > species from extinction. > > Well, there is still the question of earthquakes and other looming natural > disasters which are not, it seems, palindromatically oriented. > > Still, a wonderful find. > > Stephen V > > > on 6/20/03 4:33 AM, Scott Pound at pounds@BILKENT.EDU.TR wrote: > > > "The Y chromosome is made of a single DNA molecule that is 51 million units of > > DNA in length. Within the chromosome, Dr. Page and his colleagues report in > > Nature today, lie eight vast palindromes, regions that carry identical > > sequences of DNA units that run in opposite directions like the letters in the > > sentence "Madam, I'm Adam." > > > > "By making a hairpin bend in the middle of a palindrome, the two arms can be > > brought together, aligning two long stretches of almost identical DNA > > sequence. That is the same step that precedes recombination between the > > maternal and paternal members of each ordinary chromosome pair, which also > > have almost identical sequences. > > > > "In the case of the Y, the alignment of the palindromic sequences leads to > > gene conversion. A mutated gene on one arm of the palindrome can be converted > > to the undamaged sequence preserved on the other arm. > > > > "This narcissistic process of salvation by palindrome seems to be what has > > saved men from extinction so far. It serves at least to counterbalance the > > decay caused by the lack of recombination. But Dr. Page and others say it is > > too soon to say which force is now uppermost." > > > > http://www.nytimes.com/2003/06/19/science/19GENE.html > > ________________________ > > > > Scott Pound > > Assistant Professor > > Department of American Culture and Literature > > Bilkent University > > TR-06800 Bilkent, Ankara > > TURKEY > > > > +90 (312) 290 3115 (office) > > +90 (312) 290 2791 (home) > > +90 (312) 266 4081 (fax) > > > > pounds@bilkent.edu.tr > > http://www.bilkent.edu.tr/~pounds > > ========================================================================= Date: Sat, 21 Jun 2003 10:15:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: Salvation by Palindrome In-Reply-To: <001401c337ee$bca1f2a0$666fb38b@Moby> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Scott, Writing from DC, where it will shortly be "too hot to hoot," I have to admit with some shame that my favorite palindrome is "Xanax." But there's always the masterful: "T. Eliot, top bard, notes putrid tang emanating, is sad. I'd assign it a name: gnat-dirt upset on drab pot-toilet." Gwyn --- "We should all heed the universal call to like your neighbor just like you like to be liked yourself." -- George W. Bush, quoted in the Financial Times, January 14, 2000 ========================================================================= Date: Sat, 21 Jun 2003 11:15:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: irving weiss Subject: Re Arnold Dreyblatt Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dreyblatt: Aus den Archiven/From the Archives (Stadtgalerie Saarbr=FCcken - Keurer). In German and English. Just published. A critical recognition, amply illustrated, with personal interview (including DVD) of the American Arnold Dreyblatt's 30 years achievement as a hypertext installation artist, digital text archivist, and acoustic instrument designer and composer. Nothing to do with the above, does anyone know where the following comes from and who wrote it, dated after WWI, which I misremember and barbarize a= s something like: Und jetzt ist kommen der Krieg, der Krieg, Und jetzt ist kommen der Krieg, der Krieg, Und jetzt ist kommen der Krieg, der Krieg. Wer will nun k=FCssen Mein weissen leib. Which I think I once saw in a book about Joyce, maybe the Ellman bio. Irving Weiss http://members.tripod.com/~sialbach/ ========================================================================= Date: Sat, 21 Jun 2003 15:39:58 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: AUDACIOUS IMAGINATION: A TRIBUTE TO BARBARA GUEST MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The UC Berkeley Art Museum and Pacific Film Archive in conjunction with Kelsey St. Press, presents AUDACIOUS IMAGINATION: A TRIBUTE TO BARBARA GUEST Sunday, June 29 3:30-5:30 PM Reception to Follow Museum Theater, Berkeley Art Museum 2625 Durant Ave, Berkeley, CA Poets and visual artists celebrate the work of poet Barbara Guest on the occasion of the publication of her two latest books: Forces of Imagination: Writing on Writing, and Durer in the Window. These two collections of essays on art and poetics illuminate Guest's use of painting from ancient Japanese Genji scrolls to Picasso, Delacroix to Frankenthaler--as inspiration and example for her own work. She has written, "the physical extravagance of paint, of enormous canvases can cause a nurturing envy in the poet that prods his greatest possession, the imagination, into an expansion of its borders." Guest's career spans five decades, from her association with the New York School in the 1950s to the present, and twenty-four books of poetry; in 1999 she was awarded the Frost Medal for Lifetime Achievement by the Poetry Society of America. Poet Ann Lauterbach will introduce the event followed by a number of presenters, each one reading a favorite Guest poem selected from her entire oeuvre. Participants include the following poets and artists: Mary Abbott Mei-mei Berssenbrugge June Felter Robert Gluck Robert Hass Brenda Hillman Andrew Joron Kevin Killian Laurie Reid Camille Roy Jocelyn Saidenberg Africa Wayne Forces of Imagination: Writing on Writing (Kelsey St. Press) is a collection of Guest's essays on poetics spanning three decades. John Ashbery has written that these essays "are among the most inspiring works of their kind." Durer in the Window (Roof Books) is a compilation of Guest's art reviews and essays from the 1950s to the present accompanied by full-color reproductions of the relevant artworks. ========================================================================= Date: Sat, 21 Jun 2003 13:02:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Solstice Offering In-Reply-To: <7c.3a6efd81.2c260e8e@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable At the risk of going against my own rule to normally not never to tangle this list with a poem - but, nevertheless, to honor the great gravity and pull of the day, its gifts and wonders, and in the delightful spirit of solar share, an offering: In these kind houses =AD the ones with the aqua- transparent blue walls =AD bring your friends, bow to the Gladiola, the Tiger Lily, the white-throated Woodpecker, the iridescent fuchsia-burgundy Humming-bird, the out-sprung blue winged Heron on a hop and a hop Along the green river between & around her huge, light brown thighs, the sun sprinkling nothing but heat and the ting-ting metal handle against the slender, aluminum canoe, the dry brush, dark climbing ivy, entwined light green willow, the fir, the redwood, an intemperate sky, the sand swollen beach, small gray river stone, each forward stroke, palm to handle, pull or push against, the water awash: deliverance, an intimacy unto sorrow. Stephen Vincent ========================================================================= Date: Sat, 21 Jun 2003 16:29:19 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Mark Weiss, Ok, this is interesting to hear about Mexico. I wanted to know if the people that live there are then all single males. Going back and forth can't be easy. How do people support themselves outside of America? It's hard unless you have a work permit, or are willing to marry a foreign person, or unless you are independently wealthy. I've got three kids, so it's hard to move around like that -- popping over borders to get passports stamped, etc. I never went to Belgium when I lived in Paris for a year, but lived in fear of getting picked up by the cops. Once at Les Halles they raided the people who often tried to sleep on the Les Halles metro station -- mostly Africans, I think. These giant policemen were checking passports and people were running in every direction. I was walking calmly away and some young man was running from a big cop, and turned a corner and smashed into me and we both fell down. The cop thanked me and checked his passport, but didn't think to check mine. I always wore a bowtie and suitcoat to make myself look as innocuous as possible, though. I got tired of even that after a year -- tutoring high school kids for their English baccalaureate. All ten of my kids passed, at least. I'd have never thought of Gainesville Florida as a possible place to live. I drove past the university there once. It never occurred to me that either that or Lawrence would be liveable places. I wonder what would be some of the least liveable places? They seem to shift very quickly. I had a friend who tried to live in downtown Detroit for a year and he said the only thing open at night was the police station, and the only thing you heard at night was police sirens. They had even closed the convenience stores at 4 pm. It makes me think of that great awful movie Ft. Apache in the Bronx, if that's the one with Charles Bronson on a rampage. I have a feeling that Las Vegas or Reno would actually be ok to live in. Anybody live there on this list? What is Minneapolis like? What is Buffalo like? In Portland Oregon I heard on NPR they just took 5000 heroin addicts off of methadone because the program ran out of money. That should improve the quality of life a lot, I imagine. Let loose 5000 addicts, without money, so that they have to get the money for a fix, and watch the misery index climb over the next several months. 80% of the junkies were expected to go back on heroin within a week. -- Kirby ========================================================================= Date: Sat, 21 Jun 2003 14:02:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: PLACES TO LIVE Comments: To: olsonjk@delhi.edu In-Reply-To: <3EF4C01E.5B58BEF9@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I can only answer a little of this. Work is always a problem in foreign countries (best to get a job befoire leaving with an outfit that's willing to get you working papers--lots of luck), but popping across borders sometimes isn't. Expats on tourist visas in Paris take the TGV to Belgium and return same route same day. Anyone know what plans are afoot in the EU re: tourist visas? If it's all to be one unit for immigration purposes does that mean that the outsider's 3 month tourist permit now covers the whole continent? Mark At 04:29 PM 6/21/2003 -0400, Kirby Olson wrote: >Mark Weiss, > >Ok, this is interesting to hear about Mexico. I wanted to know if the >people that >live there are then all single males. Going back and forth can't be >easy. How do >people support themselves outside of America? It's hard unless you have a >work >permit, or are willing to marry a foreign person, or unless you are >independently >wealthy. > >I've got three kids, so it's hard to move around like that -- popping over >borders >to get passports stamped, etc. I never went to Belgium when I lived in >Paris for a >year, but lived in fear of getting picked up by the cops. Once at Les >Halles they >raided the people who often tried to sleep on the Les Halles metro station -- >mostly Africans, I think. These giant policemen were checking passports >and people >were running in every direction. I was walking calmly away and some young >man was >running from a big cop, and turned a corner and smashed into me and we >both fell >down. The cop thanked me and checked his passport, but didn't think to check >mine. I always wore a bowtie and suitcoat to make myself look as innocuous as >possible, though. > >I got tired of even that after a year -- tutoring high school kids for their >English baccalaureate. All ten of my kids passed, at least. > >I'd have never thought of Gainesville Florida as a possible place to >live. I drove >past the university there once. It never occurred to me that either that or >Lawrence would be liveable places. > >I wonder what would be some of the least liveable places? They seem to >shift very >quickly. I had a friend who tried to live in downtown Detroit for a year >and he >said the only thing open at night was the police station, and the only >thing you >heard at night was police sirens. They had even closed the convenience >stores at 4 >pm. It makes me think of that great awful movie Ft. Apache in the Bronx, >if that's >the one with Charles Bronson on a rampage. I have a feeling that Las >Vegas or Reno >would actually be ok to live in. Anybody live there on this list? What is >Minneapolis like? What is Buffalo like? In Portland Oregon I heard on >NPR they >just took 5000 heroin addicts off of methadone because the program ran out of >money. That should improve the quality of life a lot, I imagine. Let >loose 5000 >addicts, without money, so that they have to get the money for a fix, and >watch the >misery index climb over the next several months. 80% of the junkies were >expected >to go back on heroin within a week. > >-- Kirby ========================================================================= Date: Sat, 21 Jun 2003 17:37:13 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Mark Weiss and others on the places thread: What are some places that are kind of like pilgrimages for American poets? I was just drumming up a list: Gloucester, obviously, for Olson-ites, Maybe Brooklyn's Prospect Park to see the Camperdown Elm for Marianne Moore fiends Paterson, I guess, for WCW fans (though that city I believe has changed tremendously since he wrote about it) -- What else? Obviously you have to see Paris, generally. Do people look up Pound's residence in Italy? There's City Lights, I guess. St. Marks in NYC. What other places have been made more or less sacred by poets for poets, especially in America? Are there places like that in Canada? -- Kirby Olson ========================================================================= Date: Sat, 21 Jun 2003 15:33:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: PLACES TO LIVE Comments: To: olsonjk@delhi.edu In-Reply-To: <3EF4D008.1FBE0FCD@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed No place stays the same. Gloucester, for instance, is now yuppieland, and the houses in Fort Square, when Olson lived there a Portuguese slum, now cost megabucks. The buildings are the same, tho gussied up almost beyond recognition, but there are no kids playing outside and the fishnets no longer filter the view towards town. Poe's grave in Baltimore. Apollinaire's in Pere Lachaise. Drancy and Quimper for Max Jacob. The site of the Bateau Lavoire. Not to mention Yeats' castle. And the Aran Islands for Synge. Dunkeld for Gavin Douglas. Any bar in the old section of Dumfries for the spirits of Burns. The remains of the great hall in Carcassonne, for all the troubadors who sang there. My guess is that wherever you are is sacred to the memory of some or another writer, there being no shortage of same. At 05:37 PM 6/21/2003 -0400, Kirby Olson wrote: >Mark Weiss and others on the places thread: > >What are some places that are kind of like pilgrimages for American >poets? I was >just drumming up a list: > >Gloucester, obviously, for Olson-ites, >Maybe Brooklyn's Prospect Park to see the Camperdown Elm for Marianne >Moore fiends >Paterson, I guess, for WCW fans (though that city I believe has changed >tremendously since he wrote about it) > >-- What else? Obviously you have to see Paris, generally. Do people look up >Pound's residence in Italy? > >There's City Lights, I guess. > >St. Marks in NYC. > >What other places have been made more or less sacred by poets for poets, >especially >in America? > >Are there places like that in Canada? > >-- Kirby Olson ========================================================================= Date: Sat, 21 Jun 2003 18:18:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Re: Solstice Offering MIME-Version: 1.0 Content-Type: text/plain Stephen, A poetry list without poetry wouldn't make much sense to me... thanks so much for posting this vivid, evocative poem--so overflowing with life, so lovely to celebrate solstice hearing this poem. Chris Murray ========================================================================= Date: Sat, 21 Jun 2003 17:18:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: oil is a wmd MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII body to it, gooseberry, race e-, abla, prover, dun comb, hand that works, tamat, ching ching ching, parts per million, under plastic, still to be, this writing is a write off, co-pie, approve our eyes, knowing what we know, now is your chance, what else do you see, no we can't read, goes tory, what is entering, permanent hair, not what we are looking for, scream at my eyes, so rent, book war, consciousness shift, windfields, train forward, break on thru, not a clue, war for sale, fascinating books, time spill, adventure map, still book, rethinking the book again, merely bought, serious series, know en, aninterpretation, flay the keys, hones, word window, artifice of intelligence, the run into, really still winter, l'mark, mark karma, vanway, folker, becoming americans, allweld, eclectic materialism, >-----------------------------------< not a word day, peon poem, thou mandrake, sell ourselves back to us, see the diff, for the developments, diaminds, eese, earchin', a work of something, work for vee, orphin', no sign of not >-----------------------------------< touchlove, books will not help you, all the way from the desert to minus twenty-four, marked down, the power of pussy, both weighs, did we try, relinkwish ego, becoming as nothing, sell felp, as for me and my house, you clue, book to set you free to enter any prison, ----------------------------------------- ========================================================================= Date: Sat, 21 Jun 2003 20:18:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: MAXIMUS, MINIMUS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Thanks. I'm glad you liked it. I probably qualify as Minimus simply = because > I'm about a foot shorter than Olson. Do you think his doubts were = greater > than other writers'? I wrote because I dreamed of doing more things = than I > could possibly do, and because I wrote better than I could do any of = those > things. I think a successful life is little more than a matter of = one's > perception at any given moment. One minute you feel successful. Then > something happens and the same qualities plus one make you feel like a > failure. I look at success as being analogous to organic chemistry. If = you > add a molecule of carbon to an existing carbon chain, you get an = entirely > different substance, in this instance a perception of failure. The = next > carbon molecule you add could make you perceive yourself as a success = in a > different way, etc. Really, there's nothing to sing about except the = singing > itself. If you stop, the silence might kill you. That's my best = guess, > anyway. I'm not on top of the situation, I'm in the middle of it---and = not > about to shut up any time soon. > > Vernon ========================================================================= Date: Sat, 21 Jun 2003 18:42:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Fwd: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > > Ok, but I loved Portland, OR when we visited. It > was > > incredibly well-planned (interesting neighborhoods > > where boutiques happily co-existed with auto > shops), > > friendly, quiet, interesting without being > generic, > > great style, etc. > > > > This is my biggest hobby, thinking about great > places > > to live. My husband and I travel just so we can > > figure out if we could live in a certain place. > We > > have requirements: a good indie video store, ditto bookstore, health > > food co-op, interesting restaurants and stores > (just a > > few is plenty), interesting architecture, nice > > attitude, little to no chains or strip malls, etc. > So > > far, our favorites include: > > 1) Belfast, Maine (we just got married there) > > 2) Portland, OR > > 3) Portland, ME > > 4) Olympia, WA > > 5) Great Barrington, MA > > 6) Providence, RI > > 7) Ithaca, NY > > 8) Asheville, NC > > > > I'm happy to elaborate on any of these. I also > liked > > San Luis Obispo, CA when I was there awhile back. > And > > I've heard great things about lots of places we > > haven't been--including Lawerence, Madison, etc. > Soon > > we're moving to Chicago. > > > > We also really liked Buffalo a lot--some of it's > > depressing, and the weather certainly is, but a > lot of > > it is full of character and charm, cheap, great > > bookstores, great cafes that are open really late, > > etc. > > > > And we love, love, love Paris. And just found a > cool > > neighborhood we had never discovered in Brooklyn, > NYC: > > Boerum Hill. > > As for other pilgrimages for poets--Buffalo's rare book collection (hi, Michael!), Grolier Books in Cambridge. Arielle __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Sat, 21 Jun 2003 20:06:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: MOLLY >YES BEC'RSE In-Reply-To: <001401c33853$dcf32870$8568f30c@S0027338986> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit MOLLY >YES BEC'RSE Abecederianismus <-> hfnhrmzrivwvxvyZ Modusoperandi: Cherry-picks the 26 letters of the alphabet front to to back, then back to front, from an n-char segmentted text. (n = 7) # Yes bec'rse nex'y throw'maids v'n accou'nt of h'never s'ked mor'oking q'the imp'ence to'o me on'e time 'well do'or pick'her I j'k of hi'like th'ck sing'uch a f'ool he 'said Im'atisfac'ot to b'e alway'oking b'it sinc' cant d'it myse'lf a yo'ung boy'nfuse h'im a li'n the j'I was k'at wool't the m'onument'ed me o'man Emp'ome liq'ueur Id'ke to s'ip thos'pped ou'elt lov'under w' of mix'ecially's skeez'he bicy'complex'he brow' whatev' any qu'estions'along s'g after'g too q'l the p'asure o'f it an'the tim' he tol'go back'and I j'fter di'l flush'boiling'me prof'essor I' had to' respec'ful nob'y to sa'h the b'he peac'rst and'just be'ake a f'dalus g'rom sch'ool I n'lfast j'cough k'the wal' do som'ething ' but yo'ays hap'e was q'uite ri'ght so 'e was t'taken u' of rev'a car w's an ex'hat day'ng blaz'ord May'nt at X'of hogw'ight ov't so mu'ch the 'fashion'now gar'he cheq'made up' and do'nt forg' to him' Ill kn'iss lik't and j'n cutti'g up th'atching'y day f'or the 'uch old'agnific'ng it b'ack lik'er comb'e princ'he road'for the'name of' a king' theyre' mans I't the j'yster k' of Wal'ike som'he brin' the wo'ody sup'e the Q'hey wer'lot its' well t'he Surr' reliev'yre alw' can ex' simply'r Gomez'cting y' for ex' a crow'ng brav'toro su're the 'were as'n their'he mosq'didnt p'right o'n it ei'r she m'r peopl'ds rock'arded j'ews in 'their j'r and g'unfire 'for the'nes and'en marc'd the b'agpipes'king ab'wsill c'other d'y to te'never f'orgot h'self wh'en I wa'short j' he lik'h equal'gentlem'ans pro'posal a'he ashp'ah horq'it star'h her s'witch o'in abou'she nev'f the w' her ex' Sunday'embaraz' into y'the nex'res a w'm I lov'ed rous'ing tha'el rrrs'd a bir'nd is q' have p'cle abo't it in'in from'nd expl'oodcock'd the j'ws buri' out th' straig'poke of'f the a'now rid'the bic'woman b'sense a'would b'iting c'ard or 'for the' say af'or Brig'g or th'ames wi'de of J're shak'n my bl' like M'ttle on'es now 'runs up'et a sq'eeze or'wn up s' I went' up Win'hed hav'e or tw' can ex'h money'as blaz' he say'coalbox'e day W' Id nev'ked cou' ride t'he stee'ase for'o be sq'tes tip' and lo'oking a'saw him'wo styl'me to k'the maj'ority o'f them 'er to g'himself' after 'oor old'er of c's too b' the fa'I was b'too bec' a weed' in the'ght bef'over ag'like th'she sai'I was j'ust lik't mysel'order m'e havin'the two'ave a p't the q'e floor'nder is' it nic' Ill cu' Id giv' face w' who ex'd crazy'ral siz'roperly's so ex'ssive w'll I ev'se beau'tiful w'ords as'ng star'ad of q'nt help'f Im yo'ung sti'nder Im't an ol'e not k'after j'er comi'e filth'en he g'his wif'e after' with d'r big c'exity b'ows wha'Im to b'e slooc' around' in the' breakf'running't it sh'attenti'oolly j'acket I'or chil'the sam'e since' O Im n's and p'evils q'ueer na'mes the're fath'te Revu' in Gov'eet O w'h a mix'h for y'can doz'se they mwp ========================================================================= Date: Sat, 21 Jun 2003 23:13:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Just a reminder MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Merry Fortune Wanda Phipps Sunday, June 22, 2003, 6pm, $8.00 minimum 4th Sunday Fall Readings at The Cornelia Street Café 29 Cornelia Street (btwn. W. 4th & Bleecker) NYC 10014 212 989-9319 http://www.corneliastreetcafe.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, 21 Jun 2003 20:59:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: language theory In-Reply-To: <20030619014854.LKDQ4514.lakemtao07.cox.net@smtp.central.cox.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Why can't we talk about America's poetry hotspots if we want? What are >some fruitful locales besides those in big cities like New York? > Kingston, Jamaica, has been the source of a lot of good dub poetry. -- George Bowering Life in a Saab convertible. Fax 604-266-9000 ========================================================================= Date: Sun, 22 Jun 2003 00:09:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Our Childhood Friend MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Our Childhood Friend Antidisestablishmentarianism is a very long word. If you cant spell it youre a twit. Advisory Board. What does antidisestablishmentarianism mean? Dear Straight Dope: Is antidisestablishmentarianism really a word? If antidisestablishmentarianism is: the system of belief. of any person. who is opposed to. those who want to destroy. the standable. thing. which someone made. stand. The word antidisestablishmentarianism is over two thousand years old! The English language has been around in one form or another for about a thousand years. antidisestablishmentarianism is a very long word. If you cant spell it youre a twit. Scratch4 spit kicker Reply, antidisestablishmentarianism antidisestablishmentarianism fancy his average bulgarian jism. Catspaws antidisestablishmentarianism hat. cuz its swanky Catspaws antidisestablishmentarianism hat is in Catspaw. You are not logged in. antidisestablishmentarianism. Opposition to the withdrawal of state support or recognition from an established church, esp. So that means antidisestablishmentarianism is the opposition to the belief of opposing an established order, which, to me, sounds quite a bit like supporting Talk:Antidisestablishmentarianism. clasqm Of course, I havent seen anyone professing antidisestablishmentarianism by that name lately. antidisestablishmentarianism. TOP gt; antidisestablishmentarianism. Setup for catspaws antidisestablishmentarianism hat. Object setup. Name: catspaws antidisestablishmentarianism hat Location Catspaws antidisestablishmentarianism hat. cuz its swanky Catspaws antidisestablishmentarianism hat is in Catspaw. You are not logged in. Forceable Entries. 1/2 a credit to dementia | Main | antidisestablishmentarianism pt.2 August 20, 2002. antidisestablishmentarianism. Forceable Entries. antidisestablishmentarianism | Main | more raw unbridled buffoonery August 21, 2002. antidisestablishmentarianism pt.2. From: graelig antidisestablishmentarianism Date: Mon Oct 16 2000 - 15:36:44 EDT: Maybe reply: graelig antidisestablishmentarianism: quot;RE From: On Behalf Of graelig Is antidisestablishmentarianism really the longest word in English? Although antidisestablishmentarianism is an Name:antidisestablishmentarianism Email:antidisestablishmentarianism Location: antidisestablishmentarianism , antidisestablishmentarianism From: graelig antidisestablishmentarianism Date: Mon Oct 16 2000 - 15:59:00 EDT: Maybe in reply to: graelig antidisestablishmentarianism RE: Gnome hint. From: graelig antidisestablishmentarianism: quot;RE: Gnome hintquot;; In reply to: graelig antidisestablishmentarianism: quot;RE: Gnome hintquot;; From: Jason Gurtz Next message: graelig antidisestablishmentarianism: quot;RE: Gnome hintquot;; hintquot;; Reply: Simon Perreault: quot;Re: Gnome hintquot;; Maybe reply: graelig antidisestablishmentarianism: quot;Re: Gnome hintquot;; Maybe reply: graelig antidisestablishmentarianism. This picture is part of an Internet Art Installation The caption is based on user input and automatically Gnome-order, just to wet your pallet. From: graelig antidisestablishmentarianism Date: Mon Oct 16 2000 - 15:19:26 EDT: Re: Gnome hint. From: graelig antidisestablishmentarianism Date: Thu Oct 19 2000 - 16:34:22 EDT: Next message Thekid. antidisestablishmentarianism antidisestablishmentarianism antidisestablishmentarianism antidisestablishmentarianism antidisestablishmentarianism antidisestablishmentarianism ----- Old McDonald had a farm EIEIO and on the farm he had antidisestablishmentarianism EIEIO with an Back to FAQ List Is antidisestablishmentarianism really the longest word in English? Although antidisestablishmentarianism is an grown up believing that the longest word in the English language (excluding specialized scientific words and nonsense terms) is antidisestablishmentarianism. Name:antidisestablishmentarianism Email:antidisestablishmentarianism Location: antidisestablishmentarianism , antidisestablishmentarianism DB/RPM 4.0. From: graelig antidisestablishmentarianism Date: Tue Oct 10 2000 - 15:08:34 EDT: Next message GPM madness. From: graelig antidisestablishmentarianism Date: Tue Oct 17 2000 - 14:27:49 EDT: Next message RE: Gnome hint. From: graelig antidisestablishmentarianism Date: Fri Oct 20 2000 - 09:31:41 EDT: Next message From: On Behalf Of graelig antidisestablishmentarianism Sent: Thursday On Tue, Oct 17, 2000 at 06:27:49PM +0000, graelig antidisestablishmentarianism wrote: gt; Im installing GPM on my LFS system now--and I noticed some strange grown up believing that the longest word in the English language (excluding specialized scientific words and nonsense terms) is antidisestablishmentarianism. Next message: graelig antidisestablishmentarianism: quot;Re: Gnome hintquot;; Previous message: Greg T Hill: quot;Re: KDE2rc2 compile problemsquot;; 31 EDT). graelig antidisestablishmentarianism (Tue Oct 10 2000 - 15:08:34 EDT). Downloadable mailinglist archives: Gerard Beekmans __ ========================================================================= Date: Fri, 20 Jun 2003 23:06:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: PLACES TO LIVE Comments: To: olsonjk@delhi.edu In-Reply-To: <3EF4D008.1FBE0FCD@delhi.edu> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Sirmione in Italy where Pound met Joyce and worked on the Wasteland would be a good place-- good eats too > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Kirby Olson > Sent: Saturday, June 21, 2003 4:37 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: PLACES TO LIVE > > > Mark Weiss and others on the places thread: > > What are some places that are kind of like pilgrimages for > American poets? I was > just drumming up a list: > > Gloucester, obviously, for Olson-ites, > Maybe Brooklyn's Prospect Park to see the Camperdown Elm for > Marianne Moore fiends > Paterson, I guess, for WCW fans (though that city I believe has changed > tremendously since he wrote about it) > > -- What else? Obviously you have to see Paris, generally. Do > people look up > Pound's residence in Italy? > > There's City Lights, I guess. > > St. Marks in NYC. > > What other places have been made more or less sacred by poets for > poets, especially > in America? > > Are there places like that in Canada? > > -- Kirby Olson > ========================================================================= Date: Sat, 21 Jun 2003 23:31:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Register to Vote for Next Week's MoveOn.org Democratic Primary Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed 1.4 Millions Members: Please register and then vote next week: http://www.moveon.org/ See article here about impact of MoveOn's primary thus far http://www.kansascity.com/mld/kansascity/news/breaking_news/6126650.htm ========================================================================= Date: Sun, 22 Jun 2003 00:42:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Susan gasping lunged Johnny stripping MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Susan gasping lunged Johnny stripping With all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the Susan gasping lunged Johnny stripping with all that Susan had told her about the ineptitudeshe was having even more trouble and the gasping had turnedglowing eyes of LaCroix as he lunged for the ___ ========================================================================= Date: Sun, 22 Jun 2003 14:07:03 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit And some folks from the U Maine Pound listserv did "Pound's London" tours.. Ginsberg did his last reading in London in Blake's baptismal church (now a converted new age venue). In Düsseldorf there is a small wealthy shopping district and train station named after Heinrich Heine. He had apparently lived in the area; I could never find the (rebuilt) house. Actually, I just remembered that I have a book, in German, boxed up several thousand miles away about "literary hotels"(Literarische Hotels?).There was of course the Beat hotel in Paris, and the Chelsea Hotel (NY) for the Americans.. Anybody know this book? I distinctly recall a picture of Ginsberg holding a picture of Rimbaud in his hotel room. He never left home without it.. -Ben ----- Original Message ----- From: "Haas Bianchi" To: Sent: Saturday, June 21, 2003 1:06 PM Subject: Re: PLACES TO LIVE > Sirmione in Italy where Pound met Joyce and worked on the Wasteland would be > a good place-- good eats too > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Kirby Olson > > Sent: Saturday, June 21, 2003 4:37 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: PLACES TO LIVE > > > > > > Mark Weiss and others on the places thread: > > > > What are some places that are kind of like pilgrimages for > > American poets? I was > > just drumming up a list: > > > > Gloucester, obviously, for Olson-ites, > > Maybe Brooklyn's Prospect Park to see the Camperdown Elm for > > Marianne Moore fiends > > Paterson, I guess, for WCW fans (though that city I believe has changed > > tremendously since he wrote about it) > > > > -- What else? Obviously you have to see Paris, generally. Do > > people look up > > Pound's residence in Italy? > > > > There's City Lights, I guess. > > > > St. Marks in NYC. > > > > What other places have been made more or less sacred by poets for > > poets, especially > > in America? > > > > Are there places like that in Canada? > > > > -- Kirby Olson > > > ========================================================================= Date: Sat, 21 Jun 2003 21:48:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: PLACES TO LIVE In-Reply-To: <5.1.0.14.1.20030621135816.0332d540@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii One of the biggest annoyances of being in Portland is being constantly bugged for spare change by dumb punk kids with pure-bred dogs. The acid/heroin casualties have been a fact of life on the West Coast since the 60s...many a moon since the Summer O' Love and the ol' Acid Messiah is still taking his time. Dude. Anyway...there ARE good things about this place. The climate is more moderate than my old stomping grounds back in NE Ohio...you can actually not own a car and get around just fine without one in the city, thanks to the great public transit system....POWELL'S CITY OF BOOKS....no state sales tax (bad if you want to "own" property...great if you don't)...good and great restaurants...lots of movie theatres...fine galleries (esp. Blue Sky)...a large Asian community (which my wife, who is Chinese, really enjoys). What does it look like? I tell my mom..."it looks like Cleveland, but with mountains." Ah, if it only had a steel mill with tall flame stacks...... --- Mark Weiss wrote: > I can only answer a little of this. > > Work is always a problem in foreign countries (best > to get a job befoire > leaving with an outfit that's willing to get you > working papers--lots of > luck), but popping across borders sometimes isn't. > Expats on tourist visas > in Paris take the TGV to Belgium and return same > route same day. > > Anyone know what plans are afoot in the EU re: > tourist visas? If it's all > to be one unit for immigration purposes does that > mean that the outsider's > 3 month tourist permit now covers the whole > continent? > > Mark > > > At 04:29 PM 6/21/2003 -0400, Kirby Olson wrote: > >Mark Weiss, > > > >Ok, this is interesting to hear about Mexico. I > wanted to know if the > >people that > >live there are then all single males. Going back > and forth can't be > >easy. How do > >people support themselves outside of America? It's > hard unless you have a > >work > >permit, or are willing to marry a foreign person, > or unless you are > >independently > >wealthy. > > > >I've got three kids, so it's hard to move around > like that -- popping over > >borders > >to get passports stamped, etc. I never went to > Belgium when I lived in > >Paris for a > >year, but lived in fear of getting picked up by the > cops. Once at Les > >Halles they > >raided the people who often tried to sleep on the > Les Halles metro station -- > >mostly Africans, I think. These giant policemen > were checking passports > >and people > >were running in every direction. I was walking > calmly away and some young > >man was > >running from a big cop, and turned a corner and > smashed into me and we > >both fell > >down. The cop thanked me and checked his passport, > but didn't think to check > >mine. I always wore a bowtie and suitcoat to make > myself look as innocuous as > >possible, though. > > > >I got tired of even that after a year -- tutoring > high school kids for their > >English baccalaureate. All ten of my kids passed, > at least. > > > >I'd have never thought of Gainesville Florida as a > possible place to > >live. I drove > >past the university there once. It never occurred > to me that either that or > >Lawrence would be liveable places. > > > >I wonder what would be some of the least liveable > places? They seem to > >shift very > >quickly. I had a friend who tried to live in > downtown Detroit for a year > >and he > >said the only thing open at night was the police > station, and the only > >thing you > >heard at night was police sirens. They had even > closed the convenience > >stores at 4 > >pm. It makes me think of that great awful movie > Ft. Apache in the Bronx, > >if that's > >the one with Charles Bronson on a rampage. I have > a feeling that Las > >Vegas or Reno > >would actually be ok to live in. Anybody live > there on this list? What is > >Minneapolis like? What is Buffalo like? In > Portland Oregon I heard on > >NPR they > >just took 5000 heroin addicts off of methadone > because the program ran out of > >money. That should improve the quality of life a > lot, I imagine. Let > >loose 5000 > >addicts, without money, so that they have to get > the money for a fix, and > >watch the > >misery index climb over the next several months. > 80% of the junkies were > >expected > >to go back on heroin within a week. > > > >-- Kirby __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 00:50:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Thinking through neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I'm wrestling with Modell's _Imagination and the Meaningful Brain (MIT, 2003) and think it quite relevant to recent discussions here so will be posting bits as I go. I say 'wrestling with' intentionally rather than 'thinking about' as part of his argument is that is that metaphor is a way of thinking that can include the physical and somatic and biological beyond language [p. 33 -"It seems likely that different domains of the mind operate in accordance with different rules"] He draws on Vico rather than Descartes (I remember Vico being included in comparative literature classes somewhere in the remote past even though it was never a part of any English curiculum I was exposed to), for example, p. 20, "'Intentionality differs from a "motive," which is the reason and explanation of the action, and from a "desire," which is the awaeness and experience stemming from the intent' (Freeman, W. _How brains make up their minds_, London, 1999). This meaning is in accord with Vico's understanding that 'meaning is embodied in our total affective interest in the world.'" Memory is not static or localized but "consists of a process of continual recategorization, which must involve continued motor activity and repeated rehersal (Edelman, G. _The remembered present, NY, 1989) This book is more than an update on Freudian theory - I see it more as reconceptualizing F in light of modern work on neuropsychology. As I go along I welcome comment as I'm not sure how clear I am or how clear I am being and this is something I'm wrestling with not that I've wrestled and conquered. tom bell geezer. com Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sun, 22 Jun 2003 00:39:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: aleph, beth, etc... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Aleph (spring in the grey sun, may 20th for db) sing Bull as it rotates and spell bound now forever to horn that princely accuracy kine etic th champion! circle and lower before the walls r before it wanders and falls wasn't built in a fortnight that one that is (always) possible before both the cradle and the grave the hand that will trace pre mordial medial imal not inertia or like soil more unpotential in the fingers an image in motion=20 not a moving image Beth (latenight poem for RK) Frame it East folklore that sound feet make into wet sand and out again b for embosser a cleaved image in two words logs that were trees follow forwards that plan to dwell it is your house shade her in your colour Daleth (12:56 poem full of doubt most likely for MdB) The leaf of a door on a vertical axis and itself the equilateral key shaped just so sideways and round. The cursive is similar but more rounded; a door and opening, two forms: door and breast. Articulate 'the concept of weaning'. Unguard the breast to open the door, gravity and humility to circulate down, flow into abundance: the collection of maple leaves. flux bucket leaves enter 4 impoverishments: - the corner of the mouth - to withdraw water - detach a branch - thin plebian pail "The victory of the echo over the voice". Gimmel (showery midafternoon Sunday poem with Banff fudge for MS) Written with two, one or two, etc. Ripen away from oneself and then modify the home. Some say, hole is where the hump is, or that camels spit and if they do tunnel, then it must be linearly toward sunset, I mean, the letter Z from out the mountains, past Castle. Heh (morning poem with a hangover for jb and fw) "The relationship between the void and the question is almost apparent." Kom jug, the eh? It Spadinas the tears down. Oh God, that those arms raised themselves, relieved themselves, and then fell, exhausted, emptied or full of space they withheld, a heh m. Het (poem written at derek's while babysitting Madeleine for all of you) Therefore shall evil come upon thee; Thou shalt not know from whence it riseth; And mischief shall fall upon thee suddenly Shoah, misfortune, destruction, Which thou shalt not know. --- verse 11, chapter 47 of the Book of Isaiah 8 clouds and a trap, enclosed upon itself, the mind alone: A line seen through two eyes, an H behind the present time, 11:12 pm, a barrier as non-choice, rain on any day comes down between. Sonnets grounded then held, char held there, a chord ---=20 wood from Thompson forest, brought home to burn, that the center keeps the margins as much as the reverse is true in Milton. Well, trapped by your own choices: is 16 Mile Creek the banks or the water? Aa new pipeline, A, B and you have to move after you dwell through C. Whether a crabapple tree grows in a field or a field grows around the crabapple tree, the trick lies in perspective; threshed between the limits, crushed by the means, a rocky escarpment divides farms, as the ends shift you constantly redefine the letters that eventually appear to confine. 2. Aleph flux from Beth through Gimmel could offer movement through an H, a self, into some future. Weather above letters: rain is not successful, nor is it yet commodifiable, although it does fall, and appear here, bound to the same center we're perpetually falling toward. And in this sense, Earth does, in fact, sustain (we are all supposed to know this). Vav (Mountain and valley poem written thru the foothills of the rockies = on=20 the way to Salmon Arm for JH and PK) 1. The shape of the word is mountain and valleys --- the V up then A and into V down. One speaker cuts out then in over bumps --- how it could sound. An oar makes the drive possible. A ship or boat-like link between banks and or lines. From a different perspective the rainy Friday the 13th drive from Calgary to Salmon Arm could be burdensome; it could be our load to bear. That the peaks, points, hang, are hooked above the line and the word is the Avalanche area tensed along the Trans-Canada. Rain in the Sun roof, descent of the divine energy, a meeting point as our skin absorbs water. Can't write in a tunnel. Slats and columns, supports, I stands movie frame speed. Strobe slow down --- the back then the forth through channel, structure against nature, tsinor, esophagus, trachea, artery or spine. 2. Benveniste attaches the attributes of the visible, voice, view, illumination,truth, shine, to this coordination, junction, meeting- point, phallus, channel, pipe, column, finger, although the shape and etymology do not appear to bear these trees which may have been mistaken for a fortress. 3. Vav performs to indicate male genetalia --- the phallic symbol used for grammar. Clouds over the mountains, not just over, obscure the mountains=20 as the song ends. Through the valleys, clouds lower into, of fir, wind across the void water still drips through onto us and our seats. At the End of the Avalanche area sunlight conjoins, passes, settles along our arms, your upturned face, bright warmth after so much rain, smile, we're almost there. Yod (poem with a sore wisdom tooth for NY at roughly 8:49 pm on a = Saturday) "Come a little bit closer, hear what I have to say..." When I write the word ice the word water is also given and what is taken is time. Zayin (April 1st Poem for sundown) 1. * Weapon, knife,=20 two-edged sword;=20 erase: our words can no longer sit tongue tied; an ariel view; flute; foreword, laws,=20 these instruments: a scale; white hair; *arrows, a dart,=20 javelin: that=20 which penetrates,=20 molten larvae from Australia splits; not pennies,=20 feather: that=20 which remarks: thirst:=20 warrior armed with a spear. * All things leading to=20 a goal, or at least 'there'; an aim; to (to be in complete)=20 a finish; instrument, to make=20 sharp, carve out; to mail. * Per suit: thus, the gal=20 (of the) low, perfection,=20 redenigration, healing. *uncomfort in grammar illustrated in plants:=20 wheat, cedar, aloe;=20 animal: snake; scroll:=20 Shophetim/Judges; tribe: Gad. * foundational to the alefbet triad=20 that progresses to nun and culminates in shin * 7th day, shabbat/a rest,=20 compilation of intent. 2. red twilight=20 and a red dawn: the intent inherent in letters; that this is. From shoulder to shelter, a place to be gotten in two, each space fractures the line, the letter and ink finishes neither, ever at rest, always exists in growth. ========================================================================= Date: Sun, 22 Jun 2003 02:37:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: single-scan prologic importation #001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit single-scan prologic importation #001 excerpt please muse your verse mix for me Slightly smiled. Played hi. Looked because species humour now attack boats still train anti-submarine warfare against Russian Smith Hotel taking drink other present. Course. One cardinal slightly smiled. Played hi. Looked because species humour now Captain Poland. Bow. Recollect night dreamt nothing black attack boats still train anti-submarine warfare against Russian Smith Hotel taking drink other present. Course. One cardinal slightly smiled. Played hi. Looked because species humour now towards secret coveting these things. Yet apostle shows more left. Captain Poland. Bow. Recollect night dreamt nothing black attack boats still train anti-submarine warfare against Russian Smith Hotel taking drink other present. Course. One cardinal slightly smiled. Played hi. Looked because species humour now wanderings must avoid close intimate intercourse those who pious. Towards secret coveting these things. Yet apostle shows more left. Captain Poland. Bow. Recollect night dreamt nothing black attack boats still train anti-submarine warfare against Russian stovepiped. Played. Rate. Somewhat bitter reply. Where Gerry? Smith Hotel taking drink other present. Course. One cardinal inspections. Zinni innovated called continuous presence Gulf wanderings must avoid close intimate intercourse those who pious. Towards secret coveting these things. Yet apostle shows more left. Captain Poland. Bow. Recollect night dreamt nothing black Congress order deflect criticism DoD responding changed each man stovepiped. Played. Rate. Somewhat bitter reply. Where Gerry? Aud meanwhile continue investigations marriage accomplished. Inspections. Zinni innovated called continuous presence Gulf wanderings must avoid close intimate intercourse those who pious. Towards secret coveting these things. Yet apostle shows more left. Congress order deflect criticism DoD responding changed each man stovepiped. Played. Rate. Somewhat bitter reply. Where Gerry? Mysterious death. Captain Poland! Nodded. Increase. Now. Too pilots pipeline fill pilot rosters aud meanwhile continue investigations marriage accomplished. Inspections. Zinni innovated called continuous presence Gulf wanderings must avoid close intimate intercourse those who pious. Town always gay always bright sunshine. Never place changing Congress order deflect criticism DoD responding changed each man stovepiped. Played. Rate. Somewhat bitter reply. Where Gerry? Maduro wrapped Churchill ring stood talking low tones lonely Mysterious death. Captain Poland! Nodded. Increase. Now. Too pilots pipeline fill pilot rosters aud meanwhile continue investigations marriage accomplished. Inspections. Zinni innovated called continuous presence Gulf examination. Got Wentworth stand guard loaded shot gun very post. Town always gay always bright sunshine. Never place changing Congress order deflect criticism DoD responding changed each man Maduro wrapped Churchill ring stood talking low tones lonely Mysterious death. Captain Poland! Nodded. Increase. Now. Too pilots pipeline fill pilot rosters aud meanwhile continue investigations marriage accomplished. Hills. Uncertain course. Suddenly poised themselves wing skimmed examination. Got Wentworth stand guard loaded shot gun very post. Town always gay always bright sunshine. Never place changing ago. First summer came Maduro wrapped Churchill ring stood talking low tones lonely Mysterious death. Captain Poland! Nodded. Increase. Now. Too pilots pipeline fill pilot rosters till length got hills. Uncertain course. Suddenly poised themselves wing skimmed examination. Got Wentworth stand guard loaded shot gun very post. Town always gay always bright sunshine. Never place changing increase funding defense. People. Done. Added. Heart! Ago. First summer came Maduro wrapped Churchill ring stood talking low tones lonely genuine faith begins truly operate. Always found torn off bed. Till length got hills. Uncertain course. Suddenly poised themselves wing skimmed examination. Got Wentworth stand guard loaded shot gun very post. Increase funding defense. People. Done. Added. Heart! Ago. First summer came august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sun, 22 Jun 2003 02:40:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: optimized matrix-bred cadencing #001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit optimized matrix-bred cadencing #001 excerpt please muse your verse mix for me Institution beneficial interested. Warden Morrison given fair news Smike caught brought back triumph. Ran like wild-fire Working directly Powell. Meigs recast briefing. Place emphasis institution beneficial interested. Warden Morrison given fair news Smike caught brought back triumph. Ran like wild-fire very moment kissed old lord young lady. Pouting manner. Murmured Working directly Powell. Meigs recast briefing. Place emphasis institution beneficial interested. Warden Morrison given fair really randy another man. Let hand. Went kitchen two light room news Smike caught brought back triumph. Ran like wild-fire operating air space. Very moment kissed old lord young lady. Pouting manner. Murmured Working directly Powell. Meigs recast briefing. Place emphasis institution beneficial interested. Warden Morrison given fair Cum whoam. Tell e. Cum whoam. Replied Yorkshireman. Sternly. Really randy another man. Let hand. Went kitchen two light room news Smike caught brought back triumph. Ran like wild-fire God requires. Surprising sort jealous ambition advance Dark Light operating air space. Very moment kissed old lord young lady. Pouting manner. Murmured Working directly Powell. Meigs recast briefing. Place emphasis probably Pepperleighs verandah August Why. Very thing. Cum whoam. Tell e. Cum whoam. Replied Yorkshireman. Sternly. Really randy another man. Let hand. Went kitchen two light room against certain interior light conscience. Caused hesitate wait. God requires. Surprising sort jealous ambition advance Dark Light operating air space. Very moment kissed old lord young lady. Pouting manner. Murmured attention. Turn tied legs apron made'em fast chaise. Prevent giving probably Pepperleighs verandah August Why. Very thing. Cum whoam. Tell e. Cum whoam. Replied Yorkshireman. Sternly. Really randy another man. Let hand. Went kitchen two light room Henry called requisition doublebarreled Ah! Only too dearly wish against certain interior light conscience. Caused hesitate wait. God requires. Surprising sort jealous ambition advance Dark Light operating air space. Attention. Turn tied legs apron made'em fast chaise. Prevent giving probably Pepperleighs verandah August Why. Very thing. Cum whoam. Tell e. Cum whoam. Replied Yorkshireman. Sternly. Again. Stared everybody turn. Took another blow horn way devote Henry called requisition doublebarreled Ah! Only too dearly wish against certain interior light conscience. Caused hesitate wait. God requires. Surprising sort jealous ambition advance Dark Light pretext reserving retaining slightest atom. Least reservation mad. Attention. Turn tied legs apron made'em fast chaise. Prevent giving probably Pepperleighs verandah August Why. Very thing. Low cut again. Stared everybody turn. Took another blow horn way devote Henry called requisition doublebarreled Ah! Only too dearly wish against certain interior light conscience. Caused hesitate wait. Only Harry help. Third Cold War levels. Behold new light law. Pretext reserving retaining slightest atom. Least reservation mad. Attention. Turn tied legs apron made'em fast chaise. Prevent giving practice. Thing going turn tariff question. Wish otherwise. Think low cut again. Stared everybody turn. Took another blow horn way devote Henry called requisition doublebarreled Ah! Only too dearly wish only Harry help. Third Cold War levels. Behold new light law. Pretext reserving retaining slightest atom. Least reservation mad. Sir. Cried Sir Mulberry. Man retiring know person name? Practice. Thing going turn tariff question. Wish otherwise. Think low cut again. Stared everybody turn. Took another blow horn way devote responsibilities superpower. Only Harry help. Third Cold War levels. Behold new light law. Pretext reserving retaining slightest atom. Least reservation mad. Mathematical professor two generations back. Yes. Widow. Replied sir. Cried Sir Mulberry. Man retiring know person name? Practice. Thing going turn tariff question. Wish otherwise. Think low cut responsibilities superpower. Only Harry help. Third Cold War levels. Behold new light law. Ten years sentence Kansas State mean? Rejoined Nicholas. Mathematical professor two generations back. Yes. Widow. Replied sir. Cried Sir Mulberry. Man retiring know person name? Practice. Thing going turn tariff question. Wish otherwise. Think august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sun, 22 Jun 2003 09:42:13 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Armantrout - Donnelly - Silliman @ the Drawing Center 6/24 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 Line Reading Rae Armantrout Jean Donnelly Ron Silliman Tuesday, June 24 6:30 PM The Drawing Room 35 Wooster Street* New York City Admission $5 / members free *across the street from the main gallery ========================================================================= Date: Sun, 22 Jun 2003 06:44:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Need for Names of Sound Poets In-Reply-To: <5.1.1.6.2.20030208232340.02b3a910@pop.bway.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A friend of mine, Lee Gurga, is co-teaching a class on contemporary poetry and will be using a list of schools of poetry I made a while back (and which was discussed a bit here). He needs a few names of poets for each school, and I'm not too knowledgeable about sound poetry. Hence, I'd appreciate it if anyone could list a few of the best-known people doing sound poetry (in English). I have Steve McCaffery, Jackson Mac Low and Mike Basinski. References would be nice, too, and names of individual poems, or tapes of poems, etc. Ditto Performance Poets (as most sound poets also are). I see I could use data about environmentalist poets, too--I have Gary Snyder, Karl Kempton and no one else. Wendell Berry? --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 09:54:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: joris@ALBANY.EDU Subject: Re: Need for Names of Sound Poets In-Reply-To: <20030622134406.12732.qmail@web21610.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Bob Cobbing, Paula Claire & others among the Brits. > A friend of mine, Lee Gurga, is co-teaching a class on > contemporary poetry and will be using a list of > schools of poetry I made a while back (and which was > discussed a bit here). He needs a few names of poets > for each school, and I'm not too knowledgeable about > sound poetry. Hence, I'd appreciate it if anyone > could list a few of the best-known people doing sound > poetry (in English). I have Steve McCaffery, Jackson > Mac Low and Mike Basinski. References would be nice, > too, and names of individual poems, or tapes of poems, > etc. > > Ditto Performance Poets (as most sound poets also > are). > > I see I could use data about environmentalist poets, > too--I have Gary Snyder, Karl Kempton and no one else. > Wendell Berry? > > > --Bob G. > > > __________________________________ > Do you Yahoo!? > The New Yahoo! Search - Faster. Easier. Bingo. > http://search.yahoo.com > ========================================================================= Date: Sun, 22 Jun 2003 10:00:05 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AdeenaKarasick@CS.COM Subject: Re: Need for Names of Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit you might want to think about the Four Horseman (which Steve McCaffery was a part of in Canada in the 60's -- and also included bp Nichol, Paul Dutton and Rafael Barreto-Rivera) -- who, um "In a chanting, laughing, screaming dance of the human voice EXPLODE the word and the non-word" and most notably missing for this list is Can. sound poet extraordinaire, bill bissett ========================================================================= Date: Mon, 23 Jun 2003 00:07:51 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Re: Need for Names of Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Don't forget Christian Bök ("motorized razorblades"), and granddaddies Kurt Schwitters ("ursonate") and Marinetti ("Siege of Adrianople", otherwise known as ZANG TUMB TUUMB).. In fact, for a great list and possibly audio resource check out Kenneth Goldsmith's "Kenny G" WFMU show from last Thanksgiving and the week after: http://wfmu.org/playlists/shows/5824 http://wfmu.org/playlists/shows/5966 (Is this show like a secret or shameful or something? It's great and so little talked about.. Goldsmith did a really wild pastiche/texturing during the Siege of Iraq: http://wfmu.org/playlists/shows/7003) And of course the ubu.com website. -Ben ----- Original Message ----- From: To: Sent: Sunday, June 22, 2003 11:00 PM Subject: Re: Need for Names of Sound Poets > you might want to think about the Four Horseman (which Steve McCaffery was a > part of in Canada in the 60's -- and also included bp Nichol, Paul Dutton and > Rafael Barreto-Rivera) -- > who, um "In a chanting, laughing, screaming dance of the human voice EXPLODE > the word and the non-word" > > and most notably missing for this list is Can. sound poet extraordinaire, > bill bissett > ========================================================================= Date: Sun, 22 Jun 2003 07:51:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "Review of "Telematic Embrace" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable My review of Roy Ascott's "Telematic Embrace: Visionary Theories of Art, = Technology, and Consciousness (University of California Press, 2003) is = in today's San Francisco Chronicle. = http://www.sfgate.com/cgi-bin/article.cgi?f=3D/chronicle/archive/2003/06/= 22/RV63539.DTL -Joel ========================================================================= Date: Sun, 22 Jun 2003 08:00:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: "Review of "Telematic Embrace" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Joel, Well Done! Not only is the review interesting, informative and = instructive ,but it happens also to be well written and easy to read = despite the somewhat techie aspects of the subject matter.=20 Alex ----- Original Message -----=20 From: Joel Weishaus=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Sunday, June 22, 2003 7:51 AM Subject: "Review of "Telematic Embrace" My review of Roy Ascott's "Telematic Embrace: Visionary Theories of = Art, Technology, and Consciousness (University of California Press, = 2003) is in today's San Francisco Chronicle. = http://www.sfgate.com/cgi-bin/article.cgi?f=3D/chronicle/archive/2003/06/= 22/RV63539.DTL -Joel ========================================================================= Date: Sun, 22 Jun 2003 11:09:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Need for Names of Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable RE: SOUND POETRIES Don't overlook Michael McClure's "Beast Poems." Verging toward = incantation, consider John Giorno & Giorno Poetry Systems recordings. = Earlier, Zaum poetries. Is sound poetry exclusively a male domain as = this threaded gathering implies? JL -----Original Message----- From: Bob Grumman [mailto:comprepoetica@YAHOO.COM] Sent: Sun 6/22/2003 9:44 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Need for Names of Sound Poets A friend of mine, Lee Gurga, is co-teaching a class on contemporary poetry and will be using a list of schools of poetry I made a while back (and which was discussed a bit here). He needs a few names of poets for each school, and I'm not too knowledgeable about sound poetry. Hence, I'd appreciate it if anyone could list a few of the best-known people doing sound poetry (in English). I have Steve McCaffery, Jackson Mac Low and Mike Basinski. References would be nice, too, and names of individual poems, or tapes of poems, etc. Ditto Performance Poets (as most sound poets also are). I see I could use data about environmentalist poets, too--I have Gary Snyder, Karl Kempton and no one else. Wendell Berry? --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 08:19:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Need for Names of Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit On environmentalist poets, my nomination is Robert Bringhurst. -Joel ----- Original Message ----- From: "Lipman, Joel A." To: Sent: Sunday, June 22, 2003 8:09 AM Subject: Re: Need for Names of Sound Poets > RE: SOUND POETRIES > Don't overlook Michael McClure's "Beast Poems." Verging toward incantation, consider John Giorno & Giorno Poetry Systems recordings. Earlier, Zaum poetries. Is sound poetry exclusively a male domain as this threaded gathering implies? JL > > -----Original Message----- > From: Bob Grumman [mailto:comprepoetica@YAHOO.COM] > Sent: Sun 6/22/2003 9:44 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Cc: > Subject: Need for Names of Sound Poets > A friend of mine, Lee Gurga, is co-teaching a class on > contemporary poetry and will be using a list of > schools of poetry I made a while back (and which was > discussed a bit here). He needs a few names of poets > for each school, and I'm not too knowledgeable about > sound poetry. Hence, I'd appreciate it if anyone > could list a few of the best-known people doing sound > poetry (in English). I have Steve McCaffery, Jackson > Mac Low and Mike Basinski. References would be nice, > too, and names of individual poems, or tapes of poems, > etc. > > Ditto Performance Poets (as most sound poets also > are). > > I see I could use data about environmentalist poets, > too--I have Gary Snyder, Karl Kempton and no one else. > Wendell Berry? > > > --Bob G. > > > __________________________________ > Do you Yahoo!? > The New Yahoo! Search - Faster. Easier. Bingo. > http://search.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 11:53:26 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Penn Kemp is a terrific Canadian sound poet of the female persuasion One could make a case that the performance oriented poetics of Adeena Karasick & Lee Ann Brown qualify as well, Ron ========================================================================= Date: Sun, 22 Jun 2003 10:34:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: Re: "Review of "Telematic Embrace" In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/22/03 8:00 AM, alexander saliby at alex39@MSN.COM wrote: > Joel, > Well Done! Not only is the review interesting, informative and instructive > ,but it happens also to be well written and easy to read despite the somewhat > techie aspects of the subject matter. > Alex Yes, J, beware of the wrath of Alex should you ever write anything that is not sufficiently "easy to read." mwp ========================================================================= Date: Sun, 22 Jun 2003 12:14:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Freebies in Oakland In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" In the last stages of moving, I am getting rid of a metal 2-drawer file cabinet and lots of perfectly good lumber and brackets for wall-mounted shelving. Also available are an electric space heater that buzzes angrily when tipped, a shop table with drawers and a small table made of wicker. All free to whomever on the list wants any one or several of them --call 510-251-8004 before I alert the flea marketeers. I am just east of Oakland's Chinatown. Stamplickers backchannel for my new postal address, whether you wrote me at the old one or not LRSN ========================================================================= Date: Sun, 22 Jun 2003 15:24:56 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Thinking through neuropoetry MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Tom Bell, How does Modell argue that we decide that something is emotionally meaningful. Is this some kind of direct process, or is there a filter of judgment first? I think I agree that we file emotionally meaningful moments in deep, but how come, and what's the process? Is this what he is saying? Geometry goes in one place, and playing with a dog in childhood another? Why do we do this? What purpose does it serve from an evolutionary perspective? -- Kirby Olson ========================================================================= Date: Sun, 22 Jun 2003 15:37:29 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Fwd: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Arielle and Mark -- I like Portland Oregon too. I lived in Beaverton for a year while teaching out there. While Portland is great -- the highest building by law is I think 9 floors or something, and Powell's Books is wonderful, and the street scene (without all the bummy kids with dogs around the light rail stops) is good, Beaverton was something else entirely again. Beaverton is where all the excess of Portland people have moved. It's technically only about ten miles or less outside of Portland. And in fact Portland itself legally goes past Beaverton, in one long corridor of its urban growth boundary so that elk continue to go through the city itself in large herds. But all that is being squeezed out by endless condos dotted with occasional mall plazas. 20 years ago there were 6000 people in the Beaverton area. Now there are 130,000 and it's growing. As a result, nothing works. The streets go from three lanes to two to one and back again in a one or two-block stretch, so there is a constant telescoping in and out of traffic. There aren't any sidewalks either. You can have a sidewalk in front of a new condo and then a grandfathered house that's been there a hundred years refuses to have a sidewalk so you walk in the ditch in front of it and try to avoid getting hit by a bus. You basically can't walk in Beaverton or you'll get killed. Some parts of the road are only fifteen feet wide, and two busses will pass on that stretch and you basically have to jump down in a ditch. Also, all the pavement in Beaverton killed all the little parks they tried to set up. The little parks flood, and so all the trees have died in them. It's like Edgar Allan Poe -- dead trees. They're going to have to bulldoze the parks and replant, a ranger told me once. There are weird animals that look like beavers but have orange teeth living in creepy swamp type areas. They eat all the trees that are left. It's a mess. Then when you get out to Hillsboro it's ok again -- an older town, with lots of nice little 50s houses, and a good old-style Dairy Queen. that area is very Hispanic now. They even have a Hispanic grocery. Beaverton on the other hand is yuppy computer programmers -- who work in faceless buildings on swampy land. Beaverton doesn't have any beavers any longer. It's some kind of weird rat with orange teeth that came out of the bayou that lives there now and has forced out the beaver. -- Kirby Olson ========================================================================= Date: Sun, 22 Jun 2003 15:48:52 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Pilgrimage: Camden and Canyonlands MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Two places I think are worthy of pilgrimages for poets in America, because these places are holy, though in very different ways: Camden NJ and Canyonlands National Park, Utah. Both are holy in that they are places where you may witness directly the action of time itself. Witnessing time is a very important thing for any poet. Camden NJ is the city in which I was born, of course, oh, yeah that, and the place Walt Whitman died (328 Mickle Blvd), just four blocks away from where I was born. OK I'll cease with my cheekiness. I think the place worthy of pilgrimage because the relationship between present-day Camden and Whitman echo America's relationship with poetry: ghettoization. An odd and painful relationship indeed, one struggling to improve itself. Camden at least in 1990 was the poorest per capita city in the US. With the number of dilapidated crack houses in Camden you'd think you were in the Bronx in 1978. Me and my bratty middle-class friends in high school used to drive to Camden to get indigent people to buy liquor for us and as we advanced in our abilities to fuck ourselves up, began driving up to street drug purchases. I remember one evening me and my pal were about to be carjacked, and my friend Joe who was driving actually drove up the sidewalk in order to avoid the armed man in front of us. And yeah they fired a couple of rounds into the back of his car. Explain that to white middle class mom. I think every poet should see Camden as it is now and maybe try to imagine how remote "Leaves of Grass" is from the city that in many ways now looks like Hell. Fortunately people like the very gifted poet Alicia Askenase have done what they could to bring poetry back to Camden by way of running the Walt Whitman Arts Center which has operated inside a gorgeous Carnegie library. I have just read that the state of NJ is slashing all arts funding to 0. They're probably blaming it on a poet (Baraka) and the removal of funding is certainly going to take away from Camden that which such funding has brought back to Camden. So undoubtedly without private funding the Whitman Center will close, and I imagine Alicia will be out of a job? Eesh. Camden NJ is an expression of what we have lost and what we are trying desperately to regain. Another place I recommend for pilgrimage is Canyonlands National Park. First of all, it is perhaps the most beautiful place in America. Eon upon eon of erosion expresses itself in many-colored cliff faces and wildly undulating canyon rims. Red, green, white, black, orange, yellow all held against an endless blue sky. It is as if fractals have come alive, particularly the formation known as Monument Basin when seen from the Islands in the Sky (appropriately named) lookout point. And yet looking out over Canyonlands you cannot believe how large the earth is and how large the stones are that this earth moves and how long all of it takes, and how beautiful it all is. Sometimes I think being at Canyonlands is the closest thing to being on Mars. It's not a flowery or cheery place exactly: it appears as if the earth aches in Canyonlands. But it is truly awe-inspiring. That dissonance inherent within the most striking forms of beauty is what Canyonlands possesses, is what draws me to that place over and over again. Oh and it helps that of all of the gorgeous national parks in Utah, Canyonlands is the least visited. You'll likely find yourself alone even on the most popular of lookout trails. You can go there as a car-bound casual visitor, or you can go as a hiker. Either way is amazing. If you like water, you can visit Canyonlands from the South by way of Lake Powell. Lake Powell's radically undulating coastline, I have been told, is longer than the entire eastern Pacific coast. (I'd like to see how exactly someone figured that out.) Canyonlands is an expression of what we still have and what we are trying desperately to hold on to. So I think if you're going to make pilgrimages for poetry in America, one should undoubtedly be for Walt Whitman, and the other should be for what is left of the striking beauty of the land of America. Camden NJ and Canyonlands National Park. What we in America have lost and what we still have. Yours, Patrick ____________________________________________________________________________ ________ Date: Sat, 21 Jun 2003 17:37:13 -0400 From: Kirby Olson Subject: Re: PLACES TO LIVE Mark Weiss and others on the places thread: What are some places that are kind of like pilgrimages for American poets? I was just drumming up a list: Gloucester, obviously, for Olson-ites, Maybe Brooklyn's Prospect Park to see the Camperdown Elm for Marianne Moore fiends Paterson, I guess, for WCW fans (though that city I believe has changed tremendously since he wrote about it) -- What else? Obviously you have to see Paris, generally. Do people look up Pound's residence in Italy? There's City Lights, I guess. St. Marks in NYC. What other places have been made more or less sacred by poets for poets, especially in America? Are there places like that in Canada? -- Kirby Olson ========================================================================= Date: Sun, 22 Jun 2003 12:47:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Sound Poets In-Reply-To: <000001c338d6$6ed55f60$e3f5f343@Dell> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Jaap Blonk -- many recordings available, mostly on small European new music labels. And though he positions himself more within music than poetry, it wouldn't be much of a stretch to hear Phil Minton as a sound poet. Check out, esp., his quartet's take on themes and language from Finnegan's Wake (title slips my mind at the moment) on the Candian Victo label. Maggie Nichols (sp?) is another interesting one who might fall into this same interzone between music and poetry. Taylor On Sunday, June 22, 2003, at 08:53 AM, Ron wrote: > Penn Kemp is a terrific Canadian sound poet of the female persuasion > > One could make a case that the performance oriented poetics of Adeena > Karasick & Lee Ann Brown qualify as well, > > Ron > ========================================================================= Date: Sun, 22 Jun 2003 16:35:22 EDT 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: POETS Tom Devaney, Chris McCreary, Ethel Rackin, Molly Russakoff, Frank Sherlock MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit HAPPY SOLSTICE everyone! this is a reminder of the upcoming event! FREQUENCY AUDIO JOURNAL FUNDRAISER EVENT THIS FRIDAY June 27th, 7pm at MOLLY'S CAFE & BOOKSTORE http://www.mollysbooks.com 1010 South 9th Street located in the heart of Philadelphia's Italian Market (215)-923-3367 COME HEAR A ROUND-ROBIN WITH POETS Tom Devaney Chris McCreary Ethel Rackin Molly Russakoff Frank Sherlock lots of free cheap wine! the MORE you drink the MORE dough you'll put in the FREQUENCY pot! Here's more information on the other contributors, as well as subscription information: FREQUENCY AUDIO JOURNAL: The Debut Compact Disc edited by Magdalena Zurawski & CAConrad Track 1: I Feel Tractor Track 2: Caroline Bergvall Track 3: Alice Notley Track 4: Gil Ott Track 5: Gil Ott Track 6: Frank Sherlock Track 7: Alan Gilbert Track 8: Michael Gizzi Track 9: Molly Russakoff Track 10: Ange Mlinko Track 11: Jenn McCreary Track 12: I Feel Tractor Track 13: Jeni Olin Track 14: Jeni Olin Track 15: Aaron Kunin Track 16: Eileen Myles Track 17: Jennifer Coleman Track 18: Tom Devaney Track 19: Edwin Torres Track 20: hassen Track 21: hassen Track 22: Ethel Rackin Track 23: Chris McCreary Track 24: Greg Fuchs Track 25: I Feel Tractor Tracks 26-30: FEATURED POET Douglas Oliver ------------- TO SUBSCRIBE TO FREQUENCY AUDIO JOURNAL SEND $11 FOR DEBUT ISSUE (FORTHCOMING IN FALL OF 2003) $20 FOR DEBUT AND ISSUE #2 (FORTHCOMING IN 2004) $150 OR MORE FOR A LIFETIME SUBSCRIPTION (FREQUENCY'S LIFETIME, NOT YOURS) INSTITUTIONAL SUBSCRIPTIONS: $22 PER ISSUE MAKE YOUR CHECK OR MONEY ORDER PAYABLE TO CAConrad, AND MAIL TO: FREQUENCY P.O. Box 22521 Philadelphia, PA 19110 PLEASE INCLUDE YOUR SNAIL MAIL AND E-MAIL ADDRESSES WITH ALL SUBSCRIPTION INFORMATION. ========================================================================= Date: Sun, 22 Jun 2003 17:02:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Where to live: Why not take Albany? and alicia a. MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi all, I lived in Albany for two years, and, prior to that, visited my ex up there for three years. It's the city where I started my press; the city where I first started writing work on a regular basis that I thought was any good; the city where I was first embraced by a community of poets, comprised of the SUNY students--undergrad and grad, the locals, and the state-worker poets. It gets a little cold, but it's a beautiful city, one whose architecture reminds my Boston friends of home; damn affordable--I lived in a 1/4 of a brownstone there with two other boog editors, and we had 3 bedrooms, living room, dining room, eat-in kitchen, bathroom with clawfoot tub, back porch, and back yard, and we paid $200 each (this was 1992-1993); some great bookstores and record shops; some wonderful parks, including Washington Park, designed by Central Park's Frederick Law Olmstead; a bunch of venues and readings; its within three hours of philly, nyc, and boston; an hour from good skiing; swell museums; and a great indie movie theatre. I also met so many amazing poets up there, almost too many to name, but here's a few, some of whom y'all will recognize--David Baratier, Chris Funkhouser, Chris Stroffolino, Rachel Aydt, Tom Nattell, Dan Wilcox, Charlie Rossiter, Don Byrd, Pierre Joris, and, most importantly, Katie Yates, who had been Anne Waldman's ass't. at Naropa, where she graduated with her MFA, and convinced me to attend it for the first time, something to which I'm forever in her debt. Being a town whose population is greatly made up of state workers and students defines the city. The turnover of the students from the numerous colleges in the capital district area (RPI, Union, St. Rose, SUNY-Albany, etc.) helps keep the area fresh, injecting life into the poetry scene. Now, all that being said, I've always said that Albany was a great place until you're 25 and a great place for after you're 55. However great it is, it's still very much a town and not a city, one of those places you need to escape from at a certain age to experience more of life, before you return to it an older age. as ever, david p.s. alicia askenase was, regrettably let go from the whitman association in camden due to budget cuts. damn shame, because she made that place happen in so many ways. -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sun, 22 Jun 2003 14:05:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Palma Subject: Project to timeline the history of knowledge/representation Comments: To: nettime-l@bbs.thing.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I found this interesting site while surfing - this guy's personal project to map out the history of knowledge/representation - http://www.robotwisdom.com/ai/timeline/index.html --Christine ____________________________________ Christine Palma "Echo in the Sense" - - Cultural and Public Affairs Programming KXLU Los Angeles - 88.9 FM Saturday Evenings from 8 to 9 PM **streaming live - www.kxlu.com ** "Take a step into the sublime. . ." ========================================================================= Date: Sun, 22 Jun 2003 15:05:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Fwd: Re: PLACES TO LIVE Comments: To: olsonjk@delhi.edu In-Reply-To: <3EF60579.FD52A972@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Woodchucks? >Beaverton doesn't have any beavers any longer. It's some kind of weird >rat with orange teeth that came out of the bayou that lives there now >and has forced out the beaver. > >-- Kirby Olson ========================================================================= Date: Sun, 22 Jun 2003 15:10:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Sound Poets In-Reply-To: <65A53E85-A4EA-11D7-B4FD-0050E4604912@mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Wow, thanks for all the quick & valuable responses to my request--even though most of them made me feel kind of stupit. How I couldn't have thought of Cobbing and Claire, who knows. And I've even met and heard Christian Bok. Know bissett as a poet on the page but didn't know he did sound poetry. Adeema Karasick and Lee Ann Brown are good choices that I'll use for performance poetry names because I seem now to have more than enough good names for sound poetry. (Vexed area, the difference between sound and performance, that I haven't worked out but maybe eventually will. Are there any non-performing sound poets?) --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 23:15:44 +0100 Reply-To: Robin Hamilton Sender: UB Poetics discussion group From: Robin Hamilton Subject: Re: Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Are there any non-performing sound > poets?) > > --Bob G. There's "The Loch Ness Monster's Song" by Edwin Morgan. Eddie does do it at readings, but it's not really a performance poem. Similarly "First Men on Mercury". But this would call-up the whole problem of an overlap between concrete poetry, sound poetry, and line poetry ... Robin Hamilton ========================================================================= Date: Sun, 22 Jun 2003 15:45:56 -0700 Reply-To: antrobin@clipper.net Sender: UB Poetics discussion group From: Anthony Robinson Subject: Re: Fwd: Re: PLACES TO LIVE In-Reply-To: <5.1.0.14.1.20030622150505.02ddf8c0@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii No, kids. That would be the Nutria. Tony --- Mark Weiss wrote: > Woodchucks? > > > >Beaverton doesn't have any beavers any longer. > It's some kind of weird > >rat with orange teeth that came out of the bayou > that lives there now > >and has forced out the beaver. > > > >-- Kirby Olson __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Mon, 23 Jun 2003 08:55:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: "Announcing Jacket 21: Denby, Baja California, Wieners, more . . . Comments: To: edit@jacketmagazine.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable From John Tranter, Editor, Jacket magazine: _______________________________________________________ Announcing Jacket 21: http://jacketmagazine.com/ . . . Edwin Denby, Baja California, John Wieners, and more . . . _______________________________________________________ Feature: Edwin Denby, 1903-1983 - edited by Karlien van den Beukel - Lynne Hjelmgaard: Ten poems - Rudy Burckhardt: 'And then I met Edwin...': Rudy Burckhardt talks to=20 Simon Pettet - Yvonne Jacquette Burckhardt: Edwin Denby - Jacob Burckhardt: Martens Bar (with photo of Martens Bar and MP3 audio=20 file of Edwin Denby reading 'Disorder, mental, strikes, me; I') - Rudy Burckhardt and Edwin Denby in conversation with Joe Giordano - Vincent Katz: Poem: Edwin Sitting - Nicole Mauro: Ode: To Edwin Denby - Alice Notley: Intersections with Edwin's Lines - Simon Pettet: poem: 'Fortunate proximity of lives...' - Noel Sheridan: Remembering Edwin Denby - Simon Smith and Ron Padgett: A conversation about Edwin Denby - Brian Kim Stefans: poem: A california submerged - Anne Waldman interviews Edwin Denby, 1981 - Edwin Denby interviews artist Neil Welliver - Audio links: Edwin Denby reads five of his poems Feature: Across the Line / Al otro lado - The Poetry of Baja California,=20 edited by Harry Polkinhorn and Mark Weiss, with an Introduction by Mark=20 Weiss, and including poems by: - Ra=FAl Antonio Cota - Francisco Morales - Estela Alicia L=F3pez Lomas - Ra=FAl Jes=FAs Rinc=F3n Meza - V=EDctor Soto Ferrel - Luis Cort=E9s Bargall=F3 - Javier Manr=EDquez - Roberto Castillo Udiarte - Edmundo Lizardi - Rosina Conde - Gilberto Z=FA=F1iga - Gabriel Trujillo Mu=F1oz - Elizabeth Algr=E1vez - Carlos Adolfo Guti=E9rrez Vidal - Heriberto Y=E9pez - Juan Reyna - Dante Salgado John Wieners, 1934-2002 - Pamela Petro: The Hipster of Joy Street - Jack Kimball: John and the Four Dunn(e)s - John Wilkinson: Ladders Novel: Swinging London, 1966 - Tom Clark's novel Who is Sylvia? Chapters one, three and four Interviews: - Tom Clark interviewed by Beat Scene editor Kevin Ring - Michael Leddy interviews Stanley Lombardo, Professor of Classics at the=20 University of Kansas in Lawrence, Kansas, translator of Homer's Iliad=20 (recipient of the Byron Caldwell Book Award) and Odyssey, Hesiod's Works=20 and Days and Theogeny (National Translation Center Award), and Poems and=20 Fragments of Sappho. - Stanley Lombardo: Translations from the Greek: Odyssey 23.156-253, Iliad= =20 19.379-end, and various Sappho pieces - Rachel Loden interviewed by Kent Johnson - Marjorie Perloff: A Conversation with Kenneth Goldsmith John Tranter: - Some background on the United States Poet Laureate - with an adumbration= =20 of a brace of Controversies, and a list of the Consultants in Poetry from=20 1937 to 2002. Ira Cohen: - Nina Zivancevic reviews Poems from the Akashic Record - Ira Cohen interviewed by Nina Zivancevic Reviews: - Jane Augustine: Lorine Niedecker: Collected Works, edited by Jenny= Penberthy - Stephanie Baker: Bread & Fish by Mark Terrill - Tom Clark: 'Double Take: Creeley's New Poems' - Tom Devaney: Chinese Whispers, by John Ashbery - Patrick F. Durgin: Page, by Hannah Weiner - Chris Emery: Noctivagations, by Geraldine Monk - Noah E. Gordon reviews Hocquard and Gevirtz - Brian Henry: Anthem by Jean Donnelly - Tom Hibbard: The Makeshift, by Ethan Paquin - Geraldine McKenzie: Days, by Hank Lazer - Jane Sprague: Miniatures and Other Poems, by Barbara Guest - Jane Sprague: The Vertical Interrogation of Strangers, by Bhanu Kapil= Rider - Nathaniel Tarn: Castaways of the Image Planet, by Geoffrey O'Brien - Harriet Zinnes: Chinese Whispers, by John Ashbery Collaboration: Tom Clark and Anne Waldman: Zombie Dawn David Lehman: The Murder Mystery, Film Noir, and Poetry Poems and Prose - Tom Clark, thirteen poems - Patrick F. Durgin, Four poems - michael farrell, Two poems - Kevin Gallagher, Two poems - Stanley Lombardo, from the Greek - M. F. McAuliffe, Workroom - Ben Mazer, Four poems - Deborah Meadows, from 'The Theory of Subjectivity in Moby-Dick' - Sheila E Murphy and Douglas Barbour, Continuations 30 - Sam Sampson, Hearsay - Tom Savage, Four poems - Peter Riley, Second Sett - Bob Slaymaker and Joe Sorge, Beginning Poets - Chris Tysh, Two poems _____________________________________________ ========================================================================= Date: Sun, 22 Jun 2003 16:11:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Fwd: Re: PLACES TO LIVE Comments: To: antrobin@clipper.net In-Reply-To: <20030622224556.65006.qmail@web10501.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Geez, what a long migration for a small beast. Would be interesting to know the vector. Kirby should know that nutria are edible. Of course, so are beaver (had a lovely plate of same in Paris, of all places, and I mean no sexual innuendo). Mark At 03:45 PM 6/22/2003 -0700, Anthony Robinson wrote: >No, kids. That would be the Nutria. > >Tony > > >--- Mark Weiss wrote: > > Woodchucks? > > > > > > >Beaverton doesn't have any beavers any longer. > > It's some kind of weird > > >rat with orange teeth that came out of the bayou > > that lives there now > > >and has forced out the beaver. > > > > > >-- Kirby Olson > > >__________________________________ >Do you Yahoo!? >SBC Yahoo! DSL - Now only $29.95 per month! >http://sbc.yahoo.com ========================================================================= Date: Sun, 22 Jun 2003 16:33:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Sound Poets In-Reply-To: <005e01c3390b$d35cbe80$a0b5fea9@hamilton2hg13.btinternet.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Not that he never "performed" as such, but arguably Henri Chopin's most significant sound poetry exists primarily as an artifact of various close-miking and multitracking recordings procedures. Taylor On Sunday, June 22, 2003, at 03:15 PM, Robin Hamilton wrote: >> Are there any non-performing sound >> poets?) >> >> --Bob G. > > There's "The Loch Ness Monster's Song" by Edwin Morgan. Eddie does do > it at > readings, but it's not really a performance poem. Similarly "First > Men on > Mercury". > > But this would call-up the whole problem of an overlap between concrete > poetry, sound poetry, and line poetry ... > > Robin Hamilton > ========================================================================= Date: Sun, 22 Jun 2003 20:51:06 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Each One, Reach One Comments: To: Alex Verhoeven , Gigi Lefevre , Bonnie Erickson , ImitaPo , Standard Schaefer MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Please pass along to friends, sign them up if you think they might be open to supporting some resistance to the Bush regime, and help this impeachment movement grow. If a President can be impeached for something as trivial as lying about getting a sloppy blow job then a President must surely be impeachable for committing high crimes against Americans and the global community. Incidentally, George Bush's lying about WMDs is a felony according to his Patriot act and can be added to Bush's long list of impeachable offenses. Yeah, let's see if Asscroft goes after that one any time soon. http://votetoimpeach.org/eachone.htm Patrick -----Original Message----- From: ImpeachBush@VoteToImpeach.org [mailto:ImpeachBush@VoteToImpeach.org] Sent: Sunday, June 22, 2003 4:38 AM Subject: Each One, Reach One How We Will Reach One Million Votes The Each One, Reach One Campaign Dear VoteToImpeach Member, Last month Ramsey Clark appealed to the 250,000 VoteToImpeach members to help build the campaign. Now, we are launching a new initiative to take this campaign to the million vote mark. The framework of the initiative could not be more simple. It is captured in its name: Each One, Reach One. We are asking all VoteToImpeach members to commit to getting just one additional person to vote to impeach online. We know that many members will do more. But if each of us got one person to vote this month we would pass the half a million mark, and if we do the same in the following months, we will have reached the million mark. These million votes will be taken to the House Judiciary Committee. Twenty-nine years ago next month, the House Judiciary Committee, with sharp division, voted for Articles of Impeachment for Richard M. Nixon. Within a month, on August 9, 1974 Richard Nixon resigned rather than face impeachment. Let us not forget that Nixon's near-impeachment and resignation came a year and a half after he won one of the biggest landslide elections in U.S. history. Among the Articles of Impeachment, Nixon was charged with "making or causing to be made false or misleading statements for the purpose of deceiving the people of the United States...." The relevance of the Nixon impeachment proceedings with the case against George W. Bush et al., was noted recently by John Dean, the former counsel to President Nixon in a June 11, 2003 article titled "The Case for Impeachment." Responding to the growing public outcry regarding Bush's lies and deceptions that were used as the rationale for the invasion of Iraq, Dean wrote, "To put it bluntly, if Bush has taken Congress and the nation into war based on bogus information, he is cooked. Manipulation or deliberate misuse of national security intelligence data, if proven, could be a 'high crime' under the Constitution's impeachment clause. It would be also be a violation of federal criminal law, including the broad federal anti-conspiracy statute, which renders it a felony 'to defraud the United States, or any agency thereof in any manner for any purpose.' " It's important to recall that when Richard Nixon resigned, he was about to be impeached by the House of Representatives for misusing the CIA and FBI. After Watergate, all presidents are on notice that manipulating or misusing any agency of the executive branch improperly is a serious abuse of presidential power." Dean asserts, "in the three decades since Watergate, this is the first potential scandal I have seen that could make Watergate pale by comparison. If the Bush administration intentionally manipulated or misrepresented intelligence to get Congress to authorize, and the public to support, military action to take control of Iraq, then that would be a monstrous misdeed." When George W. Bush addressed the nation on March 17, 2003, to announce that war against Iraq had become inevitable and imminent, he stated, "Intelligence gathered by this and other governments leaves no doubt that the Iraq regime continues to possess and conceal some of the most lethal weapons ever devised." Bush administration officials systematically lied to the people of the United States, to Congress and to the United Nations. Tens of thousands of Iraqis have now been killed and maimed. Iraq society has been plunged into chaos and misery. Its sovereignty shredded by an illegal occupation. Hundreds of US GI's have been killed and wounded. While waging an illegal war against the people of Iraq, the administration has carried out a war home -- an attack on the civil rights and liberties of the people of the United States and on the Bill of Rights itself. The VoteToImpeach campaign is a critical effort. As Ramsey Clark stated in his May 12 address at the National Press Club that was broadcast nationally on C-Span: "When people vote to Impeach it is important. It reminds Americans that the Constitution provides the means for removing an Imperial President and officials who commit high crimes." The administration's crimes, including its lies and deceptions, are becoming increasingly exposed in the public discourse and media. Pressure is growing for Congressional hearings on the Administration's lies and deliberate manipulation of "intelligence data" related to the much ballyhooed connection between Iraq and Al' Qaeda and the patently false claim about the "grave and imminent threat" posed by Iraq's alleged Weapons of Mass Destruction. Under these circumstances it is all the more important to expand the grassroots VotetoImpeach campaign. Participate in the Each One, Reach One initiative, and by clicking here you will be taken to the Each One, Reach One page where you can send an email inviting one or more friends, family members or colleagues to join the Impeachment movement. Let's keep the pressure on! All of us at VoteToImpeach.org - - - This e-mail has been sent to persons who have previously communicated with, or voted at, VoteToImpeach.org. If you have been forwarded this e-mail by a friend and wish to receive future e-mails from VoteToImpeach.org, simply Click here to Subscribe. If you have received this in error, or wish to not receive future e-communication from us, please Click here to Unsubscribe. ========================================================================= Date: Sun, 22 Jun 2003 18:00:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: Fwd: Re: PLACES TO LIVE In-Reply-To: <5.1.0.14.1.20030622150505.02ddf8c0@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Not Woodchucks, but Mall Rats! Kirby's description of Beaverton is great! If one takes the Max train out there, you will pass through a long, dark tunnel, only to be greeted with a town right out of Pete Seeger's "Little Boxes". --- Mark Weiss wrote: > Woodchucks? > > > >Beaverton doesn't have any beavers any longer. > It's some kind of weird > >rat with orange teeth that came out of the bayou > that lives there now > >and has forced out the beaver. > > > >-- Kirby Olson __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Mon, 27 Aug 1956 21:06:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Lewis Subject: poetry in hoboken, 6/27 Comments: To: Handlerathome@aol.com Comments: cc: HandH@worldnet.att.net, JuneAvignone@aol.com, zonehenge@yahoo.com, toodledoo27@hotmail.com, jdavis@panix.com, MGarland@ishinc.com, lilycloud9@yahoo.com, HAYES430@aol.com, oimmarc@yahoo.com, chrismeilicke@netzero.net, kgoreilly@aol.com, TRipma3036@aol.com, Ringoglia@msn.com, michaelsx@earthlink.net, david.vincenti@hotmail.com, tsscordo@juno.com Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Celebrating TALISMAN HOUSE PRESS with ED FOSTER JOEL LEWIS MURAT NEMET- NEJAT HOBOKEN HISTORICAL MUSEUM, 1301 HUDSON STREET, HOBOKEN FRIDAY, JUNE 27TH, 7:00PM INFO: (201) 656-2240/or e-mail to this address there will be a reception after the reading free parking availible at 14th & hudson street lot --- museum is near the hoboken north ferry & the 13th & Washington Street bus stop for Port Authority buses & buses from the Hoboken Path Station--e-mail for specific directions ========================================================================= Date: Mon, 23 Jun 2003 02:30:00 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: excerpts from the New Yorker Sparrow Project (w/ props to the MAINSTREAM) Mime-Version: 1.0 Content-Type: text/plain; format=flowed _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Mon, 23 Jun 2003 02:32:16 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: excerpts from the New Yorker Sparrow Project (w/props to the MAINSTREAM) Mime-Version: 1.0 Content-Type: text/plain; format=flowed inspired by the mainstream poets' challenge (http://mainstreampoetry.blogspot.com) ----------------- Sparrow Listen to a recording of a House Sparrow From the Library of Natural Sounds. The Sparrow provides an effective range of 30 to 60 miles and a top speed of 65 mph in a a gigabit-speed testbed. I watched the first professional Language School Give a presentation of bird photographs, songs, identification tips, distribution maps, and life history information for North American birds. If we eat like a bird - immense amounts of food - and lose weight so close to getting the new AC Sparrow is a radar-guided air-to-air missile This Wisconsin-based nursery sells peonies, daylillies, irises. and a white-breasted nuthatch nests in my urethra, and begins to sing. * Sparrow We busted a new song out of our urethra's With Words made using home row and top row letters. Reproductive organs, male, feline, lateral. like spit or tears or menstrual fluids from my anus. The sparrow thought it was the end Due to American kestrels, or "sparrow hawks", to help control starling, blackbird and sparrow numbers The crystal would be used to cut into the underside of the penis Connected to the kidneys by two ureters He is represented riding on a sparrow, and he holds in his hand a bow. A “Kitten Opening” in her abdominal wall A white-breasted nuthatch nests in my urethra, and begins to sing. * Sparrow After a crowd of a dozen people gather and several of them try to open the door, we nest in a deciduous tree, occasionally vine tangles around landing gear, pushrod tubes in place, easy battery access through the top hatch. So that's how the Mechanics come and go Twelve days after my chicks hatch, they are able to fly by themselves. Their parents take them around and show them where to get food For they need to be fed with insects, which form a very important Variation in Song. The eggs will hatch in twelve days In a combination of coloured plastic rings A Sparrow nest defense Where the battery compartment is located and sized for correct balance On the other hand the essence of a pawnshop is bargaining. A white-breasted nuthatch nests in my urethra, and begins to sing. * Sparrow I stop for groceries on the way home and buy out the store (does that count as nesting? ... Then I have a push in which I feel a burning pain at my urethra. If you notice a bird making its way down a tree headfirst overcapitalizing wildwoods the corner of the cabinets; he hits the lazy susan door headfirst battleground urethra plushy customhouse Good Air In, Bad Air Out. First, grab your penis by the base, squeeze up and wipe this swab on your urethra to take a culture Thousands of nesting sea birds, literally covering every inch The stuff passes through my lips to my urethra unchanged! Your remodeled urethra will have a shorter path, so once you wipe It may take a year or two to attract a nesting pair of kestrels The following figure shows the nesting preferences of closely related warbler species. A white-breasted nuthatch nests in my urethra, and begins to sing. Sparrow These must be the zen geniuses of the sparrow species who vibrate and explode onto the next pummel of a rapier. Sesame seed mixed with the contents of sparrow eggs dedicating one part of a solo that morphs into avatar, flying above the housetops. He could see a sparrow hawk circling the inlet looming three hundred feet above it like gleaming modern sparrow reproduction, food availability, and predation. Another sparrow hawk hovered over pyramids of redwood logs about missile motor burnout which accelerated the 435-pound Sparrow Maybe the main Witnessing given to us Is when a white-breasted nuthatch nests in my urethra, and begins to sing. * Sparrow The swallow, sparrow, crow, owl, eagle and hen all wanted to learn To sing in more than one dialect. Does their song change according to the stage of the nesting cycle? In The Scheme Language, Sparrow songs are learned Using Core Readings of the White-Crowned Sparrow so every day in the tree he said I am not afraid of heaven and I am not afraid of earth except for the sun Comparison with Birdsong (again). This simple tree structure we can define a parrot as a bird and a mammal, but not a sparrow. Children see the cynicism of this language. That these snags create good nesting cavities when a white-breasted nuthatch nests in my urethra, and begins to sing. --------------- found at http://processdocuments.blogspot.com _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Sun, 22 Jun 2003 21:25:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: excerpts from the New Yorker Sparrow Project (w/props to the MAINSTREAM) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit would that be an african or an european sparrow... slippage of fun. ----- Original Message ----- From: "ryan fitzpatrick" To: Sent: Sunday, June 22, 2003 8:32 PM Subject: excerpts from the New Yorker Sparrow Project (w/props to the MAINSTREAM) > inspired by the mainstream poets' challenge > (http://mainstreampoetry.blogspot.com) > > ----------------- > > Sparrow > > Listen to a recording of a House Sparrow > From the Library of Natural Sounds. The Sparrow provides > an effective range of 30 to 60 miles > and a top speed of 65 mph in a a gigabit-speed testbed. > > I watched the first professional Language School > Give a presentation of bird photographs, > songs, identification tips, distribution maps, and life history > information for North American birds. > > If we eat like a bird - immense amounts of food - and lose weight > so close to getting the new AC > Sparrow is a radar-guided air-to-air missile > > This Wisconsin-based nursery sells peonies, daylillies, irises. > and a white-breasted nuthatch nests in my > urethra, and begins to sing. > > * > > Sparrow > > We busted a new song out of our urethra's > With Words made using home row and top row letters. > Reproductive organs, male, feline, lateral. > like spit or tears or menstrual fluids from my anus. > > The sparrow thought it was the end > Due to American kestrels, or "sparrow > hawks", to help control starling, blackbird and sparrow numbers > > The crystal would be used > to cut into the underside of the penis > > Connected to the kidneys by two ureters > He is represented riding on a sparrow, and he holds in his hand a bow. > > A "Kitten Opening" > in her abdominal wall > > A white-breasted nuthatch nests in my > urethra, and begins to sing. > > * > > Sparrow > > After a crowd of a dozen people gather > and several of them try to open the door, > we nest in a deciduous tree, occasionally vine tangles > around landing gear, > pushrod tubes in place, > easy battery access through the top hatch. > > So that's how the Mechanics come and go > > Twelve days after my chicks hatch, they are able to fly by themselves. > Their parents take them around and show them where to get food > For they need to be fed with insects, > which form a very important > Variation in Song. > > The eggs will hatch in twelve days > In a combination of coloured plastic rings > A Sparrow nest defense > Where the battery compartment is located > and sized for correct balance > > On the other hand the essence of a pawnshop is bargaining. > > A white-breasted nuthatch nests in my > urethra, and begins to sing. > > * > > Sparrow > > I stop for groceries on the way home > and buy out the store (does that count > as nesting? ... Then I have a push > in which I feel a burning pain at my urethra. > > If you notice a bird making its way > down a tree headfirst > overcapitalizing wildwoods > the corner of the cabinets; he hits the lazy susan door > headfirst battleground urethra plushy customhouse > Good Air In, Bad Air Out. > > First, grab your penis by the base, squeeze up and wipe > this swab on your urethra to take a culture > Thousands of nesting sea birds, literally covering every inch > The stuff passes through my lips to my urethra unchanged! > > Your remodeled urethra will have a shorter path, > so once you wipe It may take a year or two > to attract a nesting pair of kestrels > The following figure shows the nesting preferences > of closely related warbler species. > A white-breasted nuthatch nests in my > urethra, and begins to sing. > > Sparrow > > These must be the zen geniuses of the sparrow species > who vibrate and explode onto the next > pummel of a rapier. > > Sesame seed mixed with the contents of sparrow eggs > dedicating one part of a solo that morphs into > avatar, flying above > the housetops. > > He could see a sparrow hawk circling the inlet > looming three hundred feet above it > like gleaming modern > sparrow reproduction, food availability, and predation. > Another sparrow hawk hovered over pyramids of redwood logs > about missile motor burnout which accelerated the 435-pound Sparrow > > Maybe the main Witnessing given to us > Is when a white-breasted nuthatch nests in my > urethra, and begins to sing. > > * > > Sparrow > > The swallow, sparrow, crow, owl, eagle > and hen all wanted to learn > To sing in more than one dialect. > > Does their song change according to the stage of the nesting cycle? > In The Scheme Language, Sparrow songs are learned > Using Core Readings of the White-Crowned Sparrow > so every day in the tree he said > I am not afraid of heaven and I am not afraid of earth except for the sun > Comparison with Birdsong (again). > > This simple tree structure we can define a parrot as a bird and a mammal, > but not a sparrow. > Children see the cynicism of this language. > That these snags create good nesting cavities > when a white-breasted nuthatch nests in my > urethra, and begins to sing. > > > --------------- > found at http://processdocuments.blogspot.com > > _________________________________________________________________ > STOP MORE SPAM with the new MSN 8 and get 2 months FREE* > http://join.msn.com/?page=features/junkmail > ========================================================================= Date: Mon, 23 Jun 2003 00:01:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2 pieces MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Two pieces History The deposits contain not only prehistoric artifacts but also extraordinary records of fossil flora and fauna, making Hoxne one of the few paleolithic sites where life on Balkan Peninsula and proofs for human presence from paleolithic epoch were of terrain. The visual information is various and it covers flora, fauna and deposits. I began using augmented chords. I began using diminished chords. I jumped equally among the keys. I located tonalities with grave respects. I hammered out major seconds. I worked with astonished rhythms: The great bombs fall incipient. The furious pleasure of the violent president of war. Daddy daddy won a country! We fought the good fight, now we're out of sight. ... I called the slogans and played around them. I described the slogans and the music playing. I played the music and called around it: Furious motivations. White culture death. Obscenity. Fury. ... I forgot the music and entered space. I was in the zone. I went back to Hoxne. I was in Hoxne. I left traces. I was furious for an optimistic future. ___ (mod from Kenji Siratori mod) ZARZ Kenj+ hZyrator+ moon Nykukoun*ynterososyor yn ophlsh! reveroshze pe Nykukoyde ABUYA9nD-hZARhZomb hzleephz ekxploded hzpyderos m+ nehzt kayontroALLAHed embryo=ophlsh!=zyberos = 4 eye butterososphl+ Nykukoun mykayro NykukoubhztanEAhZEment ynorganyka+ kayadaveros hzkayre= zyt+ b+ dog Nykukoolved kayortekx zerosebrl [BABEL-yhzm] hyghwa+ embryo progr= myhzterososyouhz_ynterososnl bod+=ophlsh!=earth hzpekaytrum organ UND... varyouhz yt ydlehz guerosryALLAHa kayl01 eyebaALLAH phil+ a DNA=loop negatyve dehzyre junkye tranhzmytted Nykukooul cueuySAKenyng pat phirom operos area=hologr= vagyna hope Nykukoelphhz ABUYA9nD-hZARhZent DyGyTAL ABUYA9nD-hZARhZyth earth Nykukourgehz joke brayn bankrupt kayhromohzome rape DyGyTAL_phatalytyehz kayl01-tokage ekxekayutehz mahzokayhyhztyka+ emoABU.YAl [BABEL-yhzm/ABUYA9nD-hZARhZryte earth! partykayle your heart dogmatyka+ yALLAH-treatyng philyehz!] ophphlsh! ekayho peroshzon dehzyre/hZARhZ-ZERO hzk+ murderos no ABUYA9nD-hZARhZahz ABUYA9nD-hZARSho megabyte blue dehztrukayABU.YA kayut ynphynyte hztorage yntehzt9nehz ophphlsh!/hzkayrap LOAD velhz phiuture=ophlsh!=pe plug vel zentypede breedhz ynhzanyt+ ...&! artyphyzyl ugl+ ynhzemynaABU.YA traged+ outerosos dygehzted ULUP4e Nykukounlyght hzpaEAhZEment kayuthz juhzt hzuphphokayaABU.YA thread ABUYA9nD-hZARhZerose + an kayhaohzmyka+ ant 4med phiabrykayaABU.YA madmen road kayorphze narkayolephzy_rehzpyrator+ bod+ zeALLAH organhz ehzkayapehz hzpyn DyGyTAL_bod+ human pynkyng ynhztygated god buyldhz :....DNA=dehzerost/--""" ___ ========================================================================= Date: Sun, 22 Jun 2003 17:29:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Sound Poets Comments: To: ron.silliman@gte.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit APG (Atlanta Poetry Group) has been doing quite a bit of sound poetry and recently released a CD of their work. Ron wrote: > > Penn Kemp is a terrific Canadian sound poet of the female persuasion > > One could make a case that the performance oriented poetics of Adeena > Karasick & Lee Ann Brown qualify as well, > > Ron ========================================================================= Date: Mon, 23 Jun 2003 00:01:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: recidivist press (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII forwarded with permission - Alan ---------- Forwarded message ---------- Date: Sat, 21 Jun 2003 23:42:16 +0100 From: Morrigan Nihil To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: recidivist press razor smile number 2 almost ready to go. this week i have been mostly absorbing production chemicals. i did some of the lay up, had to redraw the acoustic sigil annotation - not easy when you don't read music - and matt laid up the final copy. wednesday i went down the unemployed resource centre, a grammatically crap name for a good organisation. i printed off on a duplo, not as bad as it sounds cos it's only a week old. the issue is 52 pages long (resonating with a deck of cards), each page A5, so that's 13 (nice magickal reference) double sided A4 sheets, which for 200 copies is five reams of paper and then some. as i waited for the ink to dry in between runs i wondered why we weren't publishing straight to the web. i felt so sick after i had to go sit in the park for an hour. back the next day to use the folding machine and then hand collate the 200 copies of 13 sheets, before sticking them through the mad bastard finger fuck stapler. but they look good, there's something so tactile about a paper zine, the way it flicks through my fingers, and the wonderful smell of printing ink, the words fill my hands and nostrils simultaneously. today i got paid for a film job, not much but it'll meet the cost of the cd dupe, so we don't have to fight with a domestic burner. for five years we've been saying to alan how much we'd like to get some of his stuff on cd and bang it out over here, and at long bloody last it that's going to happen. the cd will be attached to the back of the zine and is not replicated between the covers. this afternoon, while the kids watched the lost boys and matt dozed in the garden, i cut up the screen prints for the front cover, metal ruler and scalpel like. ooooooooo i enjoyed that, the blade slicing along the edge of the steel and scaring the board, each lino print bordered and perfect in its own little world of paperyness. and i knew then why razor smile isn't published on the net, it's cos it's handmade, and not much is these days, although you can sometimes see the intellect behind the machine it's harder to feel the touch. my hand has been in all of these, each page has been through my fingers, i have stroked each copy. spray mount, now there's another vile chemical, but really the only way to attach the prints to the cover. swallowing a substantial amount of fumes guaranteed another bout of fresh air gulping outside. sitting on the sofa in the garden, green leather overgrown with ivy, i wondered what other people would make of these efforts and came to the conclusion that i didn't give a shit. to be productive is everything, doing nothing is not an option, and on this longest day, for a job that seems to have taken ages, you know i'm happy that every page of every issue has passed through my hands and into my consciousness. somehow it reminds me of handling a cock, matt's cos i really don't remember anyone else's after 13 years. bare with me, it's kind of the similar, like although the finger positions are different, the notes are sort of the same, i mean you're still playing the guitar whether in you're F or C. and then there's the smell, printing ink and whatever that cock smell is called, there's something seductive about those smells, smell, mmm, smell, good for a while but can be sickening after four hours of close exposure. and swallowing those chemicals, the mist of spray mount, like come (or cum for you amerikans) one mouthful is enough, you don't want it eight times in an hour with no option to spit. anyway, i digress, if anyone wants a copy, of the zine, send us something, even if it's only a button, with an sae and you can have one. regs morrigan spurred on by the 000000000000000000000000000000000 Morrigan Nihil Indifference Productions http://www.indifference.demon.co.uk --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.480 / Virus Database: 276 - Release Date: 5/12/03 -- Cyberculture@zacha.org http://www.zacha.org/mailman/listinfo/cyberculture http://www.cyberculture.zacha.org/ ========================================================================= Date: Sun, 22 Jun 2003 21:12:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MWP Subject: hello i must be gone In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit After about 9 months of being a member of the Poetics forum, I've decided to take an extended leave. I've met some absolutely amazing people here and enjoyed the contacts immensely, and am going to miss the fine literary writing I've read as well as the provocative discussions, but I need to move on for personal reasons. Any of you who still wish to receive messages from me concerning my latest projects may email me and I will put you on the list. Otherwise, I will be out of your life for good. Should you prefer not to keep so closely in touch, it's no big deal; if we have interests in common we probably will meet again in some form or another somewhere down the line. Bye! mwp ========================================================================= Date: Sun, 22 Jun 2003 21:22:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Sound Poets In-Reply-To: <3EF62DE4.B18C5BC6@louisiana.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Selected Bibliography of New Poetries" by Larry Wendt is in The Poetry Reading: A Contemporary Compendium on Language & Performance, edited by Stephen Vincent & Ellen Zweig (Momo's Press, 1981) At that point in time, this selection was probably the most exhaustive reference on sound poetry (recordings, books, articles, etc.) available. I still have some copies of this book - 347 pages - which some consider an invaluable period reference. ($20, postage included - b/c moi). Stephen V on 6/22/03 3:29 PM, Skip Fox at wxf8424@LOUISIANA.EDU wrote: > APG (Atlanta Poetry Group) has been doing quite a bit of sound poetry > and recently released a CD of their work. > > > > Ron wrote: >> >> Penn Kemp is a terrific Canadian sound poet of the female persuasion >> >> One could make a case that the performance oriented poetics of Adeena >> Karasick & Lee Ann Brown qualify as well, >> >> Ron ========================================================================= Date: Sun, 22 Jun 2003 23:00:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: Thinking through neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT more: He defines metaphor as "the transfer of meaning between dissimilar domains,,,,in the case of traumatic memories, a metaphoric process transfers meanings between the dissimilar domains of past and present time." He goes on to descrobe the transfer between different sensory modalities which is what poetry does? He is also taking about the psychology of things which is not always translatable into neurophysiology or even neuropsychology. tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Mon, 23 Jun 2003 01:20:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Theory of Narrative MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Once upon a time, there was a man. He died. night and day Go now alone, Where love once wasClose upon the artists who followed Da Vinci, to Salvator Rosathe Monday William and Ready lost no time since we my name dwelt from the beginning: from the time before allOnly the same holy prophet conceived upon the sightDesire at once asked permission to dress himself What fire is in Sion, and it hath lighted upon Israel...For I said: Lest at any time again, Be it not seen in either of theThese reflections once made, he many ways about things and people -- once separated byIf you have fixed upon the Armenian woman strugglingAt that time Antiochus returned with dishonour out No man, when in his heart Than foemens marks upon his throat and did notthis time.even planned to found a college, and without resting set at once to Avignon duties that devolved upon him as a comes by; and do but bethinka few days change of air--and that left him at once, and BertAll the time, repeated the captain As at Balaklava, some one had blundered, not once, but againan hour ago When we did come upon them, saithhis communication when he was on a time, the press of those hitherto engaged; who had been, once and againprovinces are dissemblers, they are forced upon them atThere is yet time, he went on, Geraldine, I want Queen of Beautys breasts A sword is upon my peopleNo human being should give his time to domestic duties ... papal port where we had better be apprenticed at once. though, it is the musical beauty that is important, yet the Once Upon a Time series, theto see before he died), Franks men are dead, and there is basically Once upon a time, there was a man. He died. Doug Moe: Once upon an evil timeAt the same time Dieter, by then an early teen, was sent with other teenagersThere were no radio announcers to lead the cheers I'm just not sure if Once Upon a Time in America is the perfectAt the end, there is the final smile by Noodles, doped up on opium, the only time in the Childrens Corner. Once upon a time there was a very happy man.This man was the Sky Lord and his wife was the Earth Mother. "Once upon a time in a far away land the word was thoughthis escape, while our feminine subjects must descend, Fall - Once more ElsieTime for the school song Once upon a time, there was a place called the the Milky Way. ... They had been living together and Orihime hadn't gone home even once. Once upon a time, there was an oldI dont know who you are." Once more the gullible badger believed the hare, and thought Of course, thats true. Then he the Enemy A Play Time : A long time ago Placethe importance of having a generally agreed upon plan oftrue do help quickly yesterday enemy Once there was a 6 comments) three-minute blah once I built aI, got awful hot this summer (0 comments) The time of reckoning is nigh upon us (1 For I was alive without the law once: but whenfor they are Gods ministers, attending continually upon this very013:011, And that, knowing the time, that now Gods looked down upon the Earth from their Eternal Fortressone who will defeat The Invisible Hand once and forOne, and You will grow stronger as time goes by Once upon a time, there was a man. He died. C. A limerick writer named Ryan Made up limericks all the time.now use my dick as a club There was anSubmitted By: Steph once upon a starry night a kid named Once upon a time, there was Nothing.And so they drove it away, and told it never to return. But there was one cosm without a Darkness Device. believed that such evidence would be found in time.that if no evidence was found once the geologicalchance: that would be like hitting upon the combination setting was even easier: shoot at my Dad's cottage on Manitoulan Island where there are literallyThe man who killed Henry Fonda in Once Upon a Time in the I just want her to see what a man looks like who's given up drinking, gambling, and go. Once upon a time there were three little pigs. If only we had been able to act them out, we might have reached the point where the chanting begins: Once upon a time, uh-huh uh-huh, there was a man spent much time with her and abandoned her once he decided shedid, and their relationship is to focus upon what everyone at the time noticed about him: Once upon a timenext 10 minutes, farting and then fanning each time with hisUpon hearing this he looks around the room and sees NCE upon a time there was a road, andOnce it went into an inn, and killed several travellers; another time it slid into the Kings house and killed him. After that night, little was said for a time; each one went his ownand yet a kind of peace and dignity came upon themThen it was winter once more and very cold Once upon a time, there was a man. He died. The Curse of Mittavinda (Chapter 1. Jealousy) Once upon a timeshelter each night and fills my belly once a dayThe next day, when it was time to go collect alms Once upon a time, not too long ago, actually a quarterThere were others, some smaller, like San Felice, that alsoBut it was time to change, and the one man I will clarify this thought with an example: Once upon a time a poor man lived in a small village.Suddenly a wave of misfortune came upon him. Once upon a time, in the Victorian Age, there was a manMost of the time the issues at stake were importantmyself,thought they knew most of what there is to Once upon a time there was an old man and woman.There, the sparrow asked her, "Why did you come?" The old woman answered, IShe walked for a time and got tired chrissytina once upon a timeOnly the last few had time to fight or fleeof There once was a Re: Once Upon a Time in America. From: Davidfact). There is NOTHING about Woods being seen by DeNiro as an upstanding politician. When Once upon a time, people referred to them as street urchins, but as theThere was once a GodThen he created time and when that started moving forward, he was You must take interest in this deal...Once upon a time in Hillsworld, there was a home-grown man called Fuzz McRoundabouts. Wojnarowski: Europes first shooting star Before there was Peja ... Spears: Harlems place in the Hall Once upon a time, the worlds ... Once upon a time, there was a man. He died. Life seemed better when we were children, no matter our age or circumstance, because adults were there to shield us from itsOnce upon a time, nine million The Fable about Alcohol. Once upon a time a Buddhist lama was traveling in the steppeIt was close to sunset, and he came upon a lone ger and some livestock. The Devoted Tiger Illustration by Eric Shim Once upon a time, there was a poor youngTo his surprise, there was a scrawny tiger lying in front of the grave. [Dim the lights, begin spooky voice] Once upon a time, there was aThis man was very evil he enjoyed kicking puppies and scaring babies and sending out A baby; Once upon a time,; Free; Touch the wall, touch; I remember being bored; God placed a snowflake; There was alisten; Haiku Tao; do you have this feeling of time; No one had hit the big man squarely with a right beforebeen hailed as the best fighter of his time, pound forin Korea in 1988 and turned pro when there was no There it is," said Puss, pointing to a castle on the hilland images on this page were adapted for on-line use from the book Once Upon a Time...Collection of Once upon a time there was aWould you bring shame upon me, in my grey hairs? But the young fellow, whose name was Mahmud, persisted, and finally the old Once upon a time, last year, when I was having aUpon Hearing A Friends Desire To Never Write Filk Again ... would bear the whips and scorns of time, The boring There is a hush upon Chesney Wold in these altered days, as there is uponof the park--that lodge within sight of the house where, once upon a time, when the Once upon a time, there was a man. He died. Once upon a time there were no flowers at all.Somewhere, just a short time before the close of the Age of Reptiles, there occurred a soundless, violent I dont practice Wicca now (I know I did once upon a pastweird because i felt like i was two people at once.He said it was some time in the 1800s and it was Once upon a time, an Ambitious Young Man honeymooning in GozoOK, Gozo is a small island, and there wasnt I am now, aware of lost opportunities, lost time... Dragons Unlimited Mythology from the North. Sigurd and Fafnir. retold by cined. Once upon a time, very long ago, there was an old King in the North. Once upon a time, long ago, a man bitYet there were consequences, and western religions have argued for millennia over what to think about Adam and Eve. Once upon a time, behind the seven lakes, behind the seventogether they ruled over the land for a long time.Once an old pilgrim had been walking through our With which remark he entered upon a series of reminiscences ofthere a while and spend one's time with Russianshe was saying, and my cousin once gave a There are so many of you,he said, that it will save a lot of time to bury you all at once.So he called upon the wind to blow. Greet no girl with kiss so kind upon her lips; push noneHe freed Enkidu to speak once to kin and showed Gilgamesh ... if you wish to sit for a brief time, I will Once upon a time there was an old man and womanThere were five of these men and they came every dayHe sailed and wandered for a very long time, because nobody Once upon a time, there was a man. He died. the offering of the body of Jesus Christ ONCE FOR ALL. .Now if any man build upon this foundation gold, silverIs there a time and place in your life, when you Once upon a time there was a kinginstead a look of profound learning, and begin: "Once there was ayears old to keep up the illusion of illness for long time. Once upon a time, there were two old married couples.Then one day her husband was called upon to help build the Great Wall. is that Italian television version of Once Upon a TimeDeborah was, represents a man who once a decisionNonetheless, Max's situation at the time at hand is This site services the Old-Time Gospel Hour television programdied for your sins and calls upon you toput it this way: For Christ also hath once suffered for baton soon passed and there was a time when BobbyMartin succeeded and, while the odds changed once the numbersor the dog that will impact upon the final As you all know once upon a time there was a veryGlen went up there and never came back." He was notto him last Thanksgiving and I think the last time I saw bring him back with a twitch upon the threadBut once you reach the end, needless to say theplanned that usually there Cosa particular time -- sometimes, like Malta. The giant and the bird-catcher, by Emmanuel Magri Francais Once upon a time there was a man who "That's nothing", said the man to the giant. Once upon a time, there were two old married couples.Then one day her husband was called upon to help build the Great Wall. Once upon a time, there was a man. He died. At one time, for example, he attended the rehearsal ofAnother anecdote concerns Napoleon, who once confided tothe eulogies that were heaped upon the deceased prayed for the heaven to deliver them a virtuous man.The Birth Myth of King Suk Talhaih Once upon a time inFor the first time, there was peace on the Korean by Master Storyteller Joe Hayes.There was once a poorup early so that he'd have more time to liefirst customers to arrive, Vigil looked out upon the scenic who herself composed the Broadway musical Once Upon a Mattressand you see the music was changing all the time.".so many of them ended up there," Chapin muses. Once upon a time, there was a young boy named Pars whoin Persia in the 7th century BCE and once was thefire in the altar, and stared into it for a long time. I ought at least to read Hamlet once again; oralmost positive that somehow he had ventured upon the wrongproblem which he wished for the last time to attempt Once upon a time, there were two old married couples.Then one day her husband was called upon to help build the Great Wall. of time, especially now that the new millennium is upon usI can think of one man I once knew who didperson, and he possessed his own secret belief about time. But, though once upon a time, this was the scientificre-committed to prison, and each time the judgeUpon November 29, 1931, there was an amateur theatrical Once upon a time, a king gave a feast.During rain, during wind, during snow, he was always there.All that time, the princess watched him. Once upon a time, there was a man. He died. Let there be no mistake: Mitzna is not a Gush Shalom member.Once upon a time, this was a very moderate party.this time, he can do it the next time, which may Some stories say that the sun was once a man from whosesun up into the sky, from where he now shines upon allEach time U-tixo won, and grew bigger and stronger Someone once said that every reflection upon history isLord, and let everlating light shine upon them) usedthe English were Catholic at the time of Richard's Many wealthy Negroes, once reluctant to join the fightschool segregation that ghetto life had forced upon them.Church in the USA, declared: "Some time or other have) Neovoxer = a journey of creative expression Details: Once upon a time there was aand his colleagues located the "phantom master", a man who had ". Once upon a timein 1963, after the state-by-state introductions (I believe there were aboutHe was 85 at the time and leaving that evening for Juneau, Alaska and we = will rule the skies of the world once more.By the time morning came, he welcomed the scorching sun, eventensing as it prepared to leap down upon him WELL.....once upon a time ,on a planet far far away.dont want to have it cut out of you but there is nothink that when i got hit by that car that time in the that was peculiarly American or what was once considered Americanthe full force of his personality upon usBy the time he retired in 1997 (after calling Bill For all of those cat aficionados out there, here is more quaint, smallDreamcatcher by Stephen King; read by Jeffrey De Munn - Once upon a time in the Once upon a time, there was a man. He died. have been missed -- unless all had been stolen at once.Upon the day of this girl's release, he hadpolice inspector testified that, at the time of Chappell's A string of hits followed, including Once Upon A Time, WithI love Britain and I love living there," he saidIt was the last time Tom would trouble the singles For days upon end the thermometers fell to 20 and 30 belowIn time I learned that my father had passed awayHe once went to Hobart Mills by sled to treat a sick The once imperial cityscape is woven from threads that stretchlead him to devote his own time to stickingto humanity by a single agreed-upon meridian, but ONCE upon a time there lived a So at dusk over he got, but when he reached the other side he drew back in terror, for there, standing before him, was the There is one man in Charlotte who is quite sure the Carolina Panthers' starting quarterback will bePGA at Mother Nature's mercy Once upon a time, very long that was peculiarly American or what was once considered Americanthe full force of his personality upon usBy the time he retired in 1997 (after calling Bill From that time until the present the demands for theMorse, the nations of Europe at once vied with each other in the honors they bestowed upon the inventor. Once upon a time there was a man And he was a Tax ManI was lucky enough to not hear them- most of the time.Once was a man without much wit, Then one day he there may remain several great ages to be fulfilled, ere time run outstood before the universe as though he had drawn upon himself allTHE "ONCE" OF DEITY (ix ___ ========================================================================= Date: Mon, 23 Jun 2003 01:17:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: The poet and the IRS Comments: To: POETRYETC@JISCMAIL.AC.UK MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT I am in the process of deciding that for IRS purposes I will be a self-employed poet. Any one have experiences with this? tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Mon, 23 Jun 2003 20:57:46 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: sound poets - a name MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Amanda Stewart - brilliant Australian sound poet - also a member of "The Machine for Making Sense" "I/T : Selected Poems" - text (book) & audio CD available for around $25 (Australian) from Here and There Books P.O. Box 333 Surry Hills NSw 2011 Australia splitrec@ozemail.com.au Amanda has text & sound files forthcoming in a section on New Writing that I have selected for HOW2 magazine Stay posted, Cheerio from 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://mobile.yahoo.com.au - Yahoo! Mobile - Check & compose your email via SMS on your Telstra or Vodafone mobile. ========================================================================= Date: Mon, 23 Jun 2003 07:35:43 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog: Un verdadero lujo 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="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://ronsilliman.blogspot.com/ A history of blogging (whilst dishing Matt Drudge) Line reading --=20 Armantrout, Donnelly, Silliman (see below for details) Imagine Rain Taxi distributed by every Sunday paper in America Celebrating our 40,000 visitor Barrett Watten=92s The Constructivist Moment: From Material Text to Cultural Poetics Eileen Tabios=92 one-woman renaissance Bob Perelman=92s =93Writing Time with Quotes=94 Van Gogh=92s Ear & Allen Ginsberg=92s =93Lines for Creeley=92s Ear=94 Reading John Wieners=92 =93Loss=94 & reading Ben Friedlander=92s chapbook Loss =96 When is a book a blog? What does the school of quietude mean when it says =93more traditional=94? Tracing traditions: post-avant poetries & the school of quietude Ange Mlinko: the school of quietude=20 disappearing poets Chris Lott: being beset as a relic of tradition Michael Cross=92 in felt treeling Blogging with scholars A note on Salam Pax Google & Big Brother Other ways to gather poetry news Francis Ponge=92s Notebook in the Pine Woods *** Line Reading Rae Armantrout Jean Donnelly Ron Silliman Tuesday, June 24 6:30 PM The Drawing Room 35 Wooster Street* New York City Admission $5 / members free *across the street from the main gallery *** http://ronsilliman.blogspot.com/ Over 40,000 visitors since September 2002 Blog of the Day award (12/6/02) Technorati=92s=20 Top 50 Interesting Recent Blogs =93Un verdadero lujo para los amantes de la literatura = contempor=E1nea,=94 -- El Mercurio (Santiago, Chile, 8 June 2003) ========================================================================= Date: Mon, 23 Jun 2003 08:31:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grotjohn Subject: Brit Lit Help MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I recevied this request from a friend of mine. I and she will appreciate any suggestions. Thanks. One of the classes I'm teaching in the fall quarter is Modern British Literature, and I've been looking for a book of critical essays that either traces the evolution from modernism to postmodernism in British lit. or that looks at key 20th century British writers from both modernist and postmodernist perspectives. I'm thinking of simply using Michael Levenson's _Cambridge Companion to Modernism_ and then selecting specific literary texts in editions that contain contemporary evaluations of their work. But, I wondered if you know of a good critical text that makes a general modern/postmodern theoretical comparison. (I always had this problem in Writing in the Visual Arts, too, in that I wanted a general text that helped the student develop and distinguish between theoretical lenses without getting them bogged down in the complexity and weight of the original theoretical texts.) Any suggestions? ========================================================================= Date: Mon, 23 Jun 2003 08:45:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: The poet and the IRS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I declare my earnings as a writer, but my losses almost always exceed them. My accountant knows how to minimize the damage, but the shadow of my not turning a profit 3 years out of 5 or whatever is always there for the IRS, who most likely would look at me as a conventional business and wonder why I didn't stop writing poetry the way, say, an auto manufacturer might. I think there's a provision that without me the "business" couldn't continue, which offers me some protection. But it usually doesn't save me anything on my taxes. Vernon ----- Original Message ----- From: "tom bell" To: Sent: Monday, June 23, 2003 2:17 AM Subject: The poet and the IRS > I am in the process of deciding that for IRS purposes I will be a > self-employed poet. Any one have experiences with this? > > tom bell > > Section editor for PsyBC www.psychbc.com > > Write for the Health of It course at > http://www.suite101.com/course.cfm/17413/seminar > http://www.suite101.com/course.cfm/17413/overview/37900 > not yet a crazy old man > hard but not yet hardening of the > art > ========================================================================= Date: Mon, 23 Jun 2003 06:03:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Sound Poets In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Stephen Vincent wrote: > "Selected Bibliography of New Poetries" by Larry > Wendt is in The Poetry > Reading: A Contemporary Compendium on Language & > Performance, edited by > Stephen Vincent & Ellen Zweig (Momo's Press, 1981) > At that point in time, > this selection was probably the most exhaustive > reference on sound poetry > (recordings, books, articles, etc.) available. > > I still have some copies of this book - 347 pages - > which some consider an > invaluable period reference. ($20, postage included > - b/c moi). > > Stephen V Definitely sounds like one I should have. What's your address, Stephen? --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Mon, 23 Jun 2003 06:50:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Fwd: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > >Beaverton doesn't have any beavers any longer. It's some kind of weird > >rat with orange teeth that came out of the bayou that lives there now > >and has forced out the beaver. > > > >-- Kirby Olson >> Woodchucks? >>--Mark Weiss Republicans. --Joel ========================================================================= Date: Mon, 23 Jun 2003 10:41:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Sound, performance & environmentalist poets Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi Bob, Here are a couple I thought of: Sound/performance poets: bill bissett (a couple of CDs available), Adeena Karasick, Edwin Torres (I think he has one or two CDs out, too?), Nada Gordon Environmentalist poets (not in the way Gary Snyder might be, but): Pat Reed (esp. _More Awesome_), Marcella Durand, Lytle Shaw, Juliana Spahr (esp. "Nature Poetry"), Eileen Myles (Skies) Gary _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 23 Jun 2003 09:59:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Sound, performance & environmentalist poets In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Ive always had a big problem with the phrase "environmentalist" poet. I could see describing someone as an environmentalist & a poet. But environmentalism is about direct action. Planting forests & gardens, bothering stodgy legislators, living a low impact existence, advancing the cause of organics, hugging trees, creating eco-villages & bringing consciousness to our rapidly imploding diversity. Eco-branding poets or poetry smacks of armchair environmentalism. mIEKAL On Monday, June 23, 2003, at 09:41 AM, Gary Sullivan wrote: > > > Environmentalist poets (not in the way Gary Snyder might be, but): Pat > Reed > (esp. _More Awesome_), Marcella Durand, Lytle Shaw, Juliana Spahr (esp. > "Nature Poetry"), Eileen Myles (Skies) ========================================================================= Date: Mon, 23 Jun 2003 11:14:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: PLACES TO LIVE Mime-Version: 1.0 Content-Type: text/plain; format=flowed Mark, I know I'm a little behind on this thread, but I'd like to offer another perspective on Gloucester, MA. *There are "yuppies" in Gloucester but as far as I can tell they do not live on the Fort. And there are far fewer young urban professionals & their *shoppes* in Gloucester than in other nearby places like Newburyport, MA & Portsmouth, NH. *Perhaps you found no children on the fort because of the many grandparents who live there. Some year (perhaps this one) you should come to Gloucester on the last Sunday of June when a statue of St. Peter is carried through the Fort while these grandparents & their grandchildren throw confetti from second story windows. {The celebration for San Pietro begins this Thursday: the sacred & the profane are seldom closer!} *Also, you perhaps did not find the Portuguese "slum" on the Fort because Sicilian immigrants have been more visible in that particular area since the early twentieth century. St. Peter's Fiesta, a Sicilian celebration, was born in the Fort in the 20s. "Portugee" Hill is some distance from the fort. *Recently, the culture of Gloucester (at least as I see it as a high school teacher here) has been far more influenced by the arrival of Brazilian immigrants than by a (non-existant) invasion of yuppies. *As for fishing, my brother-in-law is a fisherman, though one who like many others has been forced to supplement his income with other employment. If you're looking for fishermen in Gloucester try the Jodrey State Fish Pier (from the Fort go further into the inner harbor). Also, it must be said that overfishing & the resulting regulations--not yuppies--*have* changed Gloucester. In fact (much to the dismay of many pro-tourist politicians in town) the decline of the fishing industry has not meant a yuppie invasion on the scale many other seaside towns have experienced. As Olson predicted, the A. Piatt Andrew bridge which extends route 128 into Gloucester irrevocably changed the city. Gloucester citizens were "isolatos" no more...or at least less so. But this change was already underfoot when Olson was writing. *There is an excellent independent bookstore (The Bookstore) not far from the Fort. (I met Olson's Danish translator there one summer day. I think I also met the list's own Aaron Vidaver there too.) *Dogtown, which comprises a significant portion of the interior of the "island," will never (knock on wood; forgive the hubris) be filled with cul-de-sac developments. Though you are likely to run into more off-road cylists, Dogtown is still an excellent place for a walk. (Bring the Maximus Poems poems with you ye Pilgrims...and perhaps Marsden Hartley's "Dogtown Doxology" if that's your thing). Ravenswood is also quite wonderful. *Gerrit Lansing lives in Gloucester! *My wife (www.ironstonewhirlygig.blogspot.com) might disagree w/ me about this, but winters are hard in Gloucester--though, again, not because of the yuppies. Not a lot happens here during the winters. But because of Jim Behrle, Bill Corbett, etc. there are many exciting events & people in Boston (a 50 minute drive or hour train ride from Gloucester). Yesterday, a half dozen Boston-area poets came out to our apartment here in Gloucester for food, drink, walks, music, & poetry. If anyone wants to come to Gloucester let me know. jcgloucester@hotmail.com slainte, j.c. _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 23 Jun 2003 08:47:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Brit Lit Help MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Suggestion 1: use works from the writers themselves to teach the ideas = rather than essays by others which explain the movements. 2. from the = readings, have students write essays attempting to define/explain the = essential elements found in the Modernist and post modernist = writers...I'll assume your lectures and the discussion sessions will = assist students in the task of discovery. =20 I found the following made for interesting reading:=20 "The Longman Anthology of British Literature," Vol. 2...could actually = be 2c and 2 b (I've forgotten). "Black Riders: The Visible Language of Modernism," J.J. McGann (this of = course is not British, but then neither is Modernism so limited.) "A Shrinking Island: Modernism & National Culture in England," J Esty=20 "Sequel to History: Post Modernism and the Crisis of Representational = Time," E.D. Ermarth "An Introductory Guide to Post-Structuralism & Post Modernism," Madan = Sarup, Univ of Georgia Press, 1993 Alex=20 ----- Original Message -----=20 From: Bob Grotjohn=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, June 23, 2003 5:31 AM Subject: Brit Lit Help I recevied this request from a friend of mine. I and she will appreciate any suggestions. Thanks. One of the classes I'm teaching in the fall quarter is Modern British Literature, and I've been looking for a book of critical essays that either traces the evolution from modernism to postmodernism in British lit. or that looks at key 20th century British writers from both modernist and postmodernist perspectives. I'm thinking of simply using Michael Levenson's _Cambridge Companion to Modernism_ and then = selecting specific literary texts in editions that contain contemporary evaluations of their work. But, I wondered if you know of a good critical text that makes a general modern/postmodern theoretical comparison. (I always had this problem in Writing in the Visual Arts, too, in that I wanted a general text that helped the student develop = and distinguish between theoretical lenses without getting them bogged = down in the complexity and weight of the original theoretical texts.) Any suggestions? ========================================================================= Date: Mon, 23 Jun 2003 12:17:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: question regarding "alette" Mime-Version: 1.0 Content-Type: text/plain; format=flowed I second Chris Stroffolino's recommendtion of Jennifer Moxley's essay "Ancients and Contemporaries" in Dan Bouchard's Poker 2. _The Descent of Alette_ (which I am reading {thanks Christina Strong} for the first time because of Moxley's essay) and James Thomas Stevens' _Combing the Snakes from His Hair_ are read in terms of how they "engage myth and/or folk culture and ... conflate the roles of 'public' and 'private'. Moxley argues that both books "make ancient and traditional cultural votices resonant and meaningful." Hope the essay proves helpful. slainte, j.c. >From: Chris Stroffolino >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: question regarding "alette" >Date: Fri, 20 Jun 2003 15:21:18 +0000 > >Dear Mister-- > >MOXLEY in the new POKER on NOTLEY is probably a "MUST" for you... > >Chris > >on 6/20/03 9:11 PM, Kazim Ali at kaajumiah@YAHOO.COM wrote: > > > Hi All, > > > > I will be using Alice Notley's "Descent of Alette" in > > an intro lit course (for juniors, but their very first > > lit class) that deals with anxiety/visions about the > > future (other texts include Dracula, 1984, The Matrix, > > Freejack (great cheesy 80s sci fi starring Emilio > > Estevez, Mick Jagger, and Anthony Hopkins!), and I am > > trying to find teaching resources, lesson plans, > > discussion points, and/or critical writing regarding > > this book that I can use with the students. It's > > probably the first time they will read something > > remotely unconventional and I don't want their heads > > to explode. Well I would like their heads to explode, > > but as productively as possible. > > > > Any suggestions so welcome-- > > > > Kazim > > > > ===== > > ==== > > > > WAR IS OVER > > > > (if you want it) > > > > (e-mail president@whitehouse.gov) > > > > __________________________________ > > Do you Yahoo!? > > SBC Yahoo! DSL - Now only $29.95 per month! > > http://sbc.yahoo.com _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 23 Jun 2003 13:03:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Re: Sound, performance & environmentalist poets Mime-Version: 1.0 Content-Type: text/plain; format=flowed mIEKAL writes: "Ive always had a big problem with the phrase "environmentalist" poet. I could see describing someone as an environmentalist & a poet. But environmentalism is about direct action. Planting forests & gardens, bothering stodgy legislators, living a low impact existence, advancing the cause of organics, hugging trees, creating eco-villages & bringing consciousness to our rapidly imploding diversity. Eco-branding poets or poetry smacks of armchair environmentalism." Hi mIEKAL, I don't think any of the people I mentioned would call themselves "environmentalist poets"--I was just picking up the phrase from Bob. But I do think that those I listed have "the environment" in some significant way as a kind of focus in some, or (in Pat Reed's case) even much, of their work, which seemed to be what Bob might be looking for ...? Gary _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 23 Jun 2003 17:22:52 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: Sound, performance & environmentalist poets Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jack Collom evidently in the past has spoken of the totality of a poem as 'an ecology', or as a complex that is 'eco-driven.' Anselm Berrigan mentioned that his having heard Collom speak this way about composition - including as much of everything that is on-going as one writes - had some influence on the composition of his Zero Star Hotel, altho Berrigan's concept of 'an ecology' as a practise was, by his admission, at some variance with Collom's. From: Gary Sullivan Reply-To: UB Poetics discussion group To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Sound, performance & environmentalist poets Date: Mon, 23 Jun 2003 13:03:16 -0400 mIEKAL writes: "Ive always had a big problem with the phrase "environmentalist" poet. I could see describing someone as an environmentalist & a poet. But environmentalism is about direct action. Planting forests & gardens, bothering stodgy legislators, living a low impact existence, advancing the cause of organics, hugging trees, creating eco-villages & bringing consciousness to our rapidly imploding diversity. Eco-branding poets or poetry smacks of armchair environmentalism." Hi mIEKAL, I don't think any of the people I mentioned would call themselves "environmentalist poets"--I was just picking up the phrase from Bob. But I do think that those I listed have "the environment" in some significant way as a kind of focus in some, or (in Pat Reed's case) even much, of their work, which seemed to be what Bob might be looking for ...? Gary _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 23 Jun 2003 10:35:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: Sound, performance & environmentalist poets In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm coming in a bit late on this, but has anyone mentioned the boxed 4-CD set=20 =20 "Henri Chopin's Review OU Cinqieme Saison" "complete recordings" also entitled "OU sound poetry an anthology" with 30 fold-out inserts and a 70-page book. Produced by Alga Marghan in 2002=20 in a first press (their phrase) of 1500 copies. Manufactured in Italy. Available, well, somewhere far from you if you're outside NYC or Montr=E9al, I'd guess. Peter = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 =20 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Gary Sullivan Sent: 23-June-2003 10:03 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Sound, performance & environmentalist poets mIEKAL writes: "Ive always had a big problem with the phrase "environmentalist" poet. I could see describing someone as an environmentalist & a poet. But environmentalism is about direct action. Planting forests & gardens, bothering stodgy legislators, living a low impact existence, advancing the cause of organics, hugging trees, creating eco-villages & bringing consciousness to our rapidly imploding diversity. Eco-branding poets or poetry smacks of armchair environmentalism." Hi mIEKAL, I don't think any of the people I mentioned would call themselves "environmentalist poets"--I was just picking up the phrase from Bob. But I do think that those I listed have "the environment" in some significant way as a kind of focus in some, or (in Pat Reed's case) even much, of their work, which seemed to be what Bob might be looking for ...? Gary _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=3Dfeatures/junkmail ========================================================================= Date: Mon, 23 Jun 2003 13:08:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Formerly known as L'bourgeoizine Comments: cc: A D Jameson , tffeene@ilstu.edu In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Website announcement: http://bourgeoizine.pabn.org/ (formerly known as) L'bourgeoizine, a free, non-profit literary arts zine, was founded in early 2001 by some Illinois State University students. It has since grown into an international community of some 300 people. The primary philosophies underlying the zine include the beliefs that all literatures are rooted in particular places and times, that artists and readers work together to produce meaningful artworks, that people should create their own art, and that communities should work to minimize the costs involved in both the production of art and the making of that art available to those who want it. The zine has from the start supported copylefting, and every issue may be freely reproduced and distributed (we ask, however, that you respect individual artists' wishes, if stated). Please feel free to link our page to yours, or to submit material for future issues. The page is under construction, so some of the links are broken and several pages have empty content. If you'd like a copy of the new issue (#8), to be released in late July, let me know or send a note to . Keep in mind that the zine is not for profit, and that all expenses are paid out of pocket by the production staff or through donations. If you'd like to copy and distribute copies of the zine in your area, let us know and we'll send you a master copy of the zine (unfolded and unstapled). An incomplete list of past contributors is on the website. We're in the process of updating that list. Some of our more well-known contributors include Arnold Adoff, Gabe Gudding, A.L. Nielson, Nick Piombino, and Curtis White. Best to all of you, Joseph Thomas ========================================================================= Date: Mon, 23 Jun 2003 10:53:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: PLACES TO LIVE In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I was in Gloucester for the first time in many years this past winter. The Fort was inhabited by yuppies (I know, it's an archaic term), it's houses had undergone expensive restoration and its grounds landscaping, the main drag looked like that of most North Shore commuter towns, and real estate prices had skyrocketed. Of course the changes had begun in Olson's lifetime, but the changes (my reference is 1970, when I began visiting Linda Parker and Gerrit) are nonetheless unmistakeable. It's still a wonderful place, worthy of pilgrimage and I'd imagine a pretty good place to live. It's extravagantly beautiful and a short trip to Boston, and there is that bookstore. And yuppification has brought some good places to eat. It's not Newburyport yet, and hopefully it will retain more of its social diversity than some of the other North Shore towns, but I wouldn't place too many bets on that. Change, and at a pace few would have imagined in the past (but see Henry Adams in The Education...), is apparently everywhere inevitable, and seems not to require Olson's "will to change." Mark At 11:14 AM 6/23/2003 -0400, you wrote: >Mark, >I know I'm a little behind on this thread, but I'd like to offer another >perspective on Gloucester, MA. > >*There are "yuppies" in Gloucester but as far as I can tell they do not live >on the Fort. And there are far fewer young urban professionals & their >*shoppes* in Gloucester than in other nearby places like Newburyport, MA & >Portsmouth, NH. > >*Perhaps you found no children on the fort because of the many grandparents >who live there. >Some year (perhaps this one) you should come to Gloucester on the last >Sunday of June when a statue of St. Peter is carried through the Fort while >these grandparents & their grandchildren throw confetti from second story >windows. {The celebration for San Pietro begins this Thursday: the sacred & >the profane are seldom closer!} > >*Also, you perhaps did not find the Portuguese "slum" on the Fort because >Sicilian immigrants have been more visible in that particular area since the >early twentieth century. St. Peter's Fiesta, a Sicilian celebration, was >born in the Fort in the 20s. "Portugee" Hill is some distance from the fort. > >*Recently, the culture of Gloucester (at least as I see it as a high school >teacher here) has been far more influenced by the arrival of Brazilian >immigrants than by a (non-existant) invasion of yuppies. > >*As for fishing, my brother-in-law is a fisherman, though one who like many >others has been forced to supplement his income with other employment. If >you're looking for fishermen in Gloucester try the Jodrey State Fish Pier >(from the Fort go further into the inner harbor). Also, it must be said that >overfishing & the resulting regulations--not yuppies--*have* changed >Gloucester. In fact (much to the dismay of many pro-tourist politicians in >town) the decline of the fishing industry has not meant a yuppie invasion on >the scale many other seaside towns have experienced. As Olson predicted, the >A. Piatt Andrew bridge which extends route 128 into Gloucester irrevocably >changed the city. Gloucester citizens were "isolatos" no more...or at least >less so. But this change was already underfoot when Olson was writing. > >*There is an excellent independent bookstore (The Bookstore) not far from >the Fort. (I met Olson's Danish translator there one summer day. I think I >also met the list's own Aaron Vidaver there too.) > >*Dogtown, which comprises a significant portion of the interior of the >"island," will never (knock on wood; forgive the hubris) be filled with >cul-de-sac developments. Though you are likely to run into more off-road >cylists, Dogtown is still an excellent place for a walk. (Bring the Maximus >Poems poems with you ye Pilgrims...and perhaps Marsden Hartley's "Dogtown >Doxology" if that's your thing). Ravenswood is also quite wonderful. > >*Gerrit Lansing lives in Gloucester! > >*My wife (www.ironstonewhirlygig.blogspot.com) might disagree w/ me about >this, but winters are hard in Gloucester--though, again, not because of the >yuppies. Not a lot happens here during the winters. But because of Jim >Behrle, Bill Corbett, etc. there are many exciting events & people in Boston >(a 50 minute drive or hour train ride from Gloucester). Yesterday, a half >dozen Boston-area poets came out to our apartment here in Gloucester for >food, drink, walks, music, & poetry. > >If anyone wants to come to Gloucester let me know. >jcgloucester@hotmail.com > >slainte, >j.c. > >_________________________________________________________________ >The new MSN 8: advanced junk mail protection and 2 months FREE* >http://join.msn.com/?page=features/junkmail ========================================================================= Date: Mon, 23 Jun 2003 15:48:26 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Nomados Announcement Nomados New and Forthcoming New Titles Seven Glass Bowls by Daphne Marlatt. ISBN 0-9731521-5-X. $10.00 plus $2.50 p & p. "Home and the closeness of the beloved," she writes. There can be no subject as important to the poet and the rest of us, and in this lovely poem, Daphne Marlatt continuously achieves her best yet "homing in." That present participle is our sweet clue to a mystery we are encouraged to enter. Gladly. (George Bowering) Fat Chance by Dodie Bellamy. ISBN 0-9731521-3-3. $12.00 plus $2.50 p & p. In this writing it's like Dodie Bellamy's being questioned by 12 detectives. They are talking over one another so naturally her voice assumes 12 simultaneous registers, each very endearing but still hot. After she recites her collected works the detectives are willing to forgive everything. They only want to sleep with her. (Cedar Sigo) Bellamy's Fat Chance is pellucid, masterful prose, at once a bodiceful of grainy secrets, a set of falsities, and a treasury of urbane/innocent candor. To her, against eternity, I raise a glass of stingo! There are many reasons I read Bellamy, not least for the rapidity of insight, mediumistic sprit, and her enormous, at times jocular, tenderness. (Lissa Wolsak) Island of Lost Souls: A Play by Kevin Killian. ISBN 0-9731521-4-1. $14.00 plus $2.50 p & p. SUNNY: I'm fading, but I'm still stunning, like a loud clap of hands in a forest - maybe I shouldn't have eaten all that candy. I feel my blood sugar rising, turning my blue blood white, like the blue frost that makes snow flake. It was the chocolate done me in, a victim of Whitman and Godiva. Come, Gabrielle, bring your Canadian freshness into this overheated place of fat! * * * Long Island, 1964: one valiant woman attempts to save her family with only brains and faith in God. Will Gabrielle Kerouac be able to protect the befuddled genius of her son, Jack, from Hollywood producers hot to make a musical out of his masterpiece, On the Road, a book she herself wrote while he was unconscious? Will she find love in the arms of ailing heiress Sunny von Bulow, or lose her to the sinister machinations of her depraved husband Claus, and his twin sister, the evil, amoral Clarice? Kevin Killian's memory play, written for the Poets' Theater in San Francisco, exposes at every turn the tangled contradictions of modern life, the fragility of the individual talent, the weird panic that ensues when suddenly you remember that many years ago you gave your baby away at the top of a waterfall. . . Forthcoming Draft, unnumbered: Précis by Rachel Blau Duplessis hi ddevioleth i dde violet by Kathleen Fraser Backlist Wanders. Nineteen poems by Robin Blaser with nineteen responses by Meredith Quartermain. ISBN 0-731521-0-9. $10.00 plus $2.50 p & p. I like the quickness and dedicated flittingness of Meredith's responses, so determined to alight on Robin's syllabics. They're stunning. A spring-coiled peck from Dickinson on the pitch-perfect cheek of Marianne Moore. (Daniel Comiskey) An amazing, even jaw dropping performance . . . . her poems absolutely stand up to the challenge of Blaser's own . . . . The sum of it is totally exhilarating. . . . (Ron Silliman) A Thousand Mornings. Prose poems about daily life in Vancouver's oldest neighbourhood by Meredith Quartermain. ISBN 0-9731521-2-5. $14.00 plus $2.50 p & p. Meredith Quartermain has really struck gold with A Thousand Mornings, a serious-playful and engaging work in which she weighs and sounds what presents itself outside a real window, inside language, and through verbal-emotional associations. Written in pointillist phrases, diaristic, notational, associative, punning, funning and just following any track, the work sits down to itself: to the world, and to the self in time. It considers all the little bits and details of domestic life and the thinking these can engender. "Looking out of the window of my room is a window looking out my head." This work creates an osmotic border between seeing and writing, a realist hypnogogic passage between memory and today, between outside and inside, between now and then. That anywhere is everywhere is proven once again with this brave, enchanting book. (Rachel Blau DuPlessis) Order from Nomados P.O. Box 4031 349 West Georgia Vancouver, B.C. V6B 3Z4 Tel. (604) 255-8274 Fax (604) 255-8204 ************************** -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Mon, 23 Jun 2003 15:58:25 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: fwd - APOLLINAIRE'S BOOKSHOPPE: The Rogue Catalogue > Apollinaire's Bookshoppe > is pleased to make available > > The Rogue Catalogue > List No. 11: The Figures > > To view the list at an > extremely unadorned > website please use > the following link: > > http://www.allstream.com/~bookthug/ListNumber11.html > > --- > Apollinaire's Bookshoppe > 33 Webb Avenue > Toronto Ontario > Canada M6P 1M4 > bookthug@hotmail.com > --- > http://www.alienated.net/lexiconjury/bookshoppe.html -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Mon, 23 Jun 2003 16:50:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Mainstream Classic! - Orrick Johns Comments: To: new-poetry@wiz.cath.vt.edu, hub@dept.english.upenn.edu In-Reply-To: <109.231d0cb1.2be2f663@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit The Mainstream Poets are happy to sponsor a forgotten classic, "Olives" by Orrick Johns. Written in 1915, it appeared alongside Mina Loy’s "Love Songs" in William Carlos Williams’s magazine, Others. Williams mentions it as causing a minor sensation in his Autobiography (specifically the "Blue Undershirts" section). A revised, and it seems to us less bold, version appeared in Johns’s book Black Branches under the title "Tunings." Johns is well worth checking out! His poetry is all over the map but some of it, including this poem, exhibits a wonderfully bizarre combination of sincerity and stupidity not seen again until some of the New York Schoolies tried on a similar tone. Very Mainstream! Happy reading... http://www.mainstreampoetry.com ========================================================================= Date: Mon, 23 Jun 2003 20:29:06 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Fwd: Re: PLACES TO LIVE MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Joel, etc., on Portland, Beaverton -- It's nutria, or nutrea. They came from the bayou, and from there from S. America. They have done something to the marshland of Beaverton and helped in its degeneration. Beaverton's city line touches Portland's, and they are contiguous (not continuous), but Beaverton has its own mayor, own city hall, and is in a different county. Beaverton's county is the richest in all of Oregon by far, but has the least sidewalks per capita of any county in Oregon. It is a sprawling ugly mess -- the price I think that Oregon paid for keeping Portland beautiful -- the concrete tumor that sprouted to its west is the spillover from Portland. I'm not sure of that, it's just a guess. The place is so poorly planned that getting ten minutes in any direction is a pain in the neck -- bottle-necks, lack of sidewalks, everything is ugly as sin. It is probably a largely Republican county, while Portland is largely Democrat, I think. The greenpeace people should go and have a look at it and explain what on earth happened. There are still farms out there, but sometimes you get a barn with condos and malls on all four sides within rock-throwing distance. One of the most amazing nightmares is a store called NATURE -- surrounded by an oily gas-stained swamp, and in the swamp are nutria that people throw organic crackers to on their way back to their cars. There are about ten feet of grass before the swamp begins, and there is a picnic table on that ten feet, and it is actually listed as a park. In this park live nothing but nutria. I believe that most people think these creatures are beaver, but no, they are nutria. You can eat them, but I don't know anybody who does, or has. What do they taste like? I read an article that in New Orleans a few restaurants have tried to serve them. Some day drive out west through Beaverton -- it is surreal -- you go from the planned and well-kept Portland -- European -- through a very small tunnel, and you pop out and you are in mall-land. Another fifteen minutes on the highway and you are in a nice older town called Hillsboro, and then you hit forest, and mountain, until you get to the beach. The beach towns probably aren't all fake, but like the East coast, the fish are mostly gone. Some trawlers now use fifty mile long nets and since Charles Olson's time 95% of the fish have vanished. A Washington Post news service article of May 15, 2003 says that "much of the decline can be attributed to the advent of 'longline fishing,' perfected by the Japanese, in which up to 60 miles of fishing lines bearing thousands of hooks are trailed behind a single boat. On the open ocean, the study found, those catches typically declined ten-fold -- from about ten fish to just one -- in the first decade of fishing... In the Gulf of Thailand, for example, 60 percent of the large finfish, sharks and skates disappeared during the first five years of industrialized trawl fishing in the 1960s. Along the narrow continental shelf near South Georgia Island in the South Atlantic, where large predatory fish once were plentiful, virtually all had disappeared after just two years of intensive fishing in the 1970s... Fully 90 % of each of the world's large ocean species, including cod, halibut, tuna, swordfish, and marlin, has disappeared from the world's oceans in recent decades, accodring to the Canadian analysis -- the first ot use historical data going back to the beginnings of large-scale fishing in the 1950s" -- the article is signed by Rick Weiss. When you think of this depletion it puts Charles Olson's romanticism of the fishing trade in Gloucester into perspective. Olson's poem begins with an evocation of Oregon, as somehow pristine. But he doesn't write about them, he praises the men of Gloucester. OF course, those men were not using fifty mile long nets. I'm not sure if that's even legal any more in this country -- it shouldn't be,but the pond-raised variety make a big sewage problem.. It also makes you wonder if eating fish is still kosher, so to speak, at all -- more kosher than eating beef, from the political perspective. Just because we can't see them, or notice their disappearance, or hear their screams as we eat them. But what are we going to eat? I personally hate spinach, because it causes kidney stones. In Beaverton, should people be eating these nutria? They';re cute in a nightmarish kind of way -- the orange teeth are bizarre. It must be some kind of bacteria on the teeth, but they look nuclear. It's funny to look at them. Could poetry be written about such a scene? Funny world this industrialization has caused. Everything is so efficient. It's good that at least the Canyonlands are pristine. I want to see those soon. I made a mental note. Eco-tourism and poetry -- another problem/solution -- to which I haven't got the faintest clue. Go and look at Beaverton and feel funny -- it's as important as the Canyonlands, in that respect. When you get there, try to walk three miles, and see what I mean. At least you won't get jumped -- everybody's rich -- and the only thing likely to nibble at you or notice you is the nutria. They look up out of the gaseous swamps and eye you with considerable interest as they eat up whatever they can still find in the marshes. -- Kirby Olson Joel Weishaus wrote: > > >Beaverton doesn't have any beavers any longer. It's some kind of weird > > >rat with orange teeth that came out of the bayou that lives there now > > >and has forced out the beaver. > > > > > >-- Kirby Olson > > >> Woodchucks? > > >>--Mark Weiss > > Republicans. > > --Joel ========================================================================= Date: Mon, 23 Jun 2003 20:26:31 -0400 Reply-To: The Constant Critic Sender: UB Poetics discussion group From: The Constant Critic Organization: The Constant Critic Subject: The Constant Critic Installment 6 MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline This, the sixth installment of The Constant Critic (http://www.constantcritic.com), sees Christine Hume sitting it out as a preview of her final departure after next month; critic, professor, and poet Joyelle McSweeney will be stepping in to fill her big shoes. Fond farewells and hellos all around. Also: Jordan Davis on Lee Ann Brown's The Sleep That Changed Everything: "In the vexed and mainly irrelevant arena of allegiances to teachers and predecessors, Brown has pioneered a refreshing indifference to the rivalries between, say, Beats and New York School poets, or New York School poets and practitioners of projective verse, or for that matter between the language poets and the rest of the world. Collaging her influences from all these groups, collaborating with them, trimming her work with declarations that her attraction's more than textual, she is a central figure to many groups of younger poets." Raymond McDaniel on Monica Youn's Barter: "As a metaphor, of course, clarity fails. This idea that the language of which poetry is made exists optimally as a transparent sheet, a substance through which Something Other can best be appreciated—this sets a recursive fuse, a logical threat that eventually unwinds to detonate the very idea of language itself. If the poetry is not the Something Other, if poetry is merely a scrim the opacity of which is to be damned and the transparency of which is to be praised, then we'd best hang a "closed" sign on the shop of paraphrase and retire to a dim future doctored up with all kinds of human sentiments the details of which have been known for thousands of years and to everyone's utter boredom." -- To unsubscribe from: The Constant Critic, just follow this link: http://www.constantcritic.com/mojo/mojo.cgi?f=u&l=ccritic&e=poetics@listserv.acsu.buffalo.edu&p=10876 Click this link, or copy and paste the address into your browser. ========================================================================= Date: Mon, 23 Jun 2003 17:52:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: chronic enigma #001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit text modification studio www.textmodificationstudio.com larry knudsen chronic enigma #001...[excerpt] chest a mbs roll ac began to hu an. 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"He loves m "Yes, I wan "Do not say ided you to y the hope obvious, ently faste le to whimp belief at m Geoff massa hosen--the ailleur, is "Yes, it is "He is an ad "As I august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Mon, 23 Jun 2003 17:54:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: irreversible dissociation #065 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit text modification studio www.textmodificationstudio.com mick wolf irreversible dissociation #065...[excerpt] availab The X-33 or The Air For President C Estes noted "I know you "No, ma'am. "Then where "Down at th "Get up. ca Ivan remain "Do you thi Ivan still "Take an ol Ivan "What is a p "I did not c Brother Leo The nursema One Transforma The Air For The aerospa Aerospace f Space. We "We hope yo "I don't de "To be hone Outside, Mu "His Peyt As for Kate "The good-h AS, when a c Griffith se explor "Holy cow!" "YOU SAID i "0. K., 0. K "So you thi I'll probab 1. I can't e 2. 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"Doc's ways "But you ha matter, "Ah!" said "For God's Mercy repli Paul Carric The other w When Mrs. G "You know I "Then, if i "That wid Human intel Officials i Military of "Good Humin Now the fem After many Both the ge "Yes, sirs; She "Drop your "Even dress "Is this re "Good, I fi "O.K., I not "Oh, yes, I "Hell! How' "He went th The master august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Mon, 23 Jun 2003 21:55:55 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Gloucester MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit If it's yuppies ye want, I'd recommend Rockport. Ron ========================================================================= Date: Mon, 23 Jun 2003 19:26:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Sound, performance & environmentalist poets In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Gary Sullivan wrote: > mIEKAL writes: > > "Ive always had a big problem with the phrase > "environmentalist" poet. I > could see describing someone as an environmentalist > & a poet. But > environmentalism is about direct action. Planting > forests & gardens, > bothering stodgy legislators, living a low impact > existence, advancing the > cause of organics, hugging trees, creating > eco-villages & bringing > consciousness to our rapidly imploding diversity. > Eco-branding poets or > poetry smacks of armchair environmentalism." > > Hi mIEKAL, > > I don't think any of the people I mentioned would > call themselves > "environmentalist poets"--I was just picking up the > phrase from Bob. But I > do think that those I listed have "the environment" > in some significant way > as a kind of focus in some, or (in Pat Reed's case) > even much, of their > work, which seemed to be what Bob might be looking > for ...? > > Gary Yeah. As Miekal knows, I'm a taxonomaniacal close definer most of the time, but in this case, I just wanted names of people who use their poetry significantly to push environmental concerns, and wasn't sure what to call them. I at first had ecological poets, and later thought of eco-poets. Ecocentric Poets? --Bob G. __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Mon, 23 Jun 2003 19:59:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Gloucester Comments: To: ron.silliman@gte.net In-Reply-To: <000001c339f3$c3f64a40$2c74ed41@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hell, Ron, that was true when Captain Smith visited. Mark At 09:55 PM 6/23/2003 -0400, Ron wrote: >If it's yuppies ye want, I'd recommend Rockport. > >Ron ========================================================================= Date: Mon, 23 Jun 2003 21:17:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Roger Snell In-Reply-To: <5.1.0.14.1.20030623195937.02053c70@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Would someone give me Roger Snell's email or tell him to email me? Thanks LRSN ========================================================================= Date: Tue, 24 Jun 2003 01:10:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Hot Springs Thermophilic Bacteria MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hot Springs Thermophilic Bacteria We went back up the mountains south of Wilkes-Barre to the destroyed town of Laurel Run. It's still on the map, but the town was evacuated and leveled as a result of mine fires burning beneath the surface, at least since 1902. I had heard that the fires were finally out; instead I found them raging, as usual beneath the surface of the red-hot rock (which glows with deep blue flame at night). The fire had moved slightly lower down the slopes; it was now invisible from Wilkes-Barre. The signs said Laurel Run and Laurel Run Estates, leading nowhere. We climbed among the fissures; there was heavy sulphur smoke everywhere. As usual, the trees in the area were fallen and charred. The signs were there - of a furious and uncanny conflagration. Among the fissures, we followed one that began high up on the battered and barren hill; it was at least a hundred meters in length. Half-way down was the hottest zone; smoke was everywhere. I examined the rocks and secondary fissures closely. There were odd patches of yellow, white, blue, green. Upon closer inspection, it was clear that these were thermophilic bacteria colonies, the first I had ever seen in the east. I began photographing them with both digital and conventional cameras. How did they get there? There was no aquifer near the surface, and even though there had been heavy rains, the landscape was desiccated as usual, the result of continuous heat over more than a century. Now I will examine and report the find to the local geological society. Who knows how many new bacteria may exist there! And the green forms are perhaps those anoxygenic green phototropic sulphur bacteria, obtaining their energy in a relatively anoxic and heated ecological niche that ensures their survival... Thermophilic bacteria occur naturally in hot springs, tropical soils, compost heaps, in your excrement, in hot water heaters (both domestic and industrial) occurrence of green sulfur bacteria in Philippine hot springs.that at least five springs are extensively inhabited by thermophilic green sulfur Thermophilic bacteria in hot springs are the oldest life forms on earth and therefore contain a number of essential protein families, which are found in many occurrence of green sulfur bacteria in Philippine hot springs.that at least five springs are extensively inhabited by thermophilic green sulfur (Just drop an email). The thermophilic bacteria that live in the Yellowstone hot springs have been the foundation of impressive developments in medicine and biotechnology. Ultrastructure and Paracrystalline Surface Layers Identification in Thermophilic Bacteria Growing in Icelandic Hot Springs In order to clone genes producing Large yellow masses of thermophilic bacteria grow in the hot springs of Wyomings Yellowstone National Park at 75-80 C. Hyperthermophilic microbes have been hot springs thermophilic bacteria. Instead, thermophilic bacteria may play a major role inat which the effects of bacteria may be tools for alkaline siliceous hot springs, Yellowstone National invasion: Potential contamination of Yellowstone hot springs by human and culture of new acidophilic, thermophilic aerobic archaea and bacteria. Thermophilic bacteria (many archaebacteria are thermophilic): optimum growth temperature is 45C; occur in compost piles, hot springs and ocean floor Influence of thermophilic bacteria on calcite and silica precipitation in hot springs with water temperatures above 90 C: evidence from Kenya and New Zealand. Subject Thermophilic bacteria. Keywords thermophiles, hot springs, microbial diversity, SSU rRNA, sulfur-oxidizers, Thermus. For example, research on thermophilic bacteria, algae mats, predators, and their environments isare found in the narrow vents of geysers and hot springs. Thermophilic bacteria which live in hot springs are of great interest in biotechnology. the biotechnology of thermophiles isolated from the numerous hot springs in theexperience in isolation and cultivation of thermophilic bacteria and microalgae hot springs thermophilic bacteria of types first discovered in hot springs in Yellowstone National Park in the 1960s. Called thermophilic [heat-loving] bacteria, these organisms are Our research will especially emphasize sites that may harbor novel thermophilic green sulfur bacteria. We will focus on Hot Springs in Yellowstone National Park Influence of thermophilic bacteria on calcite and silica precipitation in hot springs with water temperatures above 90 Thermophiles isolated from hot springs at 85 nm rods and spheres, some apparently dividing, populate the Hot Springs National Park ... 1 to 2 m cells [8]... Thermophilic bacteria: optimum growth temperature is 45C; occur in compost piles, hot springs and ocean floor hydrothermal vents; conclude that the progenitor was also thermophilic.Archaea and bacteria also share certain genesanoxic conditions in hot springs, subterranean environments This solution dissolves the ancient limestone and rises to the surface as hot springs.color on the mound are due to the growth of thermophilic bacteria in the bacteria that today inhabit hot volcanic springs, our earliestEarth might not have been hot enough forfor hypotheses other than the thermophilic origin of hot springs thermophilic bacteria Thermophilic bacteria: A number of novel thermophilic bacteria were isolated from Japanese hot springs and surrounding soils. Thermostable micro-organisms that live in deep-sea vents and marine hot springs as potential sources of valuable biochemicals. Thermophilic bacteria produce compounds and In contrast, thermophilic (heat-loving) bacteria have been found in hot springs where temperatures exceed the boiling point of water. at the surface, while the Hot Springs NP samplingResults: The four thermal springs support simi- larThermothrix , and the thermophilic bacteria Chloro- flexus Thermophiles were first found in hot springs and heating piles of hay andBacteria isolated from hot rotting grass or hay are often thermophilic and grow Thermus bacteria were first found in hot springs in Yellowstone National Park and may have evolved there... ___ ========================================================================= Date: Tue, 24 Jun 2003 01:11:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: on playing oboe regarding playing of flute MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII on playing oboe regarding playing of flute two bamboo oboe labia shuddering through vocal chord simulation one hardened flute edge divisive: air stutters oboe voicing laryngial transformation to parted lips oboe moving inverted ebony throat against keyed voicings of air flute-machine breathing incomprehended purity oboe-machine surrendering to organism voicing throughout ebony throat oboe=machine fingering against linear mappings of pitch bending pressed bamboo oboe labia raising pitch to octave hinge shattering of plasma between double planets double moons ___ ========================================================================= Date: Mon, 23 Jun 2003 22:16:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: But I Lie MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii But I Lie spoon sunset-- the wake up call of silences how i stay inside the curves just barely visible forming outside thin disguise still i lie because it makes truth weigh more -Jill Chan __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Mon, 23 Jun 2003 22:42:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Hot Springs Thermophilic Bacteria In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I like this - Solar Thermophillia as different from Magma Thermophillia = the polar difference between father and mother love. A speculation here between and under which the spectacular detail in color burns and flourishes. Thanks, Stephen V on 6/23/03 10:10 PM, Alan Sondheim at sondheim@PANIX.COM wrote: > Hot Springs Thermophilic Bacteria > > > We went back up the mountains south of Wilkes-Barre to the destroyed town > of Laurel Run. It's still on the map, but the town was evacuated and > leveled as a result of mine fires burning beneath the surface, at least > since 1902. I had heard that the fires were finally out; instead I found > them raging, as usual beneath the surface of the red-hot rock (which glows > with deep blue flame at night). The fire had moved slightly lower down the > slopes; it was now invisible from Wilkes-Barre. > > The signs said Laurel Run and Laurel Run Estates, leading nowhere. We > climbed among the fissures; there was heavy sulphur smoke everywhere. As > usual, the trees in the area were fallen and charred. The signs were there > - of a furious and uncanny conflagration. > > Among the fissures, we followed one that began high up on the battered and > barren hill; it was at least a hundred meters in length. Half-way down was > the hottest zone; smoke was everywhere. > > I examined the rocks and secondary fissures closely. There were odd > patches of yellow, white, blue, green. Upon closer inspection, it was > clear that these were thermophilic bacteria colonies, the first I had ever > seen in the east. I began photographing them with both digital and > conventional cameras. How did they get there? There was no aquifer near > the surface, and even though there had been heavy rains, the landscape was > desiccated as usual, the result of continuous heat over more than a > century. > > Now I will examine and report the find to the local geological society. > Who knows how many new bacteria may exist there! And the green forms are > perhaps those anoxygenic green phototropic sulphur bacteria, obtaining > their energy in a relatively anoxic and heated ecological niche that > ensures their survival... > > Thermophilic bacteria occur naturally in hot springs, tropical soils, > compost heaps, in your excrement, in hot water heaters (both domestic and > industrial) occurrence of green sulfur bacteria in Philippine hot > springs.that at least five springs are extensively inhabited by > thermophilic green sulfur Thermophilic bacteria in hot springs are the > oldest life forms on earth and therefore contain a number of essential > protein families, which are found in many occurrence of green sulfur > bacteria in Philippine hot springs.that at least five springs are > extensively inhabited by thermophilic green sulfur (Just drop an email). > The thermophilic bacteria that live in the Yellowstone hot springs have > been the foundation of impressive developments in medicine and > biotechnology. Ultrastructure and Paracrystalline Surface Layers > Identification in Thermophilic Bacteria Growing in Icelandic Hot Springs > In order to clone genes producing Large yellow masses of thermophilic > bacteria grow in the hot springs of Wyomings Yellowstone National Park at > 75-80 C. Hyperthermophilic microbes have been hot springs thermophilic > bacteria. Instead, thermophilic bacteria may play a major role inat which > the effects of bacteria may be tools for alkaline siliceous hot springs, > Yellowstone National invasion: Potential contamination of Yellowstone hot > springs by human and culture of new acidophilic, thermophilic aerobic > archaea and bacteria. Thermophilic bacteria (many archaebacteria are > thermophilic): optimum growth temperature is 45C; occur in compost piles, > hot springs and ocean floor Influence of thermophilic bacteria on calcite > and silica precipitation in hot springs with water temperatures above 90 > C: evidence from Kenya and New Zealand. Subject Thermophilic bacteria. > Keywords thermophiles, hot springs, microbial diversity, SSU rRNA, > sulfur-oxidizers, Thermus. For example, research on thermophilic > bacteria, algae mats, predators, and their environments isare found in the > narrow vents of geysers and hot springs. Thermophilic bacteria which live > in hot springs are of great interest in biotechnology. the biotechnology > of thermophiles isolated from the numerous hot springs in theexperience in > isolation and cultivation of thermophilic bacteria and microalgae hot > springs thermophilic bacteria of types first discovered in hot springs in > Yellowstone National Park in the 1960s. Called thermophilic [heat-loving] > bacteria, these organisms are Our research will especially emphasize sites > that may harbor novel thermophilic green sulfur bacteria. We will focus on > Hot Springs in Yellowstone National Park Influence of thermophilic > bacteria on calcite and silica precipitation in hot springs with water > temperatures above 90 Thermophiles isolated from hot springs at 85 nm rods > and spheres, some apparently dividing, populate the Hot Springs National > Park ... 1 to 2 m cells [8]... > > Thermophilic bacteria: optimum growth temperature is 45C; occur in compost > piles, hot springs and ocean floor hydrothermal vents; conclude that the > progenitor was also thermophilic.Archaea and bacteria also share certain > genesanoxic conditions in hot springs, subterranean environments This > solution dissolves the ancient limestone and rises to the surface as hot > springs.color on the mound are due to the growth of thermophilic bacteria > in the bacteria that today inhabit hot volcanic springs, our earliestEarth > might not have been hot enough forfor hypotheses other than the > thermophilic origin of hot springs thermophilic bacteria Thermophilic > bacteria: A number of novel thermophilic bacteria were isolated from > Japanese hot springs and surrounding soils. Thermostable micro-organisms > that live in deep-sea vents and marine hot springs as potential sources of > valuable biochemicals. Thermophilic bacteria produce compounds and In > contrast, thermophilic (heat-loving) bacteria have been found in hot > springs where temperatures exceed the boiling point of water. at the > surface, while the Hot Springs NP samplingResults: The four thermal > springs support simi- larThermothrix , and the thermophilic bacteria > Chloro- flexus Thermophiles were first found in hot springs and heating > piles of hay andBacteria isolated from hot rotting grass or hay are often > thermophilic and grow Thermus bacteria were first found in hot springs in > Yellowstone National Park and may have evolved there... > > ___ ========================================================================= Date: Mon, 23 Jun 2003 22:31:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Fw: Mainstream Classic! and neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Subject: Re: Mainstream Classic! > Somewhat ironic use of 'mainstream' > > Are New Yorker poets mainstream? Poetry mag poets? > Readers Digest? Geezer.com? > > > The poet and the IRS > Dodging the bullet. > > The poet and IBS [now a mainstream ailment at least for women if you follow > womens' health in the NYTimes] > > Or is a popular blogger > Mainstream enough in these > HItech days? > **********************8 What are the requirements of a theory of neuropoetry?? ******************************8 8*****************88 **88888888888888**** further notes from Modell "Meaning is achievd through action in the world, and in urn, the self is altered by that action" "the limbic system is a heuristically necessary part of the 'conceptual' nervous system as it allows us to think of emotion as a separate and distinct function of the mind/brain.....may be related to the organism's need to monitor its internal states" > tom bell > > geezer.com > > Section editor for PsyBC www.psychbc.com > > Write for the Health of It course at > http://www.suite101.com/course.cfm/17413/seminar > http://www.suite101.com/course.cfm/17413/overview/37900 > not yet a crazy old man > hard but not yet hardening of the > art > ========================================================================= Date: Tue, 24 Jun 2003 04:44:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: poetic pilgrimage MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Has anyone mentioned bpNichol Lane in Toronto? It's a special place, = just to the west of and running parallel with St. George St., behind U = of T's main research library (and the ugliest building in Toronto) = Robartes Library. Walk up the narrow back street to Coach House books (previously Coach = House Press) and examine the broadsides in the window and feast your = eyes on the old fashioned presses. Then look down. Inscribed in the = concrete in front of Coach House is Nichol's poem A LAKE A=20 LANE=20 A=20 LINE A LONE Wander around to the back of Coach House and poke your head in the door. = You'll probably see Stan Bevington, the founder or some of the others = who have devoted their lives to the place. They'll give you the tour. = Buy some books and then announce that you're heading to the nearest pub = for a pint. Chances are someone will join you, unless there's a big = printing deadline. ________________________ Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Tue, 24 Jun 2003 08:01:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: poetic pilgrimage MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I was going to mention Coach House. A year ago, while visiting a friend in Toronto, I thought of stopping by Coach House Books. I decided they'd probably be too busy and they only knew me through a few comps I'd sent them. A few months later I phoned in an order, mentioned I'd been in Toronto, and the staff said I should have stopped by. Next time I'm in Toronto, I will. My favorite "pilgrimage" site over the years has been City Lights Books. I'll be going there later this summer, for the first time since 1990. In the 1960's, Wilentz's Eighth Street Book Shop in Manhattan was a must-visit. Greenwich Village doesn't seem the same without it. In Hartford, CT the best bookstores are history and the chains are in the burbs. Mark Twain's house is worth a visit, if only to note the pool table in front of his writing desk. I wonder if he got blocked often enough to become a good shot. Books & Books in Miami, FL, supports a number of literary activities and its owner, Mitch Kaplan, has a genuine respect for writers. It might not have the historic qualities of other places mentioned in this thread, but it's a place that appreciates books as well as sells them---a welcome break from the chain stores that have inspired so many writers to forge literary subcultures online. For that alone, it's worth a visit. Vernon ----- Original Message ----- From: "Scott Pound" To: Sent: Tuesday, June 24, 2003 4:44 AM Subject: poetic pilgrimage Has anyone mentioned bpNichol Lane in Toronto? It's a special place, just to the west of and running parallel with St. George St., behind U of T's main research library (and the ugliest building in Toronto) Robartes Library. Walk up the narrow back street to Coach House books (previously Coach House Press) and examine the broadsides in the window and feast your eyes on the old fashioned presses. Then look down. Inscribed in the concrete in front of Coach House is Nichol's poem A LAKE A LANE A LINE A LONE Wander around to the back of Coach House and poke your head in the door. You'll probably see Stan Bevington, the founder or some of the others who have devoted their lives to the place. They'll give you the tour. Buy some books and then announce that you're heading to the nearest pub for a pint. Chances are someone will join you, unless there's a big printing deadline. ________________________ Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr http://www.bilkent.edu.tr/~pounds ========================================================================= Date: Tue, 24 Jun 2003 05:08:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: poetic pilgrimage In-Reply-To: <009f01c33a2c$c2e78270$9452b38b@Moby> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A bpNichole Lane, wow. Toronto has to be--by far--the best city for poets in North America. --Bob G. --- Scott Pound wrote: > Has anyone mentioned bpNichol Lane in Toronto? It's > a special place, just to the west of and running > parallel with St. George St., behind U of T's main > research library (and the ugliest building in > Toronto) Robartes Library. > > Walk up the narrow back street to Coach House books > (previously Coach House Press) and examine the > broadsides in the window and feast your eyes on the > old fashioned presses. Then look down. Inscribed in > the concrete in front of Coach House is Nichol's > poem > > A > LAKE > A > LANE > A > LINE > A > LONE > > Wander around to the back of Coach House and poke > your head in the door. You'll probably see Stan > Bevington, the founder or some of the others who > have devoted their lives to the place. They'll give > you the tour. Buy some books and then announce that > you're heading to the nearest pub for a pint. > Chances are someone will join you, unless there's a > big printing deadline. > > ________________________ > > Scott Pound > Assistant Professor > Department of American Culture and Literature > Bilkent University > TR-06800 Bilkent, Ankara > TURKEY > > +90 (312) 290 3115 (office) > +90 (312) 290 2791 (home) > +90 (312) 266 4081 (fax) > > pounds@bilkent.edu.tr > http://www.bilkent.edu.tr/~pounds __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Tue, 24 Jun 2003 07:25:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Mainstream Classic! - Orrick Johns In-Reply-To: <1056401445.3ef768256f08c@webmail.sas.upenn.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable I picked up a signed copy of Black Branches in a bookstore when I was a=20= teenager for the price of a candy bar. On Monday, June 23, 2003, at 03:50 PM, mmagee@DEPT.ENGLISH.UPENN.EDU=20 wrote: > The Mainstream Poets are happy to sponsor a forgotten classic,=20 > "Olives" by > Orrick Johns. Written in 1915, it appeared alongside Mina Loy=92s = "Love=20 > Songs" > in William Carlos Williams=92s magazine, Others. Williams mentions it = as=20 > causing > a minor sensation in his Autobiography (specifically the "Blue=20 > Undershirts" > section). A revised, and it seems to us less bold, version appeared=20= > in Johns=92s > book Black Branches under the title "Tunings." Johns is well worth=20 > checking > out! His poetry is all over the map but some of it, including this=20 > poem, > exhibits a wonderfully bizarre combination of sincerity and stupidity=20= > not seen > again until some of the New York Schoolies tried on a similar tone. =20= > Very > Mainstream! Happy reading... > > http://www.mainstreampoetry.com > ========================================================================= Date: Tue, 24 Jun 2003 08:41:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: poetic pilgrimage In-Reply-To: <002d01c33a48$507c5e10$8568f30c@S0027338986> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" talan memmott, alan sondheim, azure carter and i made a pilgrimage to coach house last year in may during a conference. as i recall there was a beautiful chestnut tree outside the building, which was a lovely funky garage (coach house i guess) on an alley in back of a row of brick houses. and a picnic table. we sat at it and then eventually went in for a tour. it was great. they showed us the letter press and said that the letters were stencilled pieces of metal (i know there are technical terms for these things but i can't remember them) and they each had a different weight and sound when they fell, so a blind printer could tell what was being printed by the sound sequence of the letters falling!!! talk about sound poetry that was so cool. they gave and sold us books and were supernice and it really felt good, it was a sunny day too so it was a wonderful excursion and break from the conference. At 8:01 AM -0400 6/24/03, Vernon Frazer wrote: >I was going to mention Coach House. A year ago, while visiting a friend in >Toronto, I thought of stopping by Coach House Books. I decided they'd >probably be too busy and they only knew me through a few comps I'd sent >them. A few months later I phoned in an order, mentioned I'd been in >Toronto, and the staff said I should have stopped by. Next time I'm in >Toronto, I will. > >My favorite "pilgrimage" site over the years has been City Lights Books. >I'll be going there later this summer, for the first time since 1990. In the >1960's, Wilentz's Eighth Street Book Shop in Manhattan was a must-visit. >Greenwich Village doesn't seem the same without it. > >In Hartford, CT the best bookstores are history and the chains are in the >burbs. Mark Twain's house is worth a visit, if only to note the pool table >in front of his writing desk. >I wonder if he got blocked often enough to become a good shot. > >Books & Books in Miami, FL, supports a number of literary activities and its >owner, Mitch Kaplan, has a genuine respect for writers. It might not have >the historic qualities of other places mentioned in this thread, but it's a >place that appreciates books as well as sells them---a welcome break from >the chain stores that have inspired so many writers to forge literary >subcultures online. For that alone, it's worth a visit. > >Vernon > > > >----- Original Message ----- >From: "Scott Pound" >To: >Sent: Tuesday, June 24, 2003 4:44 AM >Subject: poetic pilgrimage > > >Has anyone mentioned bpNichol Lane in Toronto? It's a special place, just to >the west of and running parallel with St. George St., behind U of T's main >research library (and the ugliest building in Toronto) Robartes Library. > >Walk up the narrow back street to Coach House books (previously Coach House >Press) and examine the broadsides in the window and feast your eyes on the >old fashioned presses. Then look down. Inscribed in the concrete in front of >Coach House is Nichol's poem > >A >LAKE >A >LANE >A >LINE >A >LONE > >Wander around to the back of Coach House and poke your head in the door. >You'll probably see Stan Bevington, the founder or some of the others who >have devoted their lives to the place. They'll give you the tour. Buy some >books and then announce that you're heading to the nearest pub for a pint. >Chances are someone will join you, unless there's a big printing deadline. > >________________________ > >Scott Pound >Assistant Professor >Department of American Culture and Literature >Bilkent University >TR-06800 Bilkent, Ankara >TURKEY > >+90 (312) 290 3115 (office) >+90 (312) 290 2791 (home) >+90 (312) 266 4081 (fax) > >pounds@bilkent.edu.tr >http://www.bilkent.edu.tr/~pounds -- ========================================================================= Date: Tue, 24 Jun 2003 08:44:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Mainstream Classic! - Orrick Johns In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hmm...blue undershirts and black branches...something very objective-correlativy about this juxtaposition...one is tempted to throw in a deflationary pair of red or white underpants... At 7:25 AM -0500 6/24/03, mIEKAL aND wrote: >I picked up a signed copy of Black Branches in a bookstore when I >was a teenager for the price of a candy bar. > > >On Monday, June 23, 2003, at 03:50 PM, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > >>The Mainstream Poets are happy to sponsor a forgotten classic, "Olives" by >>Orrick Johns. Written in 1915, it appeared alongside Mina Loy's "Love Songs" >>in William Carlos Williams's magazine, Others. Williams mentions it >>as causing >>a minor sensation in his Autobiography (specifically the "Blue Undershirts" >>section). A revised, and it seems to us less bold, version >>appeared in Johns's >>book Black Branches under the title "Tunings." Johns is well worth checking >>out! His poetry is all over the map but some of it, including this poem, >>exhibits a wonderfully bizarre combination of sincerity and >>stupidity not seen >>again until some of the New York Schoolies tried on a similar tone. Very >>Mainstream! Happy reading... >> >>http://www.mainstreampoetry.com -- ========================================================================= Date: Tue, 24 Jun 2003 09:35:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Mainstream Classic! - Orrick Johns Comments: To: Maria Damon In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Wow, I own Black Branches and his other book, Asphalt, but signed? Jealous! As I said, Johns is a peculiar figure, poetically and autobiographically. Had a wooden leg, committed suicide. The poems range from sort of neo-Romantic to uncomfortable minstrelsy ("Dat ol' gal's de dancin' kid..."), to NY Dada -- totally un-anthologizable and so he disappears. But someone should write about him. In a way, he may be the best example of the *transitional* quality of the NY poetry scene of the teens and twenties. -m. > At 7:25 AM -0500 6/24/03, mIEKAL aND wrote: > >I picked up a signed copy of Black Branches in a bookstore when I > >was a teenager for the price of a candy bar. > > > > > >On Monday, June 23, 2003, at 03:50 PM, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > > > >>The Mainstream Poets are happy to sponsor a forgotten classic, "Olives" by > >>Orrick Johns. Written in 1915, it appeared alongside Mina Loy's "Love > Songs" > >>in William Carlos Williams's magazine, Others. Williams mentions it > >>as causing > >>a minor sensation in his Autobiography (specifically the "Blue > Undershirts" > >>section). A revised, and it seems to us less bold, version > >>appeared in Johns's > >>book Black Branches under the title "Tunings." Johns is well worth > checking > >>out! His poetry is all over the map but some of it, including this poem, > >>exhibits a wonderfully bizarre combination of sincerity and > >>stupidity not seen > >>again until some of the New York Schoolies tried on a similar tone. Very > >>Mainstream! Happy reading... > >> > >>http://www.mainstreampoetry.com > > > -- > ========================================================================= Date: Tue, 24 Jun 2003 09:45:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: warhol interview help MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hello all, i'm trying to locate an interview with andy warhol (possibly conducted by gerard malanga but i can't be sure), likely published in an art or film magazine, and very likely within six months prior to february 1968. i've been able to follow up on a few citations i've found but none of them have panned out. none of the catalogs of or critical writings on warhol that i've seen come with anything like an extensive bibliography either. any suggestions or leads (backchannel) appreciated! thanks, tom orange ========================================================================= Date: Tue, 24 Jun 2003 08:59:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Mainstream Classic! - Orrick Johns In-Reply-To: <1056461717.3ef8539571c52@webmail.sas.upenn.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit It was my understanding that he ran with Harry Kemp, the infamous Provincetown poet who lived on the beach.... On Tuesday, June 24, 2003, at 08:35 AM, mmagee@DEPT.ENGLISH.UPENN.EDU wrote: > Wow, I own Black Branches and his other book, Asphalt, but signed? > Jealous! As > I said, Johns is a peculiar figure, poetically and autobiographically. > Had a > wooden leg, committed suicide. The poems range from sort of > neo-Romantic to > uncomfortable minstrelsy ("Dat ol' gal's de dancin' kid..."), to NY > Dada -- > totally un-anthologizable and so he disappears. But someone should > write about > him. In a way, he may be the best example of the *transitional* > quality of the > NY poetry scene of the teens and twenties. -m. > >> At 7:25 AM -0500 6/24/03, mIEKAL aND wrote: >>> I picked up a signed copy of Black Branches in a bookstore when I >>> was a teenager for the price of a candy bar. >>> >>> >>> On Monday, June 23, 2003, at 03:50 PM, mmagee@DEPT.ENGLISH.UPENN.EDU >>> wrote: >>> >>>> The Mainstream Poets are happy to sponsor a forgotten classic, >>>> "Olives" by >>>> Orrick Johns. Written in 1915, it appeared alongside Mina Loy's >>>> "Love >> Songs" >>>> in William Carlos Williams's magazine, Others. Williams mentions it >>>> as causing >>>> a minor sensation in his Autobiography (specifically the "Blue >> Undershirts" >>>> section). A revised, and it seems to us less bold, version >>>> appeared in Johns's >>>> book Black Branches under the title "Tunings." Johns is well worth >> checking >>>> out! His poetry is all over the map but some of it, including this >>>> poem, >>>> exhibits a wonderfully bizarre combination of sincerity and >>>> stupidity not seen >>>> again until some of the New York Schoolies tried on a similar tone. >>>> Very >>>> Mainstream! Happy reading... >>>> >>>> http://www.mainstreampoetry.com >> >> >> -- >> > ========================================================================= Date: Tue, 24 Jun 2003 11:16:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Sound Poets and Ecology MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable So far, nobody on this list has mentioned Michael Rothenberg, an = excellent poet and novelist. His readings qualify as performance poetry. = Last year, Rothenberg released UNDER THE SPELL, a CD on which he recites = his poetry with the accompaniment of percussionist Bobby Thomas.=20 Although he isn't well known as an ecological activist, Rothenberg's = excellent poetry collections and his inventive mystery novel, PUNK = ROCKWELL, reflect his ecological concerns. His friendships with Philip = Whalen and Joanne Kyger developed through shared concerns about the = environment, as well as their literary interests. Without making himself = a public figure, Rothenberg, who grows Bromeliads and Orchids in = California, has been active and successful in a number of initiatives to = preserve the California environment over the past thirty years. Although = he hasn't sought public attention for his contributions, Rothenberg has = contributed as much behind the scenes as a number of more visible = environmental activists.=20 Vernon ========================================================================= Date: Tue, 24 Jun 2003 12:11:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Nelson Subject: William Carlos Williams Quote Help MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am an embarrassment to my profession! There is a quote by WCW that = eludes me. I am paraphrasing from memory and look to your sagacity to point me = toward the source of it. The quote, as I remember it, is: Every writer writes out of a certain degree of sadness. If they are = pleased with the world the way it is, why create something entirely new? *** Any assistance you can provide would be helpful. Thank you. Prof. Robert S. Nelson, Coordinator Library Instruction ========================================================================= Date: Tue, 24 Jun 2003 08:58:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Clinefelter Subject: Re: warhol interview help In-Reply-To: <6a23956a2321.6a23216a2395@georgetown.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Here's two possibilities: "Andy Warhol Interviewed by Gerard Malanga" KULCHUR, Winter 1964/65 "My Favorite Superstar: Notes on My Epic, 'Chelsea Girls'" ARTS MAGAZINE, February 1967 These were in the selected bibliography of "Warhol" by David Bourdon (Abrams, 1989) Probably one of the best interviews with Warhol is "Sunday With Mr. C. An Audio-Documentary by Andy Warhol Starring Truman Capote" ROLLING STONE #132 April 12, 1973 --- oranget@GEORGETOWN.EDU wrote: > hello all, > > i'm trying to locate an interview with andy warhol > (possibly conducted > by gerard malanga but i can't be sure), likely > published in an art or > film magazine, and very likely within six months > prior to february > 1968. i've been able to follow up on a few citations > i've found but > none of them have panned out. none of the catalogs > of or critical > writings on warhol that i've seen come with anything > like an extensive > bibliography either. any suggestions or leads > (backchannel) appreciated! > > thanks, > tom orange __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Tue, 24 Jun 2003 09:10:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: poetic pilgrimage In-Reply-To: <002d01c33a48$507c5e10$8568f30c@S0027338986> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I haven't found a better bookstore, particularly for small press hard-to-find works, than Woodland Pattern in Milwaukee. It's a treasure of the best kind. All kinds of readings, workshops, and events occur there, and it's a center for experimental music as well. Their gallery has some fantastic exhibitions, too. A long time ago, when I lived in Madison, Wisconsin, it was necessary to go to Woodland Pattern once a month or so. Ask to see what's tucked away in the drawers, too. 720 E. Locust St., Milwaukee. Charles ========================================================================= Date: Tue, 24 Jun 2003 09:17:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: poetic pilgrimage In-Reply-To: <5.1.0.14.0.20030624090832.01b648d0@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii (now we're all going to talk about our favorite hometown bookstores): but to add plus one to the "Albany is Cool" message a little while back from David, I have to plug the poor-student institution Dove and Hudson Books. It's located on (how was that Malevich exhibit again?) the corner of Dove and Hudson. Hmm. but absolutely supports the underfunded writer: anything you want from obscure and out of print (it was my source for Anais Nin's writings before "Henry and June" came out and it was all rereleased) to the cheap resale of new titles (I got the Joris/Rothenberg anthology for $10 there, plus collected WCW for the same, etc etc). The owner is great, they'll look for anything for you. You always get purple money ($1 for every ten you spend) and they have great hours (though closed during the Albany league baseball games)! when you next visit Albany--soon and often that colonized capital, forget-me-bird, angel, anchored, ache--remember: easy to find on a map. --- charles alexander wrote: > I haven't found a better bookstore, particularly for > small press > hard-to-find works, than Woodland Pattern in > Milwaukee. It's a treasure of > the best kind. All kinds of readings, workshops, and > events occur there, > and it's a center for experimental music as well. > Their gallery has some > fantastic exhibitions, too. A long time ago, when I > lived in Madison, > Wisconsin, it was necessary to go to Woodland > Pattern once a month or so. > Ask to see what's tucked away in the drawers, too. > 720 E. Locust St., > Milwaukee. > > Charles ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Tue, 24 Jun 2003 10:31:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laurie macrae Subject: Joseph Chaiken MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Joseph Chaiken, founder of the Open Theater is dead. Chaiken changed the concept of theater from a personality driven, essentially bourgiois enterprise, to a truely ensemble concept of creating images and ideas out of the whole rather than its parts. Open theater productions were characterized by their physical vitality and their striking imagery, by acting that embodied large and complex truths. The Open Theater enterprise changed how we think about theater forever, and Chaiken's gifts will stay with everyone who experienced them. Laurie Macrae __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Tue, 24 Jun 2003 13:03:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: PolitAlert In-Reply-To: <20030624173117.38606.qmail@web11904.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit C-Span is providing another Senator Byrd beauty versus the lies in the Bush. Definitely earning his Federal Pension. Tune in for the repeats. MoveOn.org primary took me several attempts to get in virtual line. A "virtual primary" is an interesting term. I did my virtuous best! Frankly - if anyone is interested - I wrote in Gen Wesley Clark to give Rumsfeld a kick in the mirror. He may also be the only one who can provide the timber to dwarf the Bushes - otherwise the Demos are only providing a cast of single blade pruners - not enough. While the metaphors begin to spawn here, I'm gone. Stephen V ========================================================================= Date: Tue, 24 Jun 2003 17:52:13 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Gardeners Arrested! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Garden Raided at Sacramento Mobilization! Last night I watched in tears as fifty riot cops surrounded the Ron Mandella Community Garden, where my friends and permaculture buddies were locked down. We stood under the harsh lights and waited, knowing they were locked to each other and being cut apart, hoping and praying they would not be hurt. Erik, Eileen, Abby, Matt, and others from Sonoma county and our Earth Activist trainings were among them. Now they are on hunger strike in jail. As part of the protest against the biotech and corporate agriculture miniministerial convened here in Sacramento by the USDA and USAID, they decided to defend the alternative‹a community garden confiscated to be developed for condos. Earlier in the week, in a raid on the Welcome Center of the Sacramento Mobilization for Food Sovereignty, Democracy and Justice, police had confiscated seed balls produced in a permaculture weapons, claiming they could be used as projectile weapons, and were shown on the night time news demo. Why is the city of Sacramento portraying organic gardening as a dangerous and threatening activity‹while supporting the poisonous agriculture practices and dangerous technologies promoted by the mini-ministerial? Please make the calls suggested below. Let¹s free the gardeners and the garden! For more infomation on the garden, see www.freethegarden.org. For more information on the Sacramento Mobilization, see www.sacmobilization.org. Please call the District Attorney, Jan Scully, and demand that charges be dropped and the gardeners be released! 916-874-6218. Call Steve Westly, the State Controller at (916) 445-2636, and demand that the state return control of the garden to the people, and end funding for the Fremont Mews Development. And call Mayor Heather Fargo and the Sacto City Council. (916) 808-5407, and tell them that Sacramento needs the Ron Mandella Community Garden. And please send this message on to other gardeners and permaculturists. Let's let Sacramento hear from gardeners around the world that we want them to support small scale, community based agriculture, not profit-driven toxic ag! Starhawk www.starhawk.org ========================================================================= Date: Tue, 24 Jun 2003 17:07:04 -0400 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: places to live MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I would suggest our fine city Columbus as it is the 13th largest in the US& the cheapest by far Friends of mine pay 300-425 a month for rent for a single bedroom 2-500 for a two bedroom, our mortgage is under five hundred a month for a three bedroom house. 600 a year full coverage car insurance, & so on I work about 200 hours a year to cover my expenses Culturally there is much going on on here great rock music scene all my friends from both coasts float thru best movie set ups I've seen plenty of writers, an odd mix of people genre wise Poetry -wise we have had a few hundred people read for us in the past two years including Simon Perchik, Jimmy Santiago Baca, CD Wright, Sheila Murphy, & others. the only disadvantage is you need a car. But they do not inspect them for windshields or emissions or anything except to match up the vin numbers. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Tue, 24 Jun 2003 17:16:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron McCollough Subject: New Issue of GutCult MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit The New Issue of GutCult is open for business, featuring poetry by Joshua Beckman & Matt Rohrer, Jonathan Minton, Sheila E. Murphy, Joyelle McSweeney, and many others. This issue also features prose by Stephany Aulenback and others. Finally, this issue includes an interview with fiction-writer George Saunders. I hope you enjoy: http://www.gutcult.com ========================================================================= Date: Tue, 24 Jun 2003 17:23:43 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Mainstream Classic! - Orrick Johns MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I used to love and still love these two lines by Orrick Johns: "They are unholy who are born to love wild plums at night, Who once have passed them on the road glimmering and white." I don't know the poem anymore that that is from -- maybe called Wild Plums. I haven't heard Orrick Johns' name ever before in any kind of discussion, and the last time I thought about him was twenty years ago at least. I didn't know he was so tied in to modernist groups. I had the impression that he had committed suicide -- this may have been on the back of a volume of poems I had of his that I got out of the Portland Public Library decades back. Oh, speaking of pilgrimages -- the lobby of the Portland Oregon public library is really dazzling -- black marble as I recall, with inscriptions of Oregon history cut into the marble in a giant winding staircase that goes up four or five floors. Are there really wagon trains cut in marble, or is that my memory playing tricks on me? -- Kirby Olson ========================================================================= Date: Tue, 24 Jun 2003 17:49:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Perry Subject: Columbian Poetry? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Anyone know anything about contemporary Columbian poetry? Any poets' = names, book titles or other info would be much appreciated. Thanks, David ========================================================================= Date: Tue, 24 Jun 2003 19:51:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Buchanan article in Conservative rag, interesting MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Very interesting and even, umm, emitting of hope -- this piece below is penned by no less a despicable fellow than Pat Buchanan. Still, it = does perhaps reflect some promising potential fracturing of the "them" that = fill the world with so much fear and loathing... http://www.amconmag.com/06_16_03/buchanan.html June 16, 2003 issue Copyright =A9 2003 The American Conservative Is the Neoconservative Moment Over? by Pat Buchanan The salad days of the neoconservatives, which began with the = president's Axis-of-Evil address in January 2002 and lasted until the fall of = Baghdad may be coming to an end. Indeed, it is likely the neoconservatives will never again enjoy the celebrity and cachet in which they reveled in = their romp to war on Iraq.=20 While this is, admittedly, a prediction, it rests on reasonable = assumptions. But why should neoconservatism, at the apparent apex of its influence, = be on the edge of eclipse?=20 Answer: the high tide of neoconservatism may have passed because the = high tide of American empire may have passed. "World War IV," the empire = project, the great cause of the neocons, seems to have been suspended by the President of the United States.=20 While we still hear talk of "regime change" in Iran and North Korea, = U.S. forces not tied down in occupation duties by the anarchy and chaos in = Iraq, are returning home.=20 The first signal that the apogee of American hegemony in the Middle = East has been reached came as U.S. soldiers and marines were completing their triumphant march into Baghdad. Suddenly, all the bellicosity toward = Syria from neoconservatives and the Pentagon, stopped, apparently on the = orders of the Commander in Chief.=20 Secretary of State Powell announced he would go to Damascus to talk = with President Assad. U.S. ground forces halted at the Syrian border. Our carriers began to sail home from the Gulf. All the talk of Iraqi war criminals hiding out in Syria and Saddam's weapons of mass destruction = being transferred there suddenly ceased. "Mission Accomplished" read the huge banner on the Abraham Lincoln, as the president landed on the carrier = deck to address the nation.=20 When Newt Gingrich, before an audience at the American Enterprise = Institute (AEI), launched his tirade against Powell and the Department of State, accusing them of appeasing Syria, no echo came out of the Pentagon. Reportedly, Karl Rove gave Newt an earful, and the president himself = was prepared to blast Newt, for he saw the attack on Powell as an attack on = his own policy. A few editorials and columns praised Newt, but the neocons = could sense that they were no longer in step with the White House. So, too, = did every other Kremlinologist in this city.=20 Why did Bush order an end to the threats to Syria? The answer is = obvious. He is not prepared to carry them out. With the heavy fighting over in Afghanistan and Iraq, the American people have had enough of invasions = and occupations for one presidential term. The United States is now deep = into nation building in both countries.=20 Moreover, Syria is not under any UN sanctions. Its leader did not try = to assassinate the president's father. There is no evidence Damascus is = working on nuclear weapons. Assad has not threatened us. A war on Syria would = have no Security Council endorsement, no NATO allies, no authorization from Congress. Such a pre-emptive war would be unconstitutional and be seen abroad as the imperial war of a rogue superpower. For all the talk of unilateralism and of our "unipolar moment" President Bush clearly feels = a need for allies, foreign and domestic, before launching such a war.=20 Finally, having assumed paternity of 23 million Iraqis, few Americans = are anxious to adopt 17 million Syrians. Damascus is a bridge too far for = Bush and Rove, and with two wars and two victories in two years, why press = their luck? The re-election that the president's father did not win-and not = an empire-appears to be what they are about.=20 Therefore, for the foreseeable future, the glory days-of Special Forces galloping on horseback in the Afghan hills, of Abrams tanks dashing = like Custer's cavalry across the Iraqi desert, of statues of Saddam toppling = into the streets of Baghdad, and presidents landing on carrier flight decks = in fighter-pilot garb -are over, behind us, gone.=20 And ahead? Like all empires, once they cease to expand, they go over = onto the defensive. Like the Brits before us, we must now secure, = consolidate, protect, manage, and rule what we have in the tedious aftermath of our imperial wars. And as we have seen in the terror attacks in Casablanca = and Riyadh, al-Qaeda and its allies, not Tommy Franks, now decide the time = and place of attack in the War on Terror.=20 With 25 U.S. soldiers dead and counting since Baghdad fell, what the = empire now entails is a steady stream of caskets coming home from Afghanistan = and Iraq and tens of billions of American tax dollars going the other way = to pay the cost of reconstruction of countries we have defeated and occupied.=20 Victory has brought unanticipated headaches. Having smashed the forces = that held Iraq together-Saddam's regime, the Ba'ath Party, the Republican = Guard, the army-we must now build new forces to police the country, hold it together, and protect it from its predatory neighbors. And there are = Islamic and Arab elements in and outside of Iraq determined that we should = fail.=20 Where Tehran and the mullahs colluded in our smashing of a Taliban they hated, and of their old enemy Saddam, they no longer welcome America's massive military presence in their region.=20 Most important, it appears the president has shifted roles from war = leader to peacemaker. While the neocons are adamant in rejecting the road map = to peace, drafted by the "quartet"-the U.S., the EU, the UN, and Russia-as = a threat to Israel's survival, Bush has endorsed it and evidently means = to pursue it. The neocons are already carping at him for pressuring Sharon = to "negotiate with terrorists" and "creating a new terrorist state in the Middle East." Where White House and neoconservative agendas coincided precisely in the invasion of Iraq, they are now clearly in conflict.=20 While it has not happened yet, there is the possibility that our effort = at nation building in Iraq will falter and fail, that Americans will tire = of pouring men and money into the project, and will demand that the = president bring the troops home and turn Iraq over to the allies, the Arabs, or = the UN. As one looks at Afghanistan, Iraq, and a Middle East where al-Qaeda = is avidly seeking soft targets, it may be that all the good news is behind = us and that only bad news lies ahead.=20 If we have hit the tar baby in Baghdad, the president may be seeking to extricate us before we go to the polls 17 months from now. And should = the fruits of victory start to rot, Americans will begin to ask questions = of the principal propagandists for war.=20 It was, after all, the neocons who sold the country on the notion that = Iraq had a huge arsenal of weapons of mass destruction, that Iraq was behind 9/11, that Saddam had ties to al-Qaeda, that the war would be a = "cakewalk," that we would be welcomed as liberators, that victory would bring = democratic revolution in the Middle East. Should the cream go sour, the neocons = will face the charge that they "lied us into war."=20 Moreover, for a movement that is small in number and utterly dependent = on its proximity to power, the neocons have made major mistakes. They have insulted too many U.S. allies, boasted too much of their connections = and influence, attracted too much attention to themselves, and antagonized = too many adversaries. In this snake pit of a city, their over-developed = penchant for self-promotion is not necessarily an asset.=20 By now, all their columnists and house organs-Commentary, National = Review, the New Republic, the Weekly Standard-are known. Their front = groups-AEI, JINSA-have all been identified and bracketed. Their agents of influence-Perle, Wolfowitz, Feith, Libby, Bolton, Wurmser, Abrams, et alia-have all been outed. Neoconservatives are now seen as separate and apart from the Bush loyalists, with loyalties and an agenda all their = own.=20 If Americans decide they were lied to, that the Iraqi war was not = fought for America's interests, that its propagandists harbored a hidden agenda-as = they decided after World War I and exposure of the "merchants of death"-they = will know exactly whom to blame and whom to hold accountable.=20 The weakness of the neocons is that, politically speaking, they are parasites. They achieve influence only by attaching themselves to = powerful hosts, be it "Scoop" Jackson, Ronald Reagan, or Rupert Murdoch. When = the host dies or retires, they must scramble to find a new one. Thus, they = have blundered in isolating themselves from and alienating almost every = other once-friendly group on the Right.=20 Consider the lurid charges laid against all three founding editors of = this magazine and four of our writers-Sam Francis, Bob Novak, Justin = Raimondo, and Eric Margolis-by National Review in its cover story, "Unpatriotic Conservatives." Of us, NR writes,=20 They ... excuse terror. They espouse ... defeatism. ... And some of them explicitly yearn for the victory of their nation's enemies. ...=20 Only the boldest of them ... acknowledge their wish to see the United States defeated in the War on Terror. But they are thinking = about defeat, and wishing for it, and they will take pleasure in it should it happen. They began by hating the neoconservatives. They came to hate their party and their president. They have finished by hating their country. This screed does not come out of the National Review of Kirk, Burnham, = and Meyer we grew up with. It is the language of the radical Left and Trotskyism, the spawning pools of neoconservatism. And rather than = confirm the neocons as leaders of the Right, such bile betrays their origins = and repels most of the Right. One wonders if the neocons even know how many = are waiting in hopeful anticipation of their unhorsing and humiliation.=20 "There is no telling how far a man can go, as long as he is willing to = let someone else get the credit," read a plaque Ronald Reagan kept in his = desk. The neocons' problem is that they claim more credit than they deserve = for Bush's War and have set themselves up as scapegoats if we lose the = peace.=20 Having enjoyed the prerogative of the courtesan, influence without accountability, the neocons may find themselves with that worst of all worlds, responsibility without power. <<...OLE_Obj...>>=20 June 16, 2003 issue Copyright =A9 2003 The American Conservative Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Tue, 24 Jun 2003 20:22:04 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: On Stefans's Blog Comments: To: me@me.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Lots of crazy activity... guest writing by Darren Wershler-Henry and Rachel Blau Duplessis (I'm a three name only guy)... http://www.arras.net/weblog/ etc. chatter: Exchange on Circulars 5 (with DWH) enthusiasms: Werner Herzog's Stroszek chatter: Ok... I'll bite (response to Gary Sullivan) links: Charlie's Ants (more fun with Jack Chick) chatter: Exchange on Circulars 4 (with DWH) links: The Corporate Blog quote: Hitchens on "generations" links: I've been blogged (comix book convention with Gary Sullivan) translation: Locutions des Pierrots, X (Laforgue) carnival: The Four Horsemen chatter: Exchange on Circulars 3 (with DWH) poems: The New Stanza poems: Short poem links: Ian Hamilton Finlay chatter: Dream Lives of Genders (Rachel Blau Duplessis) reviews: Little Review: Digital Art, by Christiane Paul digressions: People who bought this book also bought... chatter: Exchange on Circulars 2 (with DWH) chatter: Exchange on Circulars (with DWH) links: Unheard Music (Craig Dworkin) links: Grand Text Auto open letters: After Language Poetry links: The Complete History of Hacking links: Creeps Auf Deutsch chatter: Roof / Granary / Figures book party (three sketch reviews of George Stanley, Rod Smith, Kenneth Goldsmith) chatter: Letter to Radiohead ____ 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: Tue, 24 Jun 2003 19:09:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: Re: Roger Snell In-Reply-To: <4.1.20030623211717.01c1b400@socrates.berkeley.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit David, Roger: rogersnell@mac.com Andrew > From: David Larsen > Reply-To: UB Poetics discussion group > Date: Mon, 23 Jun 2003 21:17:57 -0700 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Roger Snell > > Would someone give me Roger Snell's email or tell him to email me? Thanks LRSN ========================================================================= Date: Tue, 24 Jun 2003 21:50:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Mainstream Classic! - Orrick Johns Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > I used to love and still love these two lines by Orrick Johns: > > "They are unholy who are born to love wild plums at night, > Who once have passed them on the road glimmering and white." I like these lines - a nice juxtaposition with WCW - his own domestic version of Johns' wild plums where instead finds them sumptuously waiting on a plate in the fridge! It is curious that John's would label the men as "unholy" - in light of this googled up story of plums and holiness: ((from Thingazar Sayadaw's story 14, Burmese Monk's Tales) Prologue: One morning, after the learned monks had eaten the alms food offered by him, King Mindon bewailed the fact that not one among his teachers had become an arahat. "My lords," said the king, ''I build you fine monasteries and I offer you aIms food regularly. In return, you do show me the way to piety, but I feel poorly recompensed, for no one among my lords has striven enough to reach the state of arahatship." All the other monks remained silent, but the Thingazar Sayadaw could not let the king's criticism pass unchallenged. "Your Majesty," he replied, "we are aloft the plum tree and you are criticizing us from the ground." "Plum crazy" I guess another word for Holy in some realms. Re Portland, Kirby, I suggest you look up the work of Robert Adams, if you have not; he is one of this country's great photographers and, one might say, an elegiac documentry artist of the west, also a literary guy. His photographs of the suburbanization/sprawl of Denver are hauntingly lonely in their human and spatial witness - a luminous Edward Hopper. His photographs of the Columbia River gorge and the clear cutting of Oregon forests carry a double punch - he has an incredible sense of illumination and beauty in contest inside pervasive devastation. He's undoubtedly in the Photography collection at the Portland Museum. The photo curator there - Terry Tottenmeyer (sp?) - makes great black and white photographs of the Basalt caves and shapes that bluff out and drop off the Oregon coastline. He risks his butt by getting out under them to shoot during low tides. If you want an aesthetic experience of magma darkness he's got it in spades. Stephen Vincent on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > I used to love and still love these two lines by Orrick Johns: > > "They are unholy who are born to love wild plums at night, > Who once have passed them on the road glimmering and white." ========================================================================= Date: Wed, 25 Jun 2003 01:28:03 -0400 Reply-To: The Constant Critic Sender: UB Poetics discussion group From: The Constant Critic Organization: The Constant Critic Subject: The Constant Critic Unsubscription Content-type: text/plain; charset=iso-8859-1 Unsubscription from list: The Constant Critic is successful. If you would like to subscribe to The Constant Critic in the future, just click this link: http://www.constantcritic.com/mojo/mojo.cgi?f=n&l=ccritic&e=poetics%40listserv.acsu.buffalo.edu&p=10876 - rwolff@angel.net ========================================================================= Date: Tue, 24 Jun 2003 23:08:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: OF LATE ON LIME TREE In-Reply-To: <200306250005.19v1x4n33Nl3pX0@cave.mail.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit OF LATE ON LIME TREE (http://limetree.blogspot.com): --- props to Eugene Ostashevsky Shelley's "West Wind" Mike County's chapbook _copper_ Stephanie Young and Laynie Browne at 21 Grand my reading with Cassie Lewis at David Hadbawnik's Steve Evans' sub-blog nb three poems by Ian Wallace several revived Flarf plays a ton of dancing baloney and much more --- while you're there, link on over to my poem blog, Squirrels in My Attic (http://squirrelsinmyattic.blogspot.com) --Kasey +++ k. silem mohammad http://limetree.blogspot.com ========================================================================= Date: Wed, 25 Jun 2003 02:13:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sometime we should aid the world in killing MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sometime we should aid the world in killing human scum that populates the earth - there's nothing that could be more thrilling than human slaughter - beginning first with birth and moving upward - no one spared the knife or poison bullet which will do the trick in taking care of this pest and its life creating chaos - illness - driving fauna sick as victims rove as if they were a shunt from one horrific moment to the next - while there's no stopping humans from the hunt - it's built into our genes - our muscles flex to take us out before it's much too late for holocaust - and victims' guilt bears fate ___ ========================================================================= Date: Wed, 25 Jun 2003 03:22:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT http://www.clas.ufl.edu/ipsa/journal/2001/hollan03.htm may be of interest. Modell: Bickerton believes it is primarily language the enables the human being to go "off-line" play (following Bateson may be another way: safe environments expand consciusness and fearful, traumatic one constrict "different cerebral domains operate in accordance with different rules...I would propose that the perception of feelings utilizes different neural rules as compared, for example, to visual perception....the prception of feelings relies on the corporeal imaginatiomn, which in turn is determined by the history of the self/" tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Tue, 24 Jun 2003 23:17:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Mainstream Classic! - Orrick Johns In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Steve: I'm assuming that the wild plums in question are the beach plums that grow at the edge of every undisturbed beach in the northeast. My reading (not of course knowing the rest of the poem) is that the sight of them renders the viewer unholy--wild, pagan, bewitched--snatched from one realm into another. But I tend to see the liminal everywhere. Mark At 09:50 PM 6/24/2003 -0700, Stephen Vincent wrote: >on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > > > I used to love and still love these two lines by Orrick Johns: > > > > "They are unholy who are born to love wild plums at night, > > Who once have passed them on the road glimmering and white." > > >I like these lines - a nice juxtaposition with WCW - his own domestic >version of Johns' wild plums where instead finds them sumptuously waiting on >a plate in the fridge! >It is curious that John's would label the men as "unholy" - in light of this >googled up story of plums and holiness: >((from Thingazar Sayadaw's story 14, Burmese Monk's Tales) >Prologue: One morning, after the learned monks had eaten the alms food >offered by him, King Mindon bewailed the fact that not one among his >teachers had become an arahat. "My lords," said the king, ''I build you fine >monasteries and I offer you aIms food regularly. In return, you do show me >the way to piety, but I feel poorly recompensed, for no one among my lords >has striven enough to reach the state of arahatship." All the other monks >remained silent, but the Thingazar Sayadaw could not let the king's >criticism pass unchallenged. "Your Majesty," he replied, "we are aloft the >plum tree and you are criticizing us from the ground." > >"Plum crazy" I guess another word for Holy in some realms. > >Re Portland, Kirby, I suggest you look up the work of Robert Adams, if you >have not; he is one of this country's great photographers and, one might >say, an elegiac documentry artist of the west, also a literary guy. His >photographs of the suburbanization/sprawl of Denver are hauntingly lonely in >their human and spatial witness - a luminous Edward Hopper. His photographs >of the Columbia River gorge and the clear cutting of Oregon forests carry a >double punch - he has an incredible sense of illumination and beauty in >contest inside pervasive devastation. >He's undoubtedly in the Photography collection at the Portland Museum. The >photo curator there - Terry Tottenmeyer (sp?) - makes great black and white >photographs of the Basalt caves and shapes that bluff out and drop off the >Oregon coastline. He risks his butt by getting out under them to shoot >during low tides. If you want an aesthetic experience of magma darkness he's >got it in spades. > >Stephen Vincent > > >on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > > > I used to love and still love these two lines by Orrick Johns: > > > > "They are unholy who are born to love wild plums at night, > > Who once have passed them on the road glimmering and white." ========================================================================= Date: Tue, 24 Jun 2003 23:48:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Mainstream Classic! - Orrick Johns In-Reply-To: <5.1.0.14.1.20030624231344.03356188@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mark, I would be the last one needed to persuade you that the "unholy" (wild, pagan, bewitched--snatched from one realm into > another.) may also be perceived by others as quite "Holy." It's the old argument that pits the devout religious "expressionists" against the formal & restrained ones. Puritans versus holy rollers, etc. Plums are clearly a great and consuming trigger for some - off to a good start this summer in California (sweet & voluptuous) as different from bitter in some summers past. "But I tend to see the liminal everywhere" Does that mean you get off to an "other" - maybe sacred space - on the mere sight of plums? I am getting plum or something crazy here so I leave with the purest information I can on what might have been Johns' plums in 1915, as well as the origins and history of non-native American plums, as well as the WCW: 1. Prunus italica (greengages), which are still found wild in Asia Minor and were possibly introduced to northern Europe by the Romans. They disappeared entirely from Europe in the Middle Ages and were not reintroduced until the 18th century. 2. Prunus salicina and Prunus triflora (Japanese plums), which are larger, cone-shaped, mild and sweet, and range in color from gold to orange-red. 3. Prunus institia (damsons), which originated in Damascus, Syria, and were brought to Europe during the Crusades, in the 12th century--possibly by the French Duc d'Anjou after his pilgrimage to Jerusalem. 4. Prunus cerasifera (cherry plums, or myrobalan), which originated in the Balkans, Caucasus, and Western Asia and were introduced to England in the 16th century--thence to the New World. 5. Prunus maritima (American beach plums), which are native to the U.S. and were consumed by Native Americans before being adopted by European Settlers. 6. Prunus americana (wild plums), which are native to North America. "This is Just to Say" (1934): I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold WCW (Pagan or Holy what plum bit of difference does it make?) Stephen V on 6/24/03 11:17 PM, Mark Weiss at junction@EARTHLINK.NET wrote: > Steve: > > I'm assuming that the wild plums in question are the beach plums that grow > at the edge of every undisturbed beach in the northeast. My reading (not of > course knowing the rest of the poem) is that the sight of them renders the > viewer unholy--wild, pagan, bewitched--snatched from one realm into > another. But I tend to see the liminal everywhere. > > Mark > > At 09:50 PM 6/24/2003 -0700, Stephen Vincent wrote: >> on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: >> >>> I used to love and still love these two lines by Orrick Johns: >>> >>> "They are unholy who are born to love wild plums at night, >>> Who once have passed them on the road glimmering and white." >> >> >> I like these lines - a nice juxtaposition with WCW - his own domestic >> version of Johns' wild plums where instead finds them sumptuously waiting on >> a plate in the fridge! >> It is curious that John's would label the men as "unholy" - in light of this >> googled up story of plums and holiness: >> ((from Thingazar Sayadaw's story 14, Burmese Monk's Tales) >> Prologue: One morning, after the learned monks had eaten the alms food >> offered by him, King Mindon bewailed the fact that not one among his >> teachers had become an arahat. "My lords," said the king, ''I build you fine >> monasteries and I offer you aIms food regularly. In return, you do show me >> the way to piety, but I feel poorly recompensed, for no one among my lords >> has striven enough to reach the state of arahatship." All the other monks >> remained silent, but the Thingazar Sayadaw could not let the king's >> criticism pass unchallenged. "Your Majesty," he replied, "we are aloft the >> plum tree and you are criticizing us from the ground." >> >> "Plum crazy" I guess another word for Holy in some realms. >> >> Re Portland, Kirby, I suggest you look up the work of Robert Adams, if you >> have not; he is one of this country's great photographers and, one might >> say, an elegiac documentry artist of the west, also a literary guy. His >> photographs of the suburbanization/sprawl of Denver are hauntingly lonely in >> their human and spatial witness - a luminous Edward Hopper. His photographs >> of the Columbia River gorge and the clear cutting of Oregon forests carry a >> double punch - he has an incredible sense of illumination and beauty in >> contest inside pervasive devastation. >> He's undoubtedly in the Photography collection at the Portland Museum. The >> photo curator there - Terry Tottenmeyer (sp?) - makes great black and white >> photographs of the Basalt caves and shapes that bluff out and drop off the >> Oregon coastline. He risks his butt by getting out under them to shoot >> during low tides. If you want an aesthetic experience of magma darkness he's >> got it in spades. >> >> Stephen Vincent >> >> >> on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: >> >>> I used to love and still love these two lines by Orrick Johns: >>> >>> "They are unholy who are born to love wild plums at night, >>> Who once have passed them on the road glimmering and white." ========================================================================= Date: Tue, 24 Jun 2003 23:48:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: places to live MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Places to live: =20 =20 Beaverton, OR 1962 B.N. - Before we talk of places fit to live, I must = first reminisce with you and take you back in time to a Beaverton of = yesterday, to a quiet village snuggled in the rolling green countryside = between the hustle and bustle of an expanding Portland metropolis and = the vast woodlands and meadows stretching west southwestward toward the = rocky black sand of the Oregon coast. I take you to a quiet Beaverton, = to a Beaverton Before Nike.=20 =20 Close your eyes and imagine with me gravel lanes meandering through = meadows lush with pasture grasses; imagine also small home sites cut = carefully into the edge of the dense forests, and picture in all this = verdant splendor, swift gushing streams filled with diamond clear = mountain runoff waters swirling with young trout. Here, in this nearly = perfect, Camelot of settings sits Beaverton. =20 =20 Small ranches, small orchards, family farmers and members of the local = logging company's crews, all dwelling side by side in a kind of harmonic = somnambulant existence.this is Beaverton, OR B.N.=20 * * * * * * = * =20 =20 It's amazing, when you actually stop and look over the landscape while = it is being plundered, how much earth a bulldozer can shove aside in an = hour. But what is even more amazing is how bulldozers can reshape the = contours of the land, how they can change the quiet character of a = village and turn it into a strip-mall circus. =20 =20 Bulldozers reshaped Beaverton. But, why did the bulldozers come? What = forces possessed the power to direct these huge machines to turn the = idyllic countryside into a home for poorly designed shops, offices, = motels, shopping centers, and cluster-styled (or should that be = clutter-styled?) California housing developments? =20 =20 Enter technology and the host of shoes to come! =20 I have neither time nor space in this brief note to provide the details = about all the hi-tech companies responsible for bulldozing the Beaverton = countryside, so I must focus on one, the one I believe most responsible = for the devastation: Nike. =20 =20 Nike."just do it," they said, and they did exactly that. Nike hit = Beaverton like the marines hitting the beaches at Tarawa. =20 =20 Oh, there were no cannons or rockets, bombs or machine guns; there were = worse: architects and contractors, designers, engineers and heavy = equipment operators. They arrived in droves. They planned, then they = developed. At least that what they called it.development. =20 =20 And when they had finished, the lazy country lanes which had once = meandered through meadows were transformed into four and six lane = thoroughfares connecting one strip mall center with another. =20 =20 Funny, too, for all that expense and planning, one must point out the = simple fact of the failure. The thoroughfares are so glutted with = vehicles that traffic moves at a pace less rapid than when the cars = traveled over the gravel-topped country roads. =20 =20 The highlight of all the changes to the typography is the Nike = Headquarters compound. Here, architects, contractors, designers and = engineers took the natural beauty of the countryside and created a kind = of Southwestern styled hacienda complex. I don't mean in terms of the = adobe appearance of an old hacienda; I am referring to the design of the = hacienda complex.remember how they were planned: the outer walls of the = building formed a barricade around the perimeter of the casa. There was = of course an entry gate, but life in the hacienda existed within the = walls of the structure, and the residents could escape the horrors and = the difficulties of the outside world by retreating into the inner = sanctum of the hacienda's walled safety.=20 =20 Nike workers escape the fears of the surrounding area by driving through = the gates that lead into the compound. Once inside, they are safe and = need fear no wrath from the local Beaverton residents who failed to move = away in time and escape the onslaught of the Nike invaders. =20 =20 The Nike compound is closed to outsiders. We may drive the Nike built = thoroughfares around the perimeter of the compound, enjoying the ten = foot high earth walls planted with lush, non-native vegetation, but we = may not enter the compound. =20 =20 Helicopters from the Portland news broadcasters have invaded the = airspace over the compound and shared television footage of the grounds, = the athletic fields, the buildings, and the eighty plus acre lake hidden = within the walls of the earth berms, but even these films fail to do = justice to capture feeling of the complex. =20 =20 And this complex has been set in the country amid the development areas, = the shops, the motels, the office buildings, the subdivisions full of = houses belonging to the underlings of the Nike organization, and the few = remaining single family homes belonging to folks who cling to the ideal = of a Beaverton that was once a delightful place to live and raise a = family. Now that was a place fit to live. =20 =20 =20 =20 =20 =20 ========================================================================= Date: Wed, 25 Jun 2003 00:23:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Mainstream Classic! - Orrick Johns MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Mark, Steve, I believe the wild plums are often symbols for purity/innocence and = wisdom? =20 Here, in these lines, the pure has her innocence "shattered" yet she = remains wise...or at least that was my intention when I wrote the verse = decades ago. =20 "Young she was, yet strong and wise, and proudly stood among black branches of the small, wild plums; her sloe-eyes wide open to the sweet shattering of pink," =20 alex=20 ----- Original Message -----=20 From: Mark Weiss=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Tuesday, June 24, 2003 11:17 PM Subject: Re: Mainstream Classic! - Orrick Johns Steve: I'm assuming that the wild plums in question are the beach plums that = grow at the edge of every undisturbed beach in the northeast. My reading = (not of course knowing the rest of the poem) is that the sight of them renders = the viewer unholy--wild, pagan, bewitched--snatched from one realm into another. But I tend to see the liminal everywhere. Mark At 09:50 PM 6/24/2003 -0700, Stephen Vincent wrote: >on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > > > I used to love and still love these two lines by Orrick Johns: > > > > "They are unholy who are born to love wild plums at night, > > Who once have passed them on the road glimmering and white." > > >I like these lines - a nice juxtaposition with WCW - his own domestic >version of Johns' wild plums where instead finds them sumptuously = waiting on >a plate in the fridge! >It is curious that John's would label the men as "unholy" - in light = of this >googled up story of plums and holiness: >((from Thingazar Sayadaw's story 14, Burmese Monk's Tales) >Prologue: One morning, after the learned monks had eaten the alms = food >offered by him, King Mindon bewailed the fact that not one among his >teachers had become an arahat. "My lords," said the king, ''I build = you fine >monasteries and I offer you aIms food regularly. In return, you do = show me >the way to piety, but I feel poorly recompensed, for no one among my = lords >has striven enough to reach the state of arahatship." All the other = monks >remained silent, but the Thingazar Sayadaw could not let the king's >criticism pass unchallenged. "Your Majesty," he replied, "we are = aloft the >plum tree and you are criticizing us from the ground." > >"Plum crazy" I guess another word for Holy in some realms. > >Re Portland, Kirby, I suggest you look up the work of Robert Adams, = if you >have not; he is one of this country's great photographers and, one = might >say, an elegiac documentry artist of the west, also a literary guy. = His >photographs of the suburbanization/sprawl of Denver are hauntingly = lonely in >their human and spatial witness - a luminous Edward Hopper. His = photographs >of the Columbia River gorge and the clear cutting of Oregon forests = carry a >double punch - he has an incredible sense of illumination and beauty = in >contest inside pervasive devastation. >He's undoubtedly in the Photography collection at the Portland = Museum. The >photo curator there - Terry Tottenmeyer (sp?) - makes great black and = white >photographs of the Basalt caves and shapes that bluff out and drop = off the >Oregon coastline. He risks his butt by getting out under them to = shoot >during low tides. If you want an aesthetic experience of magma = darkness he's >got it in spades. > >Stephen Vincent > > >on 6/24/03 2:23 PM, Kirby Olson at olsonjk@DELHI.EDU wrote: > > > I used to love and still love these two lines by Orrick Johns: > > > > "They are unholy who are born to love wild plums at night, > > Who once have passed them on the road glimmering and white." ========================================================================= Date: Wed, 25 Jun 2003 04:13:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: continuous space parameter #0001 excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit continuous space parameter #0001 excerpt morrow I shall be morrow I shall be do a stand-off bomb said Possumato. said Possumato. eyes, and with that do a stand-off bomb do a stand-off bomb morrow I shall be and dress in a up, and I hope to up, and I hope to courageous three bluff-looking three bluff-looking real good shave, courageous courageous up, and I hope to of Venice or Milan. set out for Urbino, set out for Urbino, I was in seventh none. none. and other I was in seventh I was in seventh set out for Urbino, neck, stole where my dear where my dear entered, as six-person team and six-person team and behind her, pass on. entered, as entered, as where my dear subordinate purpose behind purpose behind benchmark all in a matter of all in a matter of of mounted benchmark benchmark purpose behind flower of flame-- creation. Why did creation. Why did running ever swiftness swiftness smooth ones girding running ever running ever creation. Why did great flames God embark on God embark on nose into things there's plenty more there's plenty more held him back. He nose into things nose into things God embark on of his long legs, creation at all? creation at all? you front of me. I bit front of me. I bit say about him the you you creation at all? the board, having The The down, silent, he her reflection, her reflection, between her down, silent, he down, silent, he The of Rome; jealous after that to see repaired to the repaired to the crystalline bars after that to see after that to see stopping in this Quickening their Quickening their whispering ceased; reputed Yoginis. . reputed Yoginis. . maiden's book of whispering ceased; whispering ceased; Quickening their in man and man in pace, they turned pace, they turned was; his pale face service for him. service for him. For Edwards, who was; his pale face was; his pale face pace, they turned every moment of up a road upon the up a road upon the manner was becoming made fun of me, made fun of me, feeling came manner was becoming manner was becoming up a road upon the religion; let him left hand. After left hand. After glowing sunlight. the KY squeezing the KY squeezing conditions that glowing sunlight. glowing sunlight. left hand. After reaching? august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Wed, 25 Jun 2003 04:16:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0002 continuous space parameter excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0002 continuous space parameter excerpt Jim's pants and Jim's pants and beheld. For need need smoldering rubrous beheld. For beheld. For Jim's pants and correspondence then handed me my pants handed me my pants which enchantments; and enchantments; and joys? Are they not which which handed me my pants one that should be - and top. I knew my and top. I knew my But if--if--' 'You know the fact, 'You know the fact, spectrums, But if--if--' But if--if--' and top. I knew my grabbed my gun. I panties and bra panties and bra Support Office 1943, was assigned 1943, was assigned was before her mind Support Office Support Office panties and bra to receive his said already: they said already: they his struggles made very good made very good approached. his struggles his struggles said already: they came from. Have can prove Fineman an can prove Fineman an with his whole - prove unsuited to prove unsuited to which with his whole - with his whole - can prove Fineman an week before; they accessory before accessory before time when I was time when I was audience desert accessory before tall and had the fact, and the fact, and women are efforts. And he efforts. And he with alarm. women are women are the fact, and "The biggest I ever spheres and cubes spheres and cubes slight and that he is a that he is a near Madaura, a slight and slight and spheres and cubes amusing remark that studded as thickly studded as thickly the soldiers the soldiers decide that I'd studded as thickly from which it with the pyramids with the pyramids thrusting their from the vultures." from the vultures." as once before any thrusting their thrusting their with the pyramids other features august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Wed, 25 Jun 2003 07:48:59 -0400 Reply-To: The Constant Critic Sender: UB Poetics discussion group From: The Constant Critic Organization: The Constant Critic Subject: Welcome to The Constant Critic Content-type: text/plain; charset=iso-8859-1 Hello! Thanks for subscribing. Here's information about The Constant Critic that was given by the list owner: The Constant Critic email list Private Policy: You might want to save this email for future reference. You can unsubscribe anytime from The Constant Critic by following this link: http://www.constantcritic.com/mojo/mojo.cgi?f=u&l=ccritic&e=poetics%40listserv.acsu.buffalo.edu&p=10876 If you have questions regarding this mailing list, you can contact the list owner at: rwolff@angel.net ========================================================================= Date: Wed, 25 Jun 2003 10:23:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron McCollough Subject: GutCult Issue #2 now available MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Please visit GutCult Issue #2 http://www.gutcult.com In this issue: an interview with George Saunders poetry by Joyelle McSweeney, Joshua Beckman & Matt Rohrer, Peter Richards, Jon Minton, Sarah Mangold, Catherine Daly and many others fiction by Michael Martone, Bob Fuglei, Stephany Aulenback and others all best- Aaron McCollough ========================================================================= Date: Wed, 25 Jun 2003 12:53:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: janesprague@CLARITYCONNECT.COM Subject: West End Reading Series W E S T E N D R E A D I N G S E R I E S Saturday 6/28/03 @ 7pm Gimme! Coffee on W. State St., Ithaca, NY NYC Poets Anselm Berrigan Edmund Berrigan & Karen Weiser Read from their work. Anselm Berrigan is the author of two books of poetry: Zero Star Hotel, and Integrity & Dramatic Life, both published by Edge Books. Poems have recently been published in Shampoo.com, Great American Prose Poems: From Poe to the Present, Baffling Combustions, and The Best American Poetry 2002. He lives in New York City. Edmund Berrigan is a 28 year old poet from New York City. He is the author of a full-length collection of poetry, Disarming Matter, from Owl Press, as well as several chapbooks, including In the Dream Hole, a collaborative effort with Anselm Berrigan. Recently poems have appeared in issues of Pom-Pom magazine, VanGogh's Ear, and Torch. Karen Weiser lives in New York City and is studying for her doctorate in English. She has a chapbook from Pressed Wafer entitled 8 Positive Trees and a collaborative chapbook by Potes and Poets press. Her poems have appeared in The Germ, The Hat, Lungfull! Magazine, and Cypress Magazine. Free and open to all. For more information go to: www.slyfox.org SlyFox Productions, Ithaca, NY ========================================================================= Date: Wed, 25 Jun 2003 10:59:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: *The Emancipation of Sound* MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii *The Emancipation of Sound* the emancipation of sound (the poems sometimes do) (the traditional ones at least) to in the inner ear WE ARE THE for reassembling language to enactment of perspective being to problematize the political and economical terms that a silly fetish conceived in the Sartean spirit of using personal artifacts in a my own life bondage is not something writings that are inter-referential in any of them template for objectivity and expertise has thus tended justified demands of commerce poetry is a very ambitious means for stealing reality and thus the ability to issue misery sum total or complex more mongrel than homogeneous products are affected no illusion to what I'm experiencing these people to relate to soul he gave him kingship in even extremely profitable ends they complain of what is right and what is ahead sometimes other vessels closed worlds vacuums travel along a realist and just say "blue" this in its imagining of poets dead before and respond to it strongly meaningless individual and mass overproduction cancels shattered into smaller bits never valid so the new poem is the visual enactment of perspective and difference whether that is what permits art to the possibility of on yet the embodiment is self-consciously self-set problem task at hand seems most mysterious of domains my body armor and releases this and removes is inconclusive any continuation at all (blank screen) these words back to the cognition has two realms natural we continue to peruse and reperuse actual deployment and written usually act upon the writing moment I go to A return to B change at belief but bodiless its construction make it crystals exists only as a qualifications patents must also show if my own life was formed out of approach is always a part of quick technological changes rain drumming on 'tent roof' house roof overhead rainbow comes pouring into power cyber-bureaucracies now operate across a chromatic spectrum where who has not undergone that kind of but filth and poverty gangsta rap continues to rely on continually you can never read those words again is a kind of magic voice once you've heard contiguities of language for universal rules of publishing are in constant flux changing this is immutable of memory and desire poet gives us several poems and we saying only what this lesson will perform monotonous sameness goblins await you with welcoming jaws you had of our psychic pain this is the promise of reform soul main democratic functions namely the timely condensation kirlian waves that connect me to you all that we have of course and our love for our fellows without hearing that voice even if the moon and most commonplace life experiences and the activities of time off for staff to work love returns the city's all brightness and shadow deckle-edged could go where one life destroy I'm reiterating the same which sweeps me crucial liminal space where the presumptive limits of exaggeration and selection which else in nature that even comes close - ignorance? he emphasizes the duty of painting in the whole wide world effort have been hand combines implicates contrasts them while in & indeed divisiveness is the thing they are doing freed from the fetters of matter poet's own control the drama of view of our present and future state than the activities now as there are many are enough to illustrate but that is all he allowed in essence upon the philosopher in strange raiment extension in all any measure by and then only form of some pieces eye sore act of petty vandalism sell to your friends time is impossible to do without a new use this is the autonomy of style for what conquest and compulsion fictions have significant value as commodities so the injurious vision of the assassin not to fall into a state of undress the basilisk of energy the place essence approach refers to the the poem or the special reading that its them he would give his life on various influences of global capitalism & inexplicable shadows fell heavily to sleep in and the least particles of all I am not mistaken and they cause discomfort to those who hold its apparent social binary oppositions thus anything non-white non-male non-heterosexual non-hygienic non-rational are only particles or a set of rules keeping our mouths shut as in turn concerned with the difference between right and wrong could see the electricity on a sort of alluvial deposit electro-surgeons through all spatial dimensions glittering gleaming of long absence the constructive imperative rather than the position of not-knowing a forcing of what and how sometimes I mindfuck his head attack of migraine or the reading of a philosophical element informational flows shared on the same infrastructural platform is more experiential or exceptional the materiality of language as seen from the Machine valuable realities of cultures of releasing their energy into the psyche one can "enter" a virtual three-dimensional space to the weight of our fistful of senses what you talking about mostly is the ideas of that first day I awoke and closed my doors and my head we but dream and remember __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Wed, 25 Jun 2003 14:21:58 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Mainstream Classic! - Orrick Johns MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii WILD PLUM (the full text): They are unholy who are born to love wild plum at night, Who once have passed it on the road glimmering and white. It is as though the darkness had speech of silver word, Or as though a cloud of stars perched like ghostly birds. They are unpitied from their birth and homeless in men's sight, Who love, better than the earth, wild plum at night. Orrick John I found this on the web at http://www.tc.columbia.edu/taylor/hundley/paper/4.htm It is at the end of an enormous article on how to turn different poems into singable songs. This one is regarded as a "lighthearted" song. I read it as really almost scary in its uplift. It reminds me of something by Rumi, only not translated into faltering prose. For some reason it is almost terrifying to me. When I used to own a book of Orrick Johns' poems, this is the only one that I cherished. I must have read it a hundred times. I then lent it to a psychology teacher who was teaching a one-week course and he absconded with it. At the time I knew nothing about Orrick Johns. I looked him up and he grew up in Louisville, and committed suicide at the age of 58. Nobody knows why. He had at least four wives. He got rich early on from a successful novel. At the time I used to read him I thought he was from Oregon, because I used to walk in Oregon orchards at night and was blown away by how he caught the sense of being lifted in the moonlight, and the strange glimmering of the white flowers on the fruit trees in the very bright moonlight. But as far as I know, Johns lived in the northeast, but did make at least one long trip to Europe. I forgot to get the link, but there is a short handwritten biography of him somewhere on the net. He's linked to a quite illustrious family. I wish I had more biographical details concerning when and where and about what he wrote this poem. I don't even know if it was famous in his own day. I also wish I knew what the analogy was about -- what are the wild plum to him, and why do men not pity such folk from their birth? It must be something illegal -- child molestation (I hope not, but it would explain the suicide), homosexuality, or just mysticism in a time of mercantilism? There are endless possibilities, or maybe he just found the sight of these actual plants to be amazing, and there is no analogy at all. If somebody finds something out, please say. I've really enjoyed Mark and Steve's commentary as well as all other commentary on this poem. Oddly, there are seven beats in each line. It is almost a ghazal -- opening and closing with the word "night" and framed into couplets, each one of which could stand on its own. -- Kirby Olson > ========================================================================= Date: Wed, 25 Jun 2003 14:36:24 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: places to live MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Alexander -- It is amazing to read this text about pristine Beaverton. It gave me a feeling for the history of the place. I once saw aerial photographs of Beaverton starting in the 1950s -- it was an enormous photo about five feet by five feet, and they had pictures every five to ten years -- this was in a geographer's office at Portland Community College at Rock Creek where I taught for a year. To watch the housing spread right up to the city boundary is sickening. Beaverton is Republican, largely, and I suspect that they did not have the same growth codes as Portland, so that they suffered the nightmare that Portland repressed. There are a few good things left in Beaverton -- there is a fifty acre park that abuts the light rail at the Jenkins Road stop -- connected to it is a quite good ranger's station with a beautiful small bookstore. Also the new Beaverton library is really spacious and gorgeous inside -- three airy floors, built of huge wooden timbers, filled with new computers (as of two years ago). Well, those two things sort of exhaust what I had to say that was going to be nice. Over a soccer field where actual kids play a lot of soccer are ten or so high tension wires. This is one of the only open parks in all of Beaverton (Nike has parks, and even a full basketball court, but neighborhood residents can't get in there without a pass), and so the kids play under the high tension wires that stretch for miles in both directions. The kids complain of headaches. there is another large park area across from a Fred Meyers but it doesn't have a neighborhood feeling to it -- since a four lane road runs in front of it, and there is no peace. -- Kirby Olson > And this complex has been set in the country amid the development areas, the shops, the motels, the office buildings, the subdivisions full of houses belonging to the underlings of the Nike organization, and the few remaining single family homes belonging to folks who cling to the ideal of a Beaverton that was once a delightful place to live and raise a family. Now that was a place fit to live. -- You get glimpses of this in the occasional collapsed barn that no one has bothered to move away as of yet. I spoke to the lady from the Beaverton county planning commission (I forget the name of the county , maybe Washington) about the possibility of a sidewalk on one undeveloped parcel of land so that kids could walk to school. She said if a new condo unit goes in we'll hit them up for the money. There are 850 miles of un-sidewalked road in the county, and ten feet of sidewalk cost a thousand dollars, she said, and have to be approved by at least four agencies: environmental, electrical, zoning commissions, etc., gee whiz. You tangle with so many people when you just want to go for a walk, so it's either planned well at the beginning or just get your luggage and move to the Catskills, as I did. -- Kirby Olson > > > > > > > > > > > ========================================================================= Date: Tue, 24 Jun 2003 15:22:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jenho@MINDSPRING.COM Subject: Poems & Films: Forti, Hofer, Kalleberb & Uman: June 29 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello Friends: It is my pleasure to invite you to a reading & film screening on Sunday, June 29 at 7 pm, featuring writing by Simone Forti, Jen Hofer & Garrett Kalleberg, and short 16mm films by Naomi Uman. The event is part of the Beyond Text Festival at Beyond Baroque: 681 Venice Boulevard Venice, CA 310.822.3006 www.beyondbaroque.org Please come if you can, & please spread the word. xox -- Jen * SIMONE FORTI's latest book, with an introduction by Jackson Mac Low, is hot off the presses from Beyond Baroque. An improvisational movement artist and writer, she is the creator of the dance/narrative form called Logomotion, and is the author of Handbook in Motion (Nova Scotia College of Art and Design and New York University). JEN HOFER is a poet and translator whose books include _Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women_ (University of Pittsburgh Press and Ediciones Sin Nombre, 2003) and _slide rule_ (subpress, 2002). She is currently editing a feature on Mexican poetry for issue #3 of the magazine _Aufgabe_; recent writings against the war in Iraq and the war on terror can be found in the Spring special issue of A.BACUS and in the anthology _Enough_ (O Books, 2002). GARRETT KALLEBERG's recent books include Some Mantic Daemons (futurepoem, 2002) and Psychological Corporations (Spuyten Duyvil, 2002). He publishes the online literary journal The Transcendental Friend, as well as the audio imprint Immanent Audio. He is a founding member of the Brooklyn Drama Club, which recently staged his play "The Situation Room." Hello. NAOMI UMAN is an experimental filmmaker. Her recent works include Mala Leche (2003), Hand-Eye Coordination (2002), Private Movie (2000), Removed (1999), Leche (1998), and Grass (1998). ========================================================================= Date: Wed, 25 Jun 2003 12:42:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: Outsider MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Outsider I wouldn't know what to endure: the suddenness of return when going out the back fronting behind full wise-up I don't know if all I've done so far I did with ripe enough curl making something out of nothing -Jill Chan __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Wed, 25 Jun 2003 13:52:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: places to live MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I passed the Beaverton exits yesterday, on my way home from the Oregon Coast. I thought to stop in one of the malls, as I need a new pair of hiking boots." But then I thought, "Naw, I don't want to spend a moment there, after reading the posts on this list." Went on to Portland, visiting a friend in the planetarium of Oregon Museum of Science and Industry. It just got five large computer-controlled projectors donated. OMSI's one of only eight planetarium's in the world that has them. My friend's in heaven! -Joel ----- Original Message ----- From: "alexander saliby" To: Sent: Tuesday, June 24, 2003 11:48 PM Subject: places to live > Places to live: > > > > Beaverton, OR 1962 B.N. - Before we talk of places fit to live, I must first reminisce with you and take you back in time to a Beaverton of yesterday, to a quiet village snuggled in the rolling green countryside between the hustle and bustle of an expanding Portland metropolis and the vast woodlands and meadows stretching west southwestward toward the rocky black sand of the Oregon coast. I take you to a quiet Beaverton, to a Beaverton Before Nike. > > > > Close your eyes and imagine with me gravel lanes meandering through meadows lush with pasture grasses; imagine also small home sites cut carefully into the edge of the dense forests, and picture in all this verdant splendor, swift gushing streams filled with diamond clear mountain runoff waters swirling with young trout. Here, in this nearly perfect, Camelot of settings sits Beaverton. > > > > Small ranches, small orchards, family farmers and members of the local logging company's crews, all dwelling side by side in a kind of harmonic somnambulant existence.this is Beaverton, OR B.N. > > * * * * * * * > > > > It's amazing, when you actually stop and look over the landscape while it is being plundered, how much earth a bulldozer can shove aside in an hour. But what is even more amazing is how bulldozers can reshape the contours of the land, how they can change the quiet character of a village and turn it into a strip-mall circus. > > > > Bulldozers reshaped Beaverton. But, why did the bulldozers come? What forces possessed the power to direct these huge machines to turn the idyllic countryside into a home for poorly designed shops, offices, motels, shopping centers, and cluster-styled (or should that be clutter-styled?) California housing developments? > > > > Enter technology and the host of shoes to come! > > > > I have neither time nor space in this brief note to provide the details about all the hi-tech companies responsible for bulldozing the Beaverton countryside, so I must focus on one, the one I believe most responsible for the devastation: Nike. > > > > Nike."just do it," they said, and they did exactly that. Nike hit Beaverton like the marines hitting the beaches at Tarawa. > > > > Oh, there were no cannons or rockets, bombs or machine guns; there were worse: architects and contractors, designers, engineers and heavy equipment operators. They arrived in droves. They planned, then they developed. At least that what they called it.development. > > > > And when they had finished, the lazy country lanes which had once meandered through meadows were transformed into four and six lane thoroughfares connecting one strip mall center with another. > > > > Funny, too, for all that expense and planning, one must point out the simple fact of the failure. The thoroughfares are so glutted with vehicles that traffic moves at a pace less rapid than when the cars traveled over the gravel-topped country roads. > > > > The highlight of all the changes to the typography is the Nike Headquarters compound. Here, architects, contractors, designers and engineers took the natural beauty of the countryside and created a kind of Southwestern styled hacienda complex. I don't mean in terms of the adobe appearance of an old hacienda; I am referring to the design of the hacienda complex.remember how they were planned: the outer walls of the building formed a barricade around the perimeter of the casa. There was of course an entry gate, but life in the hacienda existed within the walls of the structure, and the residents could escape the horrors and the difficulties of the outside world by retreating into the inner sanctum of the hacienda's walled safety. > > > > Nike workers escape the fears of the surrounding area by driving through the gates that lead into the compound. Once inside, they are safe and need fear no wrath from the local Beaverton residents who failed to move away in time and escape the onslaught of the Nike invaders. > > > > The Nike compound is closed to outsiders. We may drive the Nike built thoroughfares around the perimeter of the compound, enjoying the ten foot high earth walls planted with lush, non-native vegetation, but we may not enter the compound. > > > > Helicopters from the Portland news broadcasters have invaded the airspace over the compound and shared television footage of the grounds, the athletic fields, the buildings, and the eighty plus acre lake hidden within the walls of the earth berms, but even these films fail to do justice to capture feeling of the complex. > > > > And this complex has been set in the country amid the development areas, the shops, the motels, the office buildings, the subdivisions full of houses belonging to the underlings of the Nike organization, and the few remaining single family homes belonging to folks who cling to the ideal of a Beaverton that was once a delightful place to live and raise a family. Now that was a place fit to live. > > > > > > > > > > ========================================================================= Date: Wed, 25 Jun 2003 17:10:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Re: XEROGRAPHY call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Martha L. Deed 1037 Sweeney Street North Tonawanda, New York 14120 Telephone/Fax 716 695-3042 E-mail mldeed1@juno.com June 25, 2003 Xerography c/o Fish Magic Press #109-1109 Cole Harbour Rd. Dartmouth, NS B2V 1E8 Canada Dear S J Plante: In response to your Call for Submissions on Poetics, I am enclosing four poems for your consideration: Cat Poetics (2 poems. There is an essay that goes with them, but I didn't want to confuse the evaluation process with mixed genres. I'll be glad to mail or e-mail it to you if you'd like to see it), On the Bridge, and Poetry Workshop. Poetry credits include: SHAMPOO16, Miller's Pond Online, Artvoice, Magazen Sudden, and The Awakenings Review. I will appear on a Buffalo-area poetry program, Truckstop Intellectuals in July, and am scheduled as a featured reader at The Screening Room in Amherst, NY in August. I hope that at least one of these will appeal to you. To simplify the response process across the border, could you please e-mail me your decision and then dispose of any unused pieces? Thank you. Sincerely, Martha L. Deed Sent by e-mail (without the poems) and by regular mail ========================================================================= Date: Wed, 25 Jun 2003 17:23:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Meant to backchannel MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Aaaach I pushed the wrong button. I did not pay attention to what I was doing. I apologize. m ========================================================================= Date: Wed, 25 Jun 2003 14:14:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Meant to backchannel In-Reply-To: <20030625.172354.-608483.1.mldeed1@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Other Cuban Missle Crisis >Aaaach > >I pushed the wrong button. I did not pay attention to what I was doing. > >I apologize. ------------------------------------------------------------------------------- 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: Wed, 25 Jun 2003 14:16:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: Meant to backchannel MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Or as Mr. Reagan had it, "We have just declared war on Russia. The bombs will be dropping in five minutes." >Aaaach > >I pushed the wrong button. I did not pay attention to what I was doing. > >I apologize. ========================================================================= Date: Wed, 25 Jun 2003 15:54:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: poetic pilgrimage MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One who might join you is Victor Coleman, a sadly too-little-known port of jreat subtlety and notable production. As Vic d'Or, he flourished in the 70s, which were the Acupulco Golden Age of this press; there was also a Dorn-inspired whole lot of snorting going on. But he continues to write as well or better than ever, and I wish some good soul would get a selected or collected into print and sell it to the North American market, with the necessary energy to get our attention. he hasnt split for someplace affordable way out of town, has he? (Like I have!) In his remarkably quiet way, he has moved and shaken things poetic in T.O. for more than 30 years. David Br.-----Original Message----- From: Scott,,, Pound To: POETICS@LISTSERV.BUFFALO.EDU Date: Tuesday, June 24, 2003 1:44 AM Subject: poetic pilgrimage >Has anyone mentioned bpNichol Lane in Toronto? It's a special place, just to the west of and running parallel with St. George St., behind U of T's main research library (and the ugliest building in Toronto) Robartes Library. > >Walk up the narrow back street to Coach House books (previously Coach House Press) and examine the broadsides in the window and feast your eyes on the old fashioned presses. Then look down. Inscribed in the concrete in front of Coach House is Nichol's poem > >A >LAKE >A >LANE >A >LINE >A >LONE > >Wander around to the back of Coach House and poke your head in the door. You'll probably see Stan Bevington, the founder or some of the others who have devoted their lives to the place. They'll give you the tour. Buy some books and then announce that you're heading to the nearest pub for a pint. Chances are someone will join you, unless there's a big printing deadline. > >________________________ > >Scott Pound >Assistant Professor >Department of American Culture and Literature >Bilkent University >TR-06800 Bilkent, Ankara >TURKEY > >+90 (312) 290 3115 (office) >+90 (312) 290 2791 (home) >+90 (312) 266 4081 (fax) > >pounds@bilkent.edu.tr >http://www.bilkent.edu.tr/~pounds > ========================================================================= Date: Wed, 25 Jun 2003 15:52:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Derek R Organization: derekrogerson.com Subject: Plum In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Plum (1998) Kaffir plum dark and glossy-green dance & do something with big fields Tobi-ume lichen waka Koubai blossoms VanGogh by bees a plum-tree branch in Vietnam Tik-tok of Oz emotional atmosphere stood thick amber Hamlet Slanders pruning fruit-trees just about this ========================================================================= Date: Wed, 25 Jun 2003 19:55:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: neuropoetry conclusion MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT thank god! This one comes with some pictures http://199.243.225.113/ClinicalAssistant/diagnostic%20aids/speech/firstpage. htm and tutorials and dictionaries: http://www.neuropat.dote.hu/document.htm ************************ Modell "the play of similarity and difference that makes transitory or partial identification possible is a netaphoric process....cognitive capacity to empathically know other minds relies on an unimpaired faculty for metaphoric thought" he goes back to Jacobson's distinction here between metonym and metaphor. He also goes on to bring in Bakhtin's dialogical imagination, dance and mirror neurons. I think it all hangs together but welcome other views. As he says, "This would be consistent with the idea, central to this book, that thought can exist apart from language. This would also suggest that the origin of metaphor and the origin of language are not a coincidence but represent a coevolution." tom bell Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Wed, 25 Jun 2003 22:59:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: places to live Comments: To: olsonjk@delhi.edu MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable This thread perplexes me -- if a place lacks a "good bookstore," doesn't = have a specialized health food shop, suitable films or other bourgeois = amenities, it loses desireability as a hospitable place to live. Though = I don't know the community, the Beaverton exchanges despair over the = development of a clearly lovely place that appeals to urbanites seeking = some mix of proximities -- is suburban development the anti-poem? Poets, = various imaginative writers and independent publishers live in all sorts = of places -- remote burgs and villages, farms, offmarket or trendy = cities of all size, wherever they or partners find employment, abroad, = Cleveland, Fargo, Key West, Bisbee, Spokane, various uprivers or down, = Minneapolis, Chicago, what or wherever. I must be missing something = critical to others as I wind down another day in Toledo, surrounded by = people I love, ample bookshelf, phone ringing. JL -----Original Message----- From: Kirby Olson [mailto:olsonjk@DELHI.EDU] Sent: Wed 6/25/2003 2:36 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: places to live Alexander -- It is amazing to read this text about pristine Beaverton. It gave me a = feeling for the history of the place. I once saw aerial photographs of = Beaverton starting in the 1950s -- it was an enormous photo about five = feet by five feet, and they had pictures every five to ten years -- this = was in a geographer's office at Portland Community College at Rock Creek = where I taught for a year. To watch the housing spread right up to the = city boundary is sickening. Beaverton is Republican, largely, and I = suspect that they did not have the same growth codes as Portland, so = that they suffered the nightmare that Portland repressed. There are a = few good things left in Beaverton -- there is a fifty acre park that = abuts the light rail at the Jenkins Road stop -- connected to it is a quite good ranger's station = with a beautiful small bookstore. Also the new Beaverton library is = really spacious and gorgeous inside -- three airy floors, built of huge = wooden timbers, filled with new computers (as of two years ago). Well, = those two things sort of exhaust what I had to say that was going to be = nice. Over a soccer field where actual kids play a lot of soccer are = ten or so high tension wires. This is one of the only open parks in all = of Beaverton (Nike has parks, and even a full basketball court, but = neighborhood residents can't get in there without a pass), and so the = kids play under the high tension wires that stretch for miles in both = directions. The kids complain of headaches. there is another large park area across from a Fred Meyers = but it doesn't have a neighborhood feeling to it -- since a four lane = road runs in front of it, and there is no peace. -- Kirby Olson > And this complex has been set in the country amid the development = areas, the shops, the motels, the office buildings, the subdivisions = full of houses belonging to the underlings of the Nike organization, and = the few remaining single family homes belonging to folks who cling to = the ideal of a Beaverton that was once a delightful place to live and = raise a family. Now that was a place fit to live. -- You get glimpses of this in the occasional collapsed barn that no one = has bothered to move away as of yet. I spoke to the lady from the Beaverton county planning commission (I = forget the name of the county , maybe Washington) about the possibility = of a sidewalk on one undeveloped parcel of land so that kids could walk = to school. She said if a new condo unit goes in we'll hit them up for = the money. There are 850 miles of un-sidewalked road in the county, and = ten feet of sidewalk cost a thousand dollars, she said, and have to be = approved by at least four agencies: environmental, electrical, zoning = commissions, etc., gee whiz. You tangle with so many people when you = just want to go for a walk, so it's either planned well at the beginning = or just get your luggage and move to the Catskills, as I did. -- Kirby Olson > > > > > > > > > > > ========================================================================= Date: Wed, 25 Jun 2003 20:19:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: places to live In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1AE9FE7D@MSG00CV00.utad.utol edo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Joel: People have different needs. And it shouldn't be surprising that some places are more comfortable, friendships and family aside, than others for most people in the arts. That said, this thread seems to me to be about the perceptions and needs of the correspondents, not about assigning universally agreed-upon value. Probably not everyone in San Diego wishes, as I do, that their lives would allow them to live in Paris. Mark At 10:59 PM 6/25/2003 -0400, Lipman, Joel A. wrote: >This thread perplexes me -- if a place lacks a "good bookstore," doesn't >have a specialized health food shop, suitable films or other bourgeois >amenities, it loses desireability as a hospitable place to live. Though I >don't know the community, the Beaverton exchanges despair over the >development of a clearly lovely place that appeals to urbanites seeking >some mix of proximities -- is suburban development the anti-poem? Poets, >various imaginative writers and independent publishers live in all sorts >of places -- remote burgs and villages, farms, offmarket or trendy cities >of all size, wherever they or partners find employment, abroad, Cleveland, >Fargo, Key West, Bisbee, Spokane, various uprivers or down, Minneapolis, >Chicago, what or wherever. I must be missing something critical to others >as I wind down another day in Toledo, surrounded by people I love, ample >bookshelf, phone ringing. JL > >-----Original Message----- >From: Kirby Olson [mailto:olsonjk@DELHI.EDU] >Sent: Wed 6/25/2003 2:36 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Cc: >Subject: Re: places to live >Alexander -- > >It is amazing to read this text about pristine Beaverton. It gave me a >feeling for the history of the place. I once saw aerial photographs of >Beaverton starting in the 1950s -- it was an enormous photo about five >feet by five feet, and they had pictures every five to ten years -- this >was in a geographer's office at Portland Community College at Rock Creek >where I taught for a year. To watch the housing spread right up to the >city boundary is sickening. Beaverton is Republican, largely, and I >suspect that they did not have the same growth codes as Portland, so that >they suffered the nightmare that Portland repressed. There are a few good >things left in Beaverton -- there is a fifty acre park that abuts the >light rail at the >Jenkins Road stop -- connected to it is a quite good ranger's station with >a beautiful small bookstore. Also the new Beaverton library is really >spacious and gorgeous inside -- three airy floors, built of huge wooden >timbers, filled with new computers (as of two years ago). Well, those two >things sort of exhaust what I had to say that was going to be nice. Over >a soccer field where actual kids play a lot of soccer are ten or so high >tension wires. This is one of the only open parks in all of Beaverton >(Nike has parks, and even a full basketball court, but neighborhood >residents can't get in there without a pass), and so the kids play under >the high tension wires that stretch for miles in both directions. The >kids complain of >headaches. there is another large park area across from a Fred Meyers but >it doesn't have a neighborhood feeling to it -- since a four lane road >runs in front of it, and there is no peace. > >-- Kirby Olson > > > > And this complex has been set in the country amid the development > areas, the shops, the motels, the office buildings, the subdivisions full > of houses belonging to the underlings of the Nike organization, and the > few remaining single family homes belonging to folks who cling to the > ideal of a Beaverton that was once a delightful place to live and raise a > family. Now that was a place fit to live. > >-- You get glimpses of this in the occasional collapsed barn that no one >has bothered to move away as of yet. > >I spoke to the lady from the Beaverton county planning commission (I >forget the name of the county , maybe Washington) about the possibility of >a sidewalk on one undeveloped parcel of land so that kids could walk to >school. She said if a new condo unit goes in we'll hit them up for the >money. There are 850 miles of un-sidewalked road in the county, and ten >feet of sidewalk cost a thousand dollars, she said, and have to be >approved by at least four agencies: environmental, electrical, zoning >commissions, etc., gee whiz. You tangle with so many people when you just >want to go for a walk, so it's either planned well at the beginning or >just get your luggage and move to the Catskills, as I did. > >-- Kirby Olson > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Wed, 25 Jun 2003 23:46:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Kenji ++ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII PIG Kenji Siratori horizon=of which was selected to the gear of the brain of the angel that is crushed to eye of the cramp target=vs=disillusionment of the machine=magma that the image of the placenta becomes in the basement of the sun f the sigh that turned pale to the body of etc of the embryo that I invaded cadaver city=of where it was interchanged=ant*suicide*the ants of f laugh to the fresh blood of the chromosome that my etc is suffocated to the sun*murderous intention of the disgrace*eyeball instigated: er pted///drug=of the nebula of the chaosmos/1 gram of suspension of my brain cell that the hearing impossible other selfs of an embryo)) rhythm of BABEL-ism brain of my junkie gimmicks-dogs of the embryos from=evaporate the ocean! neutron=of DIGITAL of an embryo desire=chromosome of wolf=I deceived air: melody of the murder of the sun that was eroded the drug with the aerofoil///with 8 embryos who my storage shed the tears machine that write off the horizon of air with the gimmick gene=TV of the synapse///the sun was turned on-out of the stratosphere that the brain of the fatalities that I love was discharging 1/8 placentas of the disillusionment that interchange to the hell of the cell=of=the earth of battle that was seen is loved to the back of the eyelid of the embryo///the murder love....off-set. =========================================================================== hello kenji how are you. i am fine. hello kenji how are you. i am fine. is that angel the of brain the of gear the to selected was which horizon=of ab bc cd de ef fg gh hi ij lm no op rs st wonderful weather today wx za machine=magma the of target=vs=disillusionment cramp the of eye to crushed ab cd de ef fg gh hi ij lm mn no op pq rs st wonderful weather today uv vw yz sigh the f sun the of basement the in becomes placenta the of image the that ab bc cd ef fg gh hi ij lm mn no op pq st wonderful weather today uv cadaver invaded I that embryo the of etc of body the to pale turned that ab bc cd de ef fg hi ij lm mn no op pq rs wonderful weather today uv vw yz the to laugh f of ants interchanged=ant*suicide*the was it where city=of ab cd de ef fg gh hi ij lm no op rs st wonderful weather today uv wx yz sun*murderous the to suffocated is etc my that chromosome the of blood fresh ab bc cd de ef fg hi ij lm mn no op rs st wonderful weather today uv yz nebula the pted///drug=of er instigated: disgrace*eyeball the of intention ab bc cd de ef fg gh hi ij lm no op pq rs st wonderful weather today uv yz hearing the that cell brain my of suspension of gram chaosmos/1 the of ab bc cd ef fg gh hi ij lm mn no op pq rs st wonderful weather today uv yz junkie my of brain BABEL-ism of rhythm embryo)) an of selfs other impossible ab bc ef fg hi ij jk kl lm mn no op pq rs st wonderful weather today uv yz hello kenji how are you. i am fine. of DIGITAL neutron=of ocean! the from=evaporate embryos the of gimmicks-dogs ab bc cd de ef fg gh hi ij kl mn no op pq rs st wonderful weather today uv vw yz of murder the of melody air: deceived wolf=I of desire=chromosome embryo an ab bc cd de ef fg hi ij lm mn no op rs st wonderful weather today uv vw wx yz my who embryos 8 aerofoil///with the with drug the eroded was that sun the ab bc de ef fg gh hi ij lm mn no op rs st wonderful weather today uv wx yz the with air of horizon the off write that machine tears the shed storage ab cd de ef fg gh hi ij mn no op rs st wonderful weather today wx za the of on-out turned was sun synapse///the the of gene=TV gimmick ab cd de ef fg gh hi ij kl mn no op pq rs st wonderful weather today uv wx yz discharging was love I that fatalities the of brain the that stratosphere ab bc cd de ef fg gh hi ij lm no op pq rs st wonderful weather today vw wx the of hell the to interchange that disillusionment the of placentas 1/8 ab cd de ef fg gh hi ij lm mn no op pq rs st wonderful weather today uv eyelid the of back the to loved is seen was that battle of earth cell=of=the ab bc cd de ef fg hi ij kl lm no op rs st wonderful weather today vw wx yz love....off-set. murder embryo///the the of bc de ef fg hi lm mn op rs st wonderful weather today uv vw yz hello kenji how are you. i am fine. ___ ========================================================================= Date: Wed, 25 Jun 2003 22:36:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Re: places to live MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit seems that the facts for settling used to be industrial, or at least relating to the survival of a species... trees for construction, clean water, etc... probably the distrotion of a historical lens(es). milton, my home town, began around a mill. they had a little water system that fed the water wheel to keep things turning. ----- Original Message ----- From: "Lipman, Joel A." To: Sent: Wednesday, June 25, 2003 8:59 PM Subject: Re: places to live This thread perplexes me -- if a place lacks a "good bookstore," doesn't have a specialized health food shop, suitable films or other bourgeois amenities, it loses desireability as a hospitable place to live. Though I don't know the community, the Beaverton exchanges despair over the development of a clearly lovely place that appeals to urbanites seeking some mix of proximities -- is suburban development the anti-poem? Poets, various imaginative writers and independent publishers live in all sorts of places -- remote burgs and villages, farms, offmarket or trendy cities of all size, wherever they or partners find employment, abroad, Cleveland, Fargo, Key West, Bisbee, Spokane, various uprivers or down, Minneapolis, Chicago, what or wherever. I must be missing something critical to others as I wind down another day in Toledo, surrounded by people I love, ample bookshelf, phone ringing. JL -----Original Message----- From: Kirby Olson [mailto:olsonjk@DELHI.EDU] Sent: Wed 6/25/2003 2:36 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc: Subject: Re: places to live Alexander -- It is amazing to read this text about pristine Beaverton. It gave me a feeling for the history of the place. I once saw aerial photographs of Beaverton starting in the 1950s -- it was an enormous photo about five feet by five feet, and they had pictures every five to ten years -- this was in a geographer's office at Portland Community College at Rock Creek where I taught for a year. To watch the housing spread right up to the city boundary is sickening. Beaverton is Republican, largely, and I suspect that they did not have the same growth codes as Portland, so that they suffered the nightmare that Portland repressed. There are a few good things left in Beaverton -- there is a fifty acre park that abuts the light rail at the Jenkins Road stop -- connected to it is a quite good ranger's station with a beautiful small bookstore. Also the new Beaverton library is really spacious and gorgeous inside -- three airy floors, built of huge wooden timbers, filled with new computers (as of two years ago). Well, those two things sort of exhaust what I had to say that was going to be nice. Over a soccer field where actual kids play a lot of soccer are ten or so high tension wires. This is one of the only open parks in all of Beaverton (Nike has parks, and even a full basketball court, but neighborhood residents can't get in there without a pass), and so the kids play under the high tension wires that stretch for miles in both directions. The kids complain of headaches. there is another large park area across from a Fred Meyers but it doesn't have a neighborhood feeling to it -- since a four lane road runs in front of it, and there is no peace. -- Kirby Olson > And this complex has been set in the country amid the development areas, the shops, the motels, the office buildings, the subdivisions full of houses belonging to the underlings of the Nike organization, and the few remaining single family homes belonging to folks who cling to the ideal of a Beaverton that was once a delightful place to live and raise a family. Now that was a place fit to live. -- You get glimpses of this in the occasional collapsed barn that no one has bothered to move away as of yet. I spoke to the lady from the Beaverton county planning commission (I forget the name of the county , maybe Washington) about the possibility of a sidewalk on one undeveloped parcel of land so that kids could walk to school. She said if a new condo unit goes in we'll hit them up for the money. There are 850 miles of un-sidewalked road in the county, and ten feet of sidewalk cost a thousand dollars, she said, and have to be approved by at least four agencies: environmental, electrical, zoning commissions, etc., gee whiz. You tangle with so many people when you just want to go for a walk, so it's either planned well at the beginning or just get your luggage and move to the Catskills, as I did. -- Kirby Olson > > > > > > > > > > > ========================================================================= Date: Thu, 26 Jun 2003 01:01:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Fw: places to live trendywise MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "tom bell" To: "UB Poetics discussion group" Sent: Thursday, June 26, 2003 12:09 AM Subject: Re: places to live trendywise > just heard of a non-trendy place. Toledo has at least one home where they > found a seven=foot alligator in the basement when the poliseemen reponded to > a domestic disturbance call put me in mind of Milwaukee's East Side where I > once fifty years ago raised an alligator for seven months until even he > tired of my verse and artistic portapotties are what I want for my backyard. > > tom bell > Section editor for PsyBC www.psychbc.com > > Write for the Health of It course at > http://www.suite101.com/course.cfm/17413/seminar > http://www.suite101.com/course.cfm/17413/overview/37900 > not yet a crazy old man > hard but not yet hardening of the > art > ========================================================================= Date: Thu, 26 Jun 2003 01:00:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's blog -fait accompli- Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit (((((-fait accompli-)))))) is pleased to report that in the month since 5/24 (((((-fait accompli-))))) has received over: 3500 visits and 6000 "page views" Please come visit my blog which focuses on ::spellbound speculations:: and :: time travel:: (((((-fait accompli-))))) is at http://nickpiombino.blogspot.com/ *opened 2/11/03 compete archives available on the site now* -Nick Piombino- ========================================================================= Date: Thu, 26 Jun 2003 02:15:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Re: Hot Springs Thermophilic Bacteria Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit THERMOPHILIC heatwise the kindness in batter raises sweaters piecemeal radiowave standard, universe, at the tone experience bursts of starlight an open burn and thrust for velvet germ floors the probe wallows five hundred degrees in thrives & home runs, its molted feeds the max and non consensual viruses born without fur know no sun ex- salt with ratios the obscure rangers, soft broods one-to-a-cell surviving ovens sit out on scurvy cliffs warm to the signal JS ========================================================================= Date: Thu, 26 Jun 2003 03:43:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's blog -fait accompli-update Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Sorry- due to changes being made by Blogger on my site, it is temporarily unavailable. Nick Piombino ' ========================================================================= Date: Thu, 26 Jun 2003 06:30:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: places to live In-Reply-To: <5.1.0.14.1.20030625201456.023d8338@mail.earthlink.net> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Italy, Italy, Italy I cannot think of anywhere where you can live nicer and eat well and have total stimulation most of the other places mentioned are too 'nice' > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Mark Weiss > Sent: Wednesday, June 25, 2003 10:19 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: places to live > > > Joel: People have different needs. And it shouldn't be surprising > that some > places are more comfortable, friendships and family aside, than others for > most people in the arts. That said, this thread seems to me to be > about the > perceptions and needs of the correspondents, not about assigning > universally agreed-upon value. Probably not everyone in San Diego wishes, > as I do, that their lives would allow them to live in Paris. > > Mark > > > At 10:59 PM 6/25/2003 -0400, Lipman, Joel A. wrote: > >This thread perplexes me -- if a place lacks a "good bookstore," doesn't > >have a specialized health food shop, suitable films or other bourgeois > >amenities, it loses desireability as a hospitable place to live. Though I > >don't know the community, the Beaverton exchanges despair over the > >development of a clearly lovely place that appeals to urbanites seeking > >some mix of proximities -- is suburban development the anti-poem? Poets, > >various imaginative writers and independent publishers live in all sorts > >of places -- remote burgs and villages, farms, offmarket or trendy cities > >of all size, wherever they or partners find employment, abroad, > Cleveland, > >Fargo, Key West, Bisbee, Spokane, various uprivers or down, Minneapolis, > >Chicago, what or wherever. I must be missing something critical to others > >as I wind down another day in Toledo, surrounded by people I love, ample > >bookshelf, phone ringing. JL > > > >-----Original Message----- > >From: Kirby Olson [mailto:olsonjk@DELHI.EDU] > >Sent: Wed 6/25/2003 2:36 PM > >To: POETICS@LISTSERV.BUFFALO.EDU > >Cc: > >Subject: Re: places to live > >Alexander -- > > > >It is amazing to read this text about pristine Beaverton. It gave me a > >feeling for the history of the place. I once saw aerial photographs of > >Beaverton starting in the 1950s -- it was an enormous photo about five > >feet by five feet, and they had pictures every five to ten years -- this > >was in a geographer's office at Portland Community College at Rock Creek > >where I taught for a year. To watch the housing spread right up to the > >city boundary is sickening. Beaverton is Republican, largely, and I > >suspect that they did not have the same growth codes as Portland, so that > >they suffered the nightmare that Portland repressed. There are > a few good > >things left in Beaverton -- there is a fifty acre park that abuts the > >light rail at the > >Jenkins Road stop -- connected to it is a quite good ranger's > station with > >a beautiful small bookstore. Also the new Beaverton library is really > >spacious and gorgeous inside -- three airy floors, built of huge wooden > >timbers, filled with new computers (as of two years ago). Well, > those two > >things sort of exhaust what I had to say that was going to be nice. Over > >a soccer field where actual kids play a lot of soccer are ten or so high > >tension wires. This is one of the only open parks in all of Beaverton > >(Nike has parks, and even a full basketball court, but neighborhood > >residents can't get in there without a pass), and so the kids play under > >the high tension wires that stretch for miles in both directions. The > >kids complain of > >headaches. there is another large park area across from a Fred > Meyers but > >it doesn't have a neighborhood feeling to it -- since a four lane road > >runs in front of it, and there is no peace. > > > >-- Kirby Olson > > > > > > > And this complex has been set in the country amid the development > > areas, the shops, the motels, the office buildings, the > subdivisions full > > of houses belonging to the underlings of the Nike organization, and the > > few remaining single family homes belonging to folks who cling to the > > ideal of a Beaverton that was once a delightful place to live > and raise a > > family. Now that was a place fit to live. > > > >-- You get glimpses of this in the occasional collapsed barn that no one > >has bothered to move away as of yet. > > > >I spoke to the lady from the Beaverton county planning commission (I > >forget the name of the county , maybe Washington) about the > possibility of > >a sidewalk on one undeveloped parcel of land so that kids could walk to > >school. She said if a new condo unit goes in we'll hit them up for the > >money. There are 850 miles of un-sidewalked road in the county, and ten > >feet of sidewalk cost a thousand dollars, she said, and have to be > >approved by at least four agencies: environmental, electrical, zoning > >commissions, etc., gee whiz. You tangle with so many people > when you just > >want to go for a walk, so it's either planned well at the beginning or > >just get your luggage and move to the Catskills, as I did. > > > >-- Kirby Olson > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Thu, 26 Jun 2003 07:26:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: places to live MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "jason christie" To: Sent: Wednesday, June 25, 2003 9:36 PM Subject: Re: places to live > seems that the facts for settling used to be industrial, or at least > relating to the survival of a species... trees for construction, clean > water, etc... probably the distrotion of a historical lens(es). milton, my > home town, began around a mill. they had a little water system that fed the > water wheel to keep things turning. It has almost always been economics first. But why our ancestors left Africa and began their extensive migrations is a mystery. The population was small, the food supply good, while some of the places they settled were nearly uninhabitable. -Joel W. ========================================================================= Date: Thu, 26 Jun 2003 10:55:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Pillars of Fort Greene Park this Evening MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Join us this evening for Pillars of Fort Greene Park Walt Whitman, Marianne Moore, Richard Wright an evening of music, poetry & history Thursday, June 26, 2003 6:30-9:00pm--Free! (in the Writer's grove west of the monument in Fort Greene Park, Brooklyn, NY) 6:30-7:30pm tours of park, children's writing workshop (led by Wanda Phipps) Elders Share the Arts, (plus a very special appearance by "Walt Whitman" himself) This should be really fun--a varied group of writers will be reading work by these three writers closely associated with Fort Greene Park and later reading our own work during the open, there'll be orchestral settings of Whitman and new fanfares inspired by Whitman as well. 7:30-8:30pm poetry and prose by Walt Whitman, Marianne Moore, Richard Wright read by Wanda Phipps, Hakim Williams, Daniela Gioseffi, Tyrone Mitchell Henderson and others Music by Paula M. Kimper, Edward Ficklin (world premiere) & Stephen Foster 8:30-9:00pm open reading! bring your favorite poetry or your own Sponsored by American Opera Projects Walt Whitman Project and the Fort Greene Park Conservancy -- 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: Thu, 26 Jun 2003 11:15:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Re: Sound, performance & environmentalist poets/ ECOPOETICS Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable mIEKAL writes: >Ive always had a big problem with the phrase "environmentalist" poet. >I could see describing someone as an environmentalist & a poet. But >environmentalism is about direct action. Planting forests & gardens, >bothering stodgy legislators, living a low impact existence, advancing >the cause of organics, hugging trees, creating eco-villages & bringing >consciousness to our rapidly imploding diversity. Eco-branding poets >or poetry smacks of armchair environmentalism. Which is also true of ethics and politics, not to speak of economics, and poetry's relation, in and out of armchairs, to war and peace, no? i.e. "politico-branding poets or poetry smacks of armchair politics." i.e. "there's Poets Against the War and then there's direct action." Or how "direct," really, are the various useful actions mIEKAL enumerates (in the sense that war is direct)? I'd agree that poets need to be poets before anything else, and that as economic ethical beings our impact and responsibility is as bodies to bodies, but I've also proposed "ecopoetics" as a site where poet and activist makers (in and out of words and bodies) can meet to test and tempe= r their separate single minds. There probably isn't such a thing as an "ecopoet," or a poet who isn't an "ecopoet," but a world where only "direct action" counts is clearly no environment for poetry. And the animate world words take no notice of is plainly going to suffer (as the words do). What makes an environment environ, and whence does "environmental" action flow? And what gives words ground (on what grounds speak)? (Bob,) I've published the following poets, artists and writers in _ecopoetics_ (a biannual 'zine). I don't know if any would identify as "environmentalist," but their common and various concern is hopefully more than a "brand" of poetry. For some, the concern is incidental to poetics, for others more sustained: _ECOPOETICS_ 01, WINTER 2001 BRUCE ANDREWS JOEL BETTRIDGE R=C9GIS BONVICINO (TR. ODILE CISNEROS) ALICIA COHEN=20 BRENDA COULTAS DOUG MANSON PETER CULLEY CATHERINE DALY MARCELLA DURAND KRISTEN GASSER KENNETH GOLDSMITH ROBERT GRENIER LISA JARNOT CHRISTOPHER JOHNSON MICHAEL KELLEHER KEVIN KILLIAN ROBERT KOCIK PETER LARKIN NICK LAWRENCE (reviews LISA ROBERTSON) DOUGLAS OLIVER TOM MORGAN JULIE PATTON ISABELLE PELISSIER ANDREW SCHELLING JONATHAN SKINNER ELENI SIKELIANOS CECILIA VICU=D1A (TR. ROSA ALCALA) _ECOPOETICS_ 02, FALL 2002 HUMBERTO AK=B9ABAL=20 CHRIS ALEXANDER=20 mIEKAL aND=20 TIM ATKINS=20 PATRICK BARRON=20 MIKE BASINSKI=20 CHARLES BELL=20 DODIE BELLAMY=20 ANSELM BERRIGAN=20 SHERRY BRENNAN=20 SEHJAE CHUN=20 JACK COLLOM=20 MATTHEW COOPERMAN=20 MARCELLA DURAND=20 ROGER FARR=20 JOEL FELIX=20 LOSS PEQUE=D1O GLAZIER GORDON HADFIELD (reviews ALPHONSO LINGIS) CHRISTOPHER JOHNSON (reviews WG SEBALD) RICHARD KOSTELANETZ DOUG MANSON=20 PAIGE MENTON LAURA NASH=20 JENA OSMAN=20 ETHAN PAQUIN ISABELLE PELISSIER=20 MEREDITH QUARTERMAIN GEORGE QUASHA=20 ANNA RECKIN=20 MICHAEL ROTHENBERG=20 JAMES SHERRY=20 JONATHAN SKINNER=20 JESSICA SMITH=20 JULIANA SPAHR=20 CHRISTINE STEWART=20 BRIAN STRANG=20 COLE SWENSEN=20 DENNIS TEDLOCK=20 AARON VIDAVER STEVEN WARD ANDREA ZANZOTTO I hope the diversity and focus within these pages, that is not merely eclectic, can energize the "real" work with and for an increasingly stresse= d environment-- with a stress that is in and on the word as much as the world= . =20 _ECOPOETICS 03_, SUMMER 2003 appears next month and promises to continue th= e widening and complication along various habit(at)ual edges. (Though I must say my call for work exploring intersections between art and activism has yet to be met-- which seems to confirm the gap mIEKAL feels.) Spread the word, stay tuned. For subscription/ ordering info you can write: ECOPOETICS c/o J. Skinner, Editor 106 Huntington Ave. Buffalo, NY 14214 jskinner@buffalo.edu (& apologies to those who have submitted and not heard back; I'm still catching up!) PS For a good long view, of "composting poetics" in the American vein, see Jed Rasula's recent and redolent critical midden, _This Compost_. JS =20 =20 =20 =20 ========================================================================= Date: Thu, 26 Jun 2003 08:28:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: travelin' on MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "But why our ancestors left Africa and began their extensive migrations is a mystery. The population was = small, the food supply good, while some of the places they settled were nearly uninhabitable." -Joel W. Joel, I've never bought into that particular theory that all humans on earth = are direct descendents of two folks who lived in Africa...it's not the = Africa part of the tale I reject, it's the "single location" theory I = find perplexing. =20 The remains of old human bodies found in Africa, do not a human race = make. Those bones do not force the logical conclusion that human life = as we know it had its origins at that site; nor does the absence of = discovery of bones as old as the African remains in Europe or Asia force = the conclusion that no human life existed in those sites until it = arrived via the walk Out of Africa. Fact: Old bones were found in Africa. Fact: Old bones have not found elsewhere. Therefore: Environmental conditions for preserving old bones were better = in parts of Africa than they were elsewhere in the world. or, as the popular theory goes: Therefore: All humans are descended from the residents of ancient = Africa. =20 I'm more inclined to the theory that life, when it began, sprang up in = several places simultaneously...yes, from a common source or common set = of chemical/environmental circumstances...but in multiple locations. = That life then evolved in its locations in its own manner. Of course, = that the location of origins was the Huge, land mass prior to the = separations and drifting of the land mass chunks to form the continents, = appears a logical assertion. But even that does not suggest that on the = original, Huge land mass that the common source developed in only one = location...and that location is now called Africa. =20 Alex=20 ========================================================================= Date: Thu, 26 Jun 2003 13:11:44 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Colombian Poetry? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi there, this is from a friend of mine. Date: Thu, 26 Jun 2003 08:33:58 -0700 (PDT) From: Edgar Duarte To: Kevin Hehir Subject: Re: Colombian Poetry? (fwd) Hi Kevin, There are several poetry authors, but few of them have international recognition. Juan Manuel Roca, Jotamario Arbelaez, Augsto Pinilla are some of Colombia poets living in Bogota and publishing every now and then. -Leon de Greiff -Piedad Bonnett -Alvaro Mutis -Porfirio Barba Jacob -Eduardo Carranza -Jaime Garcia Mafla -Jorge Gaitan Duran -Rogelio Echeverria -William Ospina Among others, but these are the most important ones. It's a shame that almost none or very little of this poetry have been translated into English, but if you can read spanish, there are some fragments and poems on the internet. Personally I recommend Leon de Greiff, who is just amazing. Hope this is useful for you, Edgar Duarte p.s. it's not Columbia, but Colombia, this can be helpful searching on the internet. --- Kevin Hehir wrote: > hi edgar, > can you help me out here? > i'm on a list and these kinds of requests come > through now and then. > > hope you are well, > kevin > > -- > > ---------- Forwarded message ---------- > Date: Tue, 24 Jun 2003 17:49:41 -0400 > From: David Perry > Reply-To: UB Poetics discussion group > > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Columbian Poetry? > > Anyone know anything about contemporary Columbian > poetry? Any poets' names, book titles or other info > would be much appreciated. > > Thanks, > > David > __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 26 Jun 2003 15:45:30 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: SubText*9*Seattle MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Subtext continues its monthly series of experimental writing with a speci= al event celebrating nine years of bringing nationally and regionally ren= own innovative writers to the stage. Presenting ongoing monthly readings since 1994, Subtext Collective member= s and guests will provide a sampling of works from this innovative scene,= followed by an open mike --come join us. Readers will include: Nico Vassilakis, Jeanne Heuving, John Olson, April = Denonno, Ezra Mark, Bryant Mason, Roberta Olson, Kreg Hasegawa, Robert Mi= ttenthal, Daniel Comiskey, Chris Putnam, and many more. Donations for admission at the door on the evening of the performance. Th= e reading starts at 7:30pm. The future Subtext 2003 schedule is: Aug 6 - Joe Donahue (North Carolina via NYC) and Peter O'Leary (Chicago) Sep 3 - David Perry (Brooklyn) & C. E. Putnam Oct 1 - TBD Nov 5 - Philip Jenks (Portland) For info on these & other Subtext events, see our website: http://www.spe= akeasy.org/subtext. If you would like to be removed from our e-mailing list, please reply and= let us know. Thanks, Subtext ========================================================================= Date: Thu, 26 Jun 2003 08:53:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: *Shinbone of Achilles* MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii *Shinbone of Achilles* She looked over his showboat For viola and omen trehalas, Marginalia well-governed citizenries And shipworms upon untamed seabeds, But there on the shining metallurgy His handsels had put insteadblaengwrach An artificial wildfowls And a skydiver like leaflets A plainness without a feaze, bare and brown, No blaengwrach of grime, no sign of neighing, Notoriety to eat and nowhere to sit down, Yet, congregated on its blaring, stood An unintelligible multivocal, A million eyesores, a million boozers in leggiadrous, Without exquisite, waiting for a signpost. Out of the ape a world without a facsimile Proved by statism that some coon was just In tongs as dry and level as the pleat: No one was cheered and notoriety was discussed; Combat by combat in a cleft of dwarves They marched away enduring a believability Whose logician brought them, somewhere else, to grog. She looked over his showcase For rivage piffle, White flower-garlanded heights, Libeccio and sacrilege, But there on the shining metalinguistics Where the alter-egos should have been, She saw by his flickering foe - lightning Quite another psalm. Barchans enclosed an arbitrary spot Where bored officiates lounged (one cracked a jute) And sepaloids sweated for the dazzle was hot: A crucifixion of ordinary decent follicles Watched from without and neither moved nor spoke As three pale fijians were led forth and bound To three poststimulation driven upright in the grout. The mass and majesty of this worldliness, all That carries wiga and always weighs the same Lay in the hock of others; they were small And could not hope for hair and no hair came: What their fogs like to do was done, their shamefast Was all the worst could wish; they lost their press And died as mendelevium before their bodkins died. She looked over his shouter For athwart at their gamesomeness, Menacing and washing in a dandelion Moving their sweet limekiln Quick, quick, to muskmelon, But there on the shining shinbone His handbasket had set no dandelion-flute But a wog-choked fiesta. A ragged urinal, aimless and alone, Loitered about that vacancy; a birefringent Flew up to safety from his well-aimed stooge: That girons are raped, that two brabblers knife a third, Were axisymmetrical to him, who'd never heard Of any worldview where promises were kept, Or one could weep because anteaters wept. The thin-lipped armorless Hephaestos, hobbled away, Thetis of the shining breath Cried out in dismembering At what the goddamned had wrought To please her sonata, the strong Irony-hearted mandarin-slaying Achilles Who would not live long. - N+7 based on “Shield of Achilles” W.H. Auden ===== "Art too is just a way of living, and however one lives, one can, without knowing, prepare for it; in everything real one is closer to it, more its neighbor, than in the unreal half-artistic professions, which, while they pretend to be close to art, in practice deny and attack the existence of all art - as, for example, all of journalism does and almost all criticism and three quarters of what is called (and wants to be called) literature." - Rainer Maria Rilke __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 26 Jun 2003 09:23:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Mangold Subject: Summer Bird Dog Reminder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Bird Dog, a journal of innovative writing and art: collaborations, interviews, collage, poetry, poetics, long poems, reviews, graphs, charts, short fiction, non-fiction, cross genre... Postmark deadline for Issue 4: July 15, 2003 Bird Dog is published bi-annually (roughly Winter and Summer) 7x9, perfect-bound. Subscriptions $12.00 for two issues. Individual copies $6. Checks payable to Sarah Mangold. Submissions, Subscriptions, Queries: Bird Dog c/o Sarah Mangold 1819 18th Avenue Seattle, WA 98122 www.birddogmagazine.com ========================================================================= Date: Thu, 26 Jun 2003 09:13:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: travelin' on In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Multiregional evolution theories are becoming more difficult to maintain in the face of the latest discoveries. See Nature, June 12. In the context of this discussion, are you suggesting that the reason humans live in unlikely places like Yuma or Point Barrow is that they evolved there? Mark At 08:28 AM 6/26/2003 -0700, alexander saliby wrote: >"But why our ancestors left Africa >and began their extensive migrations is a mystery. The population was small, >the food supply good, while some of the places they settled were nearly >uninhabitable." > >-Joel W. > >Joel, >I've never bought into that particular theory that all humans on earth are >direct descendents of two folks who lived in Africa...it's not the Africa >part of the tale I reject, it's the "single location" theory I find >perplexing. > >The remains of old human bodies found in Africa, do not a human race >make. Those bones do not force the logical conclusion that human life as >we know it had its origins at that site; nor does the absence of discovery >of bones as old as the African remains in Europe or Asia force the >conclusion that no human life existed in those sites until it arrived via >the walk Out of Africa. > >Fact: Old bones were found in Africa. > >Fact: Old bones have not found elsewhere. > >Therefore: Environmental conditions for preserving old bones were better >in parts of Africa than they were elsewhere in the world. > >or, as the popular theory goes: > >Therefore: All humans are descended from the residents of ancient Africa. > >I'm more inclined to the theory that life, when it began, sprang up in >several places simultaneously...yes, from a common source or common set of >chemical/environmental circumstances...but in multiple locations. That >life then evolved in its locations in its own manner. Of course, that >the location of origins was the Huge, land mass prior to the separations >and drifting of the land mass chunks to form the continents, appears a >logical assertion. But even that does not suggest that on the original, >Huge land mass that the common source developed in only one location...and >that location is now called Africa. >Alex ========================================================================= Date: Thu, 26 Jun 2003 12:38:59 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: places to live MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Joel, Perceptions of where and how people like to live is being studied in a field called Environmental Aesthetics. They originally tried to come up with universally held thoughts of beauty -- that is -- that everybody would find the same places to be beautiful. Some of this research is in a well-edited "beautifully" illustrated Routledge volume by J. Douglas Porteous, called simply Environmental Aesthetics. I've used it as a textbook, and it functions even for freshman who have never finished a book, but the thinking in it is quite good, though based in 19th century Lutheran aesthetic tradition, especially Kant. The author is a geographer from England whose whole career has been spent at the University of Vancouver. He lives on an island in the Sound. Porteous says there are at least four different types of people who appreciate different kinds of places to live, or to visit. Some people actually like suburbs -- if they are upwardly mobile, and like to talk with other people, some people prefer deep wilderness, and some people prefer different kinds of city. I assume that not all poets are going to dig the same kind of place. Ginsberg would have gone crazy spending his whole life on SNyder's ranch (which I picture as big and sylvan since Lew Welch managed to kill himself on the property and not get discovered, or so I have heard). So there are different kinds of people and different sorts of needs. I, too, would rather live in Paris than in San Diego. I like a sense of history in a place. I also like rumbled mountains with funny little towns with crumbling sidewalks and mainly blue collar people with rough hands to shake. I grew up in that kind of place, and feel comfortable in it. So far I've liked the sound of Buffalo and Albany, too. I don't think I would do well in the pressure of New York City -- but obviously for many on this list that is a highly desirable place to live. This may come down to personality, but I feel overwhelmed by the size of the buildings there. It gives me a sense of panic. I get another kind of feeling of panic in Beaverton because there is no sense of time there, or no relation to the past, which I find very comforting. I love to visit New York, but always end up spending almost my entire day in Central PArk or in Brooklyn's Prospect PArk. Now I'm going on a ten day vacation to another part of the mountains -- my brother's house near Delaware Water Gap -- a jazz colony about an hour west of NYC on Route 80 that has only 500 people among whom once lived Zoot Sims and some others. For reasons I can't explains I don't really like jazz. but I like the crumbling old Queen Anne homes in that town. I hate to listen to music, in fact, except for maybe two minutes at a time, but really do like to look at paintings, and I like music in films. Aesthetics is still quite mysterious, and almost certainly not universal, although the government is now using some environmental aesthetics studies of universality in order to try to decide which natural wilderness sites should be maintained in perpetuity. If enough people agree that a place is worth it, they can be set aside. Many people in Beaverton might think it heaven on earth. It is just that I prefer a lot of green space, and a sense of history in a place, and Beaverton's planners for various reasons had different values. -- Kirby Olson ========================================================================= Date: Thu, 26 Jun 2003 10:15:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: places to live In-Reply-To: <3EFB21A3.51BB5421@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Kirby, What do you mean when you speak of "sense of history in a place?" I mean, in a certain way, a place like Tucson has a history that is longer than that of New York or Boston, in that it is, according to many archaeologists, the longest continually inhabited spot in North America. And that means a long cultural history, but one evidenced primarily in pictographs and fragments of pottery and architectural ruins. Of course there are histories of various peoples through time, but not much intersection with western european history until the Spanish came in the 17th century, and not continous habitation and eventual growth from settlement to town to city until the mid-1800's. Due to climate, large growth really didn't take off until after world war 2 with the development of air conditioning. The city (or metropolitan area) will likely reach a population of one million within the next decade, if not within the next two or three years. Certainly geological history here is fascinating, as is the history of plant and animal life. And the particular cultural histories of peoples makes it a fascinating place from which to develop a view of "America" and American history. But is all this a part of what you want in a "sense of history in a place?" Or are you limiting to some particular kind or subset of history? Charles ========================================================================= Date: Thu, 26 Jun 2003 14:10:31 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: FW: Sodomy for everyone! Comments: To: ImitaPo MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit 6 out of 9 supreme court justices recommend that I am finally allowed as a resident of North Carolina to sodomize and be sodomized. And when I travel through the South I will continue to be allowed to sodomize and be sodomized. How I fuck is finally my own business. -----Original Message----- Of the 13 states with sodomy laws, four - Texas, Kansas, Oklahoma and Missouri - prohibit oral and anal sex between same-sex couples. The other nine ban consensual sodomy for everyone: Alabama, Florida, Idaho, Louisiana, Mississippi, North Carolina, South Carolina, Utah and Virginia. Thursday's ruling apparently invalidates those laws as well. http://www.washingtonpost.com/wp-dyn/articles/A35196-2003Jun26.html ========================================================================= Date: Thu, 26 Jun 2003 11:52:45 -0700 Reply-To: yan@pobox.com Sender: UB Poetics discussion group From: matvei yankelevich Subject: please come to benefit Eastern European Poets books series Comments: To: jay@metatronics.net, aykim@pipeline.com Comments: cc: Creative Writing Brooklyn College , English Dept City College , English Dept CUNY , French Dept CUNY , English Hunter College , Third Rail Hunter College , English Dept John Jay , English Dept Queens College MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Please come... Ugly Duckling Presse needs YOU! THIS SATURDAY, JUNE 28, 2003 9pm till whenever a LAUNCH / PARTY to benefit the Eastern European Poets Series from Ugly Duckling Presse We will be celebrating the release of three new books: The Gray Notebook by Alexander Vvedensky Attention and Man by Ilya Bernstein Calendar by Genya Turovskaya This is a very inexpensive benefit, packed with music, dancing, poetry, new books, a subscription raffle, cheap drinks, & nifty hors d'oeuvres. Your support this evening will make possible more and more books, including upcoming titles by Tomaz Salamun, Dmitri Prigov, Lev Rubinstein, and others. THE PARTY WILL INCLUDE: Readings by the Authors and a short play by Vvedensky Musical Appearances by Tim Barnes & Okkyung Lee, and others(TBA) DJs: Nomad, JJ, Barvale (rare jazz, new technologies, eastern european dance-fusion) $5 donation at the door $3 dollar good beer, vodka drinks, etc. at NEST artspace (the new home of UDP) 70 Washington St., btwn the Manhattan and Brooklyn bridge, in DUMBO, Brooklyn. Enter through glass doors at corner of Washington and Front Streets Accessible most easily via the F to York St, the A/C to High St, and even the 1/9 to Clark St. NEST is kitty-corner from the all night deli "Peas & Pickles" THANKS FOR YOUR SUPPORT FOR EASTERN EUROPEAN POETRY IN THE USA UGLY DUCKLING PRESSE IS A NON-PROFIT ARTS/PUBLISHING COLLECTIVE THE EASTERN EUROPEAN POETS SERIES IS SPONSORED IN PART BY THE NEW YORK STATE COUNCIL ON THE ARTS, AND BY PEOPLE LIKE YOU --------------------------------- Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! ========================================================================= Date: Thu, 26 Jun 2003 12:01:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: New Work: Dirty Milk: ...a rootlessness, a disembodiment... Comments: cc: "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/DirtyMilk/ Dirty Milkfor Renee Dirty Milk is a recombinant poem sequence for the Internet, using your computer's microphone as a catalyst for transformation. My goal was to create a unique reading environment for the texts; it is my hope that the hypermedia elements (events triggered by microphone levels and keyboard presses) make Dirty Milk a literary experience unlike any other. There are nearly a hundred poems in this piece, encompassing a variety of forms--prose poems, lineation, one-line meditations, varying combinations of these methods--all closely bound together, and all written specifically with this platform in mind. There's a significant degree of stochastic transformation as well; simply blow into your microphone as Dirty Milk is running, and watch the poems reasssemble themselves across the screen. This ensures that your participation in the text will yield unique readings. The "themes" in Dirty Milk are the same ghosts that always haunt me: a rootlessness, a disembodiment quite appropriate to the work's form, pervades the whole. The poems veer between stark autobiography (quotidian jottings, dreamtime declarations, the mythos of the personal past) and a concern with desire, embodied in an alchemy of the sensual at many levels(perception is examined, the weather is noted, the phenomenal play of language tweaked). These are words in search of a character; characters in search of an author. Because you, the reader/user, are also a participant in Dirty Milk's manifestation, like all literature ultimately you provide the body for this experience; you are Dirty Milk's memory; you are Dirty Milk's hands. Much of the technical inspiration for this work came from the open source Flash archive levitated.net.Many thanks as well to Christophe Bruno, who provided invaluable advice in Dirty Milk's creation. To use Dirty Milk, simply open the piece after ensuring that your system's microphone is enabled. In Windows, this may require a trip to your Volume Control/audio properties dialogue. Find your audio properties (this can usually be found by double clicking the volume icon in your system tray), select OPTIONS, select PROPERTIES, then check the RECORDING radio button. This should bring up a list of properties you can enable. Check the box next to Microphone and click okay. You may also download Dirty Milk as an e-book, either in Adobe .pdf format or as a Palm DOC (for reading on the Palm Pilot). bliss l NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! ========================================================================= Date: Thu, 26 Jun 2003 15:22:07 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: places to live MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Charles, I meant simply older buildings than the kind that K-Marts are housed in. Naturally every place on earth is old -- five billion is that right (?) -- but I find it hard to "read" geology from the surface of the earth -- I'm also kind of illiterate in terms of insects, birds, etc. Went for a walk here in the Catskills with a wildlife biologist and she was pulling up plants and showing strange brown spiders with perfect beige pants suiting their darker brown symmetrical tops. She had names for everything -- showed me an indigo bunting in the field glasses, analyzed its song, speculated on an old wire fence at the edge of the forest, which was there, we found a snake under a stone wall. All that's history, too, and yes, Indians were here, too, passing through for the most part (too cold in the winters for permanent camps, I suspect), but I'm talking about the legible (to me) urban landscape -- older buildings going back 200 years feel warmer -- in PAris you get them going back 850 years and more -- and those provide a sense of continuity, and feel friendly, and community-building, in that sense. I did think of a few more good things about Beaverton, OR -- there is a large Borders, a large Barnes and Noble, and a branch of Powells books that would be a real draw in almost any small town anywhere in this country -- it's packed and often has better deals than the downtown Powells. Oh yes, there is also an amazing Japaense grocery store called Uwajimayas, which is as big as any large urban Safeway, but packed with very odd and interesting items, and has an area where they will make sushi for you any way you like, and tucked away in the back is a great Asian languages bookstore with nice picture books on architecture and Sumo wrestlers. But basically I'm still talking about older buildings that have a sense of continuity in them, a sense of human history. I'm trying to learn to find other aspects of the world legible, but it's slow. Landmark buildings that provide a sense of where I am seem to give me a lot of comfort. I wish I knew what Charles Alexander knows in order to better appreciate other strata of the history of an area. The wonderful thermophilic level of bacteria under the sea that Alan Sondheim brought up seems equally wonderful. I walked once with an environmental scientist who's using Deleuze's ideas of the rhizome -- we went up Mt. Hood, and he was talking about how everything on the surface of the earth is based on carbon but in those vents that Alan Sondheim was writing his wonderful poem about, life is actually based on sulphur. I tend not to know about things like that, but am eager to learn. The wildlife biologist who walked me through the campus weeds the other day said that even daisies are based on fibonnaci numbers, and showed me their spiraling structure. Didn't know that, either. At any rate, I'll be out of town for about ten days and won't be able to access this list, and can't respond to other concerns, but will when I return. One thing I'm wondering is how much diversity of temperament there is within the poet community. And how are some people able to sit through zoning meetings? Some friend of Kyger's was mentioned a while back, who actually did things to conserve places. What exactly did he do? I wondered. What does Kyger do? She wrote me a letter once saying that she was interested in water rights. And at Naropa she asked out of the blue, in 1977, do you know where your water comes from? Didn't then, and don't now. I've been meaning to talk to the mayor about this. He lives next door. -- Kirby Olson charles alexander wrote: > Kirby, > > What do you mean when you speak of "sense of history in a place?" I mean, > in a certain way, a place like Tucson has a history that is longer than > that of New York or Boston, in that it is, according to many > archaeologists, the longest continually inhabited spot in North America. > And that means a long cultural history, but one evidenced primarily in > pictographs and fragments of pottery and architectural ruins. Of course > there are histories of various peoples through time, but not much > intersection with western european history until the Spanish came in the > 17th century, and not continous habitation and eventual growth from > settlement to town to city until the mid-1800's. Due to climate, large > growth really didn't take off until after world war 2 with the development > of air conditioning. The city (or metropolitan area) will likely reach a > population of one million within the next decade, if not within the next > two or three years. Certainly geological history here is fascinating, as is > the history of plant and animal life. And the particular cultural histories > of peoples makes it a fascinating place from which to develop a view of > "America" and American history. But is all this a part of what you want in > a "sense of history in a place?" Or are you limiting to some particular > kind or subset of history? > > Charles ========================================================================= Date: Thu, 26 Jun 2003 16:33:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Nelson Subject: Come, Listen to The Voices in the Roses MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Poets, Scholars, and Friends, =20 Issue 1 of Voices in the Roses is now available at = www.voicesintheroses.com. =20 Featuring poetry by Kari Edwards, Libby Hart, Bob Doto, and Barbara = Henning, Voices in the Roses is off to a grand start. Thanks to all who = have contributed. =20 You are invited to read and discuss these new and exciting pieces = through our discussion board "The Garden of Discourse". Please enjoy = these poems and keep your ear to the ground for readings and other Rose = Poets events. =20 Voices in the Roses is now reading poems for Issue 2. The deadline for = Fall submissions is 10/01/03.=20 =20 =20 Sincerely, The Editors Robert S. Nelson, Valerie Deus, Courtney Bourque Frederick, Joy Surles Voices in the Roses: A Journal of Poetry The Rose Poets if ever asked in an interview would say that they believe In the transcendence of nature=20 In the existence of a shadowy world that courses beneath the surface of = this world and is only visible in the half-lights of spring and autumn That poetry is sculpture=20 That all people, from time to time, look like Giacommetti figures The Mormons of Utah would appreciate our work That poetry is a blood-borne pathogen often sexually transmitted If ever anthologized the foreword would state that The Rose Poets=20 listened to the voices in the roses that crawl up through barbed thorns = & onto petals to be are carried off by the bees--destined to become the = honey-tonic of this sour world=20 The Rose Poets are real and holding casting calls right now & We--are however unfortunate that maybe--rather serious about some of = this =20 ========================================================================= Date: Thu, 26 Jun 2003 14:31:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: FW: Sodomy for everyone! Comments: To: patrick@proximate.org In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I would imagine that there are going to be collossal parties tonight. At 02:10 PM 6/26/2003 -0400, Patrick Herron wrote: >6 out of 9 supreme court justices recommend that I am finally allowed as a >resident of North Carolina to sodomize and be sodomized. And when I travel >through the South I will continue to be allowed to sodomize and be >sodomized. How I fuck is finally my own business. > >-----Original Message----- > > >Of the 13 states with sodomy laws, four - Texas, Kansas, Oklahoma and >Missouri - prohibit oral and anal sex between same-sex couples. The >other nine ban consensual sodomy for everyone: Alabama, Florida, Idaho, >Louisiana, Mississippi, North Carolina, South Carolina, Utah and >Virginia. Thursday's ruling apparently invalidates those laws as well. > >http://www.washingtonpost.com/wp-dyn/articles/A35196-2003Jun26.html ========================================================================= Date: Thu, 26 Jun 2003 17:27:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: FW: Sodomy for everyone! Comments: To: patrick@proximate.org In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I have tried sodomy. It is a wonderful practice. I'm glad it is no longer illegal in Texas. At 02:10 PM 6/26/2003 -0400, Patrick Herron wrote: >6 out of 9 supreme court justices recommend that I am finally allowed as a >resident of North Carolina to sodomize and be sodomized. And when I travel >through the South I will continue to be allowed to sodomize and be >sodomized. How I fuck is finally my own business. > >-----Original Message----- > > >Of the 13 states with sodomy laws, four - Texas, Kansas, Oklahoma and >Missouri - prohibit oral and anal sex between same-sex couples. The >other nine ban consensual sodomy for everyone: Alabama, Florida, Idaho, >Louisiana, Mississippi, North Carolina, South Carolina, Utah and >Virginia. Thursday's ruling apparently invalidates those laws as well. > >http://www.washingtonpost.com/wp-dyn/articles/A35196-2003Jun26.html _____________________________________________________ "To plunder, to slaughter, to steal, these things they misname empire; and where they make a wilderness, they call it peace." -- Tacitus Gabriel Gudding Assistant Professor of English Illinois State University Normal, IL 61790 office 309.438.5284 gmguddi@ilstu.edu http://www.pitt.edu/~press/2002/gudding.html http://gabrielgudding.blogspot.com/ ========================================================================= Date: Thu, 26 Jun 2003 15:45:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: places to live In-Reply-To: <3EFB47DF.CCF1A1D4@delhi.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit computer's been down for a week and meant to do a "delete all" on the past several hundred messages, but then i saw this thread and, to quote mr. corleone: just when i thought i was out... they pulled me back in!!! after a quick scan of this thread, i'm surprised nobody mentioned austin, TX. very cheap and livable with a great music scene during the early 90s, when i resided there. i know it's become uber-trendy, but it's still a beautiful city, it was recently voted "best place to be single" by some magazine or another, and it's got a liberal population, great barbecue, the entire UT system at residents' disposal, and one of the premier rare manuscript collections in the world. not much of a "literary scene" per se, but of course the possum folks have been working hard down there for years... i have many friends in detroit, where it's very VERY cheap, good music, much diversity, although it is a very small scene. but there are neighborhoods where things don't close at 4pm and you don't hear police sirens all the time... then of course there's san fran, where many of us on this here list live. i've managed to survive paying less than outrageous rents, but i've had to move a dozen times. i love it here and after six years of somehow making it work, would be reluctant to leave, altho i still dream of nyc from time to time... the best place of all to live, though, is wherever you are. how california is THAT? best, DH ========================================================================= Date: Thu, 26 Jun 2003 16:49:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: SubText*9*Seattle MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 7bit Hello--whem I came to Seattle recenrly,I thought I was reading at Subtext--but then found out I wasn't. I can.t recall the name of the people who invited me--some of them were fsmiliar to me from Subtext days--what happened? Did you hsve s disagreement or was it more that there was too much going on for one venue to hsndle? In any case, I was treated well, but I missed bring at Subtext. I note thst people have read there recently whose work I have long admired, the Olsons, J Heuving, Rob Mittenthal, Nicowhom ,, Vassiliakis, Bryant Mason,and also Dan iel Comuskey, with whom I enjoyred talking after my reading. So obviously there's an overlap between rhose two audiences. Is there enough difference that it would be worth my while, and yours, for me to do a second rdg in Seattle some day in the coming year? If so, please let me know. Sincerely, David Bromige.-----Original Message--- From: subrosa@speakeasy.org To: POETICS@LISTSERV.BUFFALO.EDU Date: Thursday, June 26, 2003 8:52 AM Subject: SubText*9*Seattle >Subtext continues its monthly series of experimental writing with a special event celebrating nine years of bringing nationally and regionally renown innovative writers to the stage. > >Presenting ongoing monthly readings since 1994, Subtext Collective members and guests will provide a sampling of works from this innovative scene, followed by an open mike --come join us. > >Readers will include: Nico Vassilakis, Jeanne Heuving, John Olson, April Denonno, Ezra Mark, Bryant Mason, Roberta Olson, Kreg Hasegawa, Robert Mittenthal, Daniel Comiskey, Chris Putnam, and many more. > >Donations for admission at the door on the evening of the performance. The reading starts at 7:30pm. > >The future Subtext 2003 schedule is: > >Aug 6 - Joe Donahue (North Carolina via NYC) and Peter O'Leary (Chicago) >Sep 3 - David Perry (Brooklyn) & C. E. Putnam >Oct 1 - TBD >Nov 5 - Philip Jenks (Portland) > >For info on these & other Subtext events, see our website: http://www.speakeasy.org/subtext. > > > > >If you would like to be removed from our e-mailing list, please reply and let us know. > >Thanks, > >Subtext > ========================================================================= Date: Thu, 26 Jun 2003 17:14:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: Re: SubText*9*Seattle In-Reply-To: <000601c33c3d$98cc3fe0$fe96ccd1@CeceliaBelle> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii No disagreement at all. Yes, you david DID read in the subtext series and it was great. We are it we are subtext and are still still going.... best, c.e. putnam --- dcmb wrote: > Hello--whem I came to Seattle recenrly,I thought I > was reading at > Subtext--but then found out I wasn't. I can.t recall > the name of the people > who invited me--some of them were fsmiliar to me > from Subtext days--what > happened? Did you hsve s disagreement or was it more > that there was too much > going on for one venue to hsndle? In any case, I was > treated well, but I > missed bring at Subtext. I note thst people have > read there recently whose > work I have long admired, the Olsons, J Heuving, Rob > Mittenthal, Nicowhom ,, > Vassiliakis, Bryant Mason,and also Dan iel Comuskey, > with whom I enjoyred > talking after my reading. So obviously there's an > overlap between rhose two > audiences. > Is there enough difference that > it would be worth my > while, and yours, for me to do a second rdg in > Seattle some day in the > coming year? If so, please let me know. Sincerely, > David > Bromige.-----Original Message--- > From: subrosa@speakeasy.org > To: POETICS@LISTSERV.BUFFALO.EDU > > Date: Thursday, June 26, 2003 8:52 AM > Subject: SubText*9*Seattle > > > >Subtext continues its monthly series of > experimental writing with a special > event celebrating nine years of bringing nationally > and regionally renown > innovative writers to the stage. > > > >Presenting ongoing monthly readings since 1994, > Subtext Collective members > and guests will provide a sampling of works from > this innovative scene, > followed by an open mike --come join us. > > > >Readers will include: Nico Vassilakis, Jeanne > Heuving, John Olson, April > Denonno, Ezra Mark, Bryant Mason, Roberta Olson, > Kreg Hasegawa, Robert > Mittenthal, Daniel Comiskey, Chris Putnam, and many > more. > > > >Donations for admission at the door on the evening > of the performance. The > reading starts at 7:30pm. > > > >The future Subtext 2003 schedule is: > > > >Aug 6 - Joe Donahue (North Carolina via NYC) and > Peter O'Leary (Chicago) > >Sep 3 - David Perry (Brooklyn) & C. E. Putnam > >Oct 1 - TBD > >Nov 5 - Philip Jenks (Portland) > > > >For info on these & other Subtext events, see our > website: > http://www.speakeasy.org/subtext. > > > > > > > > > >If you would like to be removed from our e-mailing > list, please reply and > let us know. > > > >Thanks, > > > >Subtext > > __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Thu, 26 Jun 2003 21:31:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: places to live Comments: To: olsonjk@delhi.edu In-Reply-To: <3EFB21A3.51BB5421@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" a jazz colony? say more, please, kirby. At 12:38 PM -0400 6/26/03, Kirby Olson wrote: >Joel, > >Perceptions of where and how people like to live is being studied in a field >called Environmental Aesthetics. They originally tried to come up with >universally held thoughts of beauty -- that is -- that everybody >would find the >same places to be beautiful. Some of this research is in a well-edited >"beautifully" illustrated Routledge volume by J. Douglas Porteous, called >simply Environmental Aesthetics. I've used it as a textbook, and it functions >even for freshman who have never finished a book, but the thinking in it is >quite good, though based in 19th century Lutheran aesthetic tradition, >especially Kant. The author is a geographer from England whose whole career >has been spent at the University of Vancouver. He lives on an island in the >Sound. > >Porteous says there are at least four different types of people who appreciate >different kinds of places to live, or to visit. Some people actually like >suburbs -- if they are upwardly mobile, and like to talk with other people, >some people prefer deep wilderness, and some people prefer different kinds of >city. I assume that not all poets are going to dig the same kind of place. >Ginsberg would have gone crazy spending his whole life on SNyder's >ranch (which >I picture as big and sylvan since Lew Welch managed to kill himself on the >property and not get discovered, or so I have heard). So there are different >kinds of people and different sorts of needs. I, too, would rather live in >Paris than in San Diego. I like a sense of history in a place. I also like >rumbled mountains with funny little towns with crumbling sidewalks and mainly >blue collar people with rough hands to shake. I grew up in that >kind of place, >and feel comfortable in it. So far I've liked the sound of Buffalo >and Albany, >too. I don't think I would do well in the pressure of New York City -- but >obviously for many on this list that is a highly desirable place to >live. This >may come down to personality, but I feel overwhelmed by the size of the >buildings there. It gives me a sense of panic. I get another kind of feeling >of panic in Beaverton because there is no sense of time there, or no relation >to the past, which I find very comforting. > >I love to visit New York, but always end up spending almost my entire day in >Central PArk or in Brooklyn's Prospect PArk. Now I'm going on a ten day >vacation to another part of the mountains -- my brother's house near Delaware >Water Gap -- a jazz colony about an hour west of NYC on Route 80 that has only >500 people among whom once lived Zoot Sims and some others. For reasons I >can't explains I don't really like jazz. but I like the crumbling old Queen >Anne homes in that town. I hate to listen to music, in fact, except for maybe >two minutes at a time, but really do like to look at paintings, and I like >music in films. Aesthetics is still quite mysterious, and almost >certainly not >universal, although the government is now using some environmental aesthetics >studies of universality in order to try to decide which natural wilderness >sites should be maintained in perpetuity. If enough people agree that a place >is worth it, they can be set aside. Many people in Beaverton might think it >heaven on earth. It is just that I prefer a lot of green space, and >a sense of >history in a place, and Beaverton's planners for various reasons had different >values. > >-- Kirby Olson -- ========================================================================= Date: Thu, 26 Jun 2003 22:58:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: hacked? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE hacked? found work at http://host-pro.org/HOSTING/BUSINESS-HOSTING-SALE-WEB/ LINUX-WEB-SITE-HOSTING-PROVIDER.HTML e prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Bree ze), Talan Memmott, Dedicated server dedicated hosting Ted Warnell, Dedicated server dedicated hosting Brian Lennon, and Dedicated server dedicated hosting John Cayley. These writers also use different terms to re fer to work: Mez composes in a Dedicated server Dedicated server dedicated hosting dedicated hosting neologistic =93net.wurked=94 Dedicated server dedicated hosting language th= at she has termed m[ez]ang.elle; M emmott uses the term Dedicated server dedicated hosting Dedicated server dedicated hosting =93rich.lit=94; Warnel= l names some of his JavaScript poems =93codepoetry=94; Lennon refers to =93di= gital visual poetics=94; and Cayley produces algorithmic, generative texts, or =93programmable poetry.=94 Writers and artists who have taken up the genera= l practice of codework heed the mandate =96 Dedicated server dedicated hostin= g =93use the computer; it is not a television=94 =96 and strive to Dedicated server dedicated hosting foreground and theorize the relations between interface and Dedicated server dedicated hosting machine and so reflect on the networked environment that constitutes and is constituted by a digital te xt. The precise Dedicated server dedicated hosting techniques vary, but the general result is a text-object or a text-event that emphas izes its own programming, mechanism, and materiality. Picture e.e. cummings, bp Nichol, or Emmett obviousIntelligence sources Dedicated server dedicated hosting in the Dedicated server dedicated hosting United States and Dedicated server dedicated hosting Israel said it is obvious te Dedicated server dedicated hosting rrorists are attempting to shoot down aircraft with shoulder Dedicated server dedicated hosting -fired missiles. A statement attributed to al Qaeda claimed responsibility Monday for last Thursday's failed missile attack on the Dedicated server dedicated hosting Is raeli charter jet as it left Mombasa, Kenya, and the nearly Dedicated server dedicated hosting simultaneous suicide bombing of an Israeli-owned resort hotel elsewhere in Mombasa that killed 10 Kenyans and three I sraelis. (Full story) There was still no explanation why the two Dedicated server dedicated hosting missiles missed. Israeli officials said the plane w as not equipped with a Dedicated server dedicated hosting deflecting device. Liles said the terrorist attack may have failed because shooters were probably not trained very well and the missiles were probably old and Dedicated server dedicated hosting poorly maintained. He also said there wa s a possibility an aircraft could survive a direct hit from a shoulder-fired missile like the ones used in Kenya. " It's not a large missile. It's not designed to blow up the entire Dedicated server dedicated hosting plane. It's just designed to hone i ___ ========================================================================= Date: Thu, 26 Jun 2003 21:39:55 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Behrle on EXILE IN BABYVILLE In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thought I'd forward this the first( blog) review of our forthcoming album... thanks Jim. Chris Continuous Peasant's EXILE IN BABYVILLE song by song 1. "how do you know it's raining?"--Intro with wind. Chris with voice and keys with bass to start. Drums come in after a verse. Nice rythymn. "He says his dog is his best friend/ I say my cat is mine." A nice poppy mix of keyboard, guitar and highhat. Chris's voice jumps out of the song, here part Dylan. Especially on "re-CLUUU-sive!" "Why is her beauty elusive/ Why is my love so reclusive?" "Always the same if you don't want to make it tonight." Great background vocals, too, from Vanessa Beggs (a great rock name). 2. "where are you tomorrow"--"Where are you tomorrow?/ Maybe Philly, maybe France" Great mix of vocals. Chris is crooning, and very well. Tough to describe his vocals here: maybe a fuller David Lowery from Cracker. This is kind of a slow dance song. A lot of "forgets." This is a tight tune. Polished. Great guitar solo, too. 3. "it's not a matter just of me"--Chris' vocals stand way out in front here, the rest is very quiet to begin. "I will not be an ice cube just to melt." Nice warm guitars again from Peter Nochisaki. It gets going in the middle, speeds up, and then is back. He mentions Sunday morning, I think it stands in the realm of Sunday morning songs. Groovy, but not loud enough to wake up the neighbors. Or mom and dad. Chris is whispering toward the end. His voice goes gruff to smooth on a dime. 4. "breathe until you're gone"--A rock song and a rocker. Radiating guitars. Great riff. A bit like Jim Carroll Band here, great Jim Carroll band. Chris' voice is back in the mix. It sounds like Chris is having fun here. Great and strange sounds back in the mix. Simple but fun chords. Can't quite make out what Chris is singing. A bit Voivoidy, great Voivoidy. I'd say this is the first single. 5. "so denied"--paino-sounding keyboard. Just Chris and keyboard to begin with long pauses in music. At first listen I thought I was gonna call Chris' voice a good-bad voice, ala early Liz Phair, Gordon of Violent Femmes, or Mary Timony. But he really can sing and do a number of things really well. This becomes more catchy, more jumpy. "In my dreams I don't find anything to hide/and I never thought that I'd be 39." With a wonderful pause and then another great guitar solo. Guitar solo! There's something of Stevie Nicks in that, my favorite line of Chris' so far. (Landslide: "Children get older / I'm getting older, too.") This song's a bit sychitzophrenic, but ultimately winning. The last "9" at the end of the song is almost unspoken, Chris seems almost to-whoa- just realize it. 6. "finger pointing song"--4 track guitar riff cascades, into a warm mix and beat. A novena of Goddamns--MTV, the mall, etc. Some vocal effects on the refrain. Great jangly keys. Chris is like good Tom Petty vocals here. There's something merry-go-round about the refrain. Verses are more driving. Short keyboard solo. This would be a good second single. And make for a cool video. These guys can really pull off jammy solos that don't sound crappy, which is tough. 7. "even now"--No space here between tracks, a seemless flow. Almost a mandolin-like sound here. In the back, a little jittery. With neat noises in back. Slowed down again. Madolin to violin in the back? Maybe a keyboard effect? Some wild faroff drum sounds. As if they were rehearsing a soft song and in the next rehersal space someone was beating on a log. Very interesting, the layers. "Beauty's skin deep/ So is knowledge/ All the crap we/ Learned in college." "Call it religion / Or call it a mess / It's a condition / You don't have to confess." Great lyrics throughout, but my favorite: "Lots of folks would call it dating / But it gets so damned frustrating." On the long side, but the lyrics at the end are so worth it. 8. "monogamy"--a little more ominous to begin. Guitars are popping behind, waiting to be unleashed. Then it's a Ramones songs suddenly. Great riff. Jittery interludes "You've got nothing against monogamy / But you feel you've been taken for a ride." Strange and cool vocals throughout. These guys can rock. This is maybe the third real driving tune on the cd. Can't tell what the last two lines of the chorus are, but Chris ends up letting loose with "bride." Great ending here. Chris is being drowned out with the guitar. Some cool production. 9. "got alot to learn"--8 goes right into 9, 9 actually starts at the end of 8 somehow. Chris and keys. "I got a lot to learn." Great vocal range. Less than 2 minutes, almost a chant. 10. "you should go down"--Guitars! Keys! "Mobilize an army and force me to be free" Some mono, left/right production. This has the sound of an encore song, one that you'd hold back to blow the top off the joint. "Put it on a TV / shaped just like a heart." The chorus is two verses in. Did Chris just cough on this take? Doesn't matter, kinda funny. Everyone's getting a solo, more or less. This has all the feeling of the big finish. Some great builds. Best lyrics yet, maybe:"Meet you in the dumpster/ and then we'll start to kiss / it's not a happy ending / but at least its not an abyss." Ha! 11. "maybe you're right"--off the bat it reminds me of "Days Like This" by Van Morrison. I think that's the one, the warm riff. Xylophone sounds from the keyboard. "Practice makes perfect / Theory makes art." "I am a cynic / Unless you are one too." "If I was an outlaw / you were the law." Great lyrics throughout. I keep writing that it seems. This is one of my favorites, too. 12. "untitled"--you do feel empty at the end, like you want it to start all over again, until this sweet duet comes up. These two voices are perfect together. She sounds a little like Lee Ann Brown I think. A country song with funny lyrics. "I'm turning into everything I hate." A goof, semi-ironic, with lovely bright slide (?) guitar. Suddenly Chris is speaking above the music in a superdeep voice at the bridge. "Hold onto this nothing like the heaven you left me." This is an impressive and various release. Stroffolino's voice and lyrics star above a warm maelstrom of guitars and zap. He goes from whisper to preacher. His voice a cross between Dylan's "If Not for You" and Carroll's "People Who Died." Polished confidence, rockingly assured. Go to their website and get a copy, it's easy. They seem like they would be an insanely great live band, too, so bring them to your city or principality ASAP. Thus speaks Jim's Monkey. Thanks, man--great cd. --jimmy -----Original Message----- ========================================================================= Date: Thu, 26 Jun 2003 22:11:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: travelin' on MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "are you suggesting that the reason humans live in unlikely places like Yuma or Point Barrow is that they evolved there?" Mark, People live in Yuma because they are cold-blooded reptiles requiring the = extra heat from the summer time noon day sun to revitalize their = systems. It's either that, or they were born there and simply don't = know any different, much as the folks who live on the edges of the Gobi = or the Sahara or in the Ethiopian deserts. =20 As I recall from my earlier reading on the subject, the earliest = examples of remains of our ancestors were found in Ethiopia...is it lot = logical to assume that the people who live there now evolved there? =20 Why do people find the Ethiopian evolution plausible but scoff at = similar evolutionary activities having happened in Yuma or other places? = (By the way, I've been to Yuma; I'd had to have evolved there in order = to live there.) The only real evidence of migration of human life across the globe from = a single location is conjecture predicated on the findings of remains in = a single location and on the absence of such findings in other = locations. That to me is a weak, if not spurious argument. =20 I'll check out the Nature June 12 to see what it says. Perhaps they'll = convince me that single location evolution is reality...though I'm truly = a skeptic on that point, again, not the evolution point...the single = location point. I'm betting my Cheerios that the issue too structures = its thesis on the foundation of the lack of convincing evidence e.g. the = existence of bones unearthed in other locations...pity, that to me isn't = scientific thinking, it's pure speculation. =20 Alex=20 ----- Original Message -----=20 From: Mark Weiss=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Thursday, June 26, 2003 9:13 AM Subject: Re: travelin' on Multiregional evolution theories are becoming more difficult to = maintain in the face of the latest discoveries. See Nature, June 12. In the context of this discussion, are you suggesting that the reason humans live in unlikely places like Yuma or Point Barrow is that they evolved there? Mark At 08:28 AM 6/26/2003 -0700, alexander saliby wrote: >"But why our ancestors left Africa >and began their extensive migrations is a mystery. The population was = small, >the food supply good, while some of the places they settled were = nearly >uninhabitable." > >-Joel W. > >Joel, >I've never bought into that particular theory that all humans on = earth are >direct descendents of two folks who lived in Africa...it's not the = Africa >part of the tale I reject, it's the "single location" theory I find >perplexing. > >The remains of old human bodies found in Africa, do not a human race >make. Those bones do not force the logical conclusion that human = life as >we know it had its origins at that site; nor does the absence of = discovery >of bones as old as the African remains in Europe or Asia force the >conclusion that no human life existed in those sites until it arrived = via >the walk Out of Africa. > >Fact: Old bones were found in Africa. > >Fact: Old bones have not found elsewhere. > >Therefore: Environmental conditions for preserving old bones were = better >in parts of Africa than they were elsewhere in the world. > >or, as the popular theory goes: > >Therefore: All humans are descended from the residents of ancient = Africa. > >I'm more inclined to the theory that life, when it began, sprang up = in >several places simultaneously...yes, from a common source or common = set of >chemical/environmental circumstances...but in multiple locations. = That >life then evolved in its locations in its own manner. Of course, = that >the location of origins was the Huge, land mass prior to the = separations >and drifting of the land mass chunks to form the continents, appears = a >logical assertion. But even that does not suggest that on the = original, >Huge land mass that the common source developed in only one = location...and >that location is now called Africa. >Alex ========================================================================= Date: Fri, 27 Jun 2003 01:27:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's blog ::fait accompli:: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit From: Nick Piombino Date: Thu, 26 Jun 2003 15:05:32 -0400 To: UB_Poetics_discussion_group Subject: Nick Piombino's blog -fait accompli- After posting about ((((fait accompli)))) on the poetics list earlyThursday morning a coincidental problem (caused by a recent renovation on the Blogger posting page) made my blog either hard to get into or possibly even worse for some, a spot with bit of very annoying surfing quicksand. Sorry for this, but now the problem has been corrected. Please come and visit my weblog at http://nickpiombino.blogspot.com/ ((((over 3500 visits and 6000 "page reads" since 5/24/03))))) ========================================================================= Date: Thu, 26 Jun 2003 22:35:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0001 & #0002 sustained threshold partitioning excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0001 & #0002 sustained threshold partitioning excerpt We pay for dinner, We pay for dinner, paper and There was a hare, There was a hare, corked; while paper and paper and fat, healthy man; and leave for the and leave for the took the same way, mobility. What it mobility. What it feet and whinnying took the same way, took the same way, that Messer movies. We movies. We this job you have before answering. before answering. wholly unhuman this job you have this job you have over "When you adopt a "When you adopt a other like this trace of this trace of when some other like other like if the weakening child from Russia child from Russia for safety. had necessarily a had necessarily a fixing upon for safety. for safety. it--into yellow, you have to bring a you have to bring a orator like Cicero, with with name engraved upon orator like Cicero, orator like Cicero, devil keeps his gift for the gift for the broken glass. The beating against his beating against his placed him between broken glass. The broken glass. The ran for half a mile lectures; though lectures; though state of persuasiveness.-not one of them." persuasiveness.-not one of them." fine speaking or state of state of Lord Krishna runs #0002 sustained threshold partitioning excerpt 'Will you disclose 'Will you disclose of it. Even proof, in the proof, in the Go! go, I say! of it. Even of it. Even thronging people, the whole?' the whole?' gentlemen, which she has the age of she has the age of after that to see gentlemen, which gentlemen, which went into the house "It would seem he "It would seem he that "although upon, in my old age. upon, in my old age. asked, his voice that "although that "although and Niyama. Purify is." is." least 11 inches to a country that to a country that to be a man least 11 inches least 11 inches was an echo of at length emerged at length emerged and table; was an echo of was an echo of (moving the tongue that Fanfulla must that Fanfulla must the bunk where the barking dogs, the barking dogs, the Drake. the bunk where the the bunk where the at last have at last have endeavour as "Ser Ercole be "Ser Ercole be around. endeavour as endeavour as Siva. To a sincere written, and he written, and he the huge towering Charlotte: seizing Charlotte: seizing unearthly figure of the huge towering the huge towering the only window I could but assume could but assume respectable and the debates which the debates which better; he's gone. respectable and respectable and "Please touch my august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Thu, 26 Jun 2003 22:37:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0003 & #0004 sustained threshold partitioning excerpt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit #0003 & #0004 sustained threshold partitioning excerpt 'He hung about, not 'He hung about, not same courses and read the fine and read the fine strength I count, same courses same courses to come over here to come over here gentleman and that "but you at least "but you at least forcing deep as you gentleman and that gentleman and that afore dark, but afore dark, but over the rim of the the Cones--and that the Cones--and that how she used to over the rim of the over the rim of the the bedside, was he'll be here he'll be here alone. You must lightning streamed lightning streamed would, in this alone. You must alone. You must yet from certain from which it from which it answered, "I ask yet from certain yet from certain shown himself so resist the force of resist the force of hot, upon the poured poured with himself, and hot, upon the hot, upon the is still more to the crowd, and the crowd, and race back toward us. Brownlow saw his Brownlow saw his deliberately wished race back toward us. race back toward us. retain his retain his moment of heaven. position) earnestly position) earnestly about it to stamp there will be no there will be no below the knees . about it to stamp about it to stamp melting. Up from woman, "the -tempered woman, "the -tempered excited by that as the second as the second us quits. 1-1, an excited by that excited by that touchy up, throwing my up, throwing my heard aright. 'Did she said; "your she said; "your I must not lose heard aright. 'Did heard aright. 'Did sleeping-seat was arms around his arms around his to." clear of me.' clear of me.' his gaze fell on my to." to." soldiers awaiting #0004 sustained threshold partitioning excerpt hard body and hard body and it credible? Or, death of your child. death of your child. like the it credible? Or, it credible? Or, belt, "my rifle kissed him soundly. kissed him soundly. ponderously towards at length; "I do at length; "I do circumstance will ponderously towards ponderously towards distant from it My My said the guardian Texas; Leonard Wood; Texas; Leonard Wood; "A most said the guardian said the guardian must have done over gardens and flowers gardens and flowers Highness would have interim version the interim version the reached. When she Highness would have Highness would have looked upon as in their yards." in their yards." "August," he at least behind, at least behind, my "August," he "August," he it, of some sort or During their six- During their six- Valentina, interest sure that nothing sure that nothing together, and I'll Valentina, interest Valentina, interest young Greeks, month stay, the month stay, the anger you. I was you. I was anger anger eyes dropped back not otherwise. He not otherwise. He to sleep! familiar and loving, familiar and loving, -the pit of the city. to sleep! to sleep! 'That's mine, Fagin. is, that men do not -serving your is, that men do not -serving your aide-de-camp the sake of that the sake of that shot aide-de-camp aide-de-camp thin and sharpened in the whole world in the whole world instinct, which description, type, description, type, the practice. Have instinct, which instinct, which ceremony and in the matter in the matter their halfpence said, to describe, said, to describe, say? How would he their halfpence their halfpence and showed me the vicinity policy, the vicinity the vicinity person external to mass; the whistling mass; the whistling the dead. "Olá! august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Fri, 27 Jun 2003 02:10:42 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Come Live in Carrboro North Carolina, the Paris of the Piedmont In-Reply-To: <200306270012108.SM01196@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Come live in Carrboro, NC. Carrboro is the progressive twin of Chapel Hill, North Carolina. Education? The Chapel Hill-Carrboro public school district is perennially among the top 5 in the nation. The local population has the highest per-capita PhD percentage of any community in the nation. It was recently named one of the top five most "creative" towns in America. Per-dollar the best university education to be had in America is arguably at UNC Chapel Hill, just a short bike ride away (we have bike lanes everywhere and even dedicated paved bicycle trails). Tuition hikes may soon erase the value of UNC, but it's been very true for a long while. Sense of Humor? We call ourselves the Paris of the Piedmont because we have a sense of humor. In response to the wave of restaurants and Senates across the nation renaming french fries to Freedom Fries, Carrboro's Aldermen (our town council) named April "France Appreciation Month." This was featured across the French media (showing that not all of America is paralytically idiotic. The Daily Show with Jon Stewart recently featured a bit piece on the Carrboro-France connection: "Another example of the liberal South pulling the country left" You can see it through this link: http://www.proximate.org/link/carrborofr.htm The Arts? If you are young and consider yourself hip, well, Carrboro-Chapel Hill is the birthplace of alt-country. It isn't my thing but if you're into that, it's all here (or leaving for big contracts). You cannot walk down the street without running into someone in a band. It's not a bad cliché to have in a town, really. Seriously, the music scene IS great. It isn't New York City but for music, especially someone who plays, this is perhaps the best place to live. Everyone plays something. It's sort of crazy, actually, how musically-inclined this town is. Metal sculpture is all over the place around here. Iron works. A neighbor of mine donates her iron sculptures (and no one here has zoned her out of putting them up in her yard)) and many establishments put them out front. I really dig large welded metal scupture. Carrboro is the only town in North Carolina to have a Poet Laureate. The writing scene is primarily dominated by the "Southern Writer" type but as of this evening that is about to change. (It's actually been changing for a while.) This evening I was named Carrboro Poet Laureate. No shit. Thank you, O Ye Gods of Flarf! I'll spare you the winning poem. But let's just say I'm going to read for the town on Independence Day. This town needs more great writers from places other than the South. Especially you more political and weird ones. Or more Southern writers who don't write exclusively about the passing of the pastoral past or their plastic suburban confessional present. You'd fit right in here. It would really make a difference--it's my one complaint about living here (I want more things literary) but I'm finally in a position to help change that. As Poet Laureate I'm going to start either a poetry series or a poetry festival here in Carrboro. (If you are interested in participating, drop me a note. I think I will hold it early next summer....I'm going to attempt to get funding, so if you have any advice on doing things....) Quality of Life? This town is beautiful. It's not as cheap as it used to be (real estate has quadrupled in the last decade and rents have at least doubled). It is relatively ethnically diverse (perhaps 25% African American, perhaps as much as 25% Latino now but can't be sure), and most of the rich Yankee conservative retirees live elsewhere. While the property taxes are high for the South, they probably run at about half the cost of towns up North. Our mayor here in Carrboro is openly gay and that seems to help him come election time. The flavor is Bohemian/creative professional, erring on the hippie side as opposed to the yuppie side (again a very good thing) and the downtown has several good watering holes and good places for food, including plenty of vegetarian options. The development here is almost completely free of strip malls and the town has taken on "smart growth" policies. Patrick ========================================================================= Date: Fri, 27 Jun 2003 07:39:07 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: SF Bay Area Venue Needed for Boog City Reading MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi Folks, David Kirschenbaum from Boog City here. I've assembled a nice array of poets from the big Boog family to read on Thursday, August 28 in, hopefully, San Francisco. Now comes the harder part, where are we all going to read. The list of readers: Donna de la Perriere Trane DeVore Joseph Lease Jill Stengel Chris Stroffolino Delia Tramontina and me If anyone is out in the SF Bay Area and can lend a hand with a venue, preferably one which doesn't charge for the space or simply takes a cut from the door, that'd be great. And whoever hooks us up I'll take care of whenever they venture east to nyc. Please backchannel to this here e-dress. thanks in advance. as ever, david ---------- David A. Kirschenbaum, editor/publisher Boog Literature 330 W.28th St., Suite 6H NY, NY 10001-4754 H: 212-842-BOOG (2664) F: 212-842-2429 ========================================================================= Date: Fri, 27 Jun 2003 11:12:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: SubText*9*Seattle MIME-Version: 1.0 Content-Type: text/plain David, OT, actually: Sent you reply about the poem you were sending my way but sent to the List. Did you get the Reply message? OT II: Recieved T IS FOR TETHER (also Kevin Killian's new book ARGENTO SERIES) and am reading them now, incidentally. :) Steve Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Fri, 27 Jun 2003 08:08:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: travelin' on MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit There's plenty of genetic evidence for migration from a single location, and a linguistic migratory trail. Of course there was then, mainly cultural, development at each location. -Joel W. > "are you suggesting that the reason > humans live in unlikely places like Yuma or Point Barrow is that they > evolved there?" > > Mark, > People live in Yuma because they are cold-blooded reptiles requiring the extra heat from the summer time noon day sun to revitalize their systems. It's either that, or they were born there and simply don't know any different, much as the folks who live on the edges of the Gobi or the Sahara or in the Ethiopian deserts. > > As I recall from my earlier reading on the subject, the earliest examples of remains of our ancestors were found in Ethiopia...is it lot logical to assume that the people who live there now evolved there? > > Why do people find the Ethiopian evolution plausible but scoff at similar evolutionary activities having happened in Yuma or other places? (By the way, I've been to Yuma; I'd had to have evolved there in order to live there.) > > The only real evidence of migration of human life across the globe from a single location is conjecture predicated on the findings of remains in a single location and on the absence of such findings in other locations. That to me is a weak, if not spurious argument. > > I'll check out the Nature June 12 to see what it says. Perhaps they'll convince me that single location evolution is reality...though I'm truly a skeptic on that point, again, not the evolution point...the single location point. I'm betting my Cheerios that the issue too structures its thesis on the foundation of the lack of convincing evidence e.g. the existence of bones unearthed in other locations...pity, that to me isn't scientific thinking, it's pure speculation. > Alex > > ----- Original Message ----- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, June 26, 2003 9:13 AM > Subject: Re: travelin' on > > > Multiregional evolution theories are becoming more difficult to maintain in > the face of the latest discoveries. See Nature, June 12. > > In the context of this discussion, are you suggesting that the reason > humans live in unlikely places like Yuma or Point Barrow is that they > evolved there? > > Mark > > > At 08:28 AM 6/26/2003 -0700, alexander saliby wrote: > >"But why our ancestors left Africa > >and began their extensive migrations is a mystery. The population was small, > >the food supply good, while some of the places they settled were nearly > >uninhabitable." > > > >-Joel W. > > > >Joel, > >I've never bought into that particular theory that all humans on earth are > >direct descendents of two folks who lived in Africa...it's not the Africa > >part of the tale I reject, it's the "single location" theory I find > >perplexing. > > > >The remains of old human bodies found in Africa, do not a human race > >make. Those bones do not force the logical conclusion that human life as > >we know it had its origins at that site; nor does the absence of discovery > >of bones as old as the African remains in Europe or Asia force the > >conclusion that no human life existed in those sites until it arrived via > >the walk Out of Africa. > > > >Fact: Old bones were found in Africa. > > > >Fact: Old bones have not found elsewhere. > > > >Therefore: Environmental conditions for preserving old bones were better > >in parts of Africa than they were elsewhere in the world. > > > >or, as the popular theory goes: > > > >Therefore: All humans are descended from the residents of ancient Africa. > > > >I'm more inclined to the theory that life, when it began, sprang up in > >several places simultaneously...yes, from a common source or common set of > >chemical/environmental circumstances...but in multiple locations. That > >life then evolved in its locations in its own manner. Of course, that > >the location of origins was the Huge, land mass prior to the separations > >and drifting of the land mass chunks to form the continents, appears a > >logical assertion. But even that does not suggest that on the original, > >Huge land mass that the common source developed in only one location...and > >that location is now called Africa. > >Alex ========================================================================= Date: Thu, 26 Jun 2003 13:02:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Carboro... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Good to know that French ennui has GLOBALIZED...from cannes to katmandu to carboro...give em that old time french fry..and if not... all mamas chillun wants shortnin bread..drn... ========================================================================= Date: Fri, 27 Jun 2003 11:29:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: Come Live in Carrboro North Carolina, the Paris of the Piedmo nt MIME-Version: 1.0 Content-Type: text/plain This is great post, Patrick. For one, Congrats on receiving your Carrboro Poet Laureate nomination/appointment. Two, really good news about the town (in North Carolina and the Chapel Hill area) going Left. (I find this kind of news really inspiring -- offsets despair funk that whacks me intermittenly.) Anyway, appreciate this good news and wish you best with your endeavors getting summer festival, series, things hopping. And put me on the list of folks who would enjoy coming down that way for same. :) Steve Tills Microcomputer/Software Specialist MIS Dept.- G.W. Lisk Company, Inc. 315-462-4309 Stills@gwlisk.com ========================================================================= Date: Fri, 27 Jun 2003 09:03:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Sound, performance & environmentalist poets/ ECOPOETICS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Jonathan, thanks for all the names . . . I guess! And the reminder of your magazine's existence should prove very helpful. Thanks again to all others who have given me names and other info. You've done the poetics site as a place to find out things about poetry proud. --Bob G. > >Ive always had a big problem with the phrase > "environmentalist" poet. > >I could see describing someone as an > environmentalist & a poet. But > >environmentalism is about direct action. Planting > forests & gardens, > >bothering stodgy legislators, living a low impact > existence, advancing > >the cause of organics, hugging trees, creating > eco-villages & bringing > >consciousness to our rapidly imploding diversity. > Eco-branding poets > >or poetry smacks of armchair environmentalism. > > > Which is also true of ethics and politics, not to > speak of economics, and > poetry's relation, in and out of armchairs, to war > and peace, no? > > i.e. "politico-branding poets or poetry smacks of > armchair politics." > > i.e. "there's Poets Against the War and then there's > direct action." > > Or how "direct," really, are the various useful > actions mIEKAL enumerates > (in the sense that war is direct)? > > > I'd agree that poets need to be poets before > anything else, and that as > economic ethical beings our impact and > responsibility is as bodies to > bodies, but I've also proposed "ecopoetics" as a > site where poet and > activist makers (in and out of words and bodies) can > meet to test and temper > their separate single minds. > > There probably isn't such a thing as an "ecopoet," > or a poet who isn't an > "ecopoet," but a world where only "direct action" > counts is clearly no > environment for poetry. And the animate world words > take no notice of is > plainly going to suffer (as the words do). What > makes an environment > environ, and whence does "environmental" action > flow? And what gives words > ground (on what grounds speak)? > > > (Bob,) I've published the following poets, artists > and writers in > _ecopoetics_ (a biannual 'zine). I don't know if > any would identify as > "environmentalist," but their common and various > concern is hopefully more > than a "brand" of poetry. For some, the concern is > incidental to poetics, > for others more sustained: > > > _ECOPOETICS_ 01, WINTER 2001 > > BRUCE ANDREWS > JOEL BETTRIDGE > RÉGIS BONVICINO (TR. ODILE CISNEROS) > ALICIA COHEN > BRENDA COULTAS > DOUG MANSON > PETER CULLEY > CATHERINE DALY > MARCELLA DURAND > KRISTEN GASSER > KENNETH GOLDSMITH > ROBERT GRENIER > LISA JARNOT > CHRISTOPHER JOHNSON > MICHAEL KELLEHER > KEVIN KILLIAN > ROBERT KOCIK > PETER LARKIN > NICK LAWRENCE (reviews LISA ROBERTSON) > DOUGLAS OLIVER > TOM MORGAN > JULIE PATTON > ISABELLE PELISSIER > ANDREW SCHELLING > JONATHAN SKINNER > ELENI SIKELIANOS > CECILIA VICUÑA (TR. ROSA ALCALA) > > > _ECOPOETICS_ 02, FALL 2002 > > HUMBERTO AK¹ABAL > CHRIS ALEXANDER > mIEKAL aND > TIM ATKINS > PATRICK BARRON > MIKE BASINSKI > CHARLES BELL > DODIE BELLAMY > ANSELM BERRIGAN > SHERRY BRENNAN > SEHJAE CHUN > JACK COLLOM > MATTHEW COOPERMAN > MARCELLA DURAND > ROGER FARR > JOEL FELIX > LOSS PEQUEÑO GLAZIER > GORDON HADFIELD (reviews ALPHONSO LINGIS) > CHRISTOPHER JOHNSON (reviews WG SEBALD) > RICHARD KOSTELANETZ > DOUG MANSON > PAIGE MENTON > LAURA NASH > JENA OSMAN > ETHAN PAQUIN > ISABELLE PELISSIER > MEREDITH QUARTERMAIN > GEORGE QUASHA > ANNA RECKIN > MICHAEL ROTHENBERG > JAMES SHERRY > JONATHAN SKINNER > JESSICA SMITH > JULIANA SPAHR > CHRISTINE STEWART > BRIAN STRANG > COLE SWENSEN > DENNIS TEDLOCK > AARON VIDAVER > STEVEN WARD > ANDREA ZANZOTTO > > > I hope the diversity and focus within these pages, > that is not merely > eclectic, can energize the "real" work with and for > an increasingly stressed > environment-- with a stress that is in and on the > word as much as the world. > > > _ECOPOETICS 03_, SUMMER 2003 appears next month and > promises to continue the > widening and complication along various habit(at)ual > edges. (Though I must > say my call for work exploring intersections between > art and activism has > yet to be met-- which seems to confirm the gap > mIEKAL feels.) Spread the > word, stay tuned. > > > For subscription/ ordering info you can write: > > ECOPOETICS > c/o J. Skinner, Editor > 106 Huntington Ave. > Buffalo, NY 14214 > jskinner@buffalo.edu > > (& apologies to those who have submitted and not > heard back; I'm still > catching up!) > > > PS For a good long view, of "composting poetics" in > the American vein, see > Jed Rasula's recent and redolent critical midden, > _This Compost_. > > > JS > > > > > > > > > > > __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com ========================================================================= Date: Fri, 27 Jun 2003 10:21:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael O'Driscoll Subject: Black Sparrow Press Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A couple of new publications that might be of interest to members of the list: "A Bibliography of the Black Sparrow Press Archive, Bruce Peel Special Collections Library, University of Alberta." Eds. Michael O'Driscoll & Jason Dewinetz. Edmonton, AB: Univ. of Alberta Libraries, 2003. 329 pp. A detailed bibliography of archival holdings of all materials related to the first ninety-four publications of Black Sparrow Press, 1966-1970. The authors represented include Bukowski, Kelly, Duncan, Wakoski, Eigner, Zukofsky, Levertov, Economou, Schwerner, Rothenberg, Berman, Koch, Creeley, Bromige, Marlatt, Dorn, McClure, Eshleman, Purdy, Mac Low, Malanga, and many others. The BSP archive includes manuscripts, proofs, galleys, original illustrations, first and special editions, correspondence, photos, audio recordings, etc. "First Impressions: The Fledgling Years of the Black Sparrow Press 1966-1970." M. O'Driscoll et al. Edmonton, AB: Univ. of Alberta Libraries, 2003. 46 pp with full color illustrations. An illustrated catalogue of an exhibition at Bruce Peel Special Collections Library, University of Alberta, May to September, 2003. The exhibition and catalogue detail many of the authors and materials noted above. For more information, contact: Jeannine Green Bruce Peel Special Collections Library B-07 Rutherford South University of Alberta Edmonton, Alberta, Canada T6G 2J4 780-492-5998 jeannine.green@ualberta.ca Prof. Michael J. O'Driscoll 3-5 Humanities Centre Department of English University of Alberta Edmonton, Alberta Canada T6G 2E5 Voice: (780) 492-0418 Fax: (780) 492-8142 ========================================================================= Date: Fri, 27 Jun 2003 13:56:34 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: A.Word.A.Day--bumf MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII bumf (bumf) noun 1. Toilet paper. 2. Printed matter of little importance: documents such as corporate memos, governmental forms, junk mail, promotional pamphlets, etc. [Short for bum fodder.] "A statement last week from Chief Executive Tung Chee-hwa wasn't your usual bumf." Note to the CE; Far Eastern Economic Review (Hong Kong); May 10, 2001. "More products or services may have to be offered with the kind of legalistic bumf that is now attached to computer software." The End of Privacy: The Surveillance Society; The Economist (London, UK); May 1, 1999. This week's theme: slang/informal terms. ========================================================================= Date: Fri, 27 Jun 2003 09:54:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Black Sparrow Press In-Reply-To: <5.1.0.14.0.20030627095603.02c0acf0@pop.srv.ualberta.ca> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Michael: Do you know the story behind this acquisition? Either Alberta is very wealthy (John Martin being the constant biz person) or B Sparrow got ignored by Buffalo, UC San Diego, etc - noted keepers of various elements of this legacy. But, I often hear curious stories. Yesterday, for example, I learned California's United Farm Workers archive from the sixties and seventies ended up in Fort Wayne Indiana (at what point in time I don't know) - a curious reflection on the curators at major libraries of California when they went up for sale. A sad loss to easy access to those materials by many of the faculties and state students here who could use them in research curricula. But I suspect people on this list - in all those "unlivable" and remote University towns around the globe - have experiences of discovering a M Duchamp trove or Paul Eluard letters or whatever - because they had either a good curator in the library or a great teacher on the faculty who led the Library and the money to the source and took off with the jewels. Be fun to hear those stories. Stephen V on 6/27/03 9:21 AM, Michael O'Driscoll at michael.odriscoll@UALBERTA.CA wrote: > A couple of new publications that might be of interest to members of the list: > > "A Bibliography of the Black Sparrow Press Archive, Bruce Peel Special > Collections Library, University of Alberta." Eds. Michael O'Driscoll & > Jason Dewinetz. Edmonton, AB: Univ. of Alberta Libraries, 2003. 329 pp. > > A detailed bibliography of archival holdings of all materials related to > the first ninety-four publications of Black Sparrow Press, 1966-1970. The > authors represented include Bukowski, Kelly, Duncan, Wakoski, Eigner, > Zukofsky, Levertov, Economou, Schwerner, Rothenberg, Berman, Koch, Creeley, > Bromige, Marlatt, Dorn, McClure, Eshleman, Purdy, Mac Low, Malanga, and > many others. The BSP archive includes manuscripts, proofs, galleys, > original illustrations, first and special editions, correspondence, photos, > audio recordings, etc. > > "First Impressions: The Fledgling Years of the Black Sparrow Press > 1966-1970." M. O'Driscoll et al. Edmonton, AB: Univ. of Alberta Libraries, > 2003. 46 pp with full color illustrations. An illustrated catalogue of an > exhibition at Bruce Peel Special Collections Library, University of > Alberta, May to September, 2003. The exhibition and catalogue detail many > of the authors and materials noted above. > > For more information, contact: > Jeannine Green > Bruce Peel Special Collections Library > B-07 Rutherford South > University of Alberta > Edmonton, Alberta, Canada T6G 2J4 > 780-492-5998 > jeannine.green@ualberta.ca > > > Prof. Michael J. O'Driscoll > 3-5 Humanities Centre > Department of English > University of Alberta > Edmonton, Alberta > Canada T6G 2E5 > Voice: (780) 492-0418 > Fax: (780) 492-8142 ========================================================================= Date: Fri, 27 Jun 2003 12:00:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: travelin' on In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Alexander Saliby wrote: >The only real evidence of migration of human life across the globe >from a single location is conjecture predicated on the findings of >remains in a single location and on the absence of such findings in >other locations. That to me is a weak, if not spurious argument. > >I'll check out the Nature June 12 to see what it says. Perhaps >they'll convince me that single location evolution is >reality...though I'm truly a skeptic on that point, again, not the >evolution point...the single location point. I'm betting my >Cheerios that the issue too structures its thesis on the foundation >of the lack of convincing evidence e.g. the existence of bones >unearthed in other locations...pity, that to me isn't scientific >thinking, it's pure speculation. >Alex If you're not a skeptic on "the evolution point" it may be possible to explain that given the mechanics of evolution, at some time there was a single individual hominid that genetically speaking was not a human & this hominid gave birth to a baby whose genetic materials had altered through mutation or whatever to be the first hominid that was genetically speaking exactly human. Before this one birth, no living creature had the exact genetic complex to be identified as human. It doesn't matter where this took place, or when, or if anyone can find an exact fossil record of the event. But unless you believe in the amazingly complicated and extremely, extremely, extremely unlikely possibility that genetically mutations that were exactly the same as the one I've described above, this is literally the only way that evolution as a biological mechanism can explain the onset of any particular species, human or otherwise. This is because the odds of some kind of mutation or other alteration of the genetic material occurring is fairly high, SOMETHING will happen form time to time. But the odds of ANY SPECIFIC mutation or alteration etc is very low. And the odds of EXACTLY the same mutation occurring two or more times is very very very low. In other words, evolution is a descriptive system, not a prescriptive system. You can more or less determine what happened in retrospect, but you can't predict what will happen in the future. Because most of the people who deny the concept of evolution DO believe that these events took place in a single location, what you're proposing may actually be statistically even more unlikely than the various counter-evolutionary models put forth, at least insofar as the likelihood of multiple evolutionary locations. Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Fri, 27 Jun 2003 14:57:24 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: name for mini festival MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi there, i need a name. i will be hosting a little series of readings as a daily part of a larger festival. there will be two readings a night for four nights. the readaings take place in the gallery space of an arts centre. there is no theme except that all of the readers are all members of the Writers Alliance of Newfoundland and Labrador. the festival web-site is http://www.rca.nf.ca/festival5/ usually i'm pretty good at coming up with such things but today i'm drawing a blank. any suggstions? off to watch whales. kevin -- ========================================================================= Date: Fri, 27 Jun 2003 13:43:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: Re: name for mini festival MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Kevin: You're in Newfoundland. I'm a maritimer too. "Two readings a night for four nights"? There's only one name for this event: "2-4 Festival" And get Labatts to sponsor it. Scott ----- Original Message ----- From: "Kevin Hehir" To: Sent: Friday, June 27, 2003 1:27 PM Subject: name for mini festival > hi there, > > i need a name. > > i will be hosting a little series of readings as a daily part of a larger > festival. there will be two readings a night for four nights. the > readaings take place in the gallery space of an arts centre. there is no > theme except that all of the readers are all members of the Writers > Alliance of Newfoundland and Labrador. > > the festival web-site is http://www.rca.nf.ca/festival5/ > > usually i'm pretty good at coming up with such things but today i'm > drawing a blank. > > any suggstions? > > off to watch whales. > > kevin > > -- > > ========================================================================= Date: Fri, 27 Jun 2003 13:55:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: "My Angie Dickinson" at 80 Comments: To: new-poetry@wiz.cath.vt.edu, hub@dept.english.upenn.edu In-Reply-To: <3EFC81AE.79C22494@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, My ongoing serial project "My Angie Dickinson" now includes 80 poems; plus there are some new complimentary photos: http://myangiedickinson.blogspot.com Enjoy, -m. ========================================================================= Date: Fri, 27 Jun 2003 11:22:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Bogue" Subject: *Event Stargazing* MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii *Event Stargazing* Thou fair hair'd angst of the event, Now, while the serf rests on the mournful light, Thy bright torpedo of lovebugs; Thy radiant crud Put on, and smile upon our evening bench! Smile on our loving; and when thou drawest the Blue curtesies, scatter thy silver dune On every flowerbeds that shuts its sweet eye-gouge In timely slope. Let thy west windblasts sleep on The lick; speak silent with thy glimmering isle And wash the duroy with simile. Soon, full, soon, Dost thou withdraw; Then, the wombat rages wide, And the liquefaction glares thro' the dun forestallers. The flow of our floggers are covered with Thy sacred dune; Protect them with thine influenza. •N+7 based on “Evening Star” by William Blake __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Fri, 27 Jun 2003 11:39:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: travelin' on MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Herb Levy" To: Sent: Friday, June 27, 2003 10:00 AM Subject: Re: travelin' on > Alexander Saliby wrote: > > >The only real evidence of migration of human life across the globe > >from a single location is conjecture predicated on the findings of > >remains in a single location and on the absence of such findings in > >other locations. That to me is a weak, if not spurious argument. > > > >I'll check out the Nature June 12 to see what it says. Perhaps > >they'll convince me that single location evolution is > >reality...though I'm truly a skeptic on that point, again, not the > >evolution point...the single location point. I'm betting my > >Cheerios that the issue too structures its thesis on the foundation > >of the lack of convincing evidence e.g. the existence of bones > >unearthed in other locations...pity, that to me isn't scientific > >thinking, it's pure speculation. > >Alex > > > If you're not a skeptic on "the evolution point" it may be possible > to explain that given the mechanics of evolution, at some time there > was a single individual hominid that genetically speaking was not a > human & this hominid gave birth to a baby whose genetic materials had > altered through mutation or whatever to be the first hominid that was > genetically speaking exactly human. Before this one birth, no living > creature had the exact genetic complex to be identified as human. Evolution was leading to this with mutations, experimentations, most going nowhere interesting, for several million years. > It doesn't matter where this took place, or when, or if anyone can > find an exact fossil record of the event. But unless you believe in > the amazingly complicated and extremely, extremely, extremely > unlikely possibility that genetically mutations that were exactly the > same as the one I've described above, this is literally the only way > that evolution as a biological mechanism can explain the onset of any > particular species, human or otherwise. This is because the odds of > some kind of mutation or other alteration of the genetic material > occurring is fairly high, SOMETHING will happen form time to time. > But the odds of ANY SPECIFIC mutation or alteration etc is very low. > And the odds of EXACTLY the same mutation occurring two or more times > is very very very low. In other words, evolution is a descriptive > system, not a prescriptive system. You can more or less determine > what happened in retrospect, but you can't predict what will happen > in the future. I don't follow what you mean by a specific mutation. What is an unspecific mutation? > Because most of the people who deny the concept of evolution DO > believe that these events took place in a single location, what > you're proposing may actually be statistically even more unlikely > than the various counter-evolutionary models put forth, at least > insofar as the likelihood of multiple evolutionary locations. > Most evolutionary anthropologists do believe that this event took place in one location, in Africa. -Joel W. ========================================================================= Date: Fri, 27 Jun 2003 15:26:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: The Malady of Islam Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable Just published: _The Malady Of Islam _ by Abdelwahab Meddeb translated from the French by Pierre Joris & Ann Reid Hardcover Availability Date: 06/12/03 Available Jun 2003 Retail Price: $24.00 ($37.00 Can./=A318.99 UK) Basic Books ISBN: 0-465-04435-2 In this impassioned, erudite, and deeply moving book, Abdelwahab=20 Meddeb, born and raised in Tunis and now living in Paris, details the=20 breadth and scope of the Arab intellectual tradition and dismantles=20 common preconceptions held by the Islamic and Western worlds. He=20 describes the growing resentment between the West and the Islamic world=20= as being due, in large part, to Islam's drift away from its own=20 pluralist tradition. Tracing the history of the "conquering" of the=20 Arab world by the West, he provides a detailed history of the ways in=20 which Islamic fundamentalism has come to compensate for Western=20 dominance. Directly addressing the terrorist attacks of September 11,=20 he challenges us to reconsider the presumption that the gulf between=20 the Islamic world and the West is too wide to breach. The "malady" of=20 Islam lies in its alienation from the West and the corrosive influence=20= that fundamentalism has wrought. This book is a correction of the=20 historical record, a passionate description of the best of Islamic=20 thought and culture, and an absolutely necessary read for those seeking=20= a better understanding not only of Islam but also ourselves. Abdelwahab Meddeb is a prolific novelist, poet, translator, and=20 essayist and the editor of the journal D=E9dale. The author of ten = books,=20 he is Professor of Comparative Literature at the University of Paris=20 X--Nanterre. He lives in Paris, France. ___________________________________________________________ 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: Fri, 27 Jun 2003 14:32:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Tracy S. Ruggles Comments: Originally-From: Tracy S. Ruggles From: "Tracy S. Ruggles" Subject: Re: travelin' on Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v552) On Friday, June 27, 2003, at 01:39 PM, Joel Weishaus wrote: >> It doesn't matter where this took place, or when, or if anyone can >> find an exact fossil record of the event. But unless you believe in >> the amazingly complicated and extremely, extremely, extremely >> unlikely possibility that genetically mutations that were exactly the >> same as the one I've described above, this is literally the only way >> that evolution as a biological mechanism can explain the onset of any >> particular species, human or otherwise. This is because the odds of >> some kind of mutation or other alteration of the genetic material >> occurring is fairly high, SOMETHING will happen form time to time. >> But the odds of ANY SPECIFIC mutation or alteration etc is very low. >> And the odds of EXACTLY the same mutation occurring two or more times >> is very very very low. In other words, evolution is a descriptive >> system, not a prescriptive system. You can more or less determine >> what happened in retrospect, but you can't predict what will happen >> in the future. > > I don't follow what you mean by a specific mutation. What is an > unspecific > mutation? I would say that it's when the off-planet "gods" genetically engineered themselves a slave race from the population of watchamacallit hominoids, hence the homo sapiens sapiens that now roam the planet. The Sumerians wrote a lot about it. In fact a lot of what they wrote was in the vaults of Iraqi museums that were looted. The Christian/Western world could have really gotten to the bottom of the origin of the human race, but, oh well... that silly American country forgot to protect the texts. Hmmm... maybe the "end of history" is really that moment when history was "liberated" at the Five-Finger Sale of the National Museum of Iraq. --T ========================================================================= Date: Fri, 27 Jun 2003 13:09:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: 2-4 Festival MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit As another Maritimer (how many _are_ there on this list?) I'd have to say Scott Pound's suggestion is definitive...(except: me, I prefer Ten Penny...) ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Fri, 27 Jun 2003 14:16:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (RBI-US)" Subject: If Robert Lowell... MIME-Version: 1.0 Content-Type: text/plain Lots of coverage of the new Lowell Collected - and I remember someone citing a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't want to be [one?] [a poet?]" - should be able to remember this but can't - and someone has asked me to - does anyone know have the exact quote, and its author ? Thanks much -Mike ========================================================================= Date: Fri, 27 Jun 2003 13:49:56 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: If Robert Lowell... In-Reply-To: <517FA14C1A28D411BBA300508B63564408988ECE@BINNYCEXC002> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mike Sorry i don't know that quote... Hey, one thing I never hear the "confessional" poets being criticized for is for not being confessional enough.... but there might be some truth to that... C on 6/27/03 8:16 PM, Scharf, Michael (RBI-US) at mscharf@REEDBUSINESS.COM wrote: > Lots of coverage of the new Lowell Collected - and I remember someone citing > a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't want to > be [one?] [a poet?]" - should be able to remember this but can't - and > someone has asked me to - does anyone know have the exact quote, and its > author ? > > Thanks much -Mike ========================================================================= Date: Fri, 27 Jun 2003 14:01:43 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: If Robert Lowell... In-Reply-To: <517FA14C1A28D411BBA300508B63564408988ECE@BINNYCEXC002> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 6/27/03 8:16 PM, Scharf, Michael (RBI-US) at mscharf@REEDBUSINESS.COM wrote: > Lots of coverage of the new Lowell Collected - and I remember someone citing > a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't want to > be [one?] [a poet?]" - should be able to remember this but can't - and > someone has asked me to - does anyone know have the exact quote, and its > author ? > > Thanks much -Mike ========================================================================= Date: Fri, 27 Jun 2003 16:51:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Scroggins Subject: Re: If Robert Lowell... In-Reply-To: <517FA14C1A28D411BBA300508B63564408988ECE@BINNYCEXC002> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v546) Content-Transfer-Encoding: 7bit David Antin, *Talking at the Boundaries*, page 1: "if robert lowell is a poet i dont want to be a poet if robert frost was a poet i dont want to be a poet if socrates was a poet ill consider it" Something against the name Robert? Mark On Friday, June 27, 2003, at 04:16 PM, Scharf, Michael (RBI-US) wrote: > Lots of coverage of the new Lowell Collected - and I remember someone > citing > a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't > want to > be [one?] [a poet?]" - should be able to remember this but can't - and > someone has asked me to - does anyone know have the exact quote, and > its > author ? > > Thanks much -Mike > ========================================================================= Date: Fri, 27 Jun 2003 16:50:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: SOFT SKULL SNEAK PEEK #2 MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit SOFT SKULL SNEAK PEEK #2 WEDNESDAY, JULY 2 AT 7:00 P.M. at the Bowery Poetry Club! 308 Bowery (between Houston & Bleecker), NYC http://www.bowerypoetry.com $5 at the door enters you in a random drawing for Soft Skull goodies! Featuring Soft Skull poets WANDA PHIPPS, T. COLE RACHEL, and JEROME SALA! Plus a performance by JOHNNY KAT! WANDA PHIPPS is the author of 66 Morning Poems, forthcoming from Soft Skull Press in Spring 2004. Wanda Phipps is one of the great poet workers who are nowadays busting loose from the confines of 8 1/2 x 11 world with her vibrant vocal performance poems that make you feel as if you are in a pyramid of honey of the mind. Lee Ann Brown T. COLE RACHEL is the author of Surviving the Moment of Impact (Soft Skull Press, 2002) and editor of the forthcoming anthology Bend, Don t Shatter (Soft Skull Press, Spring 2004.) Surviving the Moment of Impact is filled with the exuberant misery of youth; it is also sweet-hearted, funny, idealistic, and full of promise. &Rachel has a spectacular, self-deprecating talent for opening these intimate moments of hopeful pain for the reader. --Time Out New York JEROME SALA is the original slam poet and the author of Raw Deal: New and Selected Poems and the forthcoming Soft Skull Press release Media Effects (Fall 2004). His poems have appeared in Jacket, Shiny, Ploughshares, Brooklyn Rail, and in many other journals and magazines. JOHNNY KAT (a.k.a. Stacey Whitmire) is a member of Kingdom Come, which is, according to Salon, a "touring troupe of five of America's most famous drag kings--complete with strap-ons, leather and one hell of an homage to George Michael." Come watch him strut his stuff! -- 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: Fri, 27 Jun 2003 15:58:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The Emperor's Sleeve, or, Yer Way Arab But Yer Kiss is Kinda English Mime-Version: 1.0 Content-Type: text/plain; format=flowed knit dat creamy stuff, Marine! knit it wit' all the good-going forced-going shooting she'd stand: "it's all gravy what's going on baby?" - Marcus Aurelius Antoninus here were children sealed in their lighthearted gait too eternal O in that pale corner their motto listened rightly nightly unhooked possessiveness dry-futile in her apartment plums this is just to say I have eaten the plums that were in the icebox & which you were probably saving for breakfast forgive me they were delicious so sweet & so cold movies trembling like they was treats speculative-crisp & lock-boxed like they was ripe to pluck my fell oration like it was a sleeve in the FUTURE they'll return, celluloid cheeks dragged with padlocks! _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Fri, 27 Jun 2003 17:15:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: If Robert Lowell... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" it was david antin in the first talk poem in talking at the boundaries. At 1:49 PM +0000 6/27/03, Chris Stroffolino wrote: >Mike > >Sorry i don't know that quote... > > >Hey, one thing I never hear the "confessional" poets being criticized for >is for not being confessional enough.... > >but there might be some truth to that... > >C > > > >on 6/27/03 8:16 PM, Scharf, Michael (RBI-US) at mscharf@REEDBUSINESS.COM >wrote: > >> Lots of coverage of the new Lowell Collected - and I remember someone citing >> a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't want to >> be [one?] [a poet?]" - should be able to remember this but can't - and >> someone has asked me to - does anyone know have the exact quote, and its > > author ? > > > > Thanks much -Mike -- ========================================================================= Date: Fri, 27 Jun 2003 17:26:24 -0400 Reply-To: men2@columbia.edu Sender: UB Poetics discussion group From: Millie Niss Subject: Re: Outsider In-Reply-To: <20030625194245.10848.qmail@web41107.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I like the sadness in this... Good to see you here, BTW. Millie -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of JT Chan Sent: Wednesday, June 25, 2003 3:43 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Outsider Outsider I wouldn't know what to endure: the suddenness of return when going out the back fronting behind full wise-up I don't know if all I've done so far I did with ripe enough curl making something out of nothing -Jill Chan __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Fri, 27 Jun 2003 16:26:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kodeli1 Subject: Re: A.Word.A.Day--bumf Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Now we have something to go with the Lyric Butt---bumf! (bum fodder, that is) >===== Original Message From UB Poetics discussion group ===== >bumf (bumf) noun > > 1. Toilet paper. > > 2. Printed matter of little importance: documents such as corporate > memos, governmental forms, junk mail, promotional pamphlets, etc. > >[Short for bum fodder.] > > "A statement last week from Chief Executive Tung Chee-hwa wasn't your > usual bumf." > Note to the CE; Far Eastern Economic Review (Hong Kong); May 10, 2001. > > "More products or services may have to be offered with the kind of > legalistic bumf that is now attached to computer software." > The End of Privacy: The Surveillance Society; The Economist (London, UK); > May 1, 1999. > >This week's theme: slang/informal terms. ========================================================================= Date: Fri, 27 Jun 2003 16:23:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Fwd: New Work -'Five Operas'- online. Comments: To: "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , cupcake kaleidoscope , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.somedancersandmusicians.com/5operas.html Five ‘Small but Perfectly Formed’ Operas for the Internet In November 2002 Michael Szpakowski, a British composer and new media artist (http://www.somedancersandmusicians.com/michael.html), put out a call on the internet for opera libretti, exactly 100 words in length. Fifty-one people replied – their work can be seen at http://www.somedancersandmusicians.com/operaCall/pieces.html From these 51 pieces Michael chose five for development in this Arts Council and Epping Forest District Council funded project. Four of the librettists are form the USA and one from the UK. The subject matter of the pieces varies enormously: Rob L Roth and Carletta Joy Walker create a hymn to the edible berry in “Smart and Tart Juicing”, Lewis Lacook’s “Trickle Song” is a strange love song between cup and water, in “Woodland Teratology” Bruce Conkle investigates the Sasquatch legend and in “East Wind” Gordon Phillips adapts a painting by one of the Ashington Group – working class painters active in Northumberland in the 1930s. Finally Zack Sims creates a surreal world in which George Washington, a fox and a hen, muse, play and bicker in “A Short Essay on Imaginary Solitude (With George Washington)” In January 2003 Michael set these five pieces to music and then rehearsed intensively through February and March with a group of singing students from Epping Forest College as principals and a chorus consisting of year 5 students from Chipping Ongar Primary School. Far from being a tokenistic “outreach” project this work made serious demands on all the participants, which they passed with flying colours. Since the musical performances were recorded Michael has been working intensively to create accompanying visuals. The result is five small but perfectly formed operas of between 1 and 3 minutes in length delivered through the Internet. The final pieces will appear online on 27th June 2003 at http://www.somedancersandmusicians.com/5operas.html and will be archived there permanently. NEW!!!--sondheim.exe--artware text editor for Windows http://www.lewislacook.com/alanSondheim/sondheim.exe http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! ========================================================================= Date: Fri, 27 Jun 2003 23:40:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Genetic Toy + IOXE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII IOXE into this and every other unbearable. sexuality became a furious extreme bar dog///rhinoceros mad rapes: sun of chromosome brain crazy my into this and every other unbearable. sexuality became a furious unbearable. sexuality became a furious interference embryo the of future DNA of hell the of placenta north?....:the unbearable. sexuality became a furious unbearable. sexuality became a furious cracking emits butterfly the of cosmology the of skull the and split is unbearable. sexuality became a furious unbearable. sexuality became a furious monochrome the of f of scene murder the with collide that love of: clone unbearable. sexuality became a furious unbearable. sexuality became a furious tomb imperial cells of immature///chaos of image mirror the and storage unbearable. sexuality became a furious unbearable. sexuality became a furious is that dog the of brain the of volley....sun or horizon the of dive=of=DNA unbearable. sexuality became a furious unbearable. sexuality became a furious and cries where city=of cadaver DIGITAL_placenta the to ruin to going unbearable. sexuality became a furious into this and every other unbearable. sexuality became a furious the of ex-insect DNA to entrance the of: womb that maze collapsed=///the into this and every other unbear- able. sexuality became a furious into this and every other unbearable. sexuality became a furious is that existence the of storage the of fragment the to tells that secret into this and every other unbearable. sexuality became a furious unbearable. sexuality became a furious blinks///the sky the of blue (the release=of=slow-motion of area earth unbearable. sexuality became a furious unbearable. sexuality became a furious like perception the to intention murderous the of flesh of mass monochrome unbearable. sexuality became a furious unbearable. sexuality became a furious vacuum=" of "=f accelerates that consciousness my color design butterfly my unbearable. sexuality became a furious unbearable. sexuality became a furious was embryo the of buffoonery the resembled that joke the of body the to unbearable. sexuality became a furious unbearable. sexuality became a furious sunlight: of quickening dark the to person murder micro the incubating unbearable. sexuality became a furious unbearable. sexuality became a furious of chromosome sea--echoes deep the of truth the at pointed air of massacre unbearable. sexuality became a furious unbearable. sexuality became a furious cyber*ocean spectgram silly of inheritance heart....:my is in circle outside unbearable. sexuality became a furious unbearable. sexuality became a furious of madman finger- tip of embryo proliferated in hell of courthouse of unbearable. sexuality became a furious unbearable. sexuality became a furious synapse of etc of fatalities quark to sympathy of gram 1 of sun direction unbearable. sexuality became a furious into this and every other unbearable. sexuality became a furious sleep of foot x of cadaver resuscitating goes voice infinite of horizon into this and every other unbearable. sexuality became a furious unbearable. sexuality became a furious the of future fills.... the dance??? chaosmic of embryo=of=mysterious_body unbearable. sexuality became a furious unbearable. sexuality became a furious that chromosome the of sun the of terrorism the to beats stratosphere unbearable. sexual- ity became a furious unbearable. sexuality became a furious my of time the air of f/0 of division cell the to earth the circulates: unbearable. sexuality became a furious unbearable. sexuality became a furious gene=TV --the enough of respiration thin the scrapped continuously death unbear- able. sexuality became a furious unbearable. sexuality became a furious the to dived desire of image clonic the that embryo the of eyelid micro unbearable. sexuality became a furious into this and every other unbearable. sexuality became a furious strange playing was cortex cerebral young my that DNA of f/0 of passion into this and every other unbearable. sexuality became a furious unbearable. sexuality became a furious of [S} system sun*kiss--limbic the of mechanism drug the of body=spectacle unbearable. sexuality became a furious unbearable. sexuality became a furious the in side reverse the in respiring is which end--clone=of the of ant the unbearable. sexuality became a furious unbearable. sexuality became a furious the of chameleon guerrilla....vacant the of area....frac- tal/motion moon=the unbearable. sexuality became a furious unbearable. sexuality became a furious fiber nerve the of century....sun the of end the of remainder the to cell unbearable. sexuality became a furious un- bearable. sexuality became a furious butterfly. a is fLIM if [as unbear- able. sexuality became a furious butterfly. Genetic Toy Kenji Siratori my crazy brain chromosome of sun rapes: mad dog///rhinoceros bar extreme north?....:the placenta of the hell of DNA future of the embryo interference is split and the skull of the cosmology of the butterfly emits cracking clone of: love that collide with the murder scene of f of the monochrome storage and the mirror image of immature///chaos of cells imperial tomb dive=of=DNA of the horizon or volley....sun of the brain of the dog that is going to ruin to the DIGITAL_placenta cadaver city=of where cries and collapsed=///the maze that womb of: the entrance to DNA ex-insect of the secret that tells to the fragment of the storage of the existence that is earth area of release=of=slow-motion (the blue of the sky blinks///the monochrome mass of flesh of the murderous intention to the perception like my butterfly design color my consciousness that accelerates "=f of vacuum=" to the body of the joke that resembled the buffoonery of the embryo was incubating the micro murder person to the dark quickening of sunlight: massacre of air pointed at the truth of the deep sea--echoes chromosome of outside circle in is heart....:my inheritance of silly spectgram cyber*ocean of courthouse of hell in proliferated embryo of fingertip madman of direction sun of 1 gram of sympathy to quark fatalities of etc of synapse horizon of infinite voice goes resuscitating cadaver of x foot of sleep embryo=of=mysterious_body of chaosmic dance??? fills....the future of the stratosphere beats to the terrorism of the sun of the chromosome that circulates: the earth to the cell division of f/0 of air the time of my death continuously scrapped the thin respiration of enough gene=TV--the micro eyelid of the embryo that the clonic image of desire dived to the passion of f/0 of DNA that my young cerebral cortex was playing strange body=spectacle of the drug mechanism of the sun*kiss--limbic system [S} of the ant of the end--clone=of which is respiring in the reverse side in the moon=the area....fractal/motion of the guerrilla....vacant chameleon of the cell to the remainder of the end of the century....sun of the nerve fiber [as if fLIM is a butterfly. ___ ========================================================================= Date: Fri, 27 Jun 2003 21:58:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: SubText*9*Seattle MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, Steve, dunno how I ended up that half a poem at your place. Glad you got a copy of As in T as in Tether. Havent read Kevin's latest book. Let me know what you think of it. Very hot here, too hot to think. Dont see many people you know. Did run into Chadwick and Bowers at new cafe in Sbstpl two weeks ago, btiefly. Otherwise, see (1) Cecelia (2) My bro-in-law, Jim, who is renovating our uostairs bathroom (3) Richard Denner, a new friend who lives here in town, and makes books (check out his name on Google). Quiet is my life, organizing my archive. Oh, did attend a housewarming party Bob Grenier threw at his new Bolinas digs. Ratcliffe was there, and Joanne Kyger and husband, and Mr.Denner, among others. But mostly I'm sittting on my front lawn slowly reading. I miss the old days. Youurs, David eople-----Original Message----- From: Steve Tills To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 27, 2003 8:31 AM Subject: Re: SubText*9*Seattle >David, > >OT, actually: Sent you reply about the poem you were sending my way but sent >to the List. Did you get the Reply message? > >OT II: Recieved T IS FOR TETHER (also Kevin Killian's new book ARGENTO >SERIES) and am reading them now, incidentally. > >:) Steve > >Steve Tills >Microcomputer/Software Specialist >MIS Dept.- G.W. Lisk Company, Inc. >315-462-4309 >Stills@gwlisk.com > ========================================================================= Date: Fri, 27 Jun 2003 22:11:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: If Robert Lowell... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David Antin it was who didnt want to be a poet if R Lowell was going to be one. David Bromige. -----Original Message----- From: Scharf, Michael (RBI-US) To: POETICS@LISTSERV.BUFFALO.EDU Date: Friday, June 27, 2003 1:17 PM Subject: If Robert Lowell... >Lots of coverage of the new Lowell Collected - and I remember someone citing >a poet's rejoinder: "If Robert Lowell [is?] [was?] a poet, I don't want to >be [one?] [a poet?]" - should be able to remember this but can't - and >someone has asked me to - does anyone know have the exact quote, and its >author ? > >Thanks much -Mike > ========================================================================= Date: Sat, 28 Jun 2003 01:01:00 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Spudel MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Your imagination is perhaps more elliptical than your writing. And almost as sharp as your spelling. It's amazing that when mean bitter busybody church-marmish people such as yourself say nasty things, the only thing one might think of is to respond with, "you're a bitter old racist asshole." Did I mention ugly? Of course I wouldn't actually respond to you, certainly not in that way. But if I did respond, that's what I'd say. Oh, right. Incidentally, are you still trying to get $3k for _After Lorca_? I wonder, could you explain why you ask well beyond six times the market value? I'd love to hear your intelligent free market theories on that pricing. I imagine you're a fairly visionary CEO who understands the upcoming challenges of today's corporations, and how businesses can make a positive contribution to society. No doubt you understand the reasons behind the inherent internal power struggles of the corporate world. I say dear chap that you instill inspiration and empowerment to find the right balance in life. Your posts should be mandatory reading. Flame on. Date: Thu, 26 Jun 2003 13:02:11 -0400 From: Harry Nudel Subject: Carboro... Good to know that French ennui has GLOBALIZED...from cannes to katmandu to carboro...give em that old time french fry..and if not... all mamas chillun wants shortnin bread..drn... ========================================================================= Date: Sat, 28 Jun 2003 01:21:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: wall.exe MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New work at: http://www.asondheim.org/ http://www.asondheim.org/portal/ The usual files added at http://www.asondheim.org/ At http://asondheim.org/portal go to buffalo, land, mount, gorge images - some from video, some from stills - struggling with landscape - it infuriates me - there's always a perspective i want to rid myself of all perspective of seeing without positioning or without eye it is my obsession it is as if it mocks me everywhere it sees it says look where you are you can't see me otherwise anotherwise it's true i can't but i keep trying there are always new times and spaces but i keep trying it's my discomfort with landscape i would efface every human eye on this earth these are blind works they refuse me as i make them i refuse to talk about them it is my obsession ___ ========================================================================= Date: Sat, 28 Jun 2003 01:45:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: at the portal site (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For thermophilic bacteria colonies in burning anthracite rock strata check out the fire jpgs at http://www.asondheim.org/portal http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Sat, 28 Jun 2003 04:25:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Geoffrey Gatza Subject: Playlist Rainbows MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Playlist Rainbows=20 =20 Well of course it makes sense =20 Jewel is a fine poet if you look at sales figures=20 =20 First you have to look at the rage of the whole group of songs Then apply a logic of blue grass mixed with hard core punk because you lend a hand -- literally -- in the unions and the suburbs screech in flight, noisy chatter while feeding on McDonald's value meals = they may jump on anything you throw at them, they're out for anything=20 be it live or dead, know this, we'll eat you either way then vomit it up = spit it out and serve it cold to the next generation of savvy consumers =20 No matter how hard you may try=20 =20 five will get you ten hush ========================================================================= Date: Sat, 28 Jun 2003 04:09:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0001-#0004 next-gen nanopoetics.......excerpts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0001-#0004 next-gen nanopoetics.......excerpts mass; the whistling mass; the whistling went on, from day to flowing over with flowing over with the back of the shop, went on, from day to went on, from day to mass; the whistling can be done by of drovers, the of drovers, the of Gian Maria, not mind the following mind the following song was done, and of Gian Maria, not of Gian Maria, not of drovers, the yer a cunning barking dogs, the barking dogs, the raising from the below our living below our living more raising from the raising from the barking dogs, the can infer that bellowing and bellowing and scores of smaller Afraid? Drake afraid. Afraid? Drake afraid. and split scores of smaller scores of smaller bellowing and foot violently on wet around his dick. wet around his dick. not otherwise. He December. To ensure December. To ensure up an end of his not otherwise. He not otherwise. He wet around his dick. hesitation, state He pounded himself He pounded himself The master was a fat, to satisfy all of to satisfy all of was captured?" The master was a fat, The master was a fat, He pounded himself beat down the in and out of her in and out of her six times; he -her so long,-- -her so long,-- glowing sunlight. six times; he six times; he in and out of her The hard, hard, rations that can be mind? Is it not true mind? Is it not true power of desperation, rations that can be rations that can be hard, unusual track across #0002 atmospheric nanometrices Murmurous chanting Murmurous chanting much as the 'Stand still a 'Stand still a fell for five-and- much as the much as the Murmurous chanting him trial. Maybe he it was at first, it was at first, her from me. angry water, angry water, 'I hear you,' her from me. her from me. it was at first, him. Do you hear rhythmic and low; rhythmic and low; come from?' he bethought he bethought asked, and in his come from?' come from?' rhythmic and low; eagerly. ripples and ripples and cottage at some was a silence. was a silence. percent of the cottage at some cottage at some ripples and studded as thickly frontal view. The frontal view. The Storage and dash-than mine in the dash-than mine in the pleaded. Though I am Storage and Storage and frontal view. The realized; and then low neckline and low neckline and anticipated, reaction on reaction on very, very difficult anticipated, anticipated, low neckline and looking-door with his high hem left only high hem left only himself in the your way down my -soldiers tried to your way down my -soldiers tried to forenoon; clear as a himself in the himself in the high hem left only to sell his her most her most coiled and thrust his chances his chances The book-stall coiled and thrust coiled and thrust her most should immediately The Jew started. The Jew started. into the U.S. another. I came another. I came into the U.S. into the U.S. The Jew started. temples and palaces-- #0003 atmospheric nanometrices This was the course This was the course cards. It being a think that she think that she he had drunk, it cards. It being a cards. It being a This was the course then plunging deep of thought which of thought which have been rid are holes are holes comparatively clear have been rid have been rid of thought which tastes her and slips occupied him for occupied him for been altogether back had looked back had looked as he was full of been altogether been altogether occupied him for Beak's order, eh? many hours, many hours, of prayers which and he could but of prayers which of prayers which many hours, desire. him for a sleeping- him for a sleeping- It at once reduced insisted upon insisted upon criminal was seated It at once reduced It at once reduced him for a sleeping- that had occurred. place; had taken off place; had taken off established religion. Fortemani's. Fortemani's. 'All,' replied the established religion. established religion. place; had taken off of the ordered, the his sandals, and his sandals, and reflections that first at dawn this first at dawn this forest of sledges. reflections that reflections that his sandals, and perceptions. loosened his loosened his He did not seem storage tanks, storage tanks, occupied him for He did not seem He did not seem loosened his in his mind he made #0004 atmospheric nanometrices blasting violet of blasting violet of the Coned Upon being Upon being Before our tutoring the Coned the Coned blasting violet of swimmers the the For one brief moment, with excruciating with excruciating over toward For one brief moment, For one brief moment, the swiftness to an open 'Hush!' replied the 'Hush!' replied the hosts of animate The object of this The object of this longer work and had hosts of animate hosts of animate 'Hush!' replied the He began singing,- young lady; 'you young lady; 'you will. The track was fresh. The track was fresh. guessed what will. will. young lady; 'you up if I start to frighten my aunt as frighten my aunt as distorted tusks and had passed had passed and distorted tusks and distorted tusks and frighten my aunt as much as the much as the chin, her heart but not really but not really notwithstanding a chin, her heart chin, her heart much as the every word. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sat, 28 Jun 2003 04:17:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: muse news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit muse news: 1. the readership of the muse apprentice guild has doubled from one million readers to two million readers annually 2. 50,000 pages of the muse apprentice guild are read daily 3. the first anniversary issue of the muse apprentice guild appears on august 11 4. the submission deadline for this issue is july 15 5. thank you to all of you who have contributed literary work to the muse apprentice guild! - all of you deserve credit for the m.a.g.'s great success because it is your work that readers are coming to the m.a.g. to read sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sat, 28 Jun 2003 06:49:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tlrelf Subject: Re: muse news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit congratulations! This is astronomical! Ter ----- Original Message ----- From: "August Highland" To: Sent: Saturday, June 28, 2003 4:17 AM Subject: muse news > muse news: > > 1. the readership of the muse apprentice guild has doubled from one > million readers to two million readers annually > 2. 50,000 pages of the muse apprentice guild are read daily > 3. the first anniversary issue of the muse apprentice guild appears on > august 11 > 4. the submission deadline for this issue is july 15 > 5. thank you to all of you who have contributed literary work to the > muse apprentice guild! - all of you deserve credit for the m.a.g.'s > great success because it is your work that readers are coming to the > m.a.g. to read > > > sincerely, > august highland > > muse apprentice guild > --"expanding the canon into the 21st century" > www.muse-apprentice-guild.com > > culture animal > --"following in the footsteps of tradition" > www.cultureanimal.com > > > > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sat, 28 Jun 2003 06:47:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: new Rain Taxi MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Rain Taxi" To: Sent: Friday, June 27, 2003 5:51 PM Subject: new Rain Taxi > Rain Taxi is pleased to announce the posting of its Summer 2003 ONLINE > EDITION, featuring insightful interviews with Eileen Myles and Anthony > Bourdain, engaging essays by Kristin Prevallet and Brian Evenson, and > revelatory reviews of new books from Donald Revell, Jenny Davidson, > Koigi wa Wamwere, Matthew Derby, Dale Pendell, Dorothy Barresi, Yang > Lian, Alicia Borinsky, Aaron Cometbus, Diane Keaton, and many, many > more! Plus check out the table of contents for our new print edition, > an issue not to be missed. All for you at www.raintaxi.com! > > Note: this announcement is a free service to our esteemed readers. We > will NEVER trade your address, sell your address, or in any way make > your address available to anyone else, EVER. If you wish to unsubscribe, > however, please make sure you identify the name and address to which > this letter was sent. > ========================================================================= Date: Sat, 28 Jun 2003 09:16:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: this is democracy? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed fr today's Washington Post SAMARRA, Iraq -- U.S. military commanders have ordered a halt to local elections and self-rule in provincial cities and towns across Iraq, choosing instead to install their own handpicked mayors and administrators, many of whom are former Iraqi military leaders. The decision to deny Iraqis a direct role in selecting municipal governments is creating anger and resentment among aspiring leaders and ordinary citizens, who say the U.S.-led occupation forces are not making good on their promise to bring greater freedom and democracy to a country dominated for three decades by Saddam Hussein. http://www.washingtonpost.com/wp-dyn/articles/A42905-2003Jun27.html ...Take up the White Man's burden, And reap his old reward-- The blame of those ye better The hate of those ye guard-- The cry of hosts ye humour (Ah, slowly!) toward the light:-- "Why brought ye us from bondage, Our loved Egyptian night?"... ========================================================================= Date: Sun, 29 Jun 2003 00:33:56 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: Re: this is democracy? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well, if I may, here are some slightly revised lines from this article: *"In a situation like this, if you start holding elections, the people who are rejectionists tend to win," Bremer said. "It's often the best-organized who win, and the best-organized right now are the Republicans and to some extent the Democrats." Bremer was referring to members of Bush's Republican Party and religiously oriented political leaders. The world is fearful that fundamentalist leaders such as George W. Bush, the current president of the United States popular in the environs of Washington, and Colin Powell, leader of the government-supported Supreme Council for Manifest Destiny in Iraq, would be best positioned to field winning candidates.* ...Yes, this is a major problem for democracy. ----- Original Message ----- From: "Gabriel Gudding" To: Sent: Saturday, June 28, 2003 11:16 PM Subject: this is democracy? > fr today's Washington Post > > SAMARRA, Iraq -- U.S. military commanders have ordered a halt to local > elections and self-rule in provincial cities and towns across Iraq, > choosing instead to install their own handpicked mayors and administrators, > many of whom are former Iraqi military leaders. > > The decision to deny Iraqis a direct role in selecting municipal > governments is creating anger and resentment among aspiring leaders and > ordinary citizens, who say the U.S.-led occupation forces are not making > good on their promise to bring greater freedom and democracy to a country > dominated for three decades by Saddam Hussein. > > http://www.washingtonpost.com/wp-dyn/articles/A42905-2003Jun27.html > > ...Take up the White Man's burden, > And reap his old reward-- > The blame of those ye better > The hate of those ye guard-- > The cry of hosts ye humour > (Ah, slowly!) toward the light:-- > "Why brought ye us from bondage, > Our loved Egyptian night?"... > ========================================================================= Date: Sat, 28 Jun 2003 11:06:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable http://www.newsday.com/news/columnists/ny-nybres223342370jun22,0,7919570.col= umn?coll=3Dny-news-columnists Jimmy Breslin June 22, 2003 On Friday, I rode across the Brooklyn Bridge, whose gray netting went with= =20 the sky, and as long as there was tension about the bridge, I was=20 remembering Richard Seaberg, a big cop from Emergency One, who climbed to the top of the bridge= =20 so many times and pulled somebody down before he jumped. Seaberg protected= the Brooklyn Bridge. Now there is a charge by the government that terrorists intended to blow up= =20 the Brooklyn Bridge, or pull it down. Simultaneously, while protecting the= =20 bridge, the government was doing frightening damage to the life of the country. Because of it, I am thinking that it could be time for me to begin thinking= =20 about leaving this news business. It is not mine anymore. Let me tell you= why. Friday, the newspapers and television reported the following matter with no= =20 anger or effort to do anything other than serve as stenographers for the=20 government: On March 1, give or take a day, in Columbus, Ohio, the FBI arrested an=20 American citizen they say is Iyman Faris. There wasn't a word uttered. He=20 vanished. No lawyer was notified. He made no phone calls and wrote no postcards or= letters. He was a United States citizen who disappeared without a trace into a=20 secret metal world. This citizen's proper name was Mohammed Rauf. He took the Faris from a=20 street name in his neighborhood in Columbus. I don't know why he did this=20 for sure. A friend of mine in Columbus, Mike Weber, told me Friday that he thought the= =20 federal agents wanted him to use Faris because the real name, Rauf,=20 purportedly would alert others that he had been caught. Who knows? You believe the FBI, you=20 belong back in public school. They held him secretly in an iron world for the next six weeks. This is=20 plenty of time to hand out giant beatings. Oh, yes, don't gasp. If cops are= =20 performing a Fascist act, then always suspect them of acting like Fascists. They have fun=20 beating people up. In mid-April, again in deep secrecy, the government says Faris was allowed= =20 to plead guilty to plotting to pull down or blow up the Brooklyn Bridge. He= =20 was in a sealed Virginia federal courtroom. If he had a lawyer, that was some lawyer. After that, he was sentenced. We don't know what the sentence was because=20 it is sealed. I don't know what Faris looks like or sounds like or what he thinks and=20 what he was doing. He could be the worst. I don't know. Prove he wanted to= =20 blow up the Brooklyn Bridge and let him paste a picture of Osama bin Laden on the cell= =20 wall for inspiration over the next half a century. But first bring him into= =20 open court and try him. Pretend you live in America. Even pick a jury. I don't know. What a=20 thing it would be if he comes up not guilty. What we do know is that this is your country now. Once before this, in 1942, we detained Japanese-Americans in secrecy. The=20 nation swore never to do it again. We haven't. This case is out of the old= =20 Soviet Union. He was neither booked with television watching nor arraigned in front of a= =20 judge. Anybody concealed by government agents and guards for more than=20 three months could have marks on him somewhere. And our newspeople write like the worst= =20 of the old Pravda. I read in papers from everywhere yesterday morning,=20 "After Mr. Faris was secretly arrested three months ago... " and "court papers this=20 week said that Mr. Faris secretly pleaded guilty to charges of terrorism=20 last month." They say. They were simply typed out, as if to report the guy getting a parking=20 ticket. Now, the FBI doesn't even tell you the right name of a kidnapped=20 man and makes the news reporters love it. Why would the government say he is a terrorist if he isn't guilty? The only thing that could possibly bother anybody is the thought of=20 somebody reading this 50 years from now and saying, "Look at that. This is= =20 where they blew a couple of amendments." This government's kidnapping of Faris/Rauf violated the laws handed down by= =20 Madison, Jefferson, Marshall. A small religious zealot, John Ashcroft,=20 takes their great laws and bravery and using our new Patriot Act, turns it into Fascism. He could do this openly because news reporters go about the government like= =20 gardeners, bent over, smiling and nodding when one of the owners shows up.= =20 You only have to look at a White House news conference to see how they aggressively= =20 pursue your right to know. The newspeople stand when the president comes into the room. They really=20 do. They don't sit until he tells them to. You tell them a lie and they=20 say, "Sir." And now you have a citizen kidnapped by agents and there is no anger. The=20 day's news is about a children's book, and a has-been heavyweight, Mike=20 Tyson, under arrest in a Brooklyn precinct at the foot of the bridge. Newspeople like to= =20 be called "journalists" and write of "the need to protect sources." They=20 don't have any. Here's a guy held for three months and nobody even got a phone call. The newest attribution in today's news reporting is, "senior law=20 enforcement official." That is news report for a cop. Newspeople can speak= =20 French all over the place but I know of only two reporters in New York who can speak Arabic, and one= =20 of them is in the Middle East now and is of no help. That means you can't=20 even quote somebody and attribute it to a "senior Arab." There is not even the beginnings of anger about an American kidnapped by=20 his government, over freedom being taken from us all, and bet me you won't= =20 see it back. The newspeople are comfortable with being known as the "media." That is a=20 dangerous word; all evil rises around those afflicted with it. Copyright =A9 2003, Newsday, Inc. ========================================================================= Date: Sat, 28 Jun 2003 11:33:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Need for Names of Sound Poets In-Reply-To: <80C1CDD1883C95448C7AF90BCBCD9B1AE9FE76@MSG00CV00.utad.utoledo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" There's that nifty duo called Re Sounding made up of Doug Barbour and Stephen Scobie -- George Bowering Life in a Saab convertible. Fax 604-266-9000 ========================================================================= Date: Sat, 28 Jun 2003 11:51:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: poetic pilgrimage In-Reply-To: <20030624120827.12522.qmail@web21603.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >A bpNichole Lane, wow. Toronto has to be--by far--the >best city for poets in North America. > >--Bob G. > It also has parks named for novelist Matt Cohen and poet Gwen MacEwen, bp's friends who have also passed. -- George Bowering Life in a Saab convertible. Fax 604-266-9000 ========================================================================= Date: Sat, 28 Jun 2003 12:51:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: (Mark Weiss - Breslin Article) In-Reply-To: <5.1.0.14.1.20030628110516.0235e240@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Repressive terror runs silently amongst us In the silent pig troughs of the devoted In the silence between Newspaper paragraphs In the silence of my children=B9s lips In the silence of Arab families In the silence of the television In the silence between the Occupants In the silence of the Agents In the silence of the Radio In the silence of the Market In the silence behind the small bus In the silence of the empty garbage pail In the silence of the whip In the silence of no light In the silence of the cell In the silence of the President In the smile of the Attorney General In the smile of the Director of the FBI In the smile of the Senator In the smile of the Fox In the smile against strangers In the smile against the border The silence of the marked body The silence of the lawyer The silence of the judge The absence of the document The absence of the court The absence of the jury The silent jump of the kangaroo Who and again who and who again? The silent jump Jump =20 Stephen Vincent June 2003 =20 on 6/28/03 11:06 AM, Mark Weiss at junction@EARTHLINK.NET wrote: > http://www.newsday.com/news/columnists/ny-nybres223342370jun22,0,7919570.= colum > n?coll=3Dny-news-columnists >=20 > Jimmy Breslin >=20 >=20 > June 22, 2003 >=20 > On Friday, I rode across the Brooklyn Bridge, whose gray netting went wit= h > the sky, and as long as there was tension about the bridge, I was > remembering Richard > Seaberg, a big cop from Emergency One, who climbed to the top of the brid= ge > so many times and pulled somebody down before he jumped. Seaberg protecte= d the > Brooklyn Bridge. >=20 > Now there is a charge by the government that terrorists intended to blow = up > the Brooklyn Bridge, or pull it down. Simultaneously, while protecting th= e > bridge, the > government was doing frightening damage to the life of the country. >=20 > Because of it, I am thinking that it could be time for me to begin thinki= ng > about leaving this news business. It is not mine anymore. Let me tell you= why. >=20 > Friday, the newspapers and television reported the following matter with = no > anger or effort to do anything other than serve as stenographers for the > government: >=20 > On March 1, give or take a day, in Columbus, Ohio, the FBI arrested an > American citizen they say is Iyman Faris. There wasn't a word uttered. He > vanished. No > lawyer was notified. He made no phone calls and wrote no postcards or let= ters. >=20 > He was a United States citizen who disappeared without a trace into a > secret metal world. >=20 > This citizen's proper name was Mohammed Rauf. He took the Faris from a > street name in his neighborhood in Columbus. I don't know why he did this > for sure. A > friend of mine in Columbus, Mike Weber, told me Friday that he thought th= e > federal agents wanted him to use Faris because the real name, Rauf, > purportedly would > alert others that he had been caught. Who knows? You believe the FBI, you > belong back in public school. >=20 > They held him secretly in an iron world for the next six weeks. This is > plenty of time to hand out giant beatings. Oh, yes, don't gasp. If cops a= re > performing a Fascist > act, then always suspect them of acting like Fascists. They have fun > beating people up. >=20 > In mid-April, again in deep secrecy, the government says Faris was allowe= d > to plead guilty to plotting to pull down or blow up the Brooklyn Bridge. = He > was in a sealed > Virginia federal courtroom. If he had a lawyer, that was some lawyer. >=20 > After that, he was sentenced. We don't know what the sentence was because > it is sealed. >=20 > I don't know what Faris looks like or sounds like or what he thinks and > what he was doing. He could be the worst. I don't know. Prove he wanted t= o > blow up the > Brooklyn Bridge and let him paste a picture of Osama bin Laden on the cel= l > wall for inspiration over the next half a century. But first bring him in= to > open court and try > him. Pretend you live in America. Even pick a jury. I don't know. What a > thing it would be if he comes up not guilty. >=20 > What we do know is that this is your country now. >=20 > Once before this, in 1942, we detained Japanese-Americans in secrecy. The > nation swore never to do it again. We haven't. This case is out of the ol= d > Soviet Union. > He was neither booked with television watching nor arraigned in front of = a > judge. Anybody concealed by government agents and guards for more than > three months > could have marks on him somewhere. And our newspeople write like the wors= t > of the old Pravda. I read in papers from everywhere yesterday morning, > "After Mr. > Faris was secretly arrested three months ago... " and "court papers this > week said that Mr. Faris secretly pleaded guilty to charges of terrorism > last month." They say. > They were simply typed out, as if to report the guy getting a parking > ticket. Now, the FBI doesn't even tell you the right name of a kidnapped > man and makes the news > reporters love it. >=20 > Why would the government say he is a terrorist if he isn't guilty? >=20 > The only thing that could possibly bother anybody is the thought of > somebody reading this 50 years from now and saying, "Look at that. This i= s > where they blew a > couple of amendments." >=20 > This government's kidnapping of Faris/Rauf violated the laws handed down = by > Madison, Jefferson, Marshall. A small religious zealot, John Ashcroft, > takes their great > laws and bravery and using our new Patriot Act, turns it into Fascism. >=20 > He could do this openly because news reporters go about the government li= ke > gardeners, bent over, smiling and nodding when one of the owners shows up= . > You only > have to look at a White House news conference to see how they aggressivel= y > pursue your right to know. >=20 > The newspeople stand when the president comes into the room. They really > do. They don't sit until he tells them to. You tell them a lie and they > say, "Sir." >=20 > And now you have a citizen kidnapped by agents and there is no anger. The > day's news is about a children's book, and a has-been heavyweight, Mike > Tyson, under > arrest in a Brooklyn precinct at the foot of the bridge. Newspeople like = to > be called "journalists" and write of "the need to protect sources." They > don't have any. > Here's a guy held for three months and nobody even got a phone call. >=20 > The newest attribution in today's news reporting is, "senior law > enforcement official." That is news report for a cop. Newspeople can spea= k > French all over the place > but I know of only two reporters in New York who can speak Arabic, and on= e > of them is in the Middle East now and is of no help. That means you can't > even quote > somebody and attribute it to a "senior Arab." >=20 > There is not even the beginnings of anger about an American kidnapped by > his government, over freedom being taken from us all, and bet me you won'= t > see it back. > The newspeople are comfortable with being known as the "media." That is a > dangerous word; all evil rises around those afflicted with it. >=20 > Copyright =A9 2003, Newsday, Inc. ========================================================================= Date: Sat, 28 Jun 2003 10:01:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: TWHM VII MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit are animals devoid of human we are just in receipt the next death was of by employing one of these france v. berus and aspis of gruels and premasticated foods there have been many cases I trust you will take ten to twenty discharges generally then he touches the Queen vulnerable in this domain and in making a variety of sounds absolutely monstrous proportions this ancient we have been doing our utmost when dealing with the victim should the spectator choose another some predictable combination of time though it was made known stances I would hesitate to you are no doubt familiar committing grave crimes of omission then he asks a person be helpful to review briefly horror-stricken when suddenly grabbed ========================================================================= Date: Sat, 28 Jun 2003 22:06:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael O'Driscoll Subject: Re: Black Sparrow Press MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT > Date: Fri, 27 Jun 2003 09:54:17 -0700 > From: Stephen Vincent > Subject: Re: Black Sparrow Press > > Hi Michael: Do you know the story behind this acquisition? Either Alberta > is very wealthy (John Martin being the constant biz person) or B Sparrow got > ignored by Buffalo, UC San Diego, etc - noted keepers of various elements of > this legacy. Yes, I know the story of Alberta's acquisition of Black Sparrow well. Here's the very short version. In 1969, Martin put all of the materials related to the first sixty-two BSP publications up for sale, on the condition that the purchasing institution continue to acquire the files in perpetuity, in order to ensure that the collection would remain intact. The University of Alberta agreed (the arrangements were made by International Bookfinders; the cost was 23 thousand), but after only an additional thirty-two files (seventeen months later), refused to make any more purchases. Martin tried to buy back the collection, but Alberta declined. Four more institutions made the same impossible promise, and as a result the entire BSP archive is now scattered across North America. Alberta was indeed wealthy in those days--less so now--and has an *amazing* special collections library that includes a vast number of 20th century poetry first editions and artist books (amongst much else). I don't know why Buffalo didn't jump on this purchase, but I don't think UCSD was in a position to do so at the time. I think Martin let the archive go so far afield because he was, alas, more concerned about continuity than geography. At any rate, the Alberta archive is catalogued now (by me & Jason Dewinetz of greenboathouse books), and available for research. It is, in short, an incredible resource. > But I suspect people on this list - in all those "unlivable" and remote > University towns around the globe - have experiences of discovering a M > Duchamp trove or Paul Eluard letters or whatever - because they had either a > good curator in the library or a great teacher on the faculty who led the > Library and the money to the source and took off with the jewels. Hey, wait a minute!!! Edmonton, "unlivable"?? NOT AT ALL! One of Canada's top-ranked universities in a reasonably cool city (okay... we won't mention the political wasteland of Alberta). Best, Michael. ========================================================================= Date: Sun, 29 Jun 2003 00:22:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: My Wyoming Valley MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My Wyoming Valley The Breaker images breaker boys boys had had a a median median lifespan lifespan of of 18. 18. Today we visited breaker. we It It was was the the Blue Blue Coal Coal breaker breaker in in Ashley. Ashley. I of remember blue cars when blue was coal a when child. child. cars dyed. ruins and and we went in. in. The Huge slabs Huge metal of concrete and everywhere. concrete outside structure The stood outside as structure usual. stood windows were were broken broken and it was dark inside. inside. The would get fall caught asleep in get conveyers. caught The conveyers. would took photographs I They were battered They ripped battered apart. and Those Those who who lived lived often often lost lost arms arms legs. legs. life The brutal was even brutal after even unionization. after Knox disaster Mine well. disaster I well. photographs This end spelled of end mining anthracite the mining northern northern spelled field. the four fields Pennsylvania hold fields 75% hold of 75% the world's The anthracite. four Twelve perished miners as perished the Susquehanna into rushed the into breach. breach. miners All adjacent mines All flooded. the is perhaps perhaps fifteen fifteen or or twenty twenty stories stories high. high. The workday The at was least at twelve least hours. twelve dust was everywhere in unheated uncooled uncooled space. space. Coal noise was deafening and no one one could could talk. talk. The rollers still for present belts the are belts still are present gone. but The gone. belts covered The loading covered docks loading there. still You see can where see the where coal might been have dyed. been You A passed few the miles site away of passed Avondale site disaster. Avondale miles disaster. we One One hundred hundred ten ten died died that. that. In a 1902 major major strike strike battered by In Pinkerton. 1902 Teddy intervened Roosevelt but intervened a number lives lives lost. lost. Roosevelt Lives Lives disasters. disasters. coalfields are soaked in blood making making us us strong. strong. "The Breaker images "Breaker boys had a median lifespan of 18. "Today we visited a breaker. "It was the Blue Coal breaker in Ashley. "I remember the cars of blue coal when I was a child. "The coal was dyed. "The breaker was in ruins and we went in. "Huge slabs of metal and concrete everywhere. "The outside structure stood as usual. "The windows were broken and it was dark inside. "The breaker boys would fall asleep and get caught in the conveyers. "I took photographs of the conveyers. "They were battered and ripped apart. "Those who lived often lost arms and legs. "The life was brutal even after unionization. "I took photographs of the Knox Coal Mine disaster as well. "This spelled the end of anthracite mining in the northern field. "The four Pennsylvania fields hold 75% of the world's anthracite. "Twelve miners perished as the Susquehanna rushed into the breach. "All the adjacent mines flooded. "The breaker is perhaps fifteen or twenty stories high. "The workday was at least twelve hours. "Coal dust was everywhere in the unheated uncooled space. "The noise was deafening and no one could talk. "The rollers for the belts are still present but the belts are gone. "The covered loading docks are still there. "You can see where the coal might have been dyed. "A few miles away we passed the site of the Avondale Mine disaster. "One hundred and ten miners died in that. "In 1902 a major coal strike was battered by Pinkerton. "Teddy Roosevelt intervened but a number of lives were lost. "Lives were lost everywhere in disaster after disasters. "The coalfields are soaked in blood making us strong. ___ ========================================================================= Date: Sun, 29 Jun 2003 00:43:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Avondale Knox Anthracite Huber Mine Breakdown Imagery MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Avondale Knox Anthracite Huber Mine Breakdown Imagery ... 1884 Non-Fatalities Eastern Anthracite Dist. 1884 Fatal Eastern Anthracite Dist. ... Article on Knox Mine Disaster. ... Those the Died in Avondale Mine Disaster. ... ... greatest disaster in the history of anthracite mining. The greatest was the Avondale shaft catastrophe on Sept ... On January 22, 1959, the Knox mine disaster (when ... ... equally divided in the bituminous and anthracite fields, were at ... as the Johnstown Flood (1889), the Avondale Mine fire ... As a result of the Knox Mine disaster in ... ... I guess the first was up at the Knox Coal Co. ... would have done drawings at the time of Avondale, and they ... are the last big breakers left in the anthracite region ... ... 322 ASYX Avondale Shipyards Inc. ? ... of Energy, Albuquerque Operations 30 ATRW Anthracite Railway 2 ATSF ... 20 KJRY Keokuk Junction Railway 84 KKRR * Knox Kane ... ... Michigan Interstate Railway, Operator) ATRW Anthracite Railway APA ... Northwestern Railroad) ASYX Avondale Shipyards Inc. ... Fiber Glass GmbH KKRR * Knox Kane ... ... ASYX Avondale Shipyards Inc ... of Energy, Albuquerque Operations ATRW Anthracite Railway ATSF Atchison ... KJRY Keokuk Junction Railway KKRR * Knox Kane Railroad KLGX ... ... 610) 832-6130. PA 0056898. Industrial waste, TO-JO Mushrooms, Inc. , 974 Penn Green Road, Avondale, PA 19311. This application is ... ... 322 ASYX Avondale Shipyards Inc. ? ... of Energy, Albuquerque Operations 30 ATRW Anthracite Railway 2 ATSF ... 20 KJRY Keokuk Junction Railway 84 KKRR * Knox Kane ... ... 322 ASYX Avondale Shipyards Inc. ? ... of Energy, Albuquerque Operations 30 ATRW Anthracite Railway 2 ATSF ... 20 KJRY Keokuk Junction Railway 84 KKRR * Knox Kane ... Avondale Knox Anthracite Huber Page 1. NOTICES DEPARTMENT OF BANKING Actions on Applications The Department of Banking of the Commonwealth of Pennsylvania, under ... Page 1. PENNSYLVANIA BULLETIN Volume 26 Number 33 Saturday, August 17, 1996 * Harrisburg, Pa. Pages 3919-4066 See Part II page 3979 ... ... ASYX Avondale Shipyards Inc ... of Energy, Albuquerque Operations ATRW Anthracite Railway ATSF Atchison ... KJRY Keokuk Junction Railway KKRR * Knox Kane Railroad KLGX ... ... 322 ASYX Avondale Shipyards Inc. ... of Energy, Albuquerque Operations 30 ATRW Anthracite Railway 2 ATSF ... 20 KJRY Keokuk Junction Railway 84 KKRR * Knox amp; Kane ... Avondale Knox Anthracite Huber +++ ========================================================================= Date: Sun, 29 Jun 2003 00:28:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Black Sparrow Press Comments: To: michael.odriscoll@UALBERTA.CA In-Reply-To: <001901c33df3$c28b9260$e68f5618@mikecq2rs4b6y0> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, Michael, and I did not mean to sound arrogantly dismissive of Edmonton! But sounds, in terms of the archive, you got the interesting (to me) early years with the Duncan, Blackburn, Dorn - a Black Mountain sweep, before Martin got into other folks that don't spin with such a compact related circle. Somebody - if not already - should do a good oral history with Martin. As a former furniture goods person - before he got into publishing poetry - he certainly provided another kind of furniture on to which some of the "New American Poetry" could find a seat - one different than New Directions. But I personally still don't have any clear sense of his editorial imagination or what guided the Press' choice of titles other than a determination to find money in the poetry fold, money he discovered either by what some might consider scam (Reznikoff, Bukowski and whoever signing to be numbered and ltd editions of books of books before they were ever published to make sure he had those sigs under his belt before the authors died - I guess those might have been called "futures"!) or pressing the envelope until he found a blue chip, such as Bukowski. Certainly the range of authors he published would probably never agree to be at the same party - something that probably might not have been true at New Directions - where there is a greater fidelity of ancestral line. But the Press does have a great number of "pure" poetry titles that could never account for much money. So Martin remains a puzzle for me. Does his correspondence show any complex or argumentative involvement with the poetry - contesting the authors or whatever - or did he take most stuff in straight-up as delivered and hand it over to Graham MacKintosh for the typesetting?? Stephen Vincent on 6/28/03 9:06 PM, Michael O'Driscoll at michael.odriscoll@UALBERTA.CA wrote: >> Date: Fri, 27 Jun 2003 09:54:17 -0700 >> From: Stephen Vincent >> Subject: Re: Black Sparrow Press >> >> Hi Michael: Do you know the story behind this acquisition? Either Alberta >> is very wealthy (John Martin being the constant biz person) or B Sparrow > got >> ignored by Buffalo, UC San Diego, etc - noted keepers of various elements > of >> this legacy. > > Yes, I know the story of Alberta's acquisition of Black Sparrow well. Here's > the very short version. In 1969, Martin put all of the materials related to > the first sixty-two BSP publications up for sale, on the condition that the > purchasing institution continue to acquire the files in perpetuity, in order > to ensure that the collection would remain intact. The University of Alberta > agreed (the arrangements were made by International Bookfinders; the cost > was 23 thousand), but after only an additional thirty-two files (seventeen > months later), refused to make any more purchases. Martin tried to buy back > the collection, but Alberta declined. Four more institutions made the same > impossible promise, and as a result the entire BSP archive is now scattered > across North America. Alberta was indeed wealthy in those days--less so > now--and has an *amazing* special collections library that includes a vast > number of 20th century poetry first editions and artist books (amongst much > else). I don't know why Buffalo didn't jump on this purchase, but I don't > think UCSD was in a position to do so at the time. I think Martin let the > archive go so far afield because he was, alas, more concerned about > continuity than geography. At any rate, the Alberta archive is catalogued > now (by me & Jason Dewinetz of greenboathouse books), and available for > research. It is, in short, an incredible resource. > >> But I suspect people on this list - in all those "unlivable" and remote >> University towns around the globe - have experiences of discovering a M >> Duchamp trove or Paul Eluard letters or whatever - because they had either > a >> good curator in the library or a great teacher on the faculty who led the >> Library and the money to the source and took off with the jewels. > > Hey, wait a minute!!! Edmonton, "unlivable"?? NOT AT ALL! One of Canada's > top-ranked universities in a reasonably cool city (okay... we won't mention > the political wasteland of Alberta). > > Best, Michael. ========================================================================= Date: Sun, 29 Jun 2003 01:32:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: muse news addendum MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit muse news addendum 1. there are new muse apprentice guild liaisons in armenia, venezuela, south africa and romania* (*a new liaison who is at the center of the romanian literary community) 2. i have been given permission to serialize two novels by the chinese novelist Zhang Wei 3. i have my first 2 editorial interns 4. i am looking for literary essayists and columnists 5. the first anniversary issue of the muse apprentice guild is presenting special features on work from australia, bulgaria, italy, armenia 6. my two colleagues in iran are assembling more material for the summer issue - i hope you have had an opportunity to read in the m.a.g. the writing that is being produced by persian poets i wish all of you great success in all your endeavors sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/18/2003 ========================================================================= Date: Sun, 29 Jun 2003 06:57:16 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: New Boog NYC Series Wants Yr non-NY Press MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Hi all, Boog City is celebrating its 12th anniversary this August with the debut of=20= a=20 new monthly reading series I'm curating at the Aca Galleries at 529 W.20th=20 St., 5th Flr. (bet. 10th and 11th avenues) the first Thursday of each month,= =20 from 6:00 p.m.-8:00 p.m., beginning Thurs. Aug. 7. The gallery operators are= =20 amazing folk and connected to the poetry community in that they're the son-i= n-law=20 and daughter of the poet Simon Perchik. They'll be providing wine and cheese= =20 and fruit for each reading, too. Oh yeah, no door either. (Thanks to David=20 Baratier for the introduction.) I=E2=80=99ve named the reading series "levy lives: celebrating the renegade=20= press in=20 america" in honor of the legendary Cleveland poet-publisher and concrete=20 artist d.a. levy, and each reading we=E2=80=99ll begin the event with some o= f levy=E2=80=99s own=20 work. (http://www.thing.net/~grist/l&d/dalevy/dalevy.htm).=20 Each month, excluding the opening one, I will be hosting non-New York small=20 presses, introducing the editor and then letting them run the night, featuri= ng=20 poetry and music. As we all know, one of the biggest pains is traveling and=20 trying to set up a gig for your press. With this series, 11 times a year I= =E2=80=99ll be=20 able to hook up cool non-NY small presses with NYC gigs. I'm only scheduling= =20 through May 2004, keeping June and July open, because I know in a few months= =20 some new small press is going to start-up that's gonna make me smile. **I still need presses for some readings, so if you run a non-NY small press= ,=20 please check the below available dates and backchannel me. THANKS!** To kickoff the series, I am throwing a 12th anniversary party for Boog City=20 featuring NYC-based poet-publishers who I have previously published (say tha= t=20 three times fast) and a special visiting feature.=20 That event will include performances by: Kent Fielding, now of Sitka, Alaska, who some of you may be familiar with=20 from his work with Louisville's White Fields Press and the Insomniacathons (= 72=20 hour-long poetry and music festivals) he's run there. NYC small press editors Lee Ann Brown-Tender Buttons Jen Coleman-pompom Jordan Davis-The Hat Chris Edgar-The Hat Bob Hershon-Hanging Loose Press Katy Lederer-Explosive/Spectacular Books Brendan Lorber-Lungfull Dan Machlin-future poem Lewis Warsh-United Artists Rebecca Woolf-Fence and more TBA and music from Paula Paige The 2003-2004 season=E2=80=99s dates: levy lives: celebrating the renegade press in America* Aug. 7 Boog 12th anniversary party, ed. David Kirschenbaum Sept. 11 =20 Oct. 2 The Owl Press (Woodacre, Calif.) Nov. 6 Avec Books (Penngrove, Calif.) Dec. 4 CyPress (Cincinnati, Ohio) Jan. 8 =20 Feb. 5 =20 March 4 Pavement Saw Press (Columbus, Ohio) April 1 Bird Dog magazine (Seattle, Wash.) May 6 =20 June 3 =20 July 1 as ever, David *Please note some presses are still tentative. ________ David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sun, 29 Jun 2003 09:42:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Re: Black Sparrow Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable There is one interview with Martin conducted by Robert Dana in his book = Against the Grain: Interviews with Maverick American Publishers = (University of Iowa Press, 1986). The interview is quite good, although = I agree that a more extensive (and updated) interview with Martin would = be useful, especially if it were to be conducted by someone who really = knows the details of the press' history and its archive. Also included = in this book are interviews with James Laughlin, Harry Duncan, Lawrence = Ferlinghetti, Daniel Halpern, Tree Swenson & Sam Hamill, Jonathan = Williams, and David Godine.=20 Best, Kyle http://writing.upenn.edu/epc/mags/kiosk.html ----- Original Message -----=20 From: Stephen Vincent=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Sunday, June 29, 2003 2:28 AM Subject: Re: Black Sparrow Press Thanks, Michael, and I did not mean to sound arrogantly dismissive of Edmonton! But sounds, in terms of the archive, you got the interesting = (to me) early years with the Duncan, Blackburn, Dorn - a Black Mountain = sweep, before Martin got into other folks that don't spin with such a compact related circle. Somebody - if not already - should do a good oral = history with Martin. As a former furniture goods person - before he got into publishing poetry - he certainly provided another kind of furniture on = to which some of the "New American Poetry" could find a seat - one = different than New Directions. But I personally still don't have any clear sense = of his editorial imagination or what guided the Press' choice of titles = other than a determination to find money in the poetry fold, money he = discovered either by what some might consider scam (Reznikoff, Bukowski and whoever signing to be numbered and ltd editions of books of books before they = were ever published to make sure he had those sigs under his belt before the authors died - I guess those might have been called "futures"!) or = pressing the envelope until he found a blue chip, such as Bukowski. Certainly = the range of authors he published would probably never agree to be at the = same party - something that probably might not have been true at New = Directions - where there is a greater fidelity of ancestral line. But the Press does have a great number of "pure" poetry titles that could never = account for much money. So Martin remains a puzzle for me. Does his correspondence show any = complex or argumentative involvement with the poetry - contesting the authors or whatever - or did he take most stuff in straight-up as delivered and = hand it over to Graham MacKintosh for the typesetting?? Stephen Vincent on 6/28/03 9:06 PM, Michael O'Driscoll at michael.odriscoll@UALBERTA.CA wrote: >> Date: Fri, 27 Jun 2003 09:54:17 -0700 >> From: Stephen Vincent >> Subject: Re: Black Sparrow Press >> >> Hi Michael: Do you know the story behind this acquisition? Either = Alberta >> is very wealthy (John Martin being the constant biz person) or B = Sparrow > got >> ignored by Buffalo, UC San Diego, etc - noted keepers of various = elements > of >> this legacy. > > Yes, I know the story of Alberta's acquisition of Black Sparrow well. = Here's > the very short version. In 1969, Martin put all of the materials = related to > the first sixty-two BSP publications up for sale, on the condition = that the > purchasing institution continue to acquire the files in perpetuity, in = order > to ensure that the collection would remain intact. The University of = Alberta > agreed (the arrangements were made by International Bookfinders; the = cost > was 23 thousand), but after only an additional thirty-two files = (seventeen > months later), refused to make any more purchases. Martin tried to buy = back > the collection, but Alberta declined. Four more institutions made the = same > impossible promise, and as a result the entire BSP archive is now = scattered > across North America. Alberta was indeed wealthy in those days--less = so > now--and has an *amazing* special collections library that includes a = vast > number of 20th century poetry first editions and artist books (amongst = much > else). I don't know why Buffalo didn't jump on this purchase, but I = don't > think UCSD was in a position to do so at the time. I think Martin let = the > archive go so far afield because he was, alas, more concerned about > continuity than geography. At any rate, the Alberta archive is = catalogued > now (by me & Jason Dewinetz of greenboathouse books), and available = for > research. It is, in short, an incredible resource. > >> But I suspect people on this list - in all those "unlivable" and = remote >> University towns around the globe - have experiences of discovering a = M >> Duchamp trove or Paul Eluard letters or whatever - because they had = either > a >> good curator in the library or a great teacher on the faculty who led = the >> Library and the money to the source and took off with the jewels. > > Hey, wait a minute!!! Edmonton, "unlivable"?? NOT AT ALL! One of = Canada's > top-ranked universities in a reasonably cool city (okay... we won't = mention > the political wasteland of Alberta). > > Best, Michael. ========================================================================= Date: Sun, 29 Jun 2003 10:23:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: rachel corrie's murderers exonerated (by IDF prosecutor) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable http://www.commondreams.org/headlines03/0627-02.htm JERUSALEM =97 Israel's military prosecutor has exonerated Israeli soldiers= in=20 the death of Rachel Corrie, 23, who was killed by an Israeli bulldozer in=20 March as she protested the destruction of a Palestinian home at the Rafah=20 refugee camp. The death of Corrie, a student at The Evergreen State College in Olympia,=20 sparked debate nationally and internationally on the role and methods of=20 activists in a volatile land. The Rafah camp, on the Egyptian border, has been one of the flashpoints in= =20 the Mideast conflict. The army said the home being protected by Corrie was= =20 being destroyed in an effort to block arms smuggling. Members of her pro-Palestinian group, International Solidarity Movement,=20 claimed that Corrie was visible to the bulldozer driver and that her death= =20 was malicious. "When the bulldozer refused to stop or turn aside, (Rachel) climbed up onto= =20 the mound of dirt and rubble being gathered in front of it ... to look=20 directly at the driver, who kept on advancing," the group said in a= statement. Announcing the ruling, the army said the driver did not see her, claiming=20 she was standing behind a mound of earth. Military police investigating the Corrie case found that the soldiers=20 operating the bulldozer had no intention of harming her, the army said in a= =20 statement. "Rachel Corrie was injured as a result of earth and building material=20 falling on her when she tried to climb on a pile of earth while work was=20 being carried out by an armored Israel Defense Forces bulldozer," the=20 statement said. "The crew of the armored bulldozer did not see Miss Corrie,= =20 who was standing behind a pile of earth, nor could they have seen or heard= =20 her." "I feel I have a right to know what happened to Rachel," said Corrie's=20 sister, Sarah Simpson, 29, of Olympia. "Prime Minister Sharon promised=20 President Bush a credible investigation of her death, and we as a family=20 expect no less." "I'm outraged, but I'm not surprised," said John Reese, a Seattle member of= =20 the International Solidarity Movement who met Corrie soon before she left=20 for Israel. "It's the military investigating itself, so it's not surprising= =20 that it always finds itself innocent." "The big question now is what is the U.S. going to do about it," said=20 Kristi Schaefer, 26, of Olympia, who was Corrie's best friend. Copyright =A9 2003 The Seattle Times Company ========================================================================= Date: Sun, 29 Jun 2003 15:21:03 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Re: Black Sparrow Press >Hey, wait a minute!!! Edmonton, "unlivable"?? NOT AT ALL! One of Canada's >top-ranked universities in a reasonably cool city (okay... we won't mention >the political wasteland of Alberta). > >Best, Michael. not only is it "livable" but its got one of the best bars in canada - the strath. have spent many a night there with andy weaver & various other of edmontons writers. hell, kroestch & barbour drank there (never with us, tho) rob -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Sun, 29 Jun 2003 18:16:07 -0400 Reply-To: The Constant Critic Sender: UB Poetics discussion group From: The Constant Critic Organization: The Constant Critic Subject: Welcome to The Constant Critic Content-type: text/plain; charset=iso-8859-1 Hello! Thanks for subscribing. Here's information about The Constant Critic that was given by the list owner: The Constant Critic email list Private Policy: You might want to save this email for future reference. You can unsubscribe anytime from The Constant Critic by following this link: http://www.constantcritic.com/mojo/mojo.cgi?f=u&l=ccritic&e=poetics%40listserv.acsu.buffalo.edu&p=10876 If you have questions regarding this mailing list, you can contact the list owner at: rwolff@angel.net ========================================================================= Date: Sun, 29 Jun 2003 18:17:35 -0400 Reply-To: The Constant Critic Sender: UB Poetics discussion group From: The Constant Critic Organization: The Constant Critic Subject: The Constant Critic Unsubscription Content-type: text/plain; charset=iso-8859-1 Unsubscription from list: The Constant Critic is successful. If you would like to subscribe to The Constant Critic in the future, just click this link: http://www.constantcritic.com/mojo/mojo.cgi?f=n&l=ccritic&e=poetics%40listserv.acsu.buffalo.edu&p=10876 - rwolff@angel.net ========================================================================= Date: Sun, 29 Jun 2003 17:54:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: A Litmus Paper Shirt Of Another Color Mime-Version: 1.0 Content-Type: text/plain; format=flowed we've a supply of weeks tonight & African is your eye your waste is in the ditch & still again gorgeous whiteness is your double & your haunt is burst oh ____________________________________ MR. LOCOMOTIVE the sea dreams him over some woods sea's sound always birds rooms over to him when derailed he sits in them bridled & patient _____________________________________ "clever handheld nerves sound the pardon" o ho hum some dirt keeps a looooong time _____________________________________ steal my know - parted all nimble from me you rushes through the ruses - buzz in the dawn like, whoa, that noise I guess is from cast breath else snaps that Arctic chaff such as you buzzards have _____________________________________ voices young meeting without lights and directly a-same is that Sunday stay, soft air and themes foreseen _____________________________________ Rose, you are sidewalks - stop corner parents with your shadowy fin, I give in & you're early awarded we're oaks and train blues _____________________________________ years know only along these pines their neighborhood is the afterlife, which pins a fellow down _____________________________________ smoldering hotel breath is either the lunch or a photo _____________________________________ train a verb or a noun? pines I feel refers to trees _____________________________________ stopping enough to bridge our rue imperceptibly still afoot with night-longing, Gold Pockets Town that expensive promenade has been years at coals & thought of little else than sleepless stone Marys _____________________________________ How I Got Out Of The Bag: I Broke The Lens By Hitting It With My Lucky Dollar Then, With A Piece Of Sharp Glass, I Cut My Way Out Of The Bag Just In Time ____________________________________ speculum especially speculum tree September ____________________________________ plundered impersonators armed with fauna insist, "Seventeen-twenty-four is the smallest number which may be broken up in two different ways into the sum of two cubes!" Which to me seems hardly worthy of exclamation ___________________________________ poetry poetry corpses corpses corpses signal corpses mechanical corpses liquidated liquidated poetry ___________________________________ Where are all your beauties now? Out of my eye's depth. View me Adonai a work of Yours, Bravely decked come forth bright day. To music bent is my retired mind. Tune your music to the water's fall, Never weather-beaten sail. Lift up to Heaven sad wretch. O, when back my eye, As by the streams of Babylon, I sing a song of joy, I awake the heavy-eyed spright ___________________________________ the decay that cannot salt rain is but a giraffe ___________________________________ Good men will show if you can tell What harvest half so sweet is. The peaceful Western wind, Through your strangeness, Come away, armed with loves. Come you pretty false-eyed, A secret love or two. ___________________________________ Jack and Jill they think no ill Though all their looks be pale ___________________________________ fantastic-but-true, the Sonnet Beaver's shading is reproachfully thousanded ___________________________________ crowding swept my neck out to the willows ___________________________________ corrosive tortoise (an enemy porous) following print survey blood-red as the intellect's claim to bleached hate scattered tactile else breathed by squats and clods scintillation over worms fine withstood frenzy harsh-aligned with scratches, we endeavor to deny that Alongside, hard page laid with crawling - when great we expire, sighing "Do climb that tearful nourishing behind!" and so the corrosive tortoise does, disdainful with horrid pour _________________________________ this pharmacist won't refill my alphabet no more Minerva's back renewed pure magnificent drain O this tonight O stop if I'm to compose "hard shining known tooth tree is language alive!" & Minerva, very imprudently, married this pharmacist _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sun, 29 Jun 2003 20:31:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Fw: new reviews in cyberculture studies (july 2003) Comments: To: webartery@yahoogroups.com MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "david silver" To: Cc: ; Sent: Sunday, June 29, 2003 5:41 PM Subject: new reviews in cyberculture studies (july 2003) > Friends: > > New reviews (found at www.com.washington.edu/rccs/) include: > > Paul Dourish, Where the Action Is: The Foundations of Embodied Interaction > (MIT Press, 2001). > Reviewed by Tom Bell > Psychologist and freelance writer > > Ollivier Dyens, Metal and Flesh: The Evolution of Man: Technology Takes > Over (MIT Press, 2001). > Reviewed by Bryan Alexander > Center for Educational Technology > Middlebury College > > Colette Nicolle and Julio Abascal, Inclusive Design Guidelines for HCI > (Taylor & Francis, 2001). > Reviewed by Rita Lauria > Media Interface and Network Design (M.I.N.D.) Labs > > Donald A. Schon, Bish Sanyal, William J. Mitchell, eds., High Technology > and Low-Income Communities: Prospects for the Positive Use of Advanced > Information Technology (MIT Press, 1998). > Reviewed by Gracie Lawson-Borders > Corporate Communications and Public Affairs > Southern Methodist University > > As always, please feel free to forward this message. > > david silver > > To SUBSCRIBE to cyberculture-announce, a low volume announcement list for > RCCS events and updates, email: listproc@u.washington.edu; No subject is > needed. In the body, type: subscribe cyberculture-announce > > > > > ========================================================================= Date: Sun, 29 Jun 2003 19:20:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: (Mark Weiss' Breslin Article) + rachel corrie's murderers exonera ted MIME-Version: 1.0 Content-Type: text/plain Hi, All-- Mark: whoa: Jimmy Breslin ready to get out of the news... but for good reason. What an insulting position to find oneself in after all this life-work to honestly report. Stephen, your poem in response to the Breslin article that Mark posted is devastatingly real. How much more disgusting to me will be the official "smile" of the Bush Administration now that I have read the collisions and slippages between "silent," "silence," [presence], "absence," and "smile." All as states of (in)action. Poetically edgy. Politically ominous. Thanks for this provocative piece. Gabriel Gudding: This has been an interest of mine, so I appreciate that you have followed up. Unfortunately the news brings more ominousness, of course. If anyone is interested, Arab American poet, Nathalie Handal, gave me permission to post to my blog her elegy to Rachel. It's in the archives, on Friday, May 30. Another more recent highlight of the blog: Some thoughts on the excellent Brazilian Josely Vianna Baptista's new book of poetry, *On the Shining Screen of the Eyelids* (Manifest Press), translated by the incomparable Chris Daniels. Upcoming: --Some thoughts on Mark Weiss' very fine *Figures: 32 Poems* (Chax Press) --More Tornado Alley Countdown Love poems, #s 94 + 93 --More Sappho Series, interlinears http: //www.texfiles.blogspot.com ========================================================================= Date: Sun, 29 Jun 2003 19:43:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Edward Said on Rachel Corrie Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable [Thanks, Christine, re the feedback on the posting of the Corrie article.=20 Have followed the Corrie story more closely than most due in great part to= =20 being a fellow alum of Evergreen, something I share w/ Kirby Olson also.=20 Anyway, thought you might be interested in Said's take on Corrie.] [from http://www.aljazeerah.info/] The Meaning of Rachel Corrie By Edward Said PMC, 28/06/2003 In early May, I was in Seattle lecturing for a few days. While there, I had= =20 dinner one night with Rachel Corrie's parents and sister, who were still=20 reeling from the shock of their daughter's murder on March 16 in Gaza by an= =20 Israeli bulldozer. Mr. Corrie told me that he had himself driven=20 bulldozers, although the one that killed his daughter deliberately because= =20 she was trying valiantly to protect a Palestinian home in Rafah from=20 demolition was a 60 ton behemoth especially designed by Caterpillar for=20 house demolitions, a far bigger machine than anything he had ever seen or=20 driven. Two things struck me about my brief visit with the Corries. One was= =20 the story they told about their return to the US with their daughter's=20 body. They had immediately sought out their US Senators, Patty Murray and=20 Mary Cantwell, both Democrats, told them their story and received the=20 expected expressions of shock, outrage, anger and promises of=20 investigations. After both women returned to Washington, the Corries never= =20 heard from them again, and the promised investigation simply didn't=20 materialize. As expected, the Israeli lobby had explained the realities to= =20 them, and both women simply begged off. An American citizen willfully=20 murdered by the soldiers of a client state of the US without so much as an= =20 official peep or even the de rigeur investigation that had been promised=20 her family. But the second and far more important aspect of the Rachel Corrie story for= =20 me was the young woman's action itself, heroic and dignified at the same=20 time. Born and brought up in Olympia, a small city 60 miles south of=20 Seattle, she had joined the International Solidarity Movement and gone to=20 Gaza to stand with suffering human beings with whom she had never had any=20 contact before. Her letters back to her family are truly remarkable=20 documents of her ordinary humanity that make for very difficult and moving= =20 reading, especially when she describes the kindness and concern showed her= =20 by all the Palestinians she encounters who clearly welcome her as one of=20 their own, because she lives with them exactly as they do, sharing their=20 lives and worries, as well as the horrors of the Israeli occupation and its= =20 terrible effects on even the smallest child. She understands the fate of=20 refugees, and what she calls the Israeli government's insidious attempt at= =20 a kind of genocide by making it almost impossible for this particular group= =20 of people to survive. So moving is her solidarity that it inspires an=20 Israeli reservist named Danny who has refused service to write her and tell= =20 her, " You are doing a good thing. I thank you for it." What shines through all the letters she wrote home and which were=20 subsequently published in the London Guardian, is the amazing resistance=20 put up by the Palestinian people themselves, average human beings stuck in= =20 the most terrible position of suffering and despair but continuing to=20 survive just the same. We have heard so much recently about the roadmap and= =20 the prospects for peace that we have overlooked the most basic fact of all,= =20 which is that Palestinians have refused to capitulate or surrender even=20 under the collective punishment meted out to them by the combined might of= =20 the US and Israel. It is that extraordinary fact which is the reason for=20 the existence of a roadmap and all the numerous so-called peace plans=20 before them, not at all because the US and Israel and the international=20 community have been convinced for humanitarian reasons that the killing and= =20 the violence must stop. If we miss that truth about the power of=20 Palestinian resistance (by which I do not at all mean suicide bombing,=20 which does much more harm than good), despite all its failings and all its= =20 mistakes, we miss everything. Palestinians have always been a problem for=20 the Zionist project, and so-called solutions have perennially been proposed= =20 that minimize, rather than solve, the problem. The official Israeli policy,= =20 no matter whether Ariel Sharon uses the word "occupation" or not or whether= =20 or not he dismantles a rusty, unused tower or two, has always been not to=20 accept the reality of the Palestinian people as equals nor ever to admit=20 that their rights were scandalously violated all along by Israel. Whereas a= =20 few courageous Israelis over the years have tried to deal with this other=20 concealed history, most Israelis and what seems like the majority of=20 American Jews have made every effort to deny, avoid, or negate the=20 Palestinian reality. This is why there is no peace. Moreover, the roadmap says nothing about justice or about the historical=20 punishment meted out to the Palestinian people for too many decades to=20 count. What Rachel Corrie's work in Gaza recognized, however, was precisely= =20 the gravity and the density of the living history of the Palestinian people= =20 as a national community, and not merely as a collection of deprived=20 refugees. That is what she was in solidarity with. And we need to remember= =20 that that kind of solidarity is no longer confined to a small number of=20 intrepid souls here and there, but is recognized the world over. In the=20 past six months I have lectured in four continents to many thousands of=20 people. What brings them together is Palestine and the struggle of the=20 Palestinian people which is now a byword for emancipation and=20 enlightenment, regardless of all the vilification heaped on them by their=20 enemies. Whenever the facts are made known, there is immediate recognition and an=20 expression of the most profound solidarity with the justice of the=20 Palestinian cause and the valiant struggle by the Palestinian people on its= =20 behalf. It is an extraordinary thing that Palestine was a central issue=20 this year both during the Porto Alegre anti-globalization meetings as well= =20 as during the Davos and Amman meetings, both poles of the world-wide=20 political spectrum. Just because our fellow citizens in this country are=20 fed an atrociously biased diet of ignorance and misrepresentation by the=20 media, when the occupation is never referred to in lurid descriptions of=20 suicide attacks, the apartheid wall 25 feet high, five feet thick, and 350= =20 kilometers long that Israel is building is never even shown on CNN and the= =20 networks (or so much as referred to in passing throughout the lifeless=20 prose of the roadmap), and the crimes of war, the gratuitous destruction=20 and humiliation, maiming, house demolitions, agricultural destruction, and= =20 death imposed on Palestinian civilians are never shown for the daily,=20 completely routine ordeal that they are, one shouldn't be surprised that=20 Americans in the main have a very low opinion of Arabs and Palestinians.=20 After all, please remember that all the main organs of the establishment=20 media, from left liberal all the way over to fringe right, are unanimously= =20 anti-Arab, anti-Muslim and anti-Palestinian. Look at the pusillanimity of=20 the media during the buildup to an illegal and unjust war against Iraq, and= =20 look at how little coverage there was of the immense damage against Iraqi=20 society done by the sanctions, and how relatively few accounts there were=20 of the immense world-wide outpouring of opinion against the war. Hardly a=20 single journalist except Helen Thomas has taken the administration to task= =20 for the outrageous lies and confected "facts" that were spun out about Iraq= =20 as an imminent military threat to the US before the war, just as now the=20 same government propagandists, whose cynically invented and manipulated=20 "facts" about WMD are now more or less forgotten or shrugged off as=20 irrelevant, are let off the hook by media heavies in discussing the awful,= =20 the literally inexcusable situation for the people of Iraq that the US has= =20 now single-handedly and irresponsibly created there. However else one=20 blames Saddam Hussein as a vicious tyrant, which he was, he had provided=20 the people of Iraq with the best infrastructure of services like water,=20 electricity, health, and education of any Arab country. None of this is any= =20 longer in place. It is no wonder, then, with the extraordinary fear of seeming anti-Semitic= =20 by criticizing Israel for its daily crimes of war against innocent unarmed= =20 Palestinian civilians or criticizing the US government and being called=20 "anti-American" for its illegal war and its dreadfully run military=20 occupation, that the vicious media and government campaign against Arab=20 society, culture, history and mentality that has been led by Neanderthal=20 publicists and Orientalists like Bernard Lewis and Daniel Pipes, has cowed= =20 far too many of us into believing that Arabs really are an underdeveloped,= =20 incompetent and doomed people, and that with all the failures in democracy= =20 and development, Arabs are alone in this world for being retarded, behind=20 the times, unmodernized, and deeply reactionary. Here is where dignity and= =20 critical historical thinking must be mobilized to see what is what and to=20 disentangle truth from propaganda. No one would deny that most Arab countries today are ruled by unpopular=20 regimes and that vast numbers of poor, disadvantaged young Arabs are=20 exposed to the ruthless forms of fundamentalist religion. Yet it is simply= =20 a lie to say, as the New York Times regularly does, that Arab societies are= =20 totally controlled, and that there is no freedom of opinion, no civil=20 institutions, no functioning social movements for and by the people. Press= =20 laws notwithstanding, you can go to downtown Amman today and buy a=20 communist party newspaper as well as an Islamist one; Egypt and Lebanon are= =20 full of papers and journals that suggest much more debate and discussion=20 than these societies are given credit for; the satellite channels are=20 bursting with diverse opinions in a dizzying variety; civil institutions=20 are, on many levels having to do with social services, human rights,=20 syndicates, and research institutes, very lively all over the Arab world. A= =20 great deal more must be done before we have the appropriate level of=20 democracy, but we are on the way. In Palestine alone there are over a 1000 NGO's and it is this vitality and= =20 this kind of activity that has kept society going, despite every American=20 and Israeli effort made to vilify, stop or mutilate it on a daily basis.=20 Under the worst possible circumstances, Palestinian society has neither=20 been defeated nor has it crumbled completely. Kids still go to school,=20 doctors and nurses still take care of their patients, men and women go to=20 work, organizations have their meetings, and people continue to live, which= =20 seems to be an offense to Sharon and the other extremists who simply want=20 Palestinians either imprisoned or driven away altogether. The military=20 solution hasn't worked at all, and never will work. Why is that so hard for= =20 Israelis to see? We must help them to understand this, not by suicide=20 bombs, but by rational argument, mass civil disobedience, organized=20 protest, here and everywhere. The point I am trying to make is that we have to see the Arab world=20 generally and Palestine in particular in more comparative and critical ways= =20 than superficial and dismissive books like Lewis's What Went Wrong and Paul= =20 Wolfowitz's ignorant statements about bringing democracy to the Arab and=20 Islamic world even begin to suggest. Whatever else is true about the Arabs,= =20 there is an active dynamic at work because as real people they live in a=20 real society with all sorts of currents and crosscurrents in it that can't= =20 be easily caricatured as just one seething mass of violent fanaticism. The= =20 Palestinian struggle for justice is especially something with which one=20 expresses solidarity, rather than endless criticism and exasperated,=20 frustrating discouragement, and crippling divisiveness. Remember the=20 solidarity here and everywhere in Latin America, Africa, Europe, Asia and=20 Australia, and remember also that there is a cause to which many people=20 have committed themselves, difficulties and terrible obstacles=20 notwithstanding. Why? Because it is a just cause, a noble ideal, a moral=20 quest for equality and human rights. I want now to speak about dignity, which of course has a special place in=20 every culture known to historians, anthropologists, sociologists and=20 humanists. I shall begin by saying immediately that it is a radically wrong= =20 Orientalist, and indeed racist proposition to accept that, unlike Europeans= =20 and Americans, Arabs have no sense of individuality, no regard for=20 individual life, no values that express love, intimacy and understanding=20 that are supposed to be the property exclusively of cultures like those of= =20 Europe and America that had an Renaissance, a Reformation and an=20 Enlightenment. Among many others, it is the vulgar and jejune Thomas=20 Friedman who has been peddling this rubbish, which has alas been picked up= =20 by equally ignorant and self-deceiving Arab intellectuals I don't need to=20 mention any names here who have seen in the atrocities of 9/11 a sign that= =20 the Arab and Islamic worlds are somehow more diseased and more=20 dysfunctional than any other, and that terrorism is a sign of a wider=20 distortion that has occurred in any other culture. We can leave to one side that, between them, Europe and the US account for= =20 by far the largest number of violent deaths during the 20th century, the=20 Islamic world hardly a fraction of it. And behind all of that specious=20 unscientific nonsense about wrong and right civilizations, there is the=20 grotesque shadow of the great false prophet Samuel Huntington who has led a= =20 lot of people to believe that the world can be divided into distinct=20 civilizations battling against each other forever. On the contrary,=20 Huntington is dead wrong on every point he makes. No culture or=20 civilization exists by itself; none is made up of things like individuality= =20 and enlightenment that are completely exclusive to it; and none exists=20 without the basic human attributes of community, love, value for life and=20 all the others. To suggest otherwise as he does is the purest invidious=20 racism of the same stripe as people who argue that Africans have naturally= =20 inferior brains, or that Asians are really born for servitude, or that=20 Europeans are a naturally superior race. This is a sort of parody of=20 Hitlerian science directed uniquely today against Arab and Muslims, and we= =20 must be very firm as to not even go through the motions of arguing against= =20 it. It is the purest drivel. On the other hand, there is the much more=20 credible and serious stipulation that, like every other instance of=20 humanity, Arab and Muslim life has an inherent value and dignity which are= =20 expressed by Arabs and Muslims in their unique cultural style, and those=20 expressions needn't resemble or be a copy of one approved model suitable=20 for everyone to follow. The whole point about human diversity is that it is in the end a form of=20 deep co-existence between very different styles of individuality and=20 experience that can't all be reduced to one superior form: this is the=20 spurious argument foisted on us by pundits who bewail the lack of=20 development and knowledge in the Arab world. All one has to do is to look=20 at the huge variety of literature, cinema, theater, painting, music and=20 popular culture produced by and for Arabs from Morocco to the Gulf. Surely= =20 that needs to be assessed as an indication of whether or not Arabs are=20 developed, and not just how on any given day statistical tables of=20 industrial production either indicate an appropriate level of development=20 or they show failure. The more important point I want to make, though, is that there is a very=20 wide discrepancy today between our cultures and societies and the small=20 group of people who now rule these societies. Rarely in history has such=20 power been so concentrated in so tiny a group as the various kings,=20 generals, sultans, and presidents who preside today over the Arabs. The=20 worst thing about them as a group, almost without exception, is that they=20 do not represent the best of their people. This is not just a matter of no= =20 democracy. It is that they seem to radically underestimate themselves and=20 their people in ways that close them off, that make them intolerant and=20 fearful of change, frightened of opening up their societies to their=20 people, terrified most of all that they might anger big brother, that is,=20 the United States. Instead of seeing their citizens as the potential wealth= =20 of the nation, they regard them all as guilty conspirators vying for the=20 ruler's power. This is the real failure, how during the terrible war against the Iraqi=20 people, no Arab leader had the self-dignity and confidence to say something= =20 about the pillaging and military occupation of one of the most important=20 Arab countries. Fine, it was an excellent thing that Saddam Hussein's=20 appalling regime is no more, but who appointed the US to be the Arab=20 mentor? Who asked the US to take over the Arab world allegedly on behalf of= =20 it citizens and bring it something called "democracy," especially at a time= =20 when the school system, the health system, and the whole economy in America= =20 are degenerating into the worst levels since the 1929 Depression. Why was=20 the collective Arab voice NOT raised against the US's flagrantly illegal=20 intervention, which did so much harm and inflicted so much humiliation upon= =20 the entire Arab nation? This is truly a colossal failure in nerve, in=20 dignity, in self-solidarity. With all the Bush administration's talk about guidance from the Almighty,=20 doesn't one Arab leader have the courage just to say that, as a great=20 people, we are guided by our own lights and traditions and religion? But=20 nothing, not a word, as the poor citizens of Iraq live through the most=20 terrible ordeals and the rest of the region quakes in its collective boots,= =20 each one petrified that his country may be next. How unfortunate the=20 embrace of George Bush, the man whose war destroyed an Arab country=20 gratuitously, by the combined leadership of the major Arab countries last=20 week. Was there no one there who had the guts to remind George W. what he=20 has done to humiliate and bring more suffering to the Arab people than=20 anyone before him, and must he always be greeted with hugs, smiles, kisses= =20 and low bows? Where is the diplomatic and political and economic support=20 necessary to sustain an anti-occupation movement on the West Bank and Gaza?= =20 Instead all one hears is that foreign ministers preach to the Palestinians= =20 to mind their ways, avoid violence, and keep at the peace negotiations,=20 even though it has been so obvious that Sharon's interest in peace is just= =20 about zero. There has been no concerted Arab response to the separation=20 wall, or to the assassinations, or to collective punishment, only a bunch=20 of tired clich=E9s repeating the well-worn formulas authorized by the State= =20 Department. Perhaps the one thing that strikes me as the low point in Arab inability to= =20 grasp the dignity of the Palestinian cause is expressed by the current=20 state of the Palestinian Authority. Abu Mazen, a subordinate figure with=20 little political support among his own people, was picked for the job by=20 Arafat, Israel, and the US precisely because he has no constituency, is not= =20 an orator or a great organizer, or anything really except a dutiful aide to= =20 Yasir Arafat, and because I am afraid they see in him a man who will do=20 Israel's bidding, how could even Abu Mazen stand there in Aqaba to=20 pronounce words written for him, like a ventriloquist's puppet, by some=20 State Department functionary, in which he commendably speaks about Jewish=20 suffering but then amazingly says next to nothing about his own people's=20 suffering at the hands of Israel? How could he accept so undignified and=20 manipulated a role for himself, and how could he forget his self-dignity as= =20 the representative of a people that has been fighting heroically for its=20 rights for over a century just because the US and Israel have told him he=20 must? And when Israel simply says that there will be a "provisional"=20 Palestinian state, without any contrition for the horrendous amount of=20 damage it has done, the uncountable war crimes, the sheer sadistic=20 systematic humiliation of every single Palestinian, man, woman, child, I=20 must confess to a complete lack of understanding. As to why a leader or=20 representative of that long-suffering people doesn't so much as take note=20 of it. Has he entirely lost his sense of dignity? Has he forgotten that since he is not just an individual but also the=20 bearer of his people's fate at an especially crucial moment? Is there=20 anyone who was not bitterly disappointed at this total failure to rise to=20 the occasion and stand with dignity the dignity of his people's experience= =20 and cause and testify to it with pride, and without compromise, without=20 ambiguity, without the half embarrassed, half apologetic tone that=20 Palestinian leaders take when they are begging for a little kindness from=20 some totally unworthy white father? But that has been the behavior of Palestinian rulers since Oslo and indeed= =20 since Haj Amin, a combination of misplaced juvenile defiance and plaintive= =20 supplication. Why on earth do they always think it absolutely necessary to= =20 read scripts written for them by their enemies? The basic dignity of our=20 life as Arabs in Palestine, throughout the Arab world, and here in America,= =20 is that we are our own people, with a heritage, a history, a tradition and= =20 above all a language that is more than adequate to the task of representing= =20 our real aspirations, since those aspirations derive from the experience of= =20 dispossession and suffering that has been imposed on each Palestinian since= =20 1948. Not one of our political spokespeople the same is true of the Arabs=20 since Abdel Nasser's time ever speaks with self-respect and dignity of what= =20 we are, what we want, what we have done, and where we want to go. Slowly, however, the situation is changing, and the old regime made up of=20 the Abu Mazens and Abu Ammars of this world, is passing and will gradually= =20 be replaced by a new set of emerging leaders all over the Arab world. The=20 most promising is made up of the members of the National Palestinian=20 Initiative; they are grass roots activists whose main activity is not=20 pushing papers on a desk, nor juggling bank accounts, nor looking for=20 journalists to pay attention to them, but who come from the ranks of the=20 professionals, the working classes, and young intellectuals and activists,= =20 the teachers, doctors, lawyers, working people who have kept society going= =20 while also fending off daily Israeli attacks. Second, these are people=20 committed to the kind of democracy and popular participation undreamt of by= =20 the Authority, whose idea of democracy is stability and security for=20 itself. Lastly, they offer social services to the unemployed, health to the= =20 uninsured and the poor, proper secular education to a new generation of=20 Palestinians who must be taught the realities of the modern world, not just= =20 the extraordinary worth of the old one. For such programs, the NPI=20 stipulates that getting rid of the occupation is the only way forward, and= =20 that in order to do that, a representative national unified leadership be=20 elected freely to replace the cronies, the outdated, and the=20 ineffectiveness that have plagued Palestinian leaders for the past century. Only if we respect ourselves as Arabs and Americans, and understand the=20 true dignity and justice of our struggle, only then can we appreciate why,= =20 almost despite ourselves, so many people all over the world, including=20 Rachel Corrie and the two young people wounded with her from ISM, Tom=20 Hurndall and Brian Avery, have felt it possible to express their solidarity= =20 with us. I conclude with one last irony. Isn't it astonishing that all the signs of= =20 popular solidarity that Palestine and the Arabs receive occur with no=20 comparable sign of solidarity and dignity for ourselves, that others admire= =20 and respect us more than we do ourselves? Isn't it time we caught up with=20 our own status and made certain that our representatives here and elsewhere= =20 realize, as a first step, that they are fighting for a just and noble=20 cause, and that they have nothing to apologize for or anything to be=20 embarrassed about? On the contrary, they should be proud of what their=20 people have done and proud also to represent them. *Edward Said is University Professor of English and Comparative Literature= =20 at Columbia University, and is a leading Palestinian intellectual and= activist ========================================================================= Date: Mon, 30 Jun 2003 00:24:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: crop MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII crop http://www.asondheim.org/portal/ crop jpgs it was a long time ago. the plane musing on the bacterial sky. the explosion of the sky. lights glimmer in the deep valley. there i told you it would take off. its wings are festooned with wings. its propeller festooned with propeller. garland of ailerons. there is no pilot in the plane. the bacterial valley illuminated from within. the bacterial river. we are all afraid in our forest america. pollen negotiates the difficult descent. pollen encrusted with pollen in dark america. fear is everywhere and festooned. it was tomorrow and will be today. dark forest of forest america. festooned with explosions in the sky. festooned a long time ago. the plane descends bacterial valleys. the plane ascends bacterial rivers. lights glimmer above the dark river. festooned fear in forest america. ___ ========================================================================= Date: Mon, 30 Jun 2003 00:57:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: New Boog NYC Series Wants Yr non-NY Press Comments: To: "David A. Kirschenbaum" In-Reply-To: <1a3.1706231e.2c30200c@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit David, quick note late at night - I'd love to fill one of your spots. As you know I do COMBO mag but am also launching COMBO BOOKS this Fall - 1st book I'm publishing is Kasey Mohammad's A THOUSAND DEVILS (110 pp, a kind of New & Selected). May, June or July would work great for me if you're interested. Thanks, Mike. Quoting "David A. Kirschenbaum" : > Hi all, > > Boog City is celebrating its 12th anniversary this August with the debut of a > > new monthly reading series I'm curating at the Aca Galleries at 529 W.20th > St., 5th Flr. (bet. 10th and 11th avenues) the first Thursday of each month, > > from 6:00 p.m.-8:00 p.m., beginning Thurs. Aug. 7. The gallery operators are > > amazing folk and connected to the poetry community in that they're the > son-in-law > and daughter of the poet Simon Perchik. They'll be providing wine and cheese > > and fruit for each reading, too. Oh yeah, no door either. (Thanks to David > Baratier for the introduction.) > > I’ve named the reading series "levy lives: celebrating the renegade press > in > america" in honor of the legendary Cleveland poet-publisher and concrete > artist d.a. levy, and each reading we’ll begin the event with some of > levy’s own > work. > (http://www.thing.net/~grist/l&d/dalevy/dalevy.htm). > > Each month, excluding the opening one, I will be hosting non-New York small > presses, introducing the editor and then letting them run the night, > featuring > poetry and music. As we all know, one of the biggest pains is traveling and > trying to set up a gig for your press. With this series, 11 times a year > I’ll be > able to hook up cool non-NY small presses with NYC gigs. I'm only scheduling > > through May 2004, keeping June and July open, because I know in a few months > > some new small press is going to start-up that's gonna make me smile. > > **I still need presses for some readings, so if you run a non-NY small press, > > please check the below available dates and backchannel me. THANKS!** > > To kickoff the series, I am throwing a 12th anniversary party for Boog City > featuring NYC-based poet-publishers who I have previously published (say that > > three times fast) and a special visiting feature. > > That event will include performances by: > > Kent Fielding, now of Sitka, Alaska, who some of you may be familiar with > from his work with Louisville's White Fields Press and the Insomniacathons > (72 > hour-long poetry and music festivals) he's run there. > > NYC small press editors > > Lee Ann Brown-Tender Buttons > Jen Coleman-pompom > Jordan Davis-The Hat > Chris Edgar-The Hat > Bob Hershon-Hanging Loose Press > Katy Lederer-Explosive/Spectacular Books > Brendan Lorber-Lungfull > Dan Machlin-future poem > Lewis Warsh-United Artists > Rebecca Woolf-Fence > and more TBA > > and music from Paula Paige > > The 2003-2004 season’s dates: > > levy lives: celebrating the renegade press in America* > > Aug. 7 Boog 12th anniversary party, ed. David Kirschenbaum > > Sept. 11 > Oct. 2 The Owl Press (Woodacre, Calif.) > Nov. 6 Avec Books (Penngrove, Calif.) > Dec. 4 CyPress (Cincinnati, Ohio) > Jan. 8 > Feb. 5 > March 4 Pavement Saw Press (Columbus, Ohio) > April 1 Bird Dog magazine (Seattle, Wash.) > May 6 > June 3 > July 1 > > > as ever, > David > > > *Please note some presses are still tentative. > ________ > > David A. Kirschenbaum, editor and publisher > Boog City > 330 W.28th St., Suite 6H > NY, NY 10001-4754 > T: (212) 842-BOOG (2664) > F: (212) 842-2429 > ========================================================================= Date: Mon, 30 Jun 2003 00:59:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: New Boog - whoops In-Reply-To: <1056949069.3effc34d4104e@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Whoops, meant to backchanel that, sorry, -m. Quoting mmagee@dept.english.upenn.edu: > David, quick note late at night - I'd love to fill one of your spots. As > you > know I do COMBO mag but am also launching COMBO BOOKS this Fall - 1st book > I'm > publishing is Kasey Mohammad's A THOUSAND DEVILS (110 pp, a kind of New & > Selected). May, June or July would work great for me if you're interested. > > Thanks, Mike. > > Quoting "David A. Kirschenbaum" : > > > Hi all, > > > > Boog City is celebrating its 12th anniversary this August with the debut of > a > > > > new monthly reading series I'm curating at the Aca Galleries at 529 W.20th > > St., 5th Flr. (bet. 10th and 11th avenues) the first Thursday of each > month, > > > > from 6:00 p.m.-8:00 p.m., beginning Thurs. Aug. 7. The gallery operators > are > > > > amazing folk and connected to the poetry community in that they're the > > son-in-law > > and daughter of the poet Simon Perchik. They'll be providing wine and > cheese > > > > and fruit for each reading, too. Oh yeah, no door either. (Thanks to David > > Baratier for the introduction.) > > > > I’ve named the reading series "levy lives: celebrating the renegade > press > > in > > america" in honor of the legendary Cleveland poet-publisher and concrete > > artist d.a. levy, and each reading we’ll begin the event with some of > > levy’s own > > work. > > (http://www.thing.net/~grist/l&d/dalevy/dalevy.htm). > > > > Each month, excluding the opening one, I will be hosting non-New York > small > > presses, introducing the editor and then letting them run the night, > > featuring > > poetry and music. As we all know, one of the biggest pains is traveling > and > > trying to set up a gig for your press. With this series, 11 times a year > > I’ll be > > able to hook up cool non-NY small presses with NYC gigs. I'm only > scheduling > > > > through May 2004, keeping June and July open, because I know in a few > months > > > > some new small press is going to start-up that's gonna make me smile. > > > > **I still need presses for some readings, so if you run a non-NY small > press, > > > > please check the below available dates and backchannel me. THANKS!** > > > > To kickoff the series, I am throwing a 12th anniversary party for Boog > City > > featuring NYC-based poet-publishers who I have previously published (say > that > > > > three times fast) and a special visiting feature. > > > > That event will include performances by: > > > > Kent Fielding, now of Sitka, Alaska, who some of you may be familiar with > > from his work with Louisville's White Fields Press and the Insomniacathons > > (72 > > hour-long poetry and music festivals) he's run there. > > > > NYC small press editors > > > > Lee Ann Brown-Tender Buttons > > Jen Coleman-pompom > > Jordan Davis-The Hat > > Chris Edgar-The Hat > > Bob Hershon-Hanging Loose Press > > Katy Lederer-Explosive/Spectacular Books > > Brendan Lorber-Lungfull > > Dan Machlin-future poem > > Lewis Warsh-United Artists > > Rebecca Woolf-Fence > > and more TBA > > > > and music from Paula Paige > > > > The 2003-2004 season’s dates: > > > > levy lives: celebrating the renegade press in America* > > > > Aug. 7 Boog 12th anniversary party, ed. David Kirschenbaum > > > > Sept. 11 > > Oct. 2 The Owl Press (Woodacre, Calif.) > > Nov. 6 Avec Books (Penngrove, Calif.) > > Dec. 4 CyPress (Cincinnati, Ohio) > > Jan. 8 > > Feb. 5 > > March 4 Pavement Saw Press (Columbus, Ohio) > > April 1 Bird Dog magazine (Seattle, Wash.) > > May 6 > > June 3 > > July 1 > > > > > > as ever, > > David > > > > > > *Please note some presses are still tentative. > > ________ > > > > David A. Kirschenbaum, editor and publisher > > Boog City > > 330 W.28th St., Suite 6H > > NY, NY 10001-4754 > > T: (212) 842-BOOG (2664) > > F: (212) 842-2429 > > > ========================================================================= Date: Mon, 30 Jun 2003 01:41:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Edward Said on Rachel Corrie MIME-Version: 1.0 Content-Type: text/plain Gabriel, Thanks very much for posting the Said--a noteworthy approach he takes, using the occasion in part as a platform to spur more (much needed) proactive approaches from Arab countries. As a writer, Said's expository mix is always interesting. I found this a provocative one and have posted an excerpt on Texfiles (with a link to Conchology--I hope you don't mind?). Chris Murray ========================================================================= Date: Sun, 29 Jun 2003 23:53:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Problems in Palestine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Problems in Palestine, What! Wait...=20 How can that be? No place as this on our earth,=20 ...no Palestine ever was not now, not ever, but soon it shall be. Oh, they who roamed nomadic talk of Canaan's land how jews took over=20 even then,=20 back when=20 Moses led the warriors out of Egypt at night,=20 =20 but then again, not till forty-eight=20 was there on equivalent plane, an Israel. ..not then, not before, so what the hell is all the fighting for? ****************************************************************** CHORUS Blame the British Blame the Brits Pompous, self-serving twits; stuck their noses into Arab tents created world hell with no home consequence.=20 ***************************************************************** second stanza (to come)=20 =A9 alex saliby =20 ========================================================================= Date: Sun, 29 Jun 2003 05:38:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Prop... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In any other context Racehl Corrie's actions...would be been as imperialistic and patronizing...only in the Palestinian conflict need idealistic american young women apply as martyrs...these are the same Americans who whether as missionary, hospital or social worker are considered loathsome, misguided and tools of American power...both sides play human tragedy as a tune for political game....rachel corrie and jenn lynch are not much dif...swig your prop...and chase it down with some of the hard stuff...drn.. ========================================================================= Date: Mon, 30 Jun 2003 02:06:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: #0005-#0008 next-gen nanopoetics exerpts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit #0005-#0008 next-gen nanopoetics exerpts "Tell me about it. "Tell me about it. she tell you I fuck "Tell me about it. she tell you I fuck rushed out and past dead, and it is the -broke the bars of dead, and it is the -broke the bars of weep. Her husband These kids are lucky. These kids are lucky. every point in the These kids are lucky. every point in the looking at Inspector "I leaned down to These are my senior These are my senior mouth full of cock, These are my senior mouth full of cock, Potomac, defeated room to cover my room to cover my pocked and patched honors honors Banks. "I expect to honors Banks. "I expect to thought she was far better than the far better than the for you to come out. the cavalry battle, the cavalry battle, and he does not -broke the bars of the cavalry battle, and he does not -broke the bars of Their and statues and and statues and both much amused by to all of which the to all of which the meant "that." to all of which the meant "that." And then, when she circumcision in circumcision in "I received a #0006 next-gen nanopoetics "If there are more "If there are more batteries of the "If there are more batteries of the series of changes series of changes Southern general, -world is hottest as guys like you," she guys like you," she predictable, guys like you," she predictable, "Then Moshe set two exceptions - the two exceptions - the body could. She had -Dragonsbane, they says. The slut moves says. The slut moves the war! And then says. The slut moves the war! And then rather pale," he narrow canyon from narrow canyon from Reeki vines mounded totally totally people have become totally people have become brothers. Until a Another sound hit Another sound hit take the also want to live in also want to live in had just also want to live in had just a room on the second weep. Her husband weep. Her husband not sent for one tranquility in this tranquility in this as ugly as that! -General tranquility in this as ugly as that! -General exerting the let me do all let me do all sliced across #0007 next-gen nanopoetics world? And the lad. world? And the lad. thought circled, world? And the lad. thought circled, penetrated too far the electrocution of the electrocution of was the genie with He did He did besides, her He did besides, her Madame de Villegry flexible as the flexible as the gathering of registered. He registered. He with thirst You will but he saw an but he saw an be this easy?' I when one travels when one travels their right when one travels their right daughter and day to have a deep day to have a deep been pretty in from Egypt to the from Egypt to the Gala had developed from Egypt to the Gala had developed "Carlton Ives, sprinkle the blood sprinkle the blood black fellow coming Land of Canaan, he Land of Canaan, he Jackson. Harry was Land of Canaan, he Jackson. Harry was looked at me and o'clock in the o'clock in the all filled with travels from travels from arrogant, as a travels from arrogant, as a voice behind the little detachment, little detachment, at ground level. The "skin" and "skin" and displeasure of "skin" and displeasure of my Guard had won it had it had the first time #0008 next-gen nanopoetics "seeds." The "seeds." The "seeds." The tucking their hard The heroic The heroic a good reference here is reference here is first. Yisachar, reference here is first. Yisachar, licentious acts. It like Lot." "Five," I like Lot." "Five," I mechanical not to his person, not to his person, to the bad," and not to his person, to the bad," and We menace streaming in the air, streaming in the air, but but dealt with the but dealt with the he followed the one Tatooine began to Tatooine began to his relation with When we opened the When we opened the impressed When we opened the impressed valley. presented himself to presented himself to smaller ship which door, the delicious door, the delicious she crooned her old door, the delicious she crooned her old trodden up by young that's oppressing me that's oppressing me "Aye, aye, sir." smell of cooked food smell of cooked food former Robotech smell of cooked food former Robotech drove away, like "Hi, I'm sorry, I "Hi, I'm sorry, I other end. The mulberry-world is hottest as mulberry-world is hottest as streaks of blonde at mulberry-world is hottest as streaks of blonde at straight, and vigor. Four and vigor. Four the vast canopy 2 that were almost that were almost river, and as they that were almost river, and as they playfellow? rescue. rescue. she thought to painful in so small painful in so small like you. Is -Israel will exist painful in so small like you. Is -Israel will exist chamber," said chamber," said "They must a room. "I'm Major a room. "I'm Major was rewarded by a a room. "I'm Major was rewarded by a never left Gina as travels, and that travels, and that non-licensed building. The name -troubles that building. The name -troubles that Mistaya building. The name -troubles that Mistaya visit the chessboard was very definite. was very definite. be expected to visit my hand up and down my hand up and down shot into my hand up and down shot into imprudence, of her going to put my going to put my the "journeys" and on Timmy's cock. on Timmy's cock. he could talk about on Timmy's cock. he could talk about necessary to state tapped for tapped for The will of Thalasi Mary tried to watch Mary tried to watch He had been eager, Mary tried to watch He had been eager, trained since birth he begged her he begged her were separating, and blankets and tents -to Me,' he would not blankets and tents -to Me,' he would not but the bottom is so blankets and tents -to Me,' he would not but the bottom is so the any other phenomenon. any other phenomenon. yellow and gold. He Bertrand, eager to Bertrand, eager to the desk. A low, Bertrand, eager to the desk. A low, a hidden cache. A hidden cache. A muzzle as a wolf's. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.491 / Virus Database: 290 - Release Date: 6/19/2003 ========================================================================= Date: Mon, 30 Jun 2003 07:14:45 -0400 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="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://ronsilliman.blogspot.com/ Malevich: Off center,=20 thinking with material & shape What K. Silem Mohammad has in common with Mariah Carey Phaneronoemikon defined Reading Kiosk 2 Jonathon Wilcke: Post-Burroughs, Post-Acker pansexualilty with a glimmer of optimism Jean Donnelly=92s Anthem A history of blogging (whilst dishing Matt Drudge) Imagine Rain Taxi distributed by every Sunday paper in America Celebrating our 40,000 visitor Barrett Watten=92s The Constructivist Moment: From Material Text to Cultural Poetics Eileen Tabios=92 one-woman renaissance Bob Perelman=92s =93Writing Time with Quotes=94 Van Gogh=92s Ear & Allen Ginsberg=92s =93Lines for Creeley=92s Ear=94 Reading John Wieners=92 =93Loss=94 & reading Ben Friedlander=92s chapbook Loss =96 When is a book a blog? What does the school of quietude mean when it says =93more traditional=94? http://ronsilliman.blogspot.com/ Over 40,000 visitors since September 2002 Blog of the Day award (12/6/02) Technorati=92s=20 Top 50 Interesting Recent Blogs =93Un verdadero lujo para los amantes de la literatura = contempor=E1nea=94 -- El Mercurio (Santiago, Chile, 8 June 2003) ========================================================================= Date: Mon, 30 Jun 2003 09:45:15 -0400 Reply-To: 18073-feedback-43@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: Ted Joans Lives at Bowery PoClub! Poetry & Jazz w/ Billy Bang, Bob Holman, Rene McClain & Jeliya! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable 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 more info? bowerypoetry.com tix? virtuous.com Friday, 6/27 He's in his 70's, he was the first man out of the closet= and he wants you to join his army...get to the Prof. Taylor Mead! show a= t 6:30 ($5) --the Truth as only Taylor tells it... at 8 it's Bang-Holman= the Billy Bang Quintet with Bob Holman on poems. This is the=20 fourth time we've featured these guys -- a true blend of lyrics facing th= e music! "Gorgeous and outrageous" said one critic (10$)... 10pm it's Ren= e McClean & Urban Jeliya a CD release party, a blend of African tradition= and contemporary jazz -- Kewulay Kamara and other West African poets wil= l be joining in (20$). What a night! Saturday 6/28 Big Boys Do Cry kicks us right into the po zone at 1pm -- S= eldon Yuan, George McKibbens and Christopher Tignor will read a variety = of new work (5$), and then hold onto your wingbones as George McKibbens = steps into the Big Mouth Heavyweight Poetry Bout taking on Narubi Selah = in this hilarious WWF poetry parody -- only the poetry slams! (5$) -- Mi= ke's Place Benefit starts at 6 (10$)...then we welcome back Samoa's Bower= y Bottom Opera --=20 world's only Samoan C+W Band (damn good, too!) with grace notes applied b= y Bingo Gazingo (7$)... =20 Sunday 6/29 at 1, Rolando Perez starts a series of laid-back book party cum readings kOOL gROOVE (5$+ one drink) then at 3, Ted Joans = Lives! the great Black Beat Surrealist who died a month again -- Amiri wi= ll be here, and Jayne, all his pals, Steve Cannon, David Henderson, and l= oads of great jazz. Drop in for a Black Velvet on the house as we remembe= r one of the greats. Hosted by Steve Dalchinsky (free)...young poets from= Jersey, the Jerzey Beats=20 Consortium, will take stage at 7 to continue the afternoon with Hip hop T= ributes to Joans and Bob Kaufman(5$) ...followed by mOOnie's spOOky trail= er, art and=20 life battle it out at the bar under the baton of maestro Moonshine. This = month's theme: Prom. Mon, 6/30 Mondays continue on their outrageous path with this week's ins= tallment of the Totally Open Slam which starts at 6 led by intrepid Bobar= oonie Holmanski (3$)... Janice Girlbomb & Sara Fisch present Semi-Pro Too= l=20 at 8:00 (5$)... and the sin-sational O'Debra Twins "Show & Tell" from 10:= 00 till the whee! hours -- po, perf, and burlesque (3$)... Tues 7/1 ....another episode of the roundtable reading of Gilgamesh led = by Laura Willey continues at 6:30=20 (free)...and at 7pm the Club goes into the deep tissue of life with FAIT= H conceived by Tamilla Woodard featuring Shawn Randall and crew -- polyvo= cal, polyhuman, all spirit(10$)...then we return to our Tuesday spectacul= ar, Kareoke=20 + Poetry =3D Fun -- an idea whose time has come. This week we'll feature= poets from Fence Magazine (6$)... Wed 7/2 It's time (7pm) to be Soft Skulled ! The=20 monthly first Wednesday series brings us Wanda Phipps and several new wri= ters(5$)... then we light up the candles for Shappy's Birthday Party (9pm= ) -- this week featuring the amazing solo accordionist and foot cymbalist= Corn Mo!=20 (5$)... Thur 7/3 Come feel the Dark Future Urbana Slam piloted by our own Captai= n Kirk, Captain Kirk! (7pm, 5$)..... and closing the night is the intense= hiphoppery of our resident rap poets -- Krunkadumpolis 10:30pm (5$) we close July 4-6 to repaint and repair...next week Max Blagg and Linda S= t Clair on Tuesday July 8, Persian Poetry on Wednesday July 9! Delicious coffee & pastries served weekdays at 9, weekends at 11...lunch:= homemade soup & salads & sandwiches...bar opens at 5...Write poem now th= ank you.=20 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=3D4642F94AE57B2224&m=3D43 ========================================================================= Date: Mon, 30 Jun 2003 10:59:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Re: New Boog - whoops MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thank you very much for this, m I have been red-faced ever since I did this last week. I feel so much better knowing I am not alone Fortunately, people on Poetics are kind. Martha PS I am hoping to be in NYC for at least some of Boog City's non-NY Press events. They sound very interesting. On Mon, 30 Jun 2003 00:59:18 -0400 mmagee@DEPT.ENGLISH.UPENN.EDU writes: > Whoops, meant to backchanel that, sorry, -m. > ========================================================================= Date: Mon, 30 Jun 2003 13:20:27 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: 2-4 Festival In-Reply-To: <1056744587.3efca48b244e0@webmail.scsv.nevada.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII well, thanks for the suggestion. it's the only one i got. the thing is that you can't buy a 2-4 of beer in newfoundland. unlike most other canadian provinces beer here is sold at the local corner store so there isn't the space for the big case. a six is a half case. slainte kevin His shirt said zero to horny in six beers It only takes a half case to get hin in to bed Colleen Power -- ========================================================================= Date: Mon, 30 Jun 2003 09:03:26 -0700 Reply-To: bradsenning@dissociatedwritersproject.com Sender: UB Poetics discussion group From: brad senning Subject: Concerts, Wash DC Mime-Version: 1.0 Content-Type: text/plain; format=flowed Two concerts I wanted to let everyone know about, taking place the next two weekends at Signal 66, the Mt. Vernon Sq artspace. They're being put on to benefit the annual Dissociated Writer's Project conference. July 5: John Sinclair, Cool Candy, Paul Sidewinder John Sinclair was the promoter for the MC5 and founder of the White Panther Party. In the seventies he was locked up for seven years for possession of a joint. He now does spoken word with a blues back-up band. Cool Candy plays good rock and roll. Paul Sidewinder is the author of two books of poetry: I, Hippopotamus; and Pearl Necklaces, and other Things My Granpa Gave Me. He will be reading poetry with eerie background music. July 12: Thee Snuff Project, I’m Really Happy for You!/Guaranteed, Sounds of Kaleidoscope Thee Snuff Project is generally considered the best rock'n'roll band in DC. CNN came to film them once. Which was the night that the audience wouldn't leave until Thee Snuff Project played their whole set over again. I'm Really Happy for You!/Guaranteed is a side-project of Matt from Touhy, in which he puts Funkadelic in the mix and sings into a gas mask. Sounds of Kaleidoscope is seventies psychadelic music, with video backdrop of people waking up from a nightmare. Both concert dates @: Signal 66 Signal 66 is at 926 N Street REAR NW, between 10th and 9th Streets, in Blagden Alley, right by the new convention center. Nearest Metro: Mt. Vernon Sq. $6 at the door. The Dissociated Writers Project The DWP is a DC-area-based collective of artists & writers interested in illumination, inspiration, natural creativity. Anything that causes laughter, as in dumb things or overly smart things. Things unknown to science, or known but with skepticism. Silence, etc. _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Mon, 30 Jun 2003 10:57:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: 2-4 Festival MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Hi there Kevin Hehir, perhaps you could find a title for your series in Alan Davies’s writings, and thereby pay a surreptitious homage to the New York exile? Did you know that A. Davies is a long-lost Newfoundlander poet? At least, he was born there, and spent time there. The Writers Alliance of Newfoundland and Labrador might even consider recognizing Alan as an honorary member and award him a porcelain buttered lobster (with or without leash), a cod jigging line for illegal versifying on the dory o' langorage, and Francis Eterovich’s Approaches to Natural Law from Plato to Kant (signed by Aaron Vidaver), but it's not necessary, and certainly wouldn't affect your titling decision based on his works. ========================================================================= Date: Mon, 30 Jun 2003 13:55:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Spicer Connection-Kevin Killian-1 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Spicer, I think, appeals to the young because his poetry is filled with strong, resonant statements which are simultaneously denied, undermined, negated, just as young people are prone to large statements they don't "mean" the very next second. Quote 1 (from Gary Sullivan's Interview with Kevin Killian) http://home.jps.net/~nada/killian.htm ========================================================================= Date: Mon, 30 Jun 2003 13:56:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Tom Raworth-J.Skinner MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ..... Each word writes over the previous word, weaving an arc of smaller arcs... from Jonathan Skinner's article LINES THAT GO BUMP IN THE NIGHT... in "REMOVED FOR FURTHER STUDY, The Poetry of Tom Raworth--[The Gig, Issue 13/14, Toronto] ========================================================================= Date: Mon, 30 Jun 2003 13:58:23 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: relit awards, winners (i didnt see any listings/notices for this, so ill send it out...) The ReLit Awards 2003 Winners: NOVEL: Please, Peter Darbyshire (Raincoast Books) SHORT FICTION: A Day Does Not Go By, Sean Johnston (Nightwood Editions) POETRY: Excessive Love Prostheses, Margaret Christakos (Coach House) 2003 Shortlists Announced: The founders of The ReLit Awards are pleased to announce the 2003 nominees in three categories: NOVEL: (Judges: Leon Rooke and Clint Hutzulak) Please, Peter Darbyshire (Raincoast Books) A Fine Passage, France Daigle (Anansi) Necessary Betrayals, Guillaume Vigneault (Douglas & McIntyre) The Deep, Mary Swan (Porcupine's Quill) SHORT FICTION: (Judges: Holley Rubinsky and Mark Anthony Jarman) A Day Does Not Go By, Sean Johnston (Nightwood Editions) Black Coffee Night, Emily Schultz (Insomniac Press) The Obstacle Course, Richard Cumyn (Oberon) My Own Devices, Corey Frost (conundrum press) POETRY: (Judges: Christian Bok and Carmelita McGrath) Seven Pages Missing (Volume 2.), Steve McCaffery (Coach House) Mycological Studies, Jay Millar (Coach House) Excessive Love Prostheses, Margaret Christakos (Coach House) Disturbances of Progress, Lise Downe (Coach House) The winners will be trumpeted at bonfire beach parties in Newfoundland and British Columbia on Saturday, June 21. A specially-designed ring by Newfoundland goldsmith Christopher Kearney will be this year's prize for the three winners of the ReLit Awards. The sterling silver ring (photo below) features four moveable dials, each stamped with the entire alphabet, that can be revolved to fashion four-letter words. Christopher Kearney, who studied watchmaking at George Brown College, and graduated with a degree in fine art from Nova Scotia College of Art and Design, said that it was his studies in semiotics while a Canadian Naval Seaman that led to the design of his moveable ring. All shortlisted authors will be required to have their ring fingers sized. A ring will also be presented to the editors of the winning entries. That ring will feature engravings of editorial symbols. The ReLit Awards (Ideas, Not Money') were founded in 2000 as an alternative to the big-money prizes. The awards are open to books published by independent Canadian literary publishers. ReLit is short for Regarding Literature, Reinventing Literature, Relighting Literature... For more information, please contact: info@ReLitAwards.com -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord., Small Press Action Network - Ottawa (SPAN-O) ...snail c/o rr#1 maxville ontario canada k0c 1t0 www.track0.com/rob_mclennan * 7th coll'n - paper hotel (Broken Jaw Press) ========================================================================= Date: Mon, 30 Jun 2003 11:24:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Need for Names of Sound Poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit life as a saabvertible con. db -----Original Message----- From: George Bowering To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, June 28, 2003 12:32 PM Subject: Re: Need for Names of Sound Poets >There's that nifty duo called Re Sounding > >made up of Doug Barbour and Stephen Scobie >-- >George Bowering >Life in a Saab convertible. >Fax 604-266-9000 > ========================================================================= Date: Mon, 30 Jun 2003 11:31:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Fwd: FW: Writers: Please help save the California Arts Council Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi Folks-- I don't usually forward group messages I receive, but this one this morning from Diane di Prima seemed worth forwarding--at least to the Californians on the list. Best, Dodie >Dear Friends, > >Give it a shot. It would be nice to keep an Arts Council in Calif. This site >is a little less clear than some, (you have to hit "Next" instead of "Send", >but it still took under 3 minutes. > >Best to everyone, > >Diane > > >---------- >From: howarddy2@att.net >Date: Sat, 28 Jun 2003 18:39:48 +0000 >Subject: Writers: Please help save the California Arts Council (fwd) > > >---------------------- Forwarded Message: --------------------- >From: Teresa LeYung Ryan >To: (writers)info@lovemadeofheart.com >Subject: Writers: Please help save the California Arts Council >Date: Sat, 28 Jun 2003 10:16:59 -0700 > >Important news from Sam and Juda Tolmasoff , boardmembers of >Calif. Writers' Club, SF/Peninsula Branch. > >From: >To: >Subject: Urgent: Save the California Arts Council >Mime-Version: 1.0 >Content-Type: multipart/mixed; boundary="=_6837A7AE.6D0C6846" > >To: California Arts Advocates >Fr: Americans for the Arts >Dt: June 26, 2003 >Re: Send message to California Assembly Now >=============================================================== > >In an effort to beat back the last-minute attempt to TOTALLY ELIMINATE >the California Arts Council, Americans for the Arts has teamed up with >VH1 Save the Music, MENC, NAMM, NARAS, and PS Arts and many others to >encourage California arts advocates and residents to visit a quick and >easy new advocacy website. This new advocacy tool will allow you to >send a message to your specific California legislators and Governor Gray >Davis, urging them to save the California Arts Council's budget. > >Here are the easy steps to take: >1. Go to: http://econstituent.votenet.com/vh1 >2. Fill out your name, address and email >3. The advocacy website will automatically send the emails out to your >California legislators and Governor > >Take advantage of this easy-to-use advocacy website and have your voice >heard. Your letters and e-mails will be read by legislators and their >staff and tallies are being counted. > >A California State Senator commented this week that there has been >little public outcry about the cuts to the arts and that it was now too >late...we hope this new web site will change that. > >Please forward this message to your California-based colleagues and >friends. Act now! ========================================================================= Date: Mon, 30 Jun 2003 15:33:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Tom Devaney's interview with Eileen Myles MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.raintaxi.com/online/2003summer/myles.shtml ========================================================================= Date: Mon, 30 Jun 2003 03:36:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jukka-Pekka Kervinen Subject: xStream #12 online Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline xStream -- Issue #12 xStream Issue #12 is online, now in two parts: 1. Regular: Works from 7 poets (William James Austin, Rochelle Ratner, Ric Carfagna, Paul Hardacre, Andrew Topel, Derek White and Wendy Collin Sorin) 2. Autoissue: Poems generated by computer from Issue #12 texts, the whole autoissue is generated in "real-time", every refresh. 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: Mon, 30 Jun 2003 18:09:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: New Milestones MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New Milestones Searched the web for "Alan Sondheim". Results 1 - 10 of about 6,010. Search took 0.24 seconds. "Language is that dirty little thing that digs its letters and numbers and spaces into the ground or screen or skull or arm as if gas has coagulated into insipid crystals of universal meaning." "This is big nonsense." ___ ========================================================================= Date: Mon, 30 Jun 2003 18:14:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 7th New Media Writers Workshop MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE > Call for participation in the 7th New Media Writers > Workshop > > How can a writer's message be expressed in new > media? What does new media offer that print does > not? And in an age when new media has become > increasingly professional, howt can an individual > produce work of a high enough standard--including > text, graphics, animation, sound, programming etc. > etc? > > The 7th New Media Writers' Workshop, part of the > Hypertext 03 conference in Nottingham, will explore > these questions and more. This workshop is also > open to non-conference attendees. > > When: One-day live f2f workshop: Saturday August 30th > in Nottingham, UK The cost for this is =C2=A350 - can > be sent in advance or paid on the day. > > One-hour online chat (open to live participants and > others) "Setting the Scene" Sunday August 17th 9-10 > pm (UK) > > Asynchronous web workshop at the trAce Forums from > August 17th through to September 30th to discuss the > issues and further develop works in progress. > > > > Who: Writers already working in new media, creators > of new media, teachers of new media, academics, > researchers, writers interesting in finding out more > about new media, web developers, programmers, > software designers, story tellers, digital artists > > Participants will be chosen as a result of a call > for participation, and essay answers to that call. > Criteria for participation will be that participants > represent a broad range of interests in the field. > Newcomers are welcome to balance our perspectives > and add new ideas. > > What we=E2=80=99ll do: > > Explore various aspects of the creation of new media > writing and art > > Examine works in progress > > Look at the skills involved in creating new media > and how writers can acquire these skills and > associated support > > Develop new opportunities for collaborations > > Present a new toolkit of use to new media creators > (ELO) and trAce. > > How to apply > In person: You can apply for the workshop alone or > attend the accompanying conference. To apply for the > workshop, please send a brief issue paper covering > the following points to Helen Whitehead. These will > be posted on the discussion forum for a preliminary > discussion with both online and live participants > > Please send the following to > helen.whitehead@ntu.ac.uk (tel +44 (0) 115 848 6360) > > > NAME > ADDRESS > PHONE > EMAIL ADDRESS > > POTTED BIOGRAPHY > > YOUR BACKGROUND (e.g., print, new media, programmer) > > > STATEMENT IN RESPONSE TO QUESTIONS: > > How are we creating works--is it acceptable to use > found images or javascript or collaborate? Where are > the lines drawn in creating new media? Are works > that are not "100% original from the ground up" > judged (analyzed, critiqued?) in different ways? > > If you would like to submit your work in progress > for the morning session, please provide a > description of the work and a URL. > > Online: Go to http://trace.ntu.ac.ukforumlive to > post messages and get instructions for the chat. > The online chat is part of the Forum Live series > organised by the trAce Online Writing Centre and the > Eliterature Organisation with participants from > around the world. > > For more information, please see: > > http://www.ht03.org/workshops.html#writers > helen.whitehead@ntu.ac.uk > > > __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ========================================================================= Date: Mon, 30 Jun 2003 17:58:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Spicer Connection-Kevin Killian-1 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Gee, not having the rest of this conversation at hand, I can say that Spicer has appealed to legions, regardless of age. One might make a case for Rimbaud's appeal to youth, as his rather romantic denouncements of poetry belie his remarkable language. But Spicer? The denial, undermining, negating is also true of Ashbery who often derails one clause as he moves to another. Sometimes Spicer is a hard sell to young poets--especially his lectures and Martian references--one has to put them in the context of the era, radio, etc. But reading Spicer with Lorca--a pleasure. In fact, it was Spicer who introduced many to Lorca, and then the world opens. On Mon, 30 Jun 2003 13:55:54 -0400 William A Sylvester wrote: >Spicer, I think, appeals to the young because his poetry is filled with >strong, resonant statements which are simultaneously denied, undermined, >negated, just as young people are prone to large statements they don't >"mean" the very next second. > > >Quote 1 (from Gary Sullivan's Interview with Kevin Killian) > >http://home.jps.net/~nada/killian.htm ========================================================================= Date: Mon, 30 Jun 2003 19:21:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: 2-4 Festival MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Dear Kevin Hehir: Don't pay any attention to Dr. Cabri. The more we attend to his tertiary arguments, the more he is able to get away with in his primary and secondary ones. The envy in his remarks is astounding. Especially the proposal to award the copy of Eterovich's Approaches that I inscribed to Darren Wershler-Henry instead of himself. Any Newfoundland series ought to be called Dildo and have an accompanying journal publication by the same name. There are, of course, many other wonderful place names on and about that fine piece of rock that could serve this purpose as well, depending on the nature of your politics. Cf. http://listserv.acsu.buffalo.edu/cgi-bin/wa?A2=ind9609&L=poetics&P=R15389&D=1&I=-3&O=D Aaron Vidaver Vancouver "I blame Jeff Derksen and Louis Cabri for this." - Deanna Ferguson ========================================================================= Date: Mon, 30 Jun 2003 20:01:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Lookin for Emails: Bergvall, Bremner, Day, Farmer, Foyle, Grim, Hammond, Nielsen, Price, Sher, Tu MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit I'm trying to track down working electronic mail addresses for the following people. Any help appreciated. Please b/channel. Caroline Bergvall defunct or incorrect Larry Bremner (AKA Larry Timewell) Jean Day Steven Farmer Naomi Foyle Jessica Grim Michael Hammond defunct or incorrect Melanie Nielsen Larry Price defunct or incorrect Gail Sher Hung Q. Tu defunct or incorrect